User manual APPLE COMPRESSOR 3

Compressor 3 User Manual K Apple Inc. Copyright © 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the "keyboard" Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this book may be slightly different from what you see on your screen. Apple Inc. 1 Infinite Loop Cupertino, CA 95014­2084 408-996-1010 www.apple.com Apple, the Apple logo, AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iPod, iTunes, Mac, Macintosh, Mac OS, QuickTime, and Soundtrack are trademarks of Apple Inc., registered in the U.S. and other countries. Apple TV and Finder are trademarks of Apple Inc. AppleCare and Apple Store are service marks of Apple Inc., registered in the U.S. and other countries. Dolby Laboratories: Manufactured under license from Dolby Laboratories. "Dolby," "Pro Logic," and the doubleD symbol are trademarks of Dolby Laboratories. Confidential Unpublished Works, © 1992­1997 Dolby Laboratories, Inc. All rights reserved. UNIX is a registered trademark of The Open Group. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. Production stills from the film "Koffee House Mayhem" provided courtesy of Jean-Paul Bonjour. "Koffee House Mayhem" © 2004 Jean-Paul Bonjour. All rights reserved. http://www.jbonjour.com Production stills from the film "A Sus Ordenes" provided courtesy of Eric Escobar. "A Sus Ordenes" © 2004 Eric Escobar. All rights reserved. http://www.kontentfilms.com 1 Contents Preface 9 10 11 12 14 15 16 19 19 20 26 29 31 32 33 34 36 37 38 41 42 43 46 49 52 53 54 65 66 67 68 An Introduction to Compressor About the Compressor User Manual Typical Compressor Scenarios Compressor Features Output Formats for Transcoding Using the Compressor User Manual Apple Websites Getting Started Quickly Terms Used by Compressor Quick-and-Easy Compressor Workflow Optional Tasks You Can Perform Before Submitting a Batch The Basic Transcoding Workflow Compressor Concepts and Terms Preparing Compressor for Transcoding Choosing an Output Format Creating a Compressor Batch Viewing Transcoding Status Optional Compressor Shortcuts Setting Compressor Preferences The Compressor Interface Compressor Windows and the Transcoding Workflow Creating and Managing Compressor Layouts Working with the Compressor Windows Batch Window Settings Tab Destinations Tab Inspector Window History Window Preview Window Batch Monitor Droplet Windows Chapter 1 Chapter 2 Chapter 3 3 69 71 72 Chapter 4 73 74 75 82 85 87 88 92 93 94 96 97 98 99 99 101 102 105 105 107 108 109 110 111 112 114 115 116 116 117 118 119 122 125 125 About Changing Values and Timecode Entries General Compressor Keyboard Shortcuts Preview Window Keyboard Shortcuts Importing Source Media Files About the Batch Window Adding Source Media Files to a Batch to Create Jobs Using the Inspector with Source Media Files Tips on Importing Source Media Files Creating, Previewing, and Modifying Settings About the Settings Tab Using the Inspector with Settings Duplicating Settings Creating a Setting from Scratch Previewing a Setting Deleting Settings Creating Groups of Settings Distributing and Sharing Settings Example: Creating Custom Groups and Settings for DVD Finalizing Jobs and Submitting Batches Assigning Settings to Source Media Files Replacing an Assigned Setting with a Different Setting Modifying an Assigned Setting Assigning Destinations to Source Media Files Setting the Output Filename About Targets About Adding and Copying Jobs About Chaining Jobs Submitting a Batch Test Transcode Tip About the History Window Resubmitting a Batch Saving and Opening a Batch File Submitting a Final Cut Pro Project for Transcoding Resubmitting a Final Cut Pro Project Exporting from Final Cut Pro and Distributed Processing Transcoding Different Clips from One Source Media File Creating AIFF Files Creating AIFF Output Files Chapter 5 Chapter 6 Chapter 7 4 Contents 125 126 128 Chapter 8 129 130 136 138 139 141 143 143 145 145 146 147 148 152 153 153 158 159 159 160 161 163 163 164 166 167 167 168 169 172 172 174 175 About the AIFF Encoder Pane About the Sound Settings Dialog Configuring AIFF Settings Creating Dolby Digital Professional Output Files About the Dolby Digital Professional Encoder Pane General Information About Creating Dolby Digital Professional Files Converting Stereo Audio Files to Dolby Digital Professional Format Assigning Files to Surround Sound Channels (Manual Method) Assigning Files to Surround Sound Channels (Automatic Methods) Assigning Files to Surround Sound Channels with Droplets Options for Spatial Mixing Creating DV Stream Output Files About the DV Stream Encoder Pane DV Transcoding Workflow Creating H.264 for Apple Devices Output Files About the H.264 for Apple Devices Encoder Pane H.264 Workflows for iPod and Apple TV Creating H.264 for DVD Studio Pro Output Files About the H.264 for DVD Studio Pro Encoder Pane H.264 Workflows for DVD Creating Image Sequence Files Creating Image Sequence Output Files About the Image Sequence Encoder Pane Configuring Image Sequence Settings Creating MP3 Output Files Common Uses for MP3 About the MP3 Encoder Pane MP3 Transcoding Workflow Creating MPEG-1 Output Files Common Uses for MPEG-1 MPEG-1 Specifications About the MPEG-1 Encoder Pane About System and Elementary Streams MPEG-1 Transcoding Workflow Configuring the MPEG-1 File Format for Web Use Configuring the MPEG-1 File Format for DVD Use Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Contents 5 Chapter 15 181 181 182 183 184 199 202 211 212 216 223 223 224 230 234 234 235 237 237 238 238 239 240 241 241 244 245 253 255 255 256 260 262 264 Creating MPEG-2 Output Files About Standard Definition MPEG-2 About High Definition Sources and MPEG-2 About Elementary, Transport, and Program Streams About the MPEG-2 Encoder Pane More About GOPs and Markers MPEG-2 Transcoding Workflow Creating MPEG-4 Output Files About the MPEG-4 Encoder Pane MPEG-4 Part 2 Transcoding Workflow Creating QuickTime Movie Output Files Creating QuickTime Output Files About the QuickTime Movie Encoder Pane QuickTime Transcoding Workflow Understanding Codecs QuickTime Video Codecs QuickTime Audio Codecs Creating QuickTime Export Component Files Creating QuickTime Export Component Output Files Installing QuickTime Export Component Plug-Ins About the iPod Plug-In About the QuickTime Export Components Encoder Pane Configuring Export Components Settings Adding Filters to a Setting Working with Filters About the Filters Pane Available Filters Adding Filters to a Setting Adding Frame Controls to a Setting Working with Frame Controls About the Frame Controls Pane Adding Frame Controls to a Setting Using Reverse Telecine Using the Retiming Controls Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 6 Contents Chapter 21 267 267 269 274 277 277 279 280 283 284 289 295 297 303 305 306 307 308 311 312 314 315 316 317 319 319 322 323 323 324 327 327 327 328 330 333 Adding Geometry Settings Working with Cropping, Scaling, and Padding About the Geometry Pane Making Geometry Adjustments to a Setting Adding Actions to a Setting Working with Post-Transcoding Actions Adding Actions Triggering AppleScript Droplets Using the Preview Window About the Preview Window Previewing a Clip Transcoding a Portion of the Clip with the Preview Window Adding Markers to a Clip Preview Window Keyboard Shortcuts Creating and Changing Destinations About the Destinations Tab Using the Inspector with Destinations Creating a Destination Warning Triangles Deleting and Duplicating a Destination Creating Destinations for Use with DVD Studio Pro Using Droplets About the Droplet Window Creating a Droplet Checking Droplet Settings and AppleScript Options Using a Droplet to Transcode Source Media Files Droplet Tips Customer Support and Troubleshooting Calling AppleCare Support Troubleshooting Tips Command-Line Usage Using the Command Line Shell Commands for Configuring Service Nodes and Cluster Controllers Shell Commands for Submitting Compressor Jobs Shell Commands for Monitoring Batches Chapter 22 Chapter 23 Chapter 24 Chapter 25 Appendix A Appendix B Index Contents 7 Compressor is an essential part of the video compression process. It makes compression fast, efficient, and convenient, giving you more options in your choices of compression settings and output formats. With the ability to view and experience media content in many different ways (such as on websites, Apple TV, an iPod, CD-ROM discs, and DVDs), content authors need a quick and easy means of converting their material so that it can be conveniently distributed to a variety of playback devices. Whether you want to create high-quality movie trailers that can be opened and viewed over the web within seconds, or you just want to transfer a video clip to a CD or DVD, you need to compress media files so that they fit into limited space and are readily available for viewing. Compressor is a high-speed video and audio encoding tool that provides an efficient way to convert content for any of these methods. In addition to the variety of viewing delivery methods, there are also a variety of output formats to consider. You may need to compress the same media file into different output formats just to accommodate different media players and uses. With Compressor, you can select different output formats for use with the various distribution models. Preface 9 An Introduction to Compressor About the Compressor User Manual This preface, "An Introduction to Compressor," contains background information that introduces most of the basic concepts and terms related to using Compressor. Other chapters in this user manual cover the following:  Chapter 1, "Getting Started Quickly," will help you with basic steps in using Compressor for the first time.  Chapter 2, "The Basic Transcoding Workflow," offers more detailed Compressor setup procedures.  Chapter 3, "The Compressor Interface," is a quick visual tour of Compressor windows and features.  Chapter 4, "Importing Source Media Files," covers the file types that Compressor can accept and how to import them.  Chapter 5, "Creating, Previewing, and Modifying Settings," covers settings, an essential part of the Compressor workflow.  Chapter 6, "Finalizing Jobs and Submitting Batches," is a detailed explanation of basic Compressor workflow.  Chapters 7 through 18 explain each of the output file types in turn. See "Output Formats for Transcoding" on page 14 for more information on these chapters.  Chapters 19 through 22 will help you add settings and further adjust the visuals of your Compressor transcode jobs for better-looking and better-sounding output.  Chapter 23, "Using the Preview Window," explains how to use the Compressor Preview window so you can have a look at source media files, as well as the effect of any Compressor settings you might apply to the files.  Chapter 24, "Creating and Changing Destinations," covers how to set up and save frequently used destinations for transcoded output files.  Chapter 25, "Using Droplets," covers the time-saving drag-and-drop applications you can create with Compressor. 10 Preface An Introduction to Compressor Typical Compressor Scenarios The following are typical Compressor scenarios:  Converting source media to one or more different output formats: You can use Compressor to convert one or more media files to one or more different media file output formats. See "Quick-and-Easy Compressor Workflow" on page 20 for more information. Source media or Final Cut Pro project Compressor application H.264 MP3 MP3 MPEG-1 MPEG-4 QuickTime To web AC-3 AIFF H.264 MPEG-1 MPEG-2 AIFF MP3 QuickTime Apple devices Apple TV iPod iTunes QuickTime movie (for broadband and lowband) DVD video CD-ROM  Exporting sequences or clips to one or more formats directly from other applications: You can use Compressor to convert sequences or clips to one or more file formats from within other applications, such as Final Cut Pro. This workflow is the same as described in detail in the section, "Submitting a Final Cut Pro Project for Transcoding" on page 117. This integration with Final Cut Pro and other applications makes transcoding (the process of converting files from their original format into output files ready for distribution in another format) faster and more convenient, and also saves hard disk space by eliminating the need to export intermediate media files before processing them. It also leverages the video processing technology of the other applications to do much of the work (therefore maximizing the quality of images that are encoded), and avoids degradation that can occur from multiple compression and decompression steps. Preface An Introduction to Compressor 11  Creating DVD compliant files for use with DVD Studio Pro: Before you can convert your existing media files into DVD Studio Pro projects, you must convert the video into MPEG-1 (SD projects only), MPEG-2 (SD and HD projects), or H.264 (HD projects only) files. Before importing one or more media files into DVD Studio Pro, Compressor transcodes the files into the correct format. Compressor can encode audio in the Dolby Digital Professional format (also known as AC-3). Dolby Digital Professional is a very common compressed audio format for DVD-Video discs. Compressor also supports two specialized situations:  For those situations in which you are editing high definition (HD) sources in Final Cut Pro and want to create a standard definition (SD) DVD from them, Compressor includes a high-quality down-conversion capability. HD sources using 1080i or 720p resolutions use a high-quality transcoding process to create SD MPEG-2 video output files.  For those situations in which you must fit the maximum video onto a DVD and do not require broadcast quality, Compressor includes the ability to export DVDVideo­compatible MPEG-1 format files. Compressor Features Compressor can work as a standalone application or be integrated into the workflow of other applications, such as Final Cut Pro. To this end, Compressor accepts the same full range of source media file types that Final Cut Pro accepts. Compressor is targeted at video postproduction professionals and compressionists who require high performance and maximum control over the final digital content for DVD authoring, streaming media servers, and wireless devices. Compressor gives you resizing, cropping, image processing, encoding, and delivery options, and offers the following features:  Batch processing: This streamlined process allows you to create multiple output files from single source media files.  VBR options: Using the MPEG-2 encoder, you can set either a single or dual-pass variable bit rate (VBR) for your output files, a setting that affects the video file image quality.  H.264 encoding: H.264 produces higher quality video at lower data rates for everything from mobile phones to High Definition (HD). H.264 works especially well with the Apple QuickTime 7 media player. Compressor includes H.264 formats that specifically target HD DVDs, iTunes, the iPod, and Apple TV.  Droplets: These standalone applications can be used for drag-and-drop transcoding operations straight from your desktop. Once created, Droplets simplify and automate the transcoding process and can be used even without opening Compressor.  Settings: Settings contain all necessary file format, filter, and geometry settings needed for transcoding. You can customize and modify the Apple-supplied settings or create new ones, making it possible to create a library of specialized settings that can be reused. 12 Preface An Introduction to Compressor  Filters: The selection of available Compressor filters gives you dynamic artistic control while you convert your source media to other formats, and allows you to create a final product to your precise specifications. A selection of the available filters includes fade in/fade out, timecode overlays, gamma correction, noise removal, letterbox, watermark, color adjustment, and others. Additionally, there are audio filters for controlling dynamic range, peak levels, equalization, and fade in/fade out.  Previewing: You can preview your filter settings in real time using the Preview window as you adjust them in the Inspector window. This lets you tweak the settings to your satisfaction, before transcoding the source media file.  Destinations: You can create and save destinations for your output files, which can then be assigned to each output file's target. You can even include FTP and iDisk locations. A destination can also specify the filenaming convention to use.  Geometry: You can adjust your frame size using the geometry Inspector window controls and graphical controls in the Preview window. These features allow you to crop unwanted image areas of your source media file and reduce file size. Compressor also allows you to resize your image to other aspect ratios such as 4:3, 16:9, and 2.35:1 for delivery onto other platforms, such as DVD or iPod.  Publishing: You can use Compressor to upload output files to a QuickTime Streaming Server or other locations for DVD authoring.  AppleScript usage: You can add specialized AppleScript information to any output file, which gives you the flexibility to automate and customize any post-encoding operations.  Interoperability: Compressor is an integral component of other Apple professional video applications such as Final Cut Pro and DVD Studio Pro. You can export sequences directly from Final Cut Pro into Compressor for transcoding, and drag MPEG-2 files transcoded from Compressor into DVD Studio Pro to simplify the DVD authoring process.  Transcoding activity in the background: Compressor lets you begin transcoding a batch and then continues processing in the background, allowing you to perform other tasks at the same time.  Email notification: You can set up Compressor to send an email notification to any location to notify you when the batch transcode is complete. Preface An Introduction to Compressor 13  Distributed processing: Compressor offers distributed processing, distributing the work to multiple computers that have been chosen to provide more processing power. The distributed processing feature is limited to computers that have either Final Cut Studio or DVD Studio Pro installed. For more details, see the Distributed Processing Setup guide.  Command-Line Features: Compressor has a number of command-line options for submitting jobs, enabling and disabling service node and cluster controlling services, and monitoring batches. Output Formats for Transcoding Selecting the relevant playback platform (Apple Devices, DVD, web, CD, and kiosk) is the first choice you need to make before you compress a source media file into a different output format. Once you have decided on the platform, you can choose the appropriate output format for that platform. Whatever the digital video format of your source media file, you can transcode it using one of the following encoders supplied with Compressor:  AIFF: Intended for audio use (DVD or CD authoring). For more details on the AIFF format, see Chapter 7, "Creating AIFF Files," on page 125.  Digital Video (DV) Stream: The DV format is extremely popular due to its low cost and wide availability when working with SD projects.  Dolby Digital Professional: Also known as AC-3. Intended for DVD authoring. For more details on the AC-3 format, see "Creating Dolby Digital Professional Output Files" on page 129.  H.264: The next-generation video compression technology in the MPEG-4 standard. Also known as MPEG-4 Part 10. Suitable for HD DVD and many other uses, H.264 can match the best possible MPEG-2 quality at up to half the data rate. H.264 is currently mandatory in both new high definition DVD specifications (HD DVD and Blu-ray). For more details on the H.264 format for use in your HD DVD projects, see "Creating H.264 for DVD Studio Pro Output Files" on page 153. For information on creating H.264 files for use in iTunes, on an iPod, or with Apple TV, see Chapter 10, "Creating H.264 for Apple Devices Output Files," on page 147. For information on creating H.264 files for other uses (such as web video), see "Creating QuickTime Movie Output Files" on page 223.  Image Sequence: Intended for use with other programs that import media as a series of still images in either the TIFF or TARGA format. For more details on the Image Sequence format, see Chapter 12, "Creating Image Sequence Files," on page 159. 14 Preface An Introduction to Compressor  MPEG-1: Intended for Internet or specialized DVD use. For more details on the MPEG-1 format, see Chapter 14, "Creating MPEG-1 Output Files," on page 167.  MPEG-2: Intended for DVD use. For more details on the MPEG-2 format, see Chapter 15, "Creating MPEG-2 Output Files," on page 181.  MPEG-4: A very scalable specification, with a variety of uses, from web video or wireless devices to HD. For more details on the MPEG-4 format, see Chapter 16, "Creating MPEG-4 Output Files," on page 211.  QuickTime Movie: QuickTime is a cross-platform multimedia technology. It allows Mac OS and Windows applications to play back video, audio, and still-image files. For more details on the QuickTime format, see Chapter 17, "Creating QuickTime Movie Output Files," on page 223.  QuickTime Export Components: Leveraging the component plug-in architecture of QuickTime, Compressor can now output a variety of additional formats such as Windows Media, RealPlayer, 3G, and AVI. For more details on QuickTime Export Components, see "Creating QuickTime Export Component Output Files" on page 237. Using the Compressor User Manual The Compressor User Manual provides step-by-step instructions for using Compressor to compress source media files, as well as background and conceptual information about compression. It is designed to provide the information you need to get up to speed quickly, so that you can take full advantage of Compressor. The Compressor User Manual allows you to access information directly on screen while you're working in Compressor. To view this information, choose Help > Compressor User Manual. The Compressor User Manual is fully hyperlinked and enhanced with many features that make locating information quick and easy.  The home page provides quick access to various features, including the index and other relevant documents and websites.  A comprehensive bookmark list allows you to quickly choose what you want to see and takes you there as soon as you click the link. In addition to these navigational tools, the Compressor User Manual gives you other means to locate information quickly:  All cross-references in the text are linked. You can click any cross-reference and jump immediately to that location. Then, you can use the Preview Back button to return to where you were before you clicked the cross-reference.  The table of contents and index are also linked. If you click an entry in either of these sections, you jump directly to that section of help.  You can also use the Find dialog to search the text for specific words or a phrase. Preface An Introduction to Compressor 15 To access the onscreen help, do one of the following: m Choose Help > Compressor User Manual. m Press Command-, (comma). In addition to accessing the Compressor User Manual, the Help menu also contains an item for creating a support profile. In certain support situations, AppleCare may require information about both your computer and how this particular application is configured. Choosing Help > Create Support Profile creates a file that contains the necessary information and can be emailed to AppleCare. You would not normally use this feature unless directed to by an AppleCare representative. Apple Websites There are a variety of Apple websites that you can visit to find additional information. Compressor Website Go here for general information and updates as well as the latest news on Compressor. To access the Compressor website, go to:  http://www.apple.com/finalcutpro/compressor.html There are a variety of discussion boards, forums, and educational resources related to Compressor on the web. Apple Service and Support Website Go here for software updates and answers to the most frequently asked questions for all Apple products, including Compressor. You'll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. To access the Apple Service and Support webpage, go to:  http://www.apple.com/support To access the Compressor support page, go to:  http://www.apple.com/support/compressor To access the Apple discussion pages, go to:  http://discussions.info.apple.com 16 Preface An Introduction to Compressor Other Apple Websites Start at the Apple main home page to find the latest information about Apple products:  http://www.apple.com QuickTime is industry-standard technology for handling video, sound, animation, graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a high level of performance, compatibility, and quality for delivering digital video. Go to the QuickTime website for information on the types of media supported, a tour of the QuickTime interface, and specifications, and more:  http://www.apple.com/quicktime FireWire is one of the fastest peripheral standards ever developed, which makes it great for use with multimedia peripherals, such as video camcorders and the latest highspeed hard disk drives. Visit this website for facts and benefits about FireWire technology, FireWire software information, and available third-party FireWire products:  http://www.apple.com/firewire For information about seminars, events, and third-party tools used in web publishing, design and print, music and audio, desktop movies, digital imaging, and the media arts, go to:  http://www.apple.com/pro For resources, stories, and information about projects developed by users in education using Apple software, including Compressor, go to:  http://www.apple.com/education Go to the Apple Store to buy software, hardware, and accessories direct from Apple. You can also find special promotions and deals that include third-party hardware and software products:  http://store.apple.com Preface An Introduction to Compressor 17 1 Getting Started Quickly 1 Compressor contains a number of preexisting settings that allow you to start transcoding immediately. You can begin transcoding media files as soon as you install Compressor, if you have one or more source media files and the preexisting Compressor settings and destinations suit your transcoding needs. This chapter contains the following sections:  Terms Used by Compressor (p. 19)  Quick-and-Easy Compressor Workflow (p. 20)  Optional Tasks You Can Perform Before Submitting a Batch (p. 26) Terms Used by Compressor There are a few terms used by Compressor that you should feel comfortable with before you begin using it. A batch is the heart of the transcode process. It contains one or more source media files, which are the files 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 target. The targets define what sort of output file should be created by the transcoding process. You can have multiple targets assigned to a job, which means that you can easily create multiple output files, each with a different format. Each target has three parts:  The setting: The setting part of a target defines the encoder format that is used, as well as a number of other aspects, including a variety of filters and geometry attributes.  The destination: The destination part of a target defines where the output file is saved. It also defines the rules that are used to create the output filename. Compressor includes a preference setting that allows you to specify a default destination. 19  The output filename: You can edit the output filename part of the target if for some reason you do not want to use the name generated based on the destination. Note: You can transcode a job only after it has at least one setting assigned to it. If you need to create your own settings, or modify those that come with Compressor, see Chapter 2, "The Basic Transcoding Workflow," on page 29, and Chapter 5, "Creating, Previewing, and Modifying Settings," on page 87. Quick-and-Easy Compressor Workflow The following workflow shows you the easiest way to use Compressor:  Add source media files to Compressor (p. 20)  Assign settings and destinations to jobs (p. 22)  Submit the batch (p. 25) Step 1: Add source media files to Compressor 1 Double-click the Compressor icon in the Applications folder. Compressor opens with an empty untitled batch with a placeholder job. Untitled Batch window with a placeholder job Preview window Settings and Destinations tabs History window Inspector window Note: Select a Standard layout from the Window > Layouts menu to see the Compressor interface configured similarly to what is shown above. 2 Drag source files from the Finder or the desktop to the Batch window. 20 Chapter 1 Getting Started Quickly Note: If you drag multiple files to the thumbnail area (with the arrow in this example) only the last file is added to this job and all other files are ignored. The thumbnail area of the job New jobs are created for each source file you dragged to the batch. Each source file creates a job in the batch. Target area (empty in this case) of a job See "About the Batch Window" on page 74 for more information about the controls in the Batch window. Chapter 1 Getting Started Quickly 21 Step 2: Assign settings and destinations to jobs You need to assign at least one setting to each source media file job before you can submit the batch for processing, but you can also add multiple settings to the same job to transcode multiple versions of the media file. Each setting-destination pair is known in Compressor as a target. 1 Choose a setting for your source media file jobs in any of the following ways:  To assign different settings to different jobs: Drag settings from the Settings tab to individual jobs in the Batch window. 22 Chapter 1 Getting Started Quickly  To assign a single setting to multiple selected jobs: Select the jobs (source media files) in the Batch window and choose Target > New Target With Setting. This opens a settings selection dialog over the Batch window. Select the jobs in the Batch window. Select the settings to apply to the selected jobs. Click Add to assign the settings to the selected jobs. Choose one or more settings, using the disclosure triangles to reveal individual settings, and click Add. The chosen settings are assigned to all the selected jobs. The chosen settings are assigned as targets to the selected jobs. You can also choose Edit > Select All to select all the jobs before applying the settings. See Chapter 5, "Creating, Previewing, and Modifying Settings," on page 87, for more information on settings, and Chapter 6, "Finalizing Jobs and Submitting Batches," on page 101 for more information about working with jobs and targets. The next step is to set the destination. By default, the destination is set to Source, which writes the output files to the same folder as the source files originated from. You can change the destination for organization purposes or to take advantage of larger and faster hard disks. Note: You can choose a default destination from the Compressor Preferences window. See "Setting Compressor Preferences" on page 38 for more information. Chapter 1 Getting Started Quickly 23 You can set the destination for each individual target or for a selected group of targets. 2 Choose a destination for your job's targets in one of the following ways:  Do nothing. Accept the default destination Source (the same folder as the source media files originated from) specified in the Destination column.  Use the target's shortcut menu to change one setting at a time. Control-click the target you want to change and then choose any of the pre-existing destinations available to you from the Destination submenu. Use the target's shortcut menu to change the destination for the selected targets. You can also choose Other from the shortcut menu to open a dialog to choose any location available to your computer as the destination. Note: Choosing Other allows you to choose any location currently accessible from your desktop, including a mounted open volume. However, this volume must remain open until the batch has been transcoded. You can select multiple targets and change all their destinations at once using the same method. You can also use the Target > Destination menu to choose a destination, or drag a destination from the Destinations tab to the target. See Chapter 24, "Creating and Changing Destinations," on page 305, for more information on destinations. 3 You can name the batch, and save it, by choosing File > Save. 24 Chapter 1 Getting Started Quickly Step 3: Submit the batch Once each media file has at least one setting and destination associated with it, it becomes a job, and your batch is ready to be submitted. Click the Submit button to submit your batch. A dialog appears where you can name this submission, choose whether to use distributed processing, and set the priority of this submission. In most cases you can leave the settings as they are and just click Submit. After you submit a batch, you can open the Batch Monitor so you can monitor the transcoding progress of your batch. You can also set the Batch Monitor to automatically open in the Compressor Preferences window. Note: You can always open Batch Monitor by double-clicking the Batch Monitor icon in the Utilities folder inside the Applications folder or by clicking its icon in the Batch window. Chapter 1 Getting Started Quickly 25 You can also monitor the encoding progress in the History window. See Chapter 6, "Finalizing Jobs and Submitting Batches," on page 101, for more information on jobs and batches. Optional Tasks You Can Perform Before Submitting a Batch The three steps described in the previous section show you the fastest way to transcode media files. Although you can modify your pre-existing settings using this method, you can't preview your files or fine-tune any settings. The following chapters describe additional steps that can be performed on the setting of any job before it is submitted:  Chapter 5, "Creating, Previewing, and Modifying Settings," on page 87  Chapter 6, "Finalizing Jobs and Submitting Batches," on page 101  Chapter 19, "Adding Filters to a Setting," on page 241  Chapter 20, "Adding Frame Controls to a Setting," on page 255  Chapter 21, "Adding Geometry Settings," on page 267  Chapter 22, "Adding Actions to a Setting," on page 277  Chapter 23, "Using the Preview Window," on page 283  Chapter 24, "Creating and Changing Destinations," on page 305 26 Chapter 1 Getting Started Quickly The following chapters give a more detailed look at output format settings and various transcoding options:  Chapter 7, "Creating AIFF Files," on page 125  Chapter 8, "Creating Dolby Digital Professional Output Files," on page 129  Chapter 9, "Creating DV Stream Output Files," on page 145  Chapter 11, "Creating H.264 for DVD Studio Pro Output Files," on page 153  Chapter 10, "Creating H.264 for Apple Devices Output Files," on page 147  Chapter 12, "Creating Image Sequence Files," on page 159  Chapter 13, "Creating MP3 Output Files," on page 163  Chapter 14, "Creating MPEG-1 Output Files," on page 167  Chapter 15, "Creating MPEG-2 Output Files," on page 181  Chapter 16, "Creating MPEG-4 Output Files," on page 211  Chapter 17, "Creating QuickTime Movie Output Files," on page 223  Chapter 18, "Creating QuickTime Export Component Files," on page 237 Chapter 1 Getting Started Quickly 27 2 The Basic Transcoding Workflow 2 Compressor makes it easy to transcode media into multiple formats. In addition, Compressor is integrated into other applications, such as Final Cut Pro, and generates high-quality assets for use in DVD Studio Pro, providing seamless transcoding between media formats directly within one application. This chapter covers the following topics:  Compressor Concepts and Terms (p. 31)  Preparing Compressor for Transcoding (p. 32)  Creating a Compressor Batch (p. 34)  Viewing Transcoding Status (p. 36)  Optional Compressor Shortcuts (p. 37)  Setting Compressor Preferences (p. 38) The following diagram illustrates how the Compressor transcoding process works. The largest transcoding component is a batch. The batch represents all the components needed to transcode your current media. It must contain one or more jobs. A job consists of at least one source media file with one or more targets, each with a setting and a destination associated with it. After completing the transcoding process, the resulting file is known as the output media file. One output media file is created for each setting assigned to a source media file. 29 In the illustration below, the batch contains two source media files, each of which is a job containing two targets (sets of a setting and destination). The total number of output files created by transcoding this batch will be four: Job 1 will create two output media files, as will Job 2. Batch Job 1 Target 1 Source media file 1 Setting Destination Output media file (Job 1, Target 1) Output media file (Job 1, Target 2) Target 2 Setting Destination Job 2 Target 1 Source media file 2 Setting Destination Output media file (Job 2, Target 1) Output media file (Job 2, Target 2) Target 2 Setting Destination A typical Compressor transcoding process consists of the following components:  Source media file: The transcoding process always starts with a source media file, which is the file intended for transcoding in its original form. Source media files are always one of the following:  Movies: Containing video, audio, and other data (such as markers)  Stills: Used as part of a sequence of still images for certain video productions  Setting: Once you have imported your source media file, you must assign one or more settings to it. A setting is a combination of transcode attributes, such as output format, filter, and geometry settings, that are applied to the source media file during the transcoding process.  Output (file) format: The encoder you choose to convert your source media file. Choose one of the following output formats based on the intended playback method and environment of your transcoded media files: AIFF, Dolby Digital Professional, DV Stream, H.264 for DVD Studio Pro, H.264 for Apple Devices (which contains settings for use with an iPod or Apple TV), Image Sequence (which supports TIFF and TARGA images), MPEG-1, MPEG-2, MPEG-4, QuickTime Movie, or QuickTime Export Components.  Filters: Allow you to adjust different characteristics of your video such as color, brightness, and sharpness, to maximize your video quality as the file is compressed.  Geometry settings: Allow you to crop the image and adjust its frame size. 30 Chapter 2 The Basic Transcoding Workflow       Actions settings: Allow you to send email notifications and execute posttranscoding tasks using AppleScripts. Destination: A destination also needs to be assigned to the source media file. This is the location where your transcoded media file is stored. You can either use the default destination called Source (the same folder the source media file is in), or you can designate any location to which you have full access. You can also change the default destination in Compressor Preferences. The destination also controls how the transcoded media file is named. Target: A blueprint for creating an output media file containing a setting, a destination, and an output filename. Job: Once you assign one or more targets to the source media file, it becomes a job, and is ready to be transcoded. Batch: A batch consists of one or more jobs that are processed at one time. All jobs contained within the batch are submitted collectively when you click the Submit button. Output media file: The transcoded media files created after the batch is submitted and processed are called output media files. An output media file is the result of a successfully transcoded source media file (containing one setting and destination). You can create as many output media files as there are different settings applied to the various source media files in the batch. Compressor Concepts and Terms  Codec: Short for COmpression/DECompression. A mathematical model for reducing the data of a source media file.  File Format: The output format you use to transcode your source media file.  Group: Contains designated settings placed into a folder in the Settings tab. Groups help you organize your settings and can simplify the job creation process.  Transcoding: The process of converting files from their original format into output files ready for distribution in another format. Closely related terms include compression, which specifically refers to data reduction, and encoding, a term which is essentially synonymous with transcoding, but does not emphasize the conversion aspect. Chapter 2 The Basic Transcoding Workflow 31 Preparing Compressor for Transcoding Compressor contains a number of preconfigured settings that allow you to start transcoding immediately. If you want to transcode your source media files immediately and don't need to create your own settings, you can follow the steps described in "Quick-and-Easy Compressor Workflow" on page 20 instead. However, if you want to create your own settings and destinations, and customize other attributes such as filters, cropping, frame resizing, and actions settings, you need to follow the steps outlined below. If the custom settings you create here can be used for all your transcoding needs, you won't need to go through these steps again. However, if you need to create new settings and destinations for each transcoding project, you'll need to repeat these steps each time. Step 1: Create a setting Unless you are using a pre-existing setting supplied with Compressor, you will need to create your own settings. This is done using the Settings tab, and begins with choosing an output format from the File Format menu that opens when you click the Add ( + ) button. See "Choosing an Output Format" on page 33 for more information. In addition, you also have the option of adding filters, geometry settings, and post-transcoding actions, and then previewing your setting to ensure satisfaction. See "Creating a Setting from Scratch" on page 94 for more information. You can also streamline your workflow by putting your settings into groups. See "Creating Groups of Settings" on page 98 for more information. After you have created a setting, you can further customize it with additional adjustments such as filters (to adjust image quality or add effects such as letterboxing), pixel size (geometry values), and post-transcoding actions. These additional adjustments are all managed in the Inspector window. See Chapter 19, "Adding Filters to a Setting," on page 241, Chapter 20, "Adding Frame Controls to a Setting," on page 255, Chapter 21, "Adding Geometry Settings," on page 267, and Chapter 22, "Adding Actions to a Setting," on page 277, for more information. Step 2: Preview the setting using the Preview window It's a good time-saving measure to preview your setting before submitting the batch. This can be done using the Preview window, and ensures that the quality of the output media file is acceptable. The Preview window consists of a split screen displaying the content of your source media file in its original form in one half, and the content of your output media file in the other half. 32 Chapter 2 The Basic Transcoding Workflow From the Preview window, you can do any of the following:  Play the media file.  Dynamically preview effects (in real time).  Modify the effects of the filters and geometry settings of your setting.  Compare source or output versions.  Crop the output file frame size.  Change the aspect ratio.  Add various (compression, chapter, or podcast) markers. See "Previewing a Setting" on page 96 or Chapter 23, "Using the Preview Window," on page 283, for more information. Step 3: Create a destination By default, your transcoded file is saved in the same folder as your source media file (Source). However, if you want to store your transcoded files in a different location, you can create a new destination in the Destinations tab. Using this tab, you can choose any folder, volume, or remote server for which you have permissions and access to be a destination, and add useful file identifiers for your transcoded output file. Once you have created sufficient destinations, you won't need to open the Destinations tab again. See Chapter 24, "Creating and Changing Destinations," on page 305, for more information. Choosing an Output Format Choosing an output format is the first decision you need to make once you've decided to transcode a source media file. You choose an output format based on the intended playback method for the audience. Compressor gives you access to the following industry-standard formats, all of which have their own particular attributes:  QuickTime: Intended for use with QuickTime in a variety of playback environments. Because QuickTime is cross-platform multimedia technology, it allows Mac OS and Windows applications to capture and play back video, audio, and still-image files. For more details on the QuickTime format, see Chapter 17, "Creating QuickTime Movie Output Files," on page 223.  MPEG-1: Intended for Internet, CD ROM,. and specialized DVD use. For more details on the MPEG-1 format, see Chapter 14, "Creating MPEG-1 Output Files," on page 167.  MPEG-2: Intended for standard and high definition DVD use. For more details on the MPEG-2 format, see Chapter 15, "Creating MPEG-2 Output Files," on page 181.  MPEG-4, Part-2: Intended for a variety of uses including the web or wireless devices. For more details on the MPEG-4 format, see Chapter 16, "Creating MPEG-4 Output Files," on page 211. Chapter 2 The Basic Transcoding Workflow 33  MP3: Intended for audio compression. The MP3 format creates audio files that are compatible with a wide variety of playback devices. For more details on the MP3 format, see Chapter 13, "Creating MP3 Output Files," on page 163.  H.264 for DVD Studio Pro: Intended for a variety of uses including HD-DVD. For more details on the H.264 format, particularly for authoring HD-based DVDs, see Chapter 11, "Creating H.264 for DVD Studio Pro Output Files," on page 153.  H.264 for Apple Devices: Intended for creating video files suitable for playback using iTunes, an iPod, and Apple TV. For more details on the H.264 for Apple Devices format, see Chapter 10, "Creating H.264 for Apple Devices Output Files," on page 147.  Dolby Digital Professional. Also known as AC-3. Intended for DVD authoring. For more details on the AC-3 format, see Chapter 8, "Creating Dolby Digital Professional Output Files," on page 129.  AIFF: Intended for audio use (including DVD or CD authoring). For more details on the AIFF format, see Chapter 7, "Creating AIFF Files," on page 125.  Image Sequence: Compatible with a wide range of compositing and image processing applications. For more details see Chapter 12, "Creating Image Sequence Files," on page 159.  DV Stream: Common format used for SD projects. See Chapter 9, "Creating DV Stream Output Files," on page 145, for more information. Note: Compressor and QuickTime can also be extended to support additional codec options and third-party formats. The QuickTime Export Components feature allows you to control the third-party encoding engine without having to open another application. For more information, see "Creating QuickTime Export Component Output Files" on page 237. Creating a Compressor Batch Once you have the necessary settings and destinations available, you can begin to create your batch for transcoding. A batch contains one or more jobs. A job consists of one source media file with one or more targets, which contain the settings and destinations. You can submit a batch for transcoding only after you have assigned at least one target (setting and destination) to each job (source media file) in the batch. All jobs in the batch are submitted together. Think of batches as documents that can be saved, closed, and opened again. And much like Final Cut Pro project tabs, each Compressor batch is contained in a separate tab that can be torn off. 34 Chapter 2 The Basic Transcoding Workflow Step 1: Import source media files into Compressor You import source media files into a batch either by using the File Selection dialog or by dragging the files from the Finder to the Compressor Batch window. You can import source media files from any folder that you have access to. See Chapter 4, "Importing Source Media Files," on page 73, for more information. Step 2: Assign a setting Once you have imported your source media file into the Batch window, you need to assign one or more settings to it. This makes it a job. A source media file can be transcoded only after it has at least one setting assigned to it, and you can add a setting to a source media file only after you have either selected a pre-existing setting or created one. Your setting must have an output file format associated with it.  If you choose a pre-existing setting, the output file format has already been assigned.  If you create your own setting, you must choose an output file format from the file format menu that opens when you click the Create a New Setting button ( + ) in the Settings tab. You can add one setting to multiple jobs in one step by selecting the jobs in the Batch window and choosing a setting from the dialog that appears when you choose Target > New Target With Setting, or by Control-clicking one of the selected jobs and choosing a setting from the New Target With Setting submenu of the shortcut menu that appears. If you have a favorite setting (pre-existing or customized), you can streamline your workflow by creating a standalone application called a Droplet containing multiple settings, and use the Droplet to submit batches without opening Compressor. See "Creating a Droplet" on page 317 for more information. Note: You can also create groups of settings, which is a quick and convenient way to assign multiple settings to a source media file. See "Creating Groups of Settings" on page 98 for more information. Step 3: Preview the setting using the Preview window You can either preview a source media file or the source media file with its assigned setting. From the Preview window, you can dynamically preview (in real time) and modify the effects of the filters and geometry adjustments of your setting, play back the media file, view source or output views, crop the output file frame size, change the aspect ratio, and add various markers relevant to the MPEG-1, MPEG-2, H.264 for DVD Studio Pro, and H.264 for Apple Devices formats. See "Previewing a Setting" on page 96 or "Previewing a Clip" on page 289 for more information. Chapter 2 The Basic Transcoding Workflow 35 Step 4: Assign a destination You can choose the location to place your output media files by assigning a destination to each target. The destination also defines various aspects of how the output media file is named. There are several supplied destinations in the Destinations tab you can choose from, or you can create your own custom destinations. In addition to assigning a destination by dragging one from the Destinations tab to a job's target, you can also use the Target > Destination menu or the shortcut menu that appears when you Control-click a target to assign an existing destination to a job. You also have the option of choosing a location that has not been defined as a destination by choosing Other in the above two menus. See "Assigning Destinations to Source Media Files" on page 107 for more information. Step 5: Submit the batch for transcoding Once you have created all the jobs you want in the batch and are satisfied with the settings and quality of your output files (having previewed them), you are ready to submit the batch. You do this by clicking the Submit button in the Batch window. Note: If you are transcoding a large batch, you should turn off the screen saver application on your computer. This will improve the speed of your transcode because resources are not being diverted to the screen saver. See "Submitting a Batch" on page 112 for more information. Viewing Transcoding Status You use the Batch Monitor and the History window to see the current status of a submitted batch and all the jobs contained within it. The Batch Monitor is a standalone application, so that it can work with both Compressor and Droplets, whether or not Compressor is open, and regardless of whether you have submitted anything. See "Creating a Droplet" on page 317 for more information about Droplets. Step 1: View the batch transcoding status After you submit a batch, then you can open the Batch Monitor so you can view the transcoding status of your batch. This is a good way to monitor when your batch has finished transcoding and if any problems occurred during the transcode process. You can set the Batch Monitor to automatically open in the Compressor Preferences window. See the Batch Monitor User Manual for more details. Alternatively, you can look at the History window in Compressor. It contains a progress bar and, like the Batch Monitor, it can tell you if a submission was successfully transcoded. 36 Chapter 2 The Basic Transcoding Workflow Step 2: Confirm transcode completion It's a good idea to open the transcoded media file's destination folder to ensure that the media file was transcoded successfully and saved to that location. Optional Compressor Shortcuts Compressor was designed with workflow in mind. Depending on your needs, there are a number of ways to speed up the Compressor transcoding workflow. Using Pre-Existing Settings Compressor contains a number of pre-existing settings that allow you to start transcoding immediately. If these pre-existing settings suit your needs, you can transcode your source media files immediately. See "Quick-and-Easy Compressor Workflow" on page 20 for more information. Even if you need to create custom settings, you can group them so that they can be easily applied to targets. See Chapter 5, "Creating, Previewing, and Modifying Settings," on page 87, for more information. Using Default Settings and Destinations If you find that you are applying the same settings and destinations to each source media file, you can configure Compressor Preferences to automatically apply those settings and destinations. See "Setting Compressor Preferences" on page 38 for more information. Working with Droplets Droplets are a fast and convenient way to transcode material without even opening Compressor. You create a Droplet by saving a setting or a group of settings and destinations as an active icon. When you drag one or more source media files to it, the Droplet begins the transcoding process automatically. See "Creating a Droplet" on page 317 for more information. Chapter 2 The Basic Transcoding Workflow 37 Setting Compressor Preferences You can use Compressor Preferences to configure several aspects of Compressor. To open Compressor Preferences, do one of the following: m Choose Compressor > Preferences. m Press Command-, (comma). The Preferences window appears. To configure the email notification preference: 1 Enter the default email address to use when email notification is activated. You can change this address in the Actions pane of the Inspector window. 2 Enter the mail server used by this computer for outgoing email. For more information about email notification, see "Working with Post-Transcoding Actions" on page 277. To set whether or not the Batch Monitor automatically opens, do one of the following: m Select the "Auto launch Batch Monitor" checkbox to have the Batch Monitor automatically open when you submit a batch. m Deselect the "Auto launch Batch Monitor" checkbox to prevent the Batch Monitor from automatically opening. You can still manually launch the Batch Monitor from the Batch window. To control whether Content Agent automatically launches, do one of the following: m Select the "Auto launch Content Agent" checkbox to have Content Agent open automatically when the computer is started. m Deselect the "Auto launch Content Agent" checkbox to have Content Agent not open until Compressor is opened. 38 Chapter 2 The Basic Transcoding Workflow Content Agent is a background process that Compressor uses to transfer source files to other nodes in an Apple Qmaster cluster and to receive the transcoded files back from those nodes. Generally, Content Agent is not needed until you are ready to submit a batch using distributed processing. There may be times, however, when having the Content Agent open automatically when the computer starts can help a transcode process. For example, if a computer loses power and automatically restarts while a large batch is being processed, having Content Agent restart can automatically get the transcode process to resume running. To control whether Compressor remains running after a batch has been submitted through it by another application (such as Final Cut Pro): m Select "Quit upon submitting batches from other applications" to have Compressor quit once the batch has been submitted. m Deselect "Quit upon submitting batches from other applications" to have Compressor continue running once the batch has been submitted. To control cluster options (for distributed processing scratch storage settings): 1 Click the Cluster Options pop-up menu. 2 Choose one of the following:  "Copy Source to Cluster as Needed" to have Compressor copy source files to a cluster's scratch storage location as needed.  "Never Copy Source to Cluster" to prevent Compressor from copying source files.  "Always Copy Source to Cluster" to require Compressor to always copy source files to a cluster's scratch storage location. Note: This preference setting applies only to certain bundled copies of Compressor that have distributed processing enabled. The distributed processing feature is limited to computers that have either Final Cut Studio or DVD Studio Pro installed. To control whether Compressor transfers Source files to the processing cluster immediately, do one of the following: m Select "Copy at submission (high priority)" to have Compressor transfer source files immediately. m Deselect "Copy at submission (high priority)" to prevent Compressor from transferring source files immediately. Note: This preference setting applies only to certain bundled copies of Compressor that have distributed processing enabled. The distributed processing feature is limited to computers that have either Final Cut Studio or DVD Studio Pro installed. Chapter 2 The Basic Transcoding Workflow 39 To control the default setting: m Use the Default Setting pop-up menu to choose from the list of existing settings. The setting you choose appears as the default setting when you import a new source file in the Batch window. To change the default destination: m Use the Default Destination pop-up menu to choose from the list of existing destinations. The destination you choose appears as the default destination when you import a new source file in the Batch window. To control whether Compressor can browse clusters from a wide area network, do one of the following: m Select Browse Wide Area Network to have Compressor use computers beyond the local subnet, and enter the DNS domain in the DNS Domain field. m Deselect Browse Wide Area Network to have Compressor limit itself to computers in the local subnet. Note: Any changes you make to the Compressor Preferences settings take effect only when you click Apply. If you make changes but decide not to use them, click Cancel. 40 Chapter 2 The Basic Transcoding Workflow 3 The Compressor Interface 3 The Compressor interface consists of a number of core windows in which you do most of your transcoding preparation work. This chapter covers the following topics:  Compressor Windows and the Transcoding Workflow (p. 42)  Creating and Managing Compressor Layouts (p. 43)  Working with the Compressor Windows (p. 46)  Batch Window (p. 49)  Customizing the Toolbar (p. 50)  Settings Tab (p. 52)  Destinations Tab (p. 53)  Inspector Window (p. 54)  History Window (p. 65)  Preview Window (p. 66)  Batch Monitor (p. 67)  Droplet Windows (p. 68)  About Changing Values and Timecode Entries (p. 69)  General Compressor Keyboard Shortcuts (p. 71)  Preview Window Keyboard Shortcuts (p. 72) 41 Compressor Windows and the Transcoding Workflow Each Compressor window represents a part of the transcoding workflow. Untitled Batch window with a placeholder job Preview window Settings and Destinations tabs History window Inspector window  Batch window: Allows you to import source media files, add settings and destinations, and name the batch.  Settings and Destinations tabs: The Settings tab allows you to centrally manage Apple and custom settings. The Destinations tab allows you to create, modify, or remove destination settings, set a default destination, and add file identifiers to your output media filename.  Inspector window: Allows you easy access to common transcoding controls, and a full summary table containing all the details of each setting. You can also use the Inspector window to gather information on source clips, and to make dynamic changes interactively with the Preview window.  Preview window: Allows you to play your source media file in its original format, or preview your source media file with settings that have been assigned to it. You can see the effects of settings--such as filters and frame resizing--and make adjustments to these attributes while previewing the media file in real time. You can also use the Preview window to add and view various kinds of markers.  History window: The History window allows you to view a full log of all batches submitted from your computer, including progress bars of those still being transcoded, and pause or resubmit any batches listed in the log. 42 Chapter 3 The Compressor Interface  Droplet window (not pictured): Allows you to save one or more settings or groups of settings into a Droplet, a standalone preset, packaged into a drag-and-drop application and saved as an icon.  Batch Monitor (not pictured): Allows you to view the status of all batches being processed. (See the Batch Monitor User Manual for more information.) The Compressor toolbar, located along the top of the Batch window, makes it easy to navigate to the main Compressor windows and to the Batch Monitor. Creating and Managing Compressor Layouts As you use Compressor you will find that, depending on the particular encoding task you are configuring, how the various Compressor windows are laid out can affect how easy it is to use. To help with this, Compressor includes the ability to configure and save layouts. Layouts define which windows are visible, their size, their position, and which icons are in the Batch window's toolbar. Compressor includes two layouts that you can use to get a starting point for creating your own custom layouts. Note: Each layout is available in several sizes, allowing you to choose the size that best fits your monitor. You can modify any of these layouts and save them as your own custom layouts. Standard Layout The standard layout shows all the Compressor windows, with the Settings and Destinations tabs sharing a window. This layout is optimized for those times when you are transcoding a single source media file. Chapter 3 The Compressor Interface 43 Batch Layout The batch layout places the emphasis on the Batch window. This layout is optimized for those times when you are transcoding a number of similar source media files. Choosing, Saving, and Managing Layouts Compressor makes it easy to choose a layout. To choose a layout: m Choose Window > Layouts, and choose a layout from the list that appears. Once you choose a layout, the Compressor interface changes to match it. You can also create and save your own custom layouts. To save a layout: 1 Configure the Compressor interface the way you want it to be saved. See "Working with the Compressor Windows" on page 46 for information on the ways you can work with the various windows. 2 Choose Window > Save Layout. 3 In the dialog that appears, enter a name for the layout and click Save. The layout is saved and appears in the Windows > Layouts list. You can manage the layouts list by removing or renaming existing layouts. 44 Chapter 3 The Compressor Interface To manage your layouts: 1 Choose Window > Manage Layouts. The layout manager dialog appears. 2 To rename a layout, double-click it and type the new name. 3 To remove a layout, select it and click the delete ( ­ ) button. 4 To save the current interface configuration as a new layout, click the add ( + ) button and enter a name for the layout. 5 To choose a layout and apply it to the current Compressor interface, choose the layout and click the Apply button. The layout manager closes and the Compressor interface changes to match the chosen layout. 6 Click Done when you have finished managing your layouts. Note: The layouts list is actually divided into two sections--the ones supplied by Apple and the ones that you create. The ones that you create are listed in alphabetical order. Use care when naming your layouts to ensure you can easily locate them in the list. About the Layout Files If you have several workstations using Compressor, you might find that you want to be able to have the same layouts available on all of them. You can accomplish this by copying the layout files from one system to another, ensuring you put them in the correct location. The layouts are stored in the following path: Users/username/Library/Application Support/Compressor/Layouts. The layouts all have a ".moduleLayout" extension. Important: Do not manually add or remove the layout files while Compressor is open. Compressor checks this location for available layouts as part of its startup process. You must restart Compressor to have it recognize any changes you have made to these files. Chapter 3 The Compressor Interface 45 Working with the Compressor Windows While the standard and batch workflow layouts present the Compressor interface as a single large element, it is actually comprised of a number of individual windows that can be positioned and sized to best suit your needs. Why Are Some Windows Covered Up? Because the Compressor interface is made up of individual windows, you may find that when you switch from Compressor to another application and then switch back to Compressor by clicking one of its windows, only that window appears, with the others remaining covered by other windows you might have open. There are three ways to avoid this situation or to get all the windows to appear:  When switching between applications, take advantage of the built-in application switching feature of Mac OS X. Press Command-Tab to have an application selection dialog appear. As you hold down the Command key, you can toggle the Tab key to cycle through the currently running applications, releasing the Command key once the Compressor icon is selected. This ensures that all the Compressor windows will be visible.  Choose Window > Bring All to Front.  Click the Compressor application icon in the Dock. Resizing the Compressor Windows All the Compressor windows can be resized with the exception of the Inspector window, which has a fixed size. Each window has a minimum size limit, both horizontally and vertically, that affects how small you can make the window. To resize a window: m Drag the window's lower-right corner to stretch or compress the window horizontally or vertically. Drag this corner to resize the window. Note: As you reposition or resize a window, it will snap to a nearby window once you get close to it. This makes it easy to create a neat layout without gaps or overlaps. 46 Chapter 3 The Compressor Interface About the Tabs The Batch window and the Settings and Destinations tab window can have multiple tabs.  The Batch window: When you are working with a large monitor and have several batches open, you might want to be able to see each of them in its own window.  The Settings and Destinations tabs: By default, the Settings tab and the Destinations tab are located in the same window. You can choose to have each in its own window or to close one of the tabs. You can even choose to add any of the other windows (except the Batch window) as an additional tab to the window. In both cases, you can also control the order of the tabs. To move a tab to its own window by dragging: 1 Drag the tab out of its current location. Chapter 3 The Compressor Interface 47 2 Release the tab to have it appear in its own window. To move a tab to its own window using a shortcut menu: m Control-click the tab and choose Tear Off Tab from the shortcut menu. The tab opens in its own window. To add a tab from one window to another window by dragging: 1 Drag the tab to the tab area of the window you want to add it to. A highlight appears around the tab area. 48 Chapter 3 The Compressor Interface 2 Release the tab. It snaps to the tab area and its original window closes. To add a tab from one window to another window by using a shortcut menu: m Control-click the tab area where you want the window to appear, and choose the tab from the list that appears in the shortcut menu. Note: This is the only method that allows you to add the History, Preview, or Inspector tabs to the window. To change the order of the tabs in their current window: m Drag the tab left or right to its new position. The other tabs move to make room for it. Once you have the Compressor interface configured as you like it, you can save it as a layout. That makes it easy to restore the layout or to switch between it and other layouts. See "Creating and Managing Compressor Layouts" on page 43 for more information. Batch Window When you first open Compressor, the Batch window appears. The Batch window allows you to import source media files for compressing, add settings and destinations, name the batch, and choose where you want to save it. The Batch window is where you place all source media files in preparation for transcoding. Note: Generally the Batch window is always showing. If you close it, it will reopen when you create a new batch (File > New Batch) or open an existing batch (File > Open). You can use the Compressor menu bar or the toolbar at the top of the Batch window to open all other windows. (If the toolbar isn't visible when you open Compressor, click the button in the upper-right corner of the Batch window to open it.) Show/hide toolbar Toolbar Batch tabs Job area Batch status Batch submission button Chapter 3 The Compressor Interface 49 In addition to the Compressor toolbar and the Submit button, the Batch window contains the tabs for the open batches and an area for showing and configuring a batch's jobs. For information about adding source media files to a batch, see "Adding Source Media Files to a Batch to Create Jobs" on page 75. For information on working with jobs and targets, see Chapter 6, "Finalizing Jobs and Submitting Batches," on page 101. Customizing the Toolbar The Batch window contains a toolbar that you can customize to better fit your needs. Note: If the toolbar isn't visible when you open Compressor, click the button in the upper-right corner of the Batch window to open it. To customize the Batch window toolbar: 1 Do one of the following to open the toolbar customization palette:  Choose View > Customize Toolbar.  Control-click in the toolbar and choose Customize Toolbar from the shortcut menu.  Click the Customize icon in the toolbar (if present). The toolbar palette opens. 2 To remove items currently in the toolbar, drag them off. 3 To add items to the toolbar, drag them from the toolbar palette to the toolbar, placing them where you want them to appear. 50 Chapter 3 The Compressor Interface