Apple compressor 3 マニュアル
12
Audio Filters
The new audio filters provide commonly needed audio adjustments.
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Dynamic range:
Allows you to dynamically control a clip’s audio levels by enhancing
the quieter parts and lowering the louder parts. This is also referred to as
audio
level compression.
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Peak limiter:
Sets the level of the loudest audio allowed in the clip.
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Graphic equalizer:
Allows you to use the Apple AUGraphicEQ to shape a wide variety
of frequencies throughout the audible frequency range. You have the choice of a
31-band or a 10-band version.
31-band or a 10-band version.
New Geometry Pane Features
The Geometry pane has two new features.
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Automatic cropping feature:
Compressor detects whether the source media file has
been letterboxed or pillarboxed, and if it has, it enters crop values to remove the
letterbox or pillarbox.
letterbox or pillarbox.
 Output padding feature: Padding provides a method to scale the image to a smaller
size while retaining the output image’s frame size by filling the padded areas with
black. Unlike cropping, padding does not remove any of the source image—the
image is reduced by scaling by the padding amounts.
black. Unlike cropping, padding does not remove any of the source image—the
image is reduced by scaling by the padding amounts.
Padding is useful when the source image frame size is smaller than the output image
frame size and you want to prevent the source image from being scaled to the output
image size. By adding the correct amount of padding, the source image will remain the
same size in the output image, with black filling the rest of the image frame.
frame size and you want to prevent the source image from being scaled to the output
image size. By adding the correct amount of padding, the source image will remain the
same size in the output image, with black filling the rest of the image frame.
New Frame Controls Pane Features
The Frame Controls pane has added two significant new features that you can use
when your source media needs to have its speed or frame rate altered.
when your source media needs to have its speed or frame rate altered.
Reverse Telecine
Compressor now includes a Reverse Telecine option in the Deinterlace pop-up menu.
The most common approach to distributing film’s 24 fps among NTSC video’s 29.97 fps
is to perform a 3:2 pull-down (also known as a 2:3:2:3 pull-down). If you alternate
recording two fields of one film frame and then three fields of the next, the 24 frames
in 1 second of film end up filling the 30 frames in 1 second of video.
is to perform a 3:2 pull-down (also known as a 2:3:2:3 pull-down). If you alternate
recording two fields of one film frame and then three fields of the next, the 24 frames
in 1 second of film end up filling the 30 frames in 1 second of video.
For editing and effects purposes, it is often desirable to remove the extra fields and
restore the video to its original 23.98 fps rate. An additional benefit of restoring the
original 23.98 fps rate is that it is easier to convert this to the PAL 25 fps rate.
restore the video to its original 23.98 fps rate. An additional benefit of restoring the
original 23.98 fps rate is that it is easier to convert this to the PAL 25 fps rate.