Pinnacle Studio for Dazzle Version 1.
Copyright ©2013 Corel Corporation. All rights reserved. Please respect the Rights of Artists and Creators. Content such as music, photos, video and celebrity images are protected by the laws of many countries. You may not use other people’s content unless you own the rights or have the permission of the owner.
Table of contents BEFORE YOU START IX Abbreviations and conventions .............................................................. ix Help and on-line help ............................................................................. xi CHAPTER 1: USING PINNACLE STUDIO 1 The Library .............................................................................................. 3 The Movie Editor and the Disc Editor ..................................................... 6 The media editors ...............
CHAPTER 3: THE MOVIE EDITOR 51 The project timeline ................................................................................. 55 Timeline fundamentals ......................................................................... 55 The timeline toolbar .............................................................................. 60 The timeline track header ..................................................................... 67 Timeline audio functions ...............................................
Pan-and-zoom ..................................................................................... 141 CHAPTER 6: MONTAGE 145 Note: Montage is disabled in the Pinnacle Studio for Dazzle version; upgrade to Pinnacle Studio 16 to use the Montage feature. The Montage section of the Library ................................................... 147 Using Montage templates ...................................................................... 148 Montage clips on the timeline ....................................
CHAPTER 9: DISC PROJECTS 217 Disc menus ......................................................................................... 218 Adding disc menus ............................................................................. 221 Previewing disc menus ....................................................................... 223 Menu editing on the timeline ................................................................ 225 Timeline menu markers 225 Authoring tools 226 The Chapter Wizard ...............
CHAPTER 11: THE EXPORTER 273 Output to disc or memory card ............................................................ 276 Output to file .......................................................................................... 280 Output to cloud ...................................................................................... 289 Output to a device ................................................................................. 293 CHAPTER 12: SETUP 297 Watchfolders ..........................
APPENDIX C: GLOSSARY 333 APPENDIX D: KEYBOARD SHORTCUTS 347 APPENDIX E: THE INSTALLATION MANAGER 353 The Welcome Screen .......................................................................... 355 Plugs-ins and bonus content ............................................................... 357 Equipment requirements .....................................................................
Before you start Thank you for purchasing Pinnacle Studio. We hope you enjoy using the software. If you are new to Pinnacle Studio, we recommend that you keep the manual handy for reference even if you don’t actually read it all the way through. In order to ensure that your movie-making experience gets off on the right foot, please review the topics below before continuing to Chapter 1: Using Pinnacle Studio.
1394: The term ‘1394’ applies to OHCI-compliant IEEE-1394, FireWire, DV or i.LINK interfaces, ports and cables. Analog: The term ‘analog’ applies to 8mm, Hi8, VHS, SVHS, VHSC or SVHS-C camcorders, VCRs and tapes, and to Composite/RCA and S-Video cables and connectors. Buttons, menus, dialog boxes and windows Names of buttons, menus and related items are written in italics to distinguish them from the surrounding text, whereas window and dialog names are written with initial capital letters.
Key names Key names are spelled with an initial capital and are underlined. A plus sign denotes a key combination. For example: Press Ctrl+A to select all the clips on the timeline. Please refer to Appendix D: Keyboard shortcuts for a comprehensive table of available shortcuts. Help and on-line help Immediate help is available while you are working in Pinnacle Studio, both inside the program and on-line.
CHAPTER 1: Using Pinnacle Studio For a simple outline of the digital movie-making process, you don’t have to look any further than the central tab group of Pinnacle Studio’s main window. The same steps apply to any type of production, from an unpretentious slideshow with dissolves between each frame to a 3D extravaganza containing hundreds of carefullyarranged clips and effects. Pinnacle Studio’s main control bar summarizes the movie-making process.
of these opens a Windows file dialog to permit import of files from a hard drive or other local storage. • Import previous Pinnacle Studio Projects lets you load movie projects created with earlier versions of Studio. • Import Studio for iPad App Projects lets you bring in projects exported from Studio’s companion app for the iPad. • Quick Import lets you directly select ordinary media files – photo, video, audio and project – for import. Principal controls in the Importer’s Snapshot tool.
Like the Importer, the Exporter opens in a separate window, and returns to the main window after its work is done. Turn to Chapter 11: The Exporter to learn more. Preparing to create a video file in the Exporter. The central tabs The three central tabs, Library, Movie and Disc, are where most of your work in Pinnacle Studio takes place. The first of these opens the main view of the Library, where you can ‘curate’ your media collections.
supplied with Pinnacle Studio, and are available for royalty-free use. These include professionally-designed titles, DVD menus, and Montages in both 2D and stereoscopic 3D. The Library uses watchfolders for keeping up automatically with the changing population of media files on your system. On the watchfolders page of the Pinnacle Studio Setup control panel, enter the names of your media directories, especially those that you update frequently.
Player: The tools available from within the Library include the Player, a viewer that works for all media types handled by the application. When used from the main view of the Library, the Player opens in a separate window. When the compact Library is used, an embedded version of the Player appears in the same window. See “The Player” on page 8 for further information. Previewing a Library video asset in the resizable Player window, with full transport controls including a shuttle wheel.
The Movie Editor and the Disc Editor Once you have gathered your materials together and organized them to your satisfaction in the Library, it’s time to get to work on a video or a slideshow. If you are working on a disc production specifically, you can immediately start work in the Disc Editor, which is just like the Movie Editor but has extra tools for creating and setting up DVD menus. The Disc Editor is described in Chapter 9: Disc projects.
Both project editors include embedded versions of the Library and the Player in addition to the timeline display. To build a project, drag assets from the Compact Library onto the timeline tracks or Storyboard area of the project editor, where they are known as ‘clips’. Both the Movie Editor and the Disc Editor can be used with stereoscopic 3D as well as 2D material. The preview type control above the Player lets you switch between viewing the current Library asset (‘source’) and the current timeline clip.
are again available, but in this context they apply only to the clip in the project, not to the underlying Library asset. Transitions and Effects: When they are invoked from a project’s timeline, the media editors also offer a wide-range of enhancements for all three media types in the transition in, transition out, and effects groups. Transitions let you punctuate the passage of one clip to the next with anything from a barely perceptible dissolve to an audienceawakening flare.
trim mode on the timeline, see “Clip operations” on page 76. For information on using the Player with Montage, see “The Montage Editor” on page 154. For the use of the Player in editing disc menus, see “Previewing disc menus” on page 223. Pinnacle Studio Projects The movies and discs that you create in Pinnacle Studio are distilled from the projects that you build on the timeline of the Movie Editor or the Disc Editor.
CHAPTER 2: The Library The Pinnacle Studio Library, or simply ‘the Library’, is a cataloguing and management tool for all the file-based resources you can draw on when authoring. Its purpose is to let you choose and use the video segments, photos, sound bites, transition effects, titles and other ‘assets’ (as they are often called) for your movies as easily, rapidly and intuitively as possible. The Pinnacle Studio Media Library opened on a folder of graphic images.
assets under their type – video, photo, and so on. In other respects, the tree view concept for accessing subgroups of assets is virtually identical and should feel immediately familiar. In addition to audio, photo and video files in standard formats, the Library includes specialized auxiliary media like titles and disc menus. They are found, along with transitions, filters and other effects, in the main category called Creative Elements.
primary purpose is to allow you to bring assets into a movie or disc project with drag and drop. The current set of Library tabs, and the contents of the Browser, are common to all views of the Library. For instance, if you are browsing in a particular folder of disc menus in the Movie Editor, that same folder will be open if you now switch to the Title Editor. Correcting media files With regard to technical quality, media files are not all created equal.
UNDERSTANDING THE LIBRARY The Studio Library lets you manage and efficiently use the entire pool of media and other assets available for use in your productions. What exactly does the Library contain? The full range of assets that you can draw on for your projects is summarized by the four main branches of the Asset Tree. Each branch is further divided into more specialized subsections. The All Media branch contains the standard media files on your system in subsections named Photos, Video, and Audio.
Storage of Library assets Every asset in the Library – every clip, sound, transition, and so on – corresponds to a file somewhere in the local storage of your computer system. The Library doesn’t ‘own’ these files, and never modifies them unless specifically requested to do so. Rather, it keeps track of their names, locations and properties in an internal database.
Incidentally, to check if there are missing media anywhere in the Library, look in the special subsection All media Missing media of the Asset Tree. The Asset Tree is described below (page 17). Location tabs Editing a video project involves coordinating the various media and other assets at your disposal. As you proceed, it’s likely that you’ll find yourself browsing repeatedly in various parts of the Library that are relevant to the project.
To set the location of the current tab, click a name in the Asset Tree. Changes you make to viewing and filtering options while the tab is active are retained between accesses. The Asset Tree The entire gamut of Library assets is organized into a folder tree whose structure and general usage should be familiar from filesystem tools like Windows Explorer.
your hard drive, flash drive, or other file-system device. Some standard folders are included by default; you can add others at will using the watchfolder system. Grouping by folder is shown in the Main Library illustration above. When you use another grouping, by rating, by date or by file type, exactly the same asset files are listed within each subsection as with the by folder grouping.
Grouping in other subsections The Projects and Creative Elements branches of the Asset Tree also provide a group by menu, so it is possible for branches to be in different grouping modes. The menu commands are the same as described above for the All Media branch, except that the by file type option is not needed and doesn’t appear. The add collection button The Collections branch does not exhibit a group by menu.
Collection operations To create a new Collection, click the icon in the header line of the Collections branch and enter a name in the provided text field. Complete the process by pressing Enter. Alternatively, choose Add to collection Create new collection from any asset’s context menu. Manage Collections: The context menu for any Collection provides commands for renaming and deleting the Collection, and one for creating a subcollection that has the current Collection as its parent ‘folder’.
Add to collection: Choose a target Collection on the Add to collection submenu to add the selected item or items. Alternatively, drag the selection onto the target Collection. Remove from Collection: The Remove command removes the item (or items) from the Collection. As usual with the Library, the underlying media items involved are not affected, so removing a video or other item from a Collection in the Library does not delete it from other Library locations.
Importing If you need to import a large amount or variety of media, or to import from analog media such as VHS tape, click the Import button near the top of the application window to open the Importer. See Chapter 10: The Importer for full information. Quick import The Quick Import button at the top left of the Library opens a Windows file dialog for fast import of files from a hard drive or other local storage.
Removing items from the Library To remove an item from the Library, or a selection containing multiple items, choose Delete selected from the context menu or press the Delete key. A confirmation dialog lets you approve the list of media files to be removed from the Library database. By default, the files themselves will not be affected, but the Remove from library and delete option lets you delete the files too, if desired.
You may also remove a folder and all the assets it contains from the Library when removing the folder from the watchfolders list. However, this is not automatic and you will be asked if you want to keep your current assets listed in the Library, but still stop monitoring the location. The Browser This is the area in which the Library displays its media assets – the videos, photos, audio, projects, collections and ‘creative elements’ that are available for you to use in your movie and disc projects.
In the main Library, this and the next two buttons are grouped at right between the info button and the zoom slider. In the compact Library, the three buttons are placed at left. The thumbnails view button switches to viewing assets as thumbnails rather than as text lines. A pop-up checklist associated with the button lets you select the readouts and controls that will appear beside thumbnails in the Browser.
Details In details view, each asset is presented as one line in a list of text records. In thumbnails view, it appears as a thumbnail image (for visual media types) or graphic icon. To switch the Browser to details view, click the icon on the details view button at the bottom of the Library. The arrow beside the button pops up a panel listing the optional columns available to be included in the text records (one column, Caption, is always present).
At the bottom center of most asset icons a preview button, a standard triangular play icon enclosed in a square, is displayed when the mouse pointer is over the asset. In the compact version of the Library (as seen in the project editors and some media editors), the preview is shown on the Source tab of the embedded Player. In the Main Library, the Player occupies a floating, resizable window. See “The Library Preview” on page 31 for more information.
However, a translucent ‘watermark’ logo will appear on the locked content: The locked content watermark. To purchase and unlock the content, use one of the following options: • In the Library, click the lock symbol on the icon. • During export of a project with locked content, a dialog will appear prompting you to click the lock symbol. • When editing effects in one of the media editors, click the lock symbol on the Settings panel. (See Settings panel on page 131.
on the thumbnails view button to determine which indicators and buttons are displayed. Caption: The caption below the icon is the Library alias for the asset, which you can set with the Edit caption context menu command for any asset. It is not necessarily the name of the underlying asset file (which is shown in the tooltip). Shortcut: The presence of this indicator in the extreme upper left of a thumbnail shows that the asset is a shortcut rather than an independent media file.
meaning that the original file remains intact. The types of corrections that have been applied to an asset, and the parameters that were used to control them, are stored in the Library database. If corrections have been applied to an asset, the corrections indicator appears just above the collection indicator. Click the indicator to open the applicable media editor and update corrections settings. See page 41 for information about applying corrections to Library assets.
Information indicator: Clicking the information indicator opens the information panel in the popup Player, where you can edit the asset’s rating, title, and tags as well as view all its properties. Like most of the other indicators, the information indicator can be turned on and off using the thumbnails view pop-up. The Library preview Most types of Library asset support previewing in the Browser.
Along the top of the Player, the current viewing position is displayed. At the bottom is a toolbar of transport controls and function buttons. Transport controls First among the transport controls is the loop button, which causes playback in a continuous loop from the start of the media. Next is a shuttle wheel with which you can sensitively control the speed of playback by dragging backwards and forwards on the control.
Open in media editor: The media file is opened for editing in the applicable media editor so that corrections settings can be adjusted. Full-screen: The preview is shown in a special full-screen window, with its own basic set of transport controls. To close the full-screen display, click the close button in the top right corner of the window, or press Esc. Info: This button switches between the Player’s information and playback views.
Note: The 3D features are disabled in Pinnacle Studio for Dazzle. To enable 3D, please upgrade to Pinnacle Studio 16. 3D viewing mode switcher When stereoscopic 3D content is being shown, the 3D viewing mode switcher will appear. On opening the Player, the default mode from the preview settings in the Control Panel is used for photos, videos, and projects. The icon for the current mode is displayed beside a dropdown arrow used for switching modes.
In the Control Panel Preview settings, choose Second Monitor from the “Show external preview on” dropdown menu. Set up Studio with a 16x9 stereoscopic timeline. Finally, on the Player, click the Full Screen button. Please see “Preview” settings on page 301, and “Timeline settings” on page 61 for help with these configurations. Anaglyph: An Anaglyph stereoscopic preview is suitable for viewing with red-cyan stereoscopic glasses, with no additional hardware support required.
Location tabs Most importantly, each location tab corresponds to a different selection on the Asset Tree. Like web browser tabs, location tabs are readily defined (click the ‘+’ icon at the right end of the tab list), and come in handy for keeping track of multiple things simultaneously. Clicking within the Asset Tree sets the location for the current tab; conversely, clicking another tab transfers you to its saved location on the tree.
Filter by tags Another way to narrow the field of displayed assets is with filtering by tags. Tags are keywords that you can assign to assets as you work. Once tags have been defined, you can use them in several ways to control which assets are displayed by the Browser. See “Tags” on page 38 for detailed information. Search At the top right of the Library is a search field that gives one further way to filter the display.
Inadvertent filtering The various filtering methods can be combined at will. Should you leave any of the filtering types switched on when you don’t need it, it’s likely that some assets will be hidden that should be displayed. When an item is unexpectedly missing in the Browser, verify that filters are inactive. The Browser guards against the possibility of inadvertent filtering by displaying a ‘filter alert’ that remains visible as long as any filter is in use.
The tags panel, with existing tags listed alphabetically. At the top of the tags panel is a text box for entering new tag names. The panel also lists all the tags you have defined so far, lets you delete or rename them, and lets you choose which assets you want displayed in the Library. Creating, renaming and deleting tags To create a new tag, click in the text box at the top of the tags panel and type in your tag.
Hovering the mouse over a tag reveals the controls for renaming or deleting the tag. To rename, click the Rename icon, type in the new name, and press Enter. Click the Trashcan icon to delete the tag. To delete all tags at once, use the Delete all tags button at the bottom of the panel. If you are deleting a tag that is in use, you will be given a chance to back out of the operation.
Turning off tag filtering When tags are set to filter the contents of the Library, an orange bar at the top of the Browser lists which tags are being used. To turn off filtering by an individual tag, bring up the tag panel and uncheck the tag’s Filter icon. To turn off all filtering at once, click the x button at the right hand end of the orange bar. The art of tagging There is no prescribed way of using tags. The best way to use them – if you do – is the way that works best for you.
Video scene detection Using the Library’s automatic scene detection function, video footage can be split into multiple scenes either automatically or manually. Dividing raw files into scene-length portions can make some editing tasks much less cumbersome than they would be otherwise. The time required for scene detection varies depending on the length of the clip and the detection method selected. A progress bar keeps you informed of the status.
Scene view is a temporary viewing mode. The orange bar at the top of the Browser alerts you that scene view is active. At the right hand end of the bar is an x button you can use to terminate the mode. Clicking the Scenes view button again has the same effect. A single video file can contain many scenes. This makes the footage easier to manipulate during editing than if it were treated as a single segment. During editing, scene clips behave identically to other video clips.
SmartSlide Note: The Smart feature is disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to enable SmartSlide and SmartMovie features. To open the SmartSlide tool, click the SmartSlide button at the bottom of the Library window. The SmartSlide controls are presented on a panel that slides up into the window from below. It contains three subpanels. The leftmost of these presents information about SmartSlide, and advice on how many files to include.
Adding media To add images to the slideshow, drag them from the Browser into the upper bin in the storage area. Drag thumbnails within the storage area to get the order you want. Continue adding further images until you are satisfied. To add music, drag one or more sound files to the lower bin in the storage area. Alternatively you can click the clef button in the bottom left corner of the audio bin to create a music soundtrack in ScoreFitter.
Delete selected: The selected media are removed from the SmartSlide production. They remain available in the Library for other uses. (Shortcut: Delete.) Open editor: This command opens the Corrections tool of the Photo or Audio Editor. Any modifications you make to the media apply only within this SmartSlide production. (Shortcut: double-click.) SmartSlide settings The settings on this subpanel customize the SmartSlide production.
Pan and zoom: Checking this option enlivens your presentation with simulated camera moves. Fit image: Check this option to enlarge images that are too small for the selected format. For a more flexible approach, you can also consider correcting the asset with the Crop corrections tool. Media order: Select an option for the order of slides, from ‘As defined’ (the sequence is set by you), ‘Chronological’ (according to the file timestamp), and ‘Random’.
Preview, edit and export Having placed your media, click Preview on the footer bar below the tool. The project is created and opened in a preview window. If necessary, you can return to SmartMovie to modify your media selections. The analysis phase of generating a SmartMovie may take some time to complete the first time the material is analyzed.
Open editor: This command opens the Corrections tool of the Video Editor, the Photo Editor or the Audio Editor. Any modifications you make to the media apply only within this SmartMovie production. (Shortcut: double-click.) SmartMovie settings The settings on this subpanel customize the SmartMovie production. Selecting the ‘long’ Clip Length setting on the SmartMovie settings panel. At the bottom are buttons for adjusting video settings for the generated project, and for starting over.
Video volume: Set the volume of the original audio in the video segments. For a soundtrack of background music only, set to zero. Media order: Set the order of slides from ‘As defined’ (you set the sequence), ‘Chronological’ (by file date), and ‘Random’.
CHAPTER 3: The Movie Editor The Movie Editor is Pinnacle Studio’s main editing screen for digital movie creation. The editor brings together three main components: The Library, in its compact view, provides the assets available to your project. The timeline lets you organize the assets as clips within a schematic representation of your production. The Player lets you preview Library assets before adding them to your project.
display a different part of the Library, click the expand-collapse triangle beside the icon. This opens the folder tree through which you can access any Library asset. Finding Library assets using the expandable folder tree in the compact Library. With the compact Library and the timeline together in the same window, adding assets to your movie becomes a breeze: just drag the items you want from the Library Browser onto the timeline.
The Player in single mode. You can choose to view either ‘Source’ (Library) or timeline material. Single mode conserves screen space by providing only one Player preview. The Source and Timeline tabs above the Player indicate whether Library or timeline material is being viewed, and allow you to switch from one to the other. The player in dual mode. The side-by-side previews let you browse the Library while keeping your current movie frame in view.
its own set of transport controls. The dual view makes it easier to locate Library assets that fit well with your movie by making both the existing and the prospective material visible simultaneously. A portion of the Movie Editor display, with the compact view of the Library at upper left, the Player at upper right (partly visible), and at bottom the timeline, with the Navigator panel open in its upper region.
Pinnacle Studio lets you smoothly transition a movie to a disc project at any time during development, so it’s all right to start in the Movie Editor even if you end up targeting DVD for output instead of or as well as the other options. Please turn to Chapter 9: Disc projects for information about the special features provided for disc authoring. The other aspects of timeline editing are covered in this and subsequent chapters.
practice, you can lay out a rough edit of a movie very quickly just by adding its main media assets at their approximate timeline positions. At the left end of the timeline are track headers with several controls per track: a lock button, the track name, and monitoring buttons for the track’s video and audio. Here the current default track is ‘Main’. The track header: To the left of each track is a header area that provides access to functions such as disabling video or audio monitoring for the track.
The Navigator The Navigator is an auxiliary navigation panel that can be revealed or hidden by clicking its icon on the Navigation tool selector near the left end of the timeline toolbar. The full-width strip appears just below the toolbar. It gives a bird’seye view of your whole project at a reduced scale. In the Navigator, the bars representing clips have the same colors as they do on the timeline, except that the bar representing the selected clip is drawn in orange.
Double-clicking on the view window adjusts the zoom of both the Navigator and the timeline such that your entire movie fits within the Movie Editor window. The Storyboard Assembling a movie can involve juggling a large number of photos and video clips, as well as deciding where to place titles, Montages and the like. In the Storyboard, the clips on one track of your movie are presented as a sequence of icons, so you can see at a glance what is included and where.
The space just below the toolbar where the Storyboard appears is also used by the Navigator (and in the Disc Editor by the Menu List). Which tools is visible, if any, is controlled by the Navigation tool selector near the left end of the timeline toolbar. Navigating in the Storyboard To scroll to a part of the Storyboard that is not in view, hover with the mouse over the Storyboard until a hand cursor appears. Now click the left button and drag the Storyboard.
proper placement. The new clip must be the same type as the old. A video clip cannot be replaced by a photo or audio clip, for example. Selecting clips: To select a clip, click on its icon; an orange frame around the clip indicates selection. The timeline scrubber will jump to the beginning of the selected clip, and a connecting band of color will link the Storyboard clip with its timeline counterpart. If the timeline position of the selected clip is currently off-screen, it will be brought into view.
Customizing the toolbar The timeline toolbar can accommodate numerous buttons to help editing go more smoothly. One set of buttons is available for the Movie Editor and a somewhat larger set for the Disc Editor. The Customize toolbar button at the far left of the toolbar lets you choose which subset of the available buttons you wish to display. The Customize toolbar panel, with all available buttons selected for display.
Imaging: Choose between Regular (2D) and Stereoscopic (3D). Size: Choose amongst the HD and SD pixel resolutions available for the given aspect ratio. Frame rate: Choose from a selection of frame rates consistent with the other settings. These settings can be changed at any time during the development of your movie, but you should be aware that a change of the frame rate can cause a slight shifting of clips on the timeline as they adjust to new frame boundaries.
Clicking on the selector icon toggles the visibility of the area itself. See “The Navigator” on page 57 and “The Storyboard” on page 58 for more about these navigation tools. Audio mixer This button opens the enhanced audio control area with volume adjustment tools and access to the Panner, a surround panning control. See “Timeline audio functions” on page 69 for details. Title The Title button opens the Title Editor.
If there are no selected clips at the playhead line, all clips intersected by it will be split and the right-hand parts will be selected to facilitate easy removal in case that is desired. Locked tracks are exempt from the split operation. Trashcan Click the trashcan button to delete all selected items from the timeline. See “Deleting clips” on page 76 for details on how other timeline clips may be affected by the deletion.
Dynamic length transitions Ordinarily when a transition is added to the timeline, it is given the default length you have configured in Setup. Click this button if you would like to override the default length. When the button is highlighted, the transition durations can be set by dragging the mouse to the right or left while placing the transition onto a clip. For more about transitions, please see page 92 Magnetic snapping Magnet mode simplifies the insertion of clips during dragging.
Editing mode The editing mode selector at the righthand end of the timeline toolbar determines the behavior of other clips when editing changes are made. Material to the left of the edit point is never affected in timeline editing, so this applies only to clips that extend rightward from the edit point. Three choices of editing mode are available: smart, insert and overwrite.
Alternative mode The smart editing mode works by predicting what you’re trying to do and determining whether insert, overwrite or even some more complex strategy would be best to apply. You’ll find it usually does what you want, but there are sure to be other times when you have something else in mind. Many actions support both insert and overwrite, but no other possibilities. Smart mode will use sometimes one and sometimes the other, but if insert isn’t what you want, overwrite usually is, and vice versa.
Default track The orange vertical line to the left of the track header, together with a lighter background shade, identifies the default track. It provides a destination track for certain functions, including send to and paste. Newly-created titles and ScoreFitter songs are also added on this track. For more information see “Sending to the timeline” (page 74), “Using the Clipboard” (page 88), “The Title Editor” (page 157) and “ScoreFitter” (page 213).
Additional track functions The following functions are available in the track-header context menu: New track: You can insert a new track either above or below the existing track. Delete track: Delete a track and all clips on it. Move track: Drag the track header up or down to a new layer position. As you drag, a bright horizontal line appears at valid placements. Copy track: Keeping the Ctrl key pressed while moving a track will copy the track instead of move it.
To edit an existing movie: Select a recent project from the File Recent menu; click File Open to browse for a movie project to open; or locate the movie you want to open in the Projects folder of the Library, and double-click the thumbnail. If your movie has been stored as a project package, it must be unpacked before editing. Find your project in the Studio Projects group in the Library, and use the Unpack project package command on the thumbnail’s context menu.
Timeline settings To start editing a new project, verify that the video format settings of your project – aspect ratio, 2D or 3D, frame-size and playback speed – are as you want them. You can choose in the Project settings tab of the application settings to set the values of these properties automatically by matching the first clip added to the project. You can also set them manually.
Editor’s compact view of the Library and drag it wherever you like on the timeline. When crossing into the timeline area during the drag and continuing to the target track, watch for the appearance of a vertical line under the mouse pointer. The line indicates where the first frame of the clip would be inserted if dropped immediately. The line is drawn in green if the drop would be valid, and red if it would not be possible to insert a clip where indicated (because the track is protected, for example).
operation. To call back a drag-and-drop after it’s complete, press Ctrl+Z or click the undo button. Don’t forget that you can vary many timeline editing operations with alternative mode: just press and hold Alt while dragging or trimming. In a one-for-one clip replacement (see “Replacing a clip”, below), Shift is also significant. Advanced drag-and-drop After you have assembled an assortment of clips on a timeline track, it’s only matter of time before you want to start changing things around.
Inserting with split If you drop an item onto the middle of an existing clip, rather than at a cut, the clip will be split. The new material is inserted at the point you specified, and is followed immediately by the displaced portion of the original clip. In smart mode, synchronization of the target track with all other tracks is maintained by inserting in each of them a gap of length equal to the new clip. To avoid affecting the other tracks in this way, use insert instead of smart mode.
The Send to timeline command is found on the context menu of an individual asset or multiple selection in the compact view of the Library. Sending from the Player There is also a second ‘send’ method that provides greater control. If you click on a Library asset when working in the Movie Editor, the Player switches to Source mode for previewing. For trimmable media (video and audio), the Player also provides trim calipers for cutting out a starting or ending portion of the asset.
track instead. For details please see Chapter 7: The Title Editor (page 157), “ScoreFitter” (page 213) and “The voice-over tool” (page 214). Deleting clips To delete one or more clips, first select them, then press Delete. Alternatively, click the trashcan icon on the timeline toolbar, or choose Delete from the selection’s context menu. In smart mode, if the deletion produces a gap that spans all tracks, it is closed by shifting material to the right of the gap leftwards.
To select one clip, click it with the mouse. Any previous selections are removed. For a fast multiple selection, click in an open timeline area then drag out a selection frame that intersects the clips of interest. To select all clips with one command, press Ctrl+A. To clear a selection click into any gap area of the timeline. Multiple selection with keyboard and mouse To create more complex multiple selections, left-click while pressing Shift, Ctrl or both together.
It turns out that adjusting gaps in overwrite mode, as we do for clips, is not especially helpful. However, gaps do come in handy when you’re editing in smart mode if you want to ripple an individual track left or right, ignoring any resulting synchronization issues. Adjusting gaps therefore occurs in insert mode. Even if no gap is available, incidentally, you can get the same result by holding Alt while adjusting the sides of a clip.
Trimming Changing the length of clips or gaps on the timeline is called ‘trimming’. Multitrack trimming is a valuable editing skill. By trimming multiple tracks at once, you can assure that the clips coming later on the timeline maintain their relative synchronization. Trimming clips without consideration for content later on the timeline can disrupt the synchronization of your project. Soundtracks that don’t match the action and badly-timed titles are the kinds of problem that may result.
click the trim mode button on the timeline toolbar. To open one trim point on each non-empty track simultaneously, Shift-click the trim mode button. Once in trim mode, you can open trim points with the mouse pointer at the beginning or end of a clip. Notice that the trim pointer faces left at the start of the clip and right at the end. While the trim pointer is showing, click once at the point you want to trim. Then continue to open trim points on other tracks if required.
• The Trim Editor opens, with the Player in dual preview mode. • The transport controls under the Player become trim adjustment tools. • The preview with the currently active trim point is outlined in yellow. The Trim Editor In dual preview mode, the Trim Editor shows two frames from the timeline. The currently selected trim point is always shown and has a yellow rectangle around it.
trim point of the operation is displayed, surrounded by an orange rectangle. In other cases, the second preview window shows the frame on the other side of the cut at the selected trim point. Above each preview window, the number of frames that have been trimmed is displayed. If you think of the original cut point position as zero, the number indicates how many frames the new position of the cut point has moved. The Trim Editor is by default in solo mode.
Editing modes The current editing mode – smart, overwrite or insert – determines how trimming will affect other clips on the timeline. Select the mode from the dropdown list at the far right of the timeline toolbar. Insert mode: Clips to the right of a trimmed clip and on the same track will shift left or right to accommodate the new length of the clip. Synchronization with other tracks may be lost, but no clips are overwritten.
Trimming the end of the clip To trim the end of the clip (or ‘mark-out’ point), open a trim point by clicking at the right-hand edge of a clip when the mouse pointer changes to a rightward-pointing arrow. Now you can add or remove frames from the end of your clip. Once again you can trim directly on the clip by dragging the trim point, or on the Player while it remains in trim mode. Trimming gaps The project’s timeline lets you trim not just the clips upon it but also the gaps between them.
Trim both In this operation, two adjacent clips (or a clip and an adjacent gap) are trimmed simultaneously. Any frames added to the left-hand item are taken away from the one on the right, and vice versa, as long as space and material are available. All you are moving is the cut-point where the items meet. One application for this technique is adjusting visual cuts to the beat of a music soundtrack.
Drag either trim point horizontally or use the Player trim controls to reposition the clip within its source. Slip trim: With the in and out trim-points of a clip selected, dragging the clip changes its in and out points relative to the original material, but doesn’t affect its start time or duration on the timeline. Slide trim A slide trim is an extended version of the trim both technique described above.
Both slip trimming and slide trimming can be useful for synchronizing clip contents to material on other tracks. Monitoring trim points When you are trimming with multiple trim points, it is helpful to switch the preview from one trim location to another to make sure that each is properly set. Selecting a trim point for monitoring makes it the source for audio and video during preview. Monitoring is enabled for a trim point when it is created.
Copying clips: Holding down the Ctrl key while moving a selection of clips will copy the clips instead of moving them. Using the Clipboard Although drag-and-drop operations provide somewhat greater power when dealing with clips, the timeline does support the standard Clipboard operations cut, copy and paste, with the usual shortcut keys. The Clipboard also provides the only method for moving and copying transitions and effects between clips.
removes the original clips from the project, while Copy leaves them in place. Paste the Clipboard contents onto the timeline as described above. The clips paste onto the same tracks as they originally occupied; and with the same horizontal spacing. Unlike drag-and-drop, the Clipboard does not support moving clips between tracks. Effects on the Clipboard Clips to which effects have been added have a magenta line along the upper edge.
fast motion over a wide range. A clip to which Speed Control has been applied is marked by a broken yellow line. The Speed Control window The actual playback speed of your project always remains the same. It is set once and for all by the frames per second rate in your project settings. To achieve slow motion, new frames are interpolated between the original ones; for fast motion, some source frames are suppressed. The options provided on the dialog are divided into several groups.
Stretch Under this option, the first and last frames of the clip as currently trimmed will remain locked when the clip is trimmed on the timeline. Shortening the clip, instead of trimming material from the end, speeds it up just enough so that it finishes at the same frame as before. Lengthening the clip by trimming its end rightwards slows it down rather than exposing any trimmed material. Video Reverse reverses the direction of playback without affecting the speed.
and so on. (The same is not true of disc projects. These cannot be used as clips in another project.) Nevertheless, a copy of the internal structure of Project A remains intact inside this container clip, along with all of the project’s clips, effects, titles and other components. What’s more, if you doubleclick the container clip or select Edit movie from its context menu, a subsidiary Movie Editor opens in a new window to let you work on the ‘sub-movie’.
Pinnacle Studio offers a wide variety of transitions for softening, dressing up or dramatizing the change from one clip to another. Creating a transition The most straightforward method of creating a transition is to click in the top left corner of the clip on the timeline and ‘fold back’ the corner. This creates a dissolve from the previous clip, if there is one, or a fade-in if there is not. The wider you make the fold, the longer it will take the transition to complete.
Another way to apply a transition uses the Send to timeline context menu command for assets in the Movie Editor’s compact Library view, or the Send-to timeline button in the Player when in Source mode. The transition is added to the clip on the default track at the cut nearest the playhead. Transitions can be added at the start or end of any clip. The context menu of a clip on the timeline lets you add a transition by choosing either In transition Add or Out transition Add.
When the Dynamic length transition button is activated, the duration you drag out for the transition on the target clip is used for all the transitions created. To keep tracks synchronized when inserting transitions in the out position, use this multiple-apply feature to add the same transition once on each track. Since each track will be affected in the same way, they will all remain synchronized. When a fade-in follows a fade-out, the result is termed a ‘fade through black’.
Replacing a transition Select the transition you want and simply drag it onto an existing transition. This replaces the transition animation while retaining the original type (in or out) and duration. Alternatively, you can choose Replace by on either the transition’s context menu or the clip’s context menu. You will be offered a selection of transitions to use. Adjusting transitions The durations of transitions can be adjusted just like those of clips.
If the transition is one that offers a custom editor for configuring special properties, the Edit button in the basic transition editor provides access. A Reverse checkbox is available with some transitions for reversing the transition animation. Basic transition editor Copy: This command puts the transition on the Clipboard, together with its type (fade-in, fade-out) and its duration. These properties will be retained by the transition when pasted.
Ripple: This command appears if more than one clip is selected. See “Rippling transitions” above. Remove: This command deletes a transition. Fade-in transitions are removed without further ado. Removing a fade-out transition causes clips to the right to be rippled rightwards by the duration of the transition. This can cause loss of synchronization with other tracks.
Clip context menus Right-clicking a clip opens a context menu with commands appropriate to the item type. A video clip has a different menu than a title clip, for example. Some commands are shared between most or all types however. Differences of applicability are noted in the following descriptions. Edit movie: Available only for movie (container) clips, this command opens the container in its own movie editor. The nested editor offers the same functions and areas as the primary one.
• Keep alpha, Remove alpha, Generate alpha: These commands apply to content with an alpha channel (specifying transparency pixel by pixel). Such alpha information can conflict with Pinnacle Studio effects. The command isn’t available for pure audio clips. Active streams: This command is available for disabling individual streams in clips containing both video and audio. It is typically used as an easy way to discard unneeded camera audio. Adjust duration: Enter a duration numerically in the pop-up window.
CHAPTER 4: Media editing: Corrections Pinnacle Studio provides media editors for each of the three main media types: video, photos (and other images), and audio. The usual way to access one of these editors is by double-clicking either a media asset in the Library or a media clip on your project’s timeline. All three editors provide two main families of tools, called Corrections and Effects. These are presented as tabs at the top of the editor window.
Library database (associated with a particular asset) or in a project (associated with a particular clip). Correcting Library assets Just one tool-family tab – Corrections – is available for use when you bring Library assets into a media editor. The Effects tab, and Pan-and-zoom for photos, appear only when the editor was opened to work on a timeline clip. Using corrected assets: When you apply Corrections to a Library asset, the correction settings ride along with the asset when you add it to a project.
Removing corrections: The context menu for Library assets that have corrections includes a Revert to original command for restoring the uncorrected state. Corrections under direct export: If you choose to export Library media directly, rather than build a project on the movie or disc timelines, the correction settings are applied to the output.
To open from the Library Player: • After clicking the play button on a Library item to open the Library Player, click the gear wheel icon at bottom right. To open from the timeline: • Double-click the clip in the timeline; or, • Select the Open effects editor command from the clip’s context menu; or, • Use the context menu Effect Edit on the colored strip that appears along the upper edge of clips to which any effects have been applied.
Title bar File and Edit menus: If you invoked the media editor from the Library, the File menu offers the ability to save a new copy (or ‘Shortcut’) of the currently-loaded asset. A Shortcut is a special type of asset that has its own parameters and settings but applies them to a media file that is already associated with an existing asset. This lets you have multiple versions of the same asset without having the overhead of storing a separate media file for each one.
View options Sharing the bottom toolbar with the Navigator button is a series of view-related buttons. The Solo button gives access to a menu of options for previewing underlying tracks in the media editor as well as the current one, and for including the clip’s transitions, if any, in the preview. Solo: This button is available only if the media editor is selected from the timeline.
Moving the preview in the window The preview image can be dragged with the mouse anywhere within the working area. This is useful for scanning the image while it is zoomed in. The wave visualization in the Audio Editor is not draggable, however. Info and captions The Info button at the bottom left of any media editor opens a window with information about the current file. The Caption field, which is available only when you invoke the media editor from the Library, allows you to rename the current asset.
Linked parameters: Some parameters are configured to change in lock-step. The presence of a lock symbol indicates this. Click the symbol to toggle the link. The settings panel lets you adjust the available settings for a correction or effect. Here the settings for the Enhance group of photo corrections are displayed.
Photo editing tools These tools are located on the bottom bar of the Photo Editor. They are available for photos and other graphic images loaded from the Library only. Images opened from the timeline do not have access to them. Image rotation Two rotary arrow icons are located to the left below the image preview. Click the icons to rotate a Library image either clockwise or counterclockwise in 90-degree increments. Rotation is only available in the Photo Editor when a photo is opened from the Library.
Photo corrections The five corrections available within the Photo Editor are Enhance, Adjustments, Crop, Straighten and Red-Eye. The first two are controlled by means of panels that open in the upper-right corner of the Photo Editor; the other three are controlled interactively on the image preview. Enhance This correction opens the Image Correction CPU panel of tools for fixing problems to do with color and illumination.
Fundamentals This group of controls allows you to adjust the general lighting properties of your image. Brightness: This control provides an overall brightness adjustment that impacts the light and dark areas of the image equally. For finer control in brightness editing, use the Selective Brightness tool instead (see below). Contrast: This control increases the difference between the light and dark areas of an image.
White balance If the white or gray areas of an image bear a slight tint or color cast, the controls in this group can help restore a natural appearance. Gray-scale picker: Activate the picker then click in a nominally white or gray area of the image, where no coloration ought to be present. The image white balance will be automatically adjusted so as to remove the unwanted tint.
Adjustments During import, Studio automatically detects certain parameters, but a variety of factors can lead to the occasional incorrect identification. Adjustments allows any of these basic image properties to be changed, if needed. Alpha Your photo may have an Alpha channel, an 8-bit grayscale image plane that defines the transparency level of each pixel in your photo. If you wish to remove the alpha channel, choose the Ignore Alpha option.
Bounding box (cropping frame): After you select the cropping tool, a resizable frame is placed over the image. Drag the sides and corners of the frame to crop the image, or drag the center of the bounding box after cropping to adjust its position. Aspect ratio: The Aspect ratio dropdown on the control bar can be use to ensure that the crop rectangle maintains a desired standard proportion while being resized. Standard (4:3) and wide (16:9) frame aspect ratios are supported.
Guide line options: The two buttons at the far left of the toolbar set the mode for the lines that are superimposed on the preview as a guide to straightening. Selecting either button deselects the other. The Crosshairs (leftmost) button adds a pair of crossed lines that can be dragged with the mouse to serve as a reference for true vertical and horizontal alignment anywhere in the image. The Grid button produces a fixed, repeating grid pattern over the entire image.
video includes an audio track, floating panels for audio management will also appear. These are positioned originally at upper left, but you can drag them to new docking positions on either side of the window. Video / audio switch If an audio track is present, a tab is provided at the top left of the screen for switching to the Audio Editor. For details on the controls available when the Audio tab is selected, please turn to “The Audio Editor” on page 193.
Shuttle: The shuttle wheel provides smooth, bidirectional control over a range of speeds when browsing video or audio. Both media types can be viewed at a reduced speed. Shortcuts J (reverse), K (pause), L (forward), and each of these in combination with the Shift key (for slow play), allow easy scrubbing and shuttling from the keyboard also. Transport controls: The oval arrow icon activates looping playback.
playback. Doing so establishes the clip endpoints when the asset is used in a project. Ruler: The time-ruler displays a scale whose gradations depend on the current zoom factor. If you click anywhere on this ruler, the playhead (see below) jumps to this position. Playhead: This red line, with its handle the scrubber, is synchronized with the image currently displayed (for video) and also with the red line shown on the waveform display (for audio).
the left of the toolbar, or press M. Only one marker may be set per frame. To move a marker: Ctrl-click and drag left or right. Deleting the marker: Click the marker to move the playhead to that position, then either press M or click the toggle marker button. You can also delete markers using the list on the Marker Panel, which opens when you double-click a marker on the ruler, or click the down-arrow next to the toggle marker button.
Adjustments During import, Studio automatically detects certain parameters, but a variety of factors can lead to the occasional incorrect identification. Adjustments allows any of these basic image properties to be changed, if needed. Alpha If your video has an Alpha channel and you wish to remove it, choose the Ignore Alpha option.
Correcting the stereoscopic 3D properties of a Library asset. Preview: Preview shows the selected cropped image without the snapshot tools. Press Esc or click once on the image to view the tools again. Apply: This command exports the cropped image as a JPEG file, and switches off the snapshot editing mode in the preview. Snapshots are stored in the library under My Pictures Images.
CORRECTING AUDIO The Audio Editor can be used both for audio-only media such as wav files and for video with an included (‘original’ or ‘synchronous’) audio track. For information about opening the Audio Editor to access the correction tools, along with general functions of the media editors, please see “Media editing overview” on page 103. For an overview of audio-related information, please turn to Chapter 8: Sound and music, page 191. Coverage of the Audio Editor in particular begins on page 193.
CHAPTER 5: Media editing: Effects Pinnacle Studio has three media editors, one each for video, photos and audio. Their general operation is described in “Media editing overview”, starting on page 103. One of the main functions of the three media editors is to provide applicable add-on tools in three families – Transitions, Corrections and Effects – along with the specialized Pan-and-zoom function in the Photo Editor only. Working with visual effects in the Photo Editor.
Only the Corrections family is provided when the media editors are opened from the Library. When they are opened from the timeline of a movie or disc project, however, the full range of tools becomes available. This chapter provides a general introduction to effects editing, then focuses on the visual effects in the Photo and Video editors, as well as Pan-and-zoom. Audio corrections and effects are described in Chapter 8: Sound and music. Corrections vs.
Effect compositions can be created in the media editor (using the save button at the top of the Effects setting panel) or on the timeline (using the Effect Save As FX Composition context menu command). Along with the seven other groups under the Effects family, a group named My FX Compositions (right) appears as soon as any compositions are added to the Library. They are stored in the Effects section of the Library under My FX Compositions and can be used in the same way as ordinary effects.
you are working with. Click the name of the group to see the effects it contains. The Camera group of Effects is open in the Photo Editor. The mouse pointer is positioned over the thumbnail for the Invert effect (left side), causing it to be automatically demonstrated on the preview. The thumbnail icons for the effects in the currently-selected group are shown in a full-width tray at the top of the work area.
Creating Effect Compositions The set of effects used by a clip, and their settings, can be saved as an Effect Composition by clicking the Save button in the upper right corner of the Settings panel. Enter a name for your Composition in the dialog box that appears, and clear the checkmark for any effect you don’t want included. Please see “The Settings panel” on page 131 for further information.
If you click on one of the other bars, any changes you’ve made to the current clip will be automatically saved; the clip corresponding to the bar you clicked on will then be loaded. If the new clip is of a different media type, the appropriate editor will switch in automatically. Solo mode Sometimes while editing an effect, it is useful to see the other timeline layers – those above and below the current layer containing the clip you are working on.
icon in a timeline clip’s media editor. Then to apply the effect, simply click on the thumbnail. Effects on the timeline To check whether a timeline clip has had any effects applied to it, look for a magenta stripe along the clip’s upper edge. Both this clip effect indicator and the clip itself provide useful context menu commands for effect management. The clip effect indicator is a contrasting stripe along the top edge of any clip to which an effect has been applied.
Cut all, Copy all: With these functions, effects assigned to a clip can be cut or copied to the Clipboard, from which they can be pasted to one or more other clips as described above. Delete all, Delete: Remove all the effects at once from a clip with Delete all, or delete a particular effect by selecting it on the Delete submenu. Save as FX Composition: Save the effects applied to the clip, or a subset of them, as an Effect Composition.
can be decreased, or rendering can be turned off by altogether by setting it to zero. Other factors that affect playback and rendering time are the format, size and frame rate selected for the project. These can be changed in Timeline settings. Please see “Timeline settings” on page 61. The Settings panel The Settings panel provides a list of the effects that have been assigned to the current clip (whose name is given at the top).
Drag handle: Use either this zone or the name area for dragging the effect up or down in the effect list when the clip uses multiple effects. As mentioned above, effects are applied in bottom-up order. In some cases, changing the order can dramatically affect the cumulative result. The Settings panel: Here, three effects (Water drop, 2D Editor Advanced, White Balance) have been applied to the current clip. A preset for the 2D Editor Advanced effect is being selected (highlighted box).
Numeric parameters are controlled by horizontal sliders, with a gray bar that you can drag horizontally to change the value. For more precise control, use the Left or Right arrow. Double-click the bar to reset a particular parameter to its default value. Most effects furnish a dropdown list of preset parameter combinations for fast selection of variants. Once a preset has been selected, you can customize it by editing the parameters if desired.
Basic keyframing Here’s an outline of how to use keyframing to program the changes in an effect parameter during the playback of a clip. 1. 2. 3. 4. 5. Double-click a clip on the timeline to load it into its media editor. Add an effect, then activate keyframing by clicking the diamond icon on the effect header if it is not already highlighted. A keyframe line appears below the time-ruler. Any keyframes that have been added to the clip for the current effect to date are displayed as gray diamonds.
Jump to a keyframe: Use the arrow buttons to the left and right of the keyframe button, or click directly on the keyframe in the keyframe line, to move the playhead to that position. The keyframe should highlight, indicating that it is now the target keyframe for deletion or parameter editing. Keyframing multiple parameters Sometimes it is desired to keyframe multiple parameters of the same effect on separate schedules.
Emboss: This specialized effect simulates the look of an embossed or bas-relief sculpture. The strength of the effect is controlled by the Amount slider. Old film: Old movies have a number of traits that are usually considered undesirable: grainy images caused by early photographic development processes, spots and streaks from dust and lint adhering to the film, and intermittent vertical lines where the film has been scratched during projection.
Water drop: This effect simulates the impact of a drop falling onto the surface of water, producing expanding, concentric ripples. Water wave: This effect adds distortion to simulate a series of ocean waves passing across the video frame as the clip progresses. Parameters allow you to adjust the number, spacing, direction and depth of the waves.
particularly suitable for fixing backlit outdoor sequences in which the subject’s features are in shadow. Posterize: This Pinnacle Studio effect lets you control the number of colors used to render each frame of the clip, all the way from the full original palette down to two colors (black and white) as you drag the Amount slider from left to right. Regions of similar color are coalesced into larger flat areas as the palette shrinks.
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Working with transitions The Transition In tab to the left of Corrections and Effects, and the Transition Out tab on the right, offer access to all the transitions in the Library, grouped as you find them there. Some transitions may offer settings for properties like reverse motion, color and softness that can’t be edited on the timeline. The media editors also provide transport controls and a time-ruler to help in previewing the transition and adjusting its duration.
When you are offered a choice of colors, click in the color box to open a color selector, or click the color picker icon beside the box to choose a color from anywhere on the screen using a special mouse pointer. A white fade bar on the time-ruler below the media editor preview controls the duration of an incoming transition at the left end of the scale, or an outgoing one at the right.
Adding pan-and-zoom To apply pan-and-zoom to a photo clip on the timeline, double-click it to open the Photo Editor. Because you are opening from the timeline, the Effects tab will be preselected in the Photo Editor. Switch to the Pan-and-zoom tab. In this illustration the Pan-and-zoom tab has been selected and remains set to the default Static mode.
frame, but you cannot change its proportions (aspect ratio). A small floating preview window displays the currentlydefined selection. The zoom and position can also be controlled numerically using sliders in the Attributes panel. Double-click the sliders to reset the values, or single click to enter a numeric value. Animated mode When Animated mode is set, the image is automatically analyzed and an initial size and position both for the start and end is automatically set.
If you don’t require intermediate keyframes, positioning the start and end frames completes your session. For a more complex animation, however, position the scrubber where a change of camera motion should occur. To create a new keyframe, simply set the white selection frame to the desired size and position. The new keyframe is represented by a lozenge-shaped gray icon in the keyframe line below the clip timeline. Add as many keyframes as necessary.
CHAPTER 6: Montage Note: The Montage feature is disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to use the Montage feature. Pinnacle Studio’s Montage is a method of enhancing your movies with off-the-shelf slideshow, animation and multitrack editing effects. Numerous professionally designed sequences, called templates, are available to give your productions instant impact.
Montage titles vs. standard titles Although you can make fancy ‘titles’ from Montage templates, these are not the same as those made in the Title Editor. Each has its particular strengths. Montage templates are especially easy to use, and can provide effects not available in ordinary titles. On the other hand, the Title Editor gives you greater control over the appearance of titles and the animation of their graphical elements.
Each template defines a video or graphic sequence with blanks to be filled in by you. The available customizations can take several forms. For instance, most templates provide one or more slots, or ‘drop zones’, for video or image clips. Many let you supply text captions for titles, and some have additional parameters for other special properties.
USING MONTAGE TEMPLATES Montage templates are stored in the Montage section of the Library, where they are grouped by theme. To use a template, simply drag its thumbnail to the timeline of your project from the Compact Library in the Movie Editor or the Disc Editor. To use a template, drag its thumbnail onto the timeline. The numbers on the clip indicate that five subclips are available for customization. Montage clips on the timeline can be trimmed and edited much like ordinary video.
The Montage Editor allows the user to customize a Montage clip by adjusting its built-in settings or specifying video and audio clips for it to use. The Montage Editor lets you specify template elements such as video or image clips, property settings, and text captions. Clips are added by dragging them from the editor’s Compact Library to drop zones below the Player. Here, a Library clip is ready to drop on the second zone. The clip will replace the igloo graphic now occupying the zone.
A Montage template dropped onto the timeline is added by one of three methods: insert, overwrite and replace. When the editing mode button on the toolbar is set to smart, the replace method is chosen automatically. The default length of the clip varies from one template to another. Inserting a Montage template: A Montage can be added anywhere on the timeline.
In an all-animated template, such as a fancy rolled title, the animation always runs to completion. The animation speed therefore depends on the clip duration. Shortening the clip causes the animation to run faster, but does not truncate the sequence. Clips that include video, in contrast, can be trimmed in the usual way. Many themes include a variable-length video subclip.
is set using a parameter control available for each of these templates in the Montage Editor. Now let’s look at each template in turn to see how it is constructed from the elements – clips and captions – that you supply in the Montage Editor. Opening: An Opening template usually starts with some sort of animation, including titles, and ends with full frame video. Our ‘50s Modern’ example follows that pattern. The scrolling background animation runs through most of this sequence.
Segue A: Segue templates connect two full-frame video sequences by means of some kind of animation. This first Segue example begins with two seconds of full-frame video, then zooms out to reveal a formation of multiple video panels running simultaneously. Zooming in on the final subclip leads to an expandable section of full-frame video. Segue A integrates multiple video sources. Segue B: This Segue achieves the basic aim of connecting two video clips more simply than the previous one.
Ending: The purpose of an Ending template mirrors that of an Opening template, and in this example the internal structure is also mirrored almost exactly. Full-frame video recedes to a flying panel that gives way to animated captions – exactly the opposite of the Opening sequence described above. The one difference is that in this case the full-frame video portion of the clip is not extendable. The Ending template is almost a mirror image of the Opening one.
Using the Montage Editor Each Montage template has its own set of slots for video and photo content, represented by drop zones in the Montage Editor. Most templates have at least one slot; the most is six. Some also provide text captions and other parameters to customize special features. The Montage Editor is split into five parts.
Working with drop zones Clearing drop zones: To delete a subclip from its drop zone, rightclick the zone and select Remove Media from the context menu. Muting subclip audio: Some drop zones are marked with an audio symbol, indicating that the audio portion of any video in that zone will be included in the Montage clip’s audio. If you don’t want the audio to be used, click the symbol to mute the subclip.
CHAPTER 7: The Title Editor Pinnacle Studio’s Title Editor is a powerful tool for creating and editing animated titles and graphics. Its extensive suite of text and image effects and tools provides innumerable possibilities for the visual design of your movie. Areas of the Title Editor display: the Presets Selector; the Library; the Edit Window; the Settings Panel; the Toolbar; and the Layer List.
Motion is an animation routine that can be assigned to any layer but is most often applied to text. See “Preset Looks” (page 163) and “Preset Motions” (page 164) for further information. Hover your mouse over any preset to see how it will affect your title. A single click applies the preset to the current layer. After being applied, Looks can be customized using the Settings Panel. 2. The Library provides resources for building your titles.
separately, to be combined only when the image is output, it is possible to return to the composition at any time and add new layers, and to adjust, reorder, remove or replace existing ones. Building up an image in layers starting with an empty frame (top left). The checkerboard pattern indicates transparency. Although backgrounds can have transparent or translucent areas, here we add an opaque background (0) for clarity, followed by successive layers with some opaque content (1, 2, 3).
In the Library, you can easily view only the titles of one or the other type by searching on the appropriate keyword. Tip: Other search keywords to try out with titles in the Library are ‘roll’, ‘crawl’, ‘name’ and ‘title’. Saving the title Use Save Title as in the File menu in the Title Editor to store titles to your computer’s file system. From there, titles can be exported to other computers, and shared with other Pinnacle Studio users.
editing titles, the Library sections of interest are Photos, Video, and Movie Projects. The compact version of the Library in the Title Editor provides the same comprehensive access to your media as the full version. See Chapter 2 for full information. Adding Library media to a title To add a video or photo to the title, drag it from the Library into the Edit Window. The new element is created at a default size where you drop it in the Edit Window. You can then move, resize or rotate it as you like.
THE PRESETS SELECTOR Note: Title, Looks, and Motions presets are disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to enable Title presets. Quickly setting up an attractive title is easy with the Title Editor’s Presets Selector. After entering your text, and with the text layer still selected, apply any of the preset Looks to it with a single mouseclick.
Preset Looks The Looks tab of the Title Editor Presets Selector provides visual styles that can be applied to the text and shape layers in your title. Previewing Looks To preview a particular Look on a particular layer, first select the layer, then open the Looks tab of the Presets Selector and hover your mouse over the thumbnails. As you hover, the Edit Window previews your title as it would appear with the selected Look applied. This lets you immediately gauge its effect in context.
Preset Motions The Motions tab of the Presets Selector contains the animation routines that give the Title Editor much of its power. These Motions are assigned to and operate on single layers in your title. The Motions are divided into three classes based on the portion of the layer’s lifespan they affect: enter, emphasis and exit. • An enter Motion controls the arrival of the layer – its first appearance within the running title.
Page-based Motions affect the entire layer simultaneously. One example is the enter Motion ‘Barrel roll’, which ‘rolls’ the layer into position from above as though it were painted on the side of an invisible rolling barrel. Matching the enter and exit Motions Most enter Motions have a corresponding exit Motion with which they can be paired if visual consistency is desired. For example, a layer that enters with the ‘Words from infinity’ Motion could be configured to exit with ‘Words to infinity’.
• Drag the Motion’s thumbnail from the Presets Selector onto any of the layers or grouped layers in the Layer List header. Upon using any of these methods, the Motion will be added to the layer, replacing the existing Motion of the same type on that layer, if any. See “The Layer List” on page 181 for details on working with Motions in the Layer List.
Motions: Motions are animation routines that can be applied to any layer in the title composition except the background. Motions are selected and applied from the Motions tab of the Presets Selector. Once a Motion has been applied to a layer, its timing can be adjusted in the Layer List timeline. See “Preset Motions” (page 164) and “The Layer List” (page 181) for further information.
Background settings Unlike the foreground layers in a title, the special background layer does not appear in the Layer List, and is not modifiable in the Edit Window. Instead, the background is controlled from the Background Settings panel. The Background Settings panel lets you create the background of a title. The small preview area serves as a Color Selector button, and also as a drop target for videos or images from the Library.
To use video or a still image as your background, drag the item down from the Videos or Photos sections of the Library to the background preview, which also serves as a drop zone. To make the background translucent, position the opacity slider anywhere between fully transparent (all the way to the left) and fully opaque. Double-clicking the slider returns it to full opacity. To reset the background to its default state (with no background), click the trashcan button.
There are three types of detail layer: face (surface), edge and shadow. The three types differ not in the settings they support, but in the default position at which they will be inserted in the layer stack. Unless explicitly dragged out of position, face details always appear at the top of the stack, followed by edges, and finally shadows. After a detail has been created, however, it can be dragged up or down in the layer stack as desired.
In this example, a Look with three detail layers has been applied to a single text layer. The detail layers are configured identically except for their offset values, as follows: top left (-1.0, 1.0); center (0, 0); bottom right (1.0, -1.0). • Size: This slider sets the thickness of the segments used to draw the text or graphic, from zero to 2, where 1 represents the default thickness. This example includes three detail layers with varying size values. From left to right: 0.90, 1.0, 1.20.
• Opacity: This slider sets the opacity of the detail layer from 0 (transparent) to 1 (opaque). • Fill: Click the color swatch button to open a color picker in which the fill color of the detail layer can be set. The color picker includes an eyedropper button to pick up a color from anywhere in the Title Editor. To set a gradient background, choose the Gradients button at the top of the color palette. Additional gradient markers can be set by single-clicking below the gradient bar.
Saving a custom Look Once you have finished editing a custom Look, you can save it to the ‘My Looks’ presets group by clicking the save look button in the header bar of the Look settings. Before saving, it’s a good idea to rename the Look. To do so, double-click the current name in the settings, type a descriptive name for the Look, and press Enter. Once the Look is saved you can retrieve it at will through the Presets Selector, under ‘My Looks’.
With text and shape layers, some of the layer content may appear outside the control frame. This occurs if one of the ‘details’ within the Look is defined with a horizontal or vertical offset that moves the detail away from the nominal location of the layer. See page 163 for more information. Layer operations in the Edit Window The operations described here are for a single layer, but can be extended to work with multiple layers simultaneously.
To resize a layer and modify its proportions, click a side point of the control frame and drag. By resizing with the center control point on two adjacent sides in succession, you can produce any desired size and proportion. To rotate a layer, click down on its rotation handle and drag. For finer control over the rotation, move the mouse pointer away from the center of rotation while dragging. The extra distance makes it possible to define smaller angles between one mouse position and the next.
• Setting text justification and flow • Copying and pasting text properties The areas of the Title Editor of most interest in text work are the Edit Window and the Text Settings panel. For styling a text layer, the Looks section of the Presets Selector and the Look settings panel also come into play. See “Preset Looks” (page 163) and “Look settings” (page 169).
To modify the text itself, simply start typing. The highlighted text disappears and the text you type takes its place. As you type, the current insertion point (the place in the text where new letters are inserted) is indicated by a vertical line. If you want to add new text without losing what was already there, click at the desired insertion point after putting the layer in text-edit mode, or use the arrow keys to maneuver the insertion point as desired.
Font styling: To set or unset the bold, italic or underline properties of the selected text, use the toggle buttons in the header bar, or the standard keyboard shortcuts Ctrl+B, Ctrl+I and Ctrl+U. The buttons light up when their respective style options are active. Font name: Your titles are the perfect place to experiment with fancy display fonts, so you’ll likely be accessing this dropdown list quite often. If you have many fonts on your system, the list can be quite long.
control frame in the Edit Window, let you copy Looks from one layer to another without having to open the Looks section of the Presets Selector. With text, this operation also replicates the font name, size and style from one text layer to another, and also works on partial selections within text layers. Text alignment For titles with multiple lines of text, the Title Editor provides a standard menu of justification options.
Titles and stereoscopic 3D Note: 3D features are disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to enable 3D features. If you are working on a stereoscopic 3D project, you don’t have to settle for a 2D title. The Library includes many titles identified as 3D, but any title at all can make use of stereoscopic text. To set a 2D title as stereoscopic, select a text layer, then check the Stereoscopic box on the Stereoscopic Settings subpanel.
THE LAYER LIST The Layer List, which occupies most of the bottom part of the Title Editor display, has two columns: one of layer headers, and one of timeline tracks. In each row, the header contains the name of the layer, and a visibility button. To the right of the header, the timeline track serves as a graphical editor for controlling the lifespan of the layer within that of the title as a whole, and the durations of any Motions that have been assigned to the layer.
Working with the Layer List The Layer List is a multitrack timeline very similar in conception to the timeline of the project itself in the Movie Editor or Disc Editor. Some operations, such as those to do with Motions, are particular to the Title Editor, however. Layer operations The procedures described here are all carried out in the header area of the Layer List. Selecting layers Clicking a header in the Layer List has the same effect as selecting the layer in the Edit Window (and vice versa).
longer reflected in the layer name. The default behavior can be restored by setting a blank name, however. To rename the primary layer, click its name. An edit field opens with the existing name selected. Type the new name, then press Enter or click outside the edit field to finish.
The toolbar The controls and readouts on this header bar are in groups. From left to right: • The add text and add shape buttons allow you to create new ‘vector-based’ layers to which Looks from the Presets Selector can be applied. Clicking add text adds a new text layer with a default Look and caption. As a shortcut for add text, you can simply double-click any unused area of the Edit Window.
• The System Volume and Mute button allows you to adjust the speaker volume of your system. It does not change the audio level of any clips on your timeline. • The counters show the duration of the title and the current position of the Layer List timeline scrubber in the usual hours, minutes, seconds and frames format. For titles that come from your project rather than the Library, the scrubber position shown is relative to the start of your project’s timeline, not the start of the clip.
If the layer has an emphasis Motion, it occupies whatever unused duration remains (up to the whole length of the title). Three layers with Motions. The top layer has only an Emphasis Motion (solid line), which therefore uses the full duration. The bottom layer has Enter and Exit Motions, and a static interval between them. The center layer has Motions of all three types.
Once created, the group stays together until you explicitly disband it with the ungroup button or menu command, or by dragging the member layers out of the group in the Layer List. One further command, regroup, automatically reconstitutes the last group to have been ungrouped. When a permanent group is selected, it has a shared control frame that encloses all its members. The control frames of the individual members are not visible.
Multiple selection of layers The first step in making a group is to select the multiple objects that will comprise it. In the Edit Window, this can be accomplished in two ways: • By clicking and dragging with the mouse to mark out a selection rectangle (a ‘marquee’) that intersects all the objects you want to group; or, • By clicking the first object you want to group, then Ctrl-clicking each of the others.
Applying properties to a group Once a temporary group is selected, any property settings you make will affect every member to which the property is applicable: • If you apply a Look, any text or shape member will receive it. • If you add a Motion by right-clicking a Motion icon and choosing Add to selected layer(s), the result will be the same as if you had added it to each member individually.
CHAPTER 8: Sound and music Video may be thought of as primarily a visual medium, but the role of sound in your movies is often no less important than that of the images on the screen. Feature film and television productions include numerous types of audio, beginning with the dialog and other sounds created during live action. In your movies, that raw soundtrack – the original or synchronous audio – is imported along with the video, and remains bound to it unless you explicitly separate them.
For instance, the timeline track header area includes a pop-out mixer panel, and the timeline toolbar includes a button for controlling clip dynamics with keyframes. At the right-hand end of the toolbar, these buttons activate audio keyframing (left) and audio scrubbing (right). Some other buttons on the toolbar also provide audio features. One lets you create a ScoreFitter background music clip; another in the same group lets you record a voice-over.
THE AUDIO EDITOR The Audio Editor provides tools for previewing, analyzing and manipulating digital audio from wav, mp3 and other file types. It includes special features for the original or synchronous audio track created during video recording. For the general interface of the Audio Editor and the other media editors, please see Media editing overview. Trimming and editing the stereo soundtrack of a Library video asset. At left is a video monitor panel and the channel mixer.
common flaws such as excess sibilance in recorded speech. If you are editing a Library asset, any changes you make will be preserved when it is later used in a project. Changes to a clip on the timeline, however, have no impact outside the project to which they belong. For information about opening the Audio Editor to access the correction tools, along with general functions of the media editors, please see “Media editing overview” on page 103.
whenever this clip is played or used in a timeline. The red area on the meters represents overmodulation of the sound and should be avoided if possible. To determine the maximum level you can safely use, click the normalize button. Channel routing: This dropdown list contains all options for redirecting audio signals, such as a channel exchange (left interchanges with right, for example), or combining a two-channel stereo signal onto one mono channel.
The waveform graph shows the change in audio levels over time. For stereo recordings, the graph is horizontally divided as shown here, with the left channel uppermost. An alternative, dynamic view of the same audio material is given by the frequency spectrum display, which shows the changing spectral composition of the sound as it plays back. The waveform and frequency buttons at the lower right of the Audio Editor let you switch between these complementary displays at will.
Controls for synchronous video If you are editing video that has a synchronous audio track, both video and audio editing facilities are available through the Video and Audio buttons at the top of the window. While you are in the Audio Editor, a video monitor panel is also available. Video / audio switch If video is available, a tab is provided at the top left of the screen for switching to the Video Editor.
equalizer divides the audio spectrum into five frequency bands, each centered on a specified frequency and with a settable amount of gain. Preset list: A number of fixed presets can be selected from the dropdown list; for example, you can select a ‘telephone voice’ effect. Gain: Using the Gain parameter, you can determine the amount that the respective frequency band contributes to the overall sound (from -18 to +18). Settings and presets for the Equalize and Compressor audio corrections.
Adjustments The only parameter available under the Adjustment tool the is LFE (Subwoofer), which lets you either activate or deactivate the Subwoofer channel for a particular clip, or to stay with the Library’s setting, determined on import. Compressor A compressor smooths the dynamics instant by instant in an audio signal, scaling back the loud sections while typically boosting the overall sound.
from, rather than switching on all at once. This changes the tonal qualities of the compressed sound. Expander The Expander decreases the gain of signals that fall below a chosen threshold. Expanders provide a gentler way of reducing noisy lowlevel signals than the abrupt cut-off of a gate. Ratio, Threshold, Attack, Release: These parameters have the same meanings as in the Compressor (see above). Range: This controls the maximum gain reduction (attenuation).
Noise reduction Using the noise reduction filter you can reduce or eliminate undesirable background noise. The filter reacts dynamically to changing amounts and kinds of noise within the material. Noise reduction can be applied for a range of problems. The results obtained may differ, however, depending on the source material and the origin of the problem. In many cases the results can be optimized through targeted use of the Level and Fine Tuning parameters.
is to drag it from the Library onto any audio clip (including video clips with synchronous audio). Adding the Grungelizer audio effect to the current clip. Usually, though, effects are added with the help of an Effects panel in the Audio Editor, which lets you easily preview and customize them. The panel is available whenever you are working on timeline clips with audio. The panel is not available when you open the Audio Editor from the Library.
Grungelizer: The Grungelizer adds noise and static to your recordings. It can make your clips sound as though you were hearing them on a radio with bad reception or a worn and scratched vinyl record. Leveler: This effect helps compensate for a common problem in recording audio for video productions: the imbalance in the recorded volume of different elements in the original audio.
AUDIO ON THE TIMELINE The audio levels and stereo or surround positioning of individual clips can be adjusted directly on the timeline using audio keyframing. The same operations can also be accomplished with the Audio Mixer panel, which pops out to the right of the timeline header when you click its access button. Both methods have their own advantages.
Master playback level Above the timeline track headers is a master playback level indicator. As you preview your project, it shows the total output from all tracks as currently mixed. The expand icon to the right of the indicator opens a small floating window with separate level indicators for each output channel, and a master gain control to trim the output level up or down uniformly.
keyframing is in use, the clip level knob causes new keyframes to be created or existing ones to be repositioned. When its access button above the timeline (L) is clicked, the audio mixer panel pops out to the right (R). Each track has two knobs. The first adjusts the level of the track’s overall audio output, the second controls the levels of the current clip. It can be keyframed for moment by moment level control. The third icon on each track opens the Panner.
Editing volume keyframes with the mouse To allow keyframe editing with the mouse, activate the volume keyframe editing button in the group of buttons at the right-hand end of the timeline toolbar. Now when you position the mouse pointer over the green volume contour on an audio clip, you will see that the contour responds by highlighting in white. To activate clip volume keyframe editing, click the button in the right-hand group on the timeline toolbar.
Reposition swells and fades by dragging ‘ramps’ (rising or falling sections of the contour line) laterally within the clip. Reposition control handles in two dimensions to any allowed point between their immediate neighbors (or the ends of the clip). You can simultaneously change both the time index of the keyframe and the clip volume that will take effect when playback reaches it. The arrows in this illustration show the uses of the mouse in keyframe editing.
The Panner This tool lets you regulate the apparent location of the sound source in relation to a listener within a ‘surround’ listening field. Like the clip volume tool it works with keyframes assigned to the clip, and so is active only when the timeline scrubber is positioned on an audio clip or a video clip with synchronous audio. The contour line for panning changes is drawn in blue.
two-dimensional grid. The listener is situated in the center, facing forward. Positioning the clip audio using the Panner in Dialog mode. Note that the icons for the front corner speakers are translucent, indicating that they are not used in this mode. As adjusted here, the audio for the track will be heard coming from the right. Selection list The dropdown list at the top of the Panner window provides three methods for distributing the sound across the set of six surround speakers. 5.
Center channel off is the preferred setting for an immersive music track. Dialog mode combines the center speaker with the two at the rear. This combination is suitable for dialog involving multiple speakers. Work area The main body of the Panner window schematically depicts a listening area with a typical arrangement of loudspeakers. The cross icon in the center of the area indicates the position of the listener. A blue control point sets the position of the sound source.
ScoreFitter is Pinnacle Studio’s resident composer. You can use it to generate either incidental music or a full background scores for your production. ScoreFitter music clips can be of any desired length, and take only seconds to specify and create in the style of your choice. By default, a ScoreFitter clip exists only within your project, but you can also save particular music selections to the Library for re-use.
Click the button to navigate in the current location tab to the Asset Tree folder where the new item is stored. The button relates only to the operation just completed, and is removed after a short time. ScoreFitter Note: The Scorefitter feature is disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to enable Scorefitter features. Pinnacle Studio’s ScoreFitter automatically creates background music in the category of your choice.
In ScoreFitter, choose a category, song and version from the lists provided. Each category offers its own selection of songs, and each song its own selection of versions. Use the Preview button to audition the song while the tool is open. Enter a name for the clip in the Name field and adjust its duration with the Duration counter, if desired. The music clip you create will be adjusted to fit exactly the duration you select. When you have made your choice, click the Add to Movie button.
Position the microphone for use and try speaking a test phrase to check your recording level (see “Voice-over level” below). When you are satisfied, click the Rec button (which toggles to a Stop button during recording). A three-second countdown is displayed, then your movie begins to run in the Player. Perform your narration, and click the Stop button when done. Now you will be asked if you want to keep the recording.
Filename: With this text field you can preset the file name used for voice-over audio files. The first file is given the name you specify; if you leave it unchanged, later files are given a numeric suffix – e.g. ‘Voice-over (1)’ – that increases with each take. Location: Clicking on the folder icon lets you navigate to a new file system folder for storing voice-over clips.
CHAPTER 9: Disc projects With the advent of DVD, Blu-ray and AVCHD discs, video technology has developed into an interactive medium that gives both the videographer and the audience new possibilities. In a disc project you can go beyond the old idea of creating a movie to be viewed in strict sequence from beginning to end. Now the audience themselves can decide which parts of the production to view, and in what order.
Your disc project can begin in the Disc Editor, using the same controls and techniques that you would in the Movie Editor, or you can import a movie project into the Disc Editor to add a disc menu to it. Please see “Chapter 3: The Movie Editor” for information on how to construct a movie.
Other buttons cause a transfer to another menu, or to another page of the same menu. Multipage menus, with each page displaying several chapter buttons along with automatically-managed navigation buttons, facilitate productions of almost any size. However, there is a limit of 99 on the total number of chapters and return markers allowed in a single production. The Menu List Unlike timeline clips, the menus in your production are not bound to a particular time offset.
Automatic page creation As you insert new chapter links into a multipage menu, additional pages are created automatically as needed. These appear in the Menu List alongside those already in the project. A connector graphic links pages belonging to the same menu. To insert new linked chapters, use either the Insert Link button on the toolbar, or the Chapter Wizard. A main menu and its matching multipage menu in the Library Player.
Sorting chapters: A time-saving tool meant primarily for multipage menus is the sort button that appears with the Chapter Wizard button to the right of the menu’s last page. When you have been working on a menu for a while – adding, deleting and rearranging chapters, perhaps even while editing the movie itself in parallel – you are likely to find that the chapter buttons are no longer in timeline order across the set of pages.
Menu types Each menu design in the Library has two variations: main and multipage. Main menu: In most productions, the first menu seen by the viewer is of this type. Main menus usually contain buttons with the default captions Play Movie and Scene Selection; you can change these if you like. Although the buttons’ link targets are also up to you, it helps your audience if you stick to convention.
Unlinked menus and buttons Only the first menu in the Menu List is automatically available to the user (and then only if there is any content on the timeline to serve as the initial chapter). Menus added later do not become part of your production’s menuing system until you link them with the first menu. The link may be indirect, involving one or more intermediate menus, but until it exists the menu is an unreachable island.
With Menu selected as the Player input mode (top), the Player provides interactive zones on the preview screen for assigning chapter links. Here ‘C1’ shows a chapter link has been assigned to the Play Movie button; the ‘?’ over the Scene Selection button shows that it is not currently assigned. Show Link Numbers checkbox: Check this box to cause link numbers to be displayed in the preview over every button in the menu. The link numbers match the format and color of the timeline chapter flags.
MENU EDITING ON THE TIMELINE Developing a project for optical disc, such as DVD, in Pinnacle Studio’s Disc Editor gives you lots of opportunities for putting your creative stamp on the production. Every aspect of a disc menu – the details of its visual appearance, the linking of its on-screen buttons, the precise timing of its ‘chapters’ – can be edited in Pinnacle Studio.
repositioned on the timeline by dragging. See “Timeline editing of chapter and return markers” on page 228 for details. Dropping a menu onto an empty Menu List causes a chapter marker to be inserted at the start of your movie’s first clip (provided it has one) as the target of the menu’s Play Movie button. A return marker, marking an exit back to the menu, is placed at the end of the movie.
Remove link: Clicking on this button will remove the link that exists between the button on the menu and the chapter marker on the Chapter Track. An ‘unlinked’ chapter marker will remain on the Chapter Track. This unlinked chapter can be manually linked by drag-and-drop to another button on the Menu Preview, or it may remain as an unlinked chapter, in which case, during playback, it will work to jump through your disc using the jump button on your remote control.
if it has one. You can also remove chapters with the Delete Selected Chapter context menu command when one or more chapter markers are selected. To remove the links from chapter markers, leaving them unlinked but still on the Chapter Track, use Remove Selected Links from the same menu. Create return: Unless there is already a marker at the timeline scrubber position, this button will add a return marker to the Chapter Track.
The Chapter Wizard When a multipage disc menu has been dragged from the Library into the Menu List, a Chapter Wizard button is displayed at the top right corner of the menu icon. Clicking on this button will open the Chapter Wizard window. Why use the Chapter Wizard? The Chapter Wizard provides a fast way to create chapters for your movie. Chapter markers will be added to the Chapter Track on the Disc Editor timeline to show where each chapter begins.
The Chapter Wizard is great for setting up slide shows and scene selection menus. If you are archiving video to disc, you can use it generate a menu that will serve as a scene catalog. The series of menu pages created can be arbitrarily long. Its length depends on how many chapters are created and on how many chapter buttons are provided in the menu’s page design.
Apply to The second panel in the Chapter Wizard provides options that control the scope of the wizard’s operation. Whole movie: Chapter markers will be created throughout the entire movie. Selection: Chapter markers will be placed only within the range from the beginning of the first selected clip to the end of the final one. Options The third panel offers two final choices, which may be set independently.
THE MENU EDITOR The Menu Editor shares most of its controls and usage with the Title Editor, which is described in Chapter 8. The present section focuses on features particular to the Menu Editor. Starting the editor To open a menu in the Menu Editor, either click the Edit button on the Player while previewing the menu, or double-click it in the Menu List. As with the Title Editor, when the Menu Editor opens, one line of text is already highlighted. To edit it, just start typing.
Menu buttons Any visual element of your disc menu can be used as a ‘button’ that links to other content in your movie. Elements designated ‘Not a button’, on the other hand, have no linking behavior. Button types A menu button’s type is the only factor that determines its behavior. Its text and appearance should almost always be consistent with that behavior in a wellauthored disc production, but they don’t affect it. Five button types are available.
Button presets Click the Buttons tab at the top of the Menu Editor to view the available categories of premade menu buttons. Select a button and it will appear in the middle of the preview area, where it can be dragged to the desired position. The three categories reflect the button types discussed above. The Navigation category includes all buttons of the Previous, Next and Root types.
THE DISC SIMULATOR To preview your project after setting up its menus, click the play button at the bottom of the Player. This activates the Disc Simulator window. When the Disc Editor Player is previewing a menu in your project’s Menu List, a button (bottom center) is provided for testing your project in the Disc Simulator. Provided the project is built correctly, the simulator should open at the main menu, with ‘Play Movie’ and ‘Scene Selection’ links ready for the viewer to use.
In the Disc Simulator, you use a control set similar to that found on a DVD remote control. Menu interactions and playback can be fine-tuned and fully tested before you burn the project to disc. Once you are happy with the project, it can be exported as a movie file, saved to a disc image file, or burned to a disc. See Chapter 11: The Exporter for more information.
CHAPTER 10: The Importer Pinnacle Studio lets you incorporate many kinds of media into your video productions. When these are stored externally to your computer – on a camcorder tape, say, or a memory stick from your digital camera, or a cloud-based service – they must be transferred to local storage before you can use them. This transfer process is variously called ‘capturing’, ‘importing’ or ‘downloading’, depending on the media involved and the method of transfer.
Using the Importer The very first step in importing is to open the Studio Importer by clicking the Import button at the top left of the screen. The Importer consists of a large central area surrounded by a number of smaller panels. One of these, the Import From panel at the top left of the display, has a pivotal role. It provides a list of device types that can serve as the source of your import operation. Your choice of input source in turn determines the rest of the Importer display.
Importing can be regarded as a four-step process: 1. Select the import source on the Import From panel. 2. Confirm or adjust the settings on the other panels. 3. Select material to import from the chosen source. 4. Initiate the import operation. At this point Studio begins transferring the requested audio, video and pictorial material from the source device to your hard drive (if necessary), using the locations set in the Import To panel. The media are then immediately added to the Library.
IMPORTER PANELS The actual selection of material to be imported takes place in the central area of the Importer. Each import source uses the central area somewhat differently. Depending on the input source, the central area shares the Importer interface with up to five auxiliary panels with standardized functions. The Import From panel This is the top left panel of the Importer, a position that reflects its vital role in setting up the import operation.
• DVD and Blu-ray discs (see “Import from DVD or Blu-ray Disc”, page 266). • Digital still cameras (see “Import from digital cameras”, page 267). • Import your media files and Pinnacle Studio projects from the Cloud (see “Import from Cloud”, page 259). Some sources in the Import From panel are chosen from a sub-list of actual devices that appears when you click the main source entry. In the illustration, DVD / Blu-Ray has been clicked.
The Analog Input Levels window lets you adjust a number of video and audio parameters. The Hue slider (fourth from left) is not used with PAL sources. Although you can also adjust these levels with the appropriate correction in the Video Editor, setting them correctly for capture can save you from having to worry about color correction later on. Setting your audio options correctly as you capture will help in achieving consistent volume levels and quality.
Audio: The sliders on the right side of the panel let you control the input level and stereo balance of the incoming audio. The Import To panel After importing from external devices, media items and Pinnacle Studio projects will be accessible as files on your own computer. The Import To panel of the Importer lets you specify where those files will be stored.
generating a name based on either the current date or the creation date of the imported material. Click either “set subfolder” or the more button for the media type to access the subfolder options. (See “Setting a subfolder” below.) For example, if you set your main video folder to “c:\vid”, and your subfolder naming method to “Current month”, any video you import will be transferred to a folder with a name like “c:\vid\2012-10”.
Click the plus icon to view the contents of a folder. Setting a subfolder To designate a subfolder of the base folder as the actual import destination for the asset type, click either the set subfolder button or the more button . These buttons open a dialog window that represents an expanded version of the Import To panel, one that includes controls needed to set the subfolder name or the naming method for each asset type supported by the currently-selected import source.
The row of controls for each asset type includes a dropdown list of naming options: No subfolder: With this option, the files you import will be stored in the base folder. Custom: When you choose this option, an in-place edit box appears. Enter the name of the subfolder in which to store your next import or imports of the asset type. Today: Your imports will go to a subfolder named with the current date, in the format “2012-10-25”.
more button is clicked. (See “The Compression Options window” on page 248.) The fixed presets are: • DV: This provides full-quality DV capture, using about 200 MB of disk space per minute of video. • MPEG: MPEG compression produces smaller files than does DV, but requires more computational horsepower to encode and decode. This could result in slower performance on older computers.
Copy is selected, the file is copied. If Link is selected, the file is not copied and a link is created in the Library to the file in its original location. It is strongly recommended that files on network drives be copied to the local hard drive. Delete original: When this option is enabled, the original copies of the files you import will be deleted after copying. This option is handy if you are using the Importer to consolidate your assets and don’t want your hard drive cluttered with redundant copies.
Video settings Compression Codec: Use this dropdown list to select the codec you want to use. Framesize: This line shows the dimensions of the captured video. Quality, Data rate: Some codecs present quality options in terms of a compression percentage (Quality), and others in terms of the required data transfer rate in KB/sec (Data rate). Compression Options for digital and analog video import. Audio settings Compression: This dropdown shows the codec that will be used to compress the incoming audio data.
Scenes can be independently viewed and managed in the Scenes view in the Library. The Scene Detection Options window for DV or HDV import. When importing from analog sources, only the last two options are supported. Depending on which capture device you are using, automatic scene detection is carried out either in real time during capture, or as a separate step immediately after capture is completed.
The Metadata panel In the Metadata panel, you can enter information that will be associated with the imported media file or project file in the Library. This can make it easier to find and manage the clip when you are searching the Library for assets to use in a movie. Use the Collection field to enter the name of a Collection to which all imported assets will be added. You can enter the name of an existing Collection, or create a new Collection by entering a new name.
If you want a custom name, enter it into the edit box as usual; however, in the case of file-based assets the target filename has two parts: a stem, which you supply, and a tail, which is generated by one of three simple rules at the time of import. The default rule adds a unique sequence number to every filename. While you are entering your custom name, the edit box shows only the stem. But when the name is displayed at other times, the rule for the tail part of appears as well.
SELECTING ASSETS FOR IMPORT Each source supported by the Importer has its own appropriate set of controls for selecting the material to be imported. When you click the source name in the Import From panel, the central area of the Importer configures itself appropriately with the controls you need.
• Select Scan For Assets in the Import From panel to select one or more folders and import all assets of the desired types that are found in those folders. Selecting files for Import When you select My computer in the Import From panel, the job of selecting the files to import belongs to the folder and asset-file browser in the central area of the display. A single import operation can take in multiple types of files from multiple source folders.
Here, the folder ‘Photos\Winter’ is open, revealing a set of image files. To select (or unselect) files for import, click the checkbox in the top right corner of one or more icons. In the illustration, four files have been selected. Previewing media and project files Previewing audio and video: The file browser includes built-in previewing for all supported asset types. Click the play button in the center of video, audio, and project file icons in the Library to preview the assets they represent.
Marking files for import To mark asset files one at a time for importing, click the checkbox at the top right corner of the file icon. This box is checked automatically when you browse to a new folder for all the files on display. Click the checkbox to mark or unmark the file. Marking multiple files: The browser also provides a method of checking or unchecking a group of highlighted files simultaneously.
You can also highlight a range of icons directly with the mouse, by dragging out a rectangle that intersects the icons you want to include. Click the first icon and move to the last one before releasing the mouse button. Having highlighted some icons you want to import, click the checkbox of any one of them to mark or unmark the entire group at once.
exactly which file types are included in a selection, hover on the item for a second or two to pop up the list. Hovering over the Audio files option brings up a list of file types from which audio import is supported. Zoom slider: A final tool for managing screen real estate is the zoom slider at the bottom right of the browser. Move the slider leftwards to reduce, or rightwards to increase, the size of the preview images in the file browser.
To correct the file time or date: Use the more button on the selection status indicator to open a window that offers two options for adjusting the timestamps: • Correct time zone: This slider changes the file-system timestamp of any media files you import by up to 12 hours in either direction. You can use this adjustment to compensate for the time difference when you bring home video from your travels. • Set date and time: These fields lets you enter an arbitrary date and time.
By default, the Box browser area shows all the file types that Pinnacle Studio can import. A dropdown menu beside All compatible files at the bottom of the window lets you narrow the display to a single type of file: video, audio, photo or project. Select a single file for downloading by clicking its thumbnail or list entry. To select multiple files, use Ctrl-click after the first selection.
Import from DV or HDV camera To prepare for importing digital video, switch on your DV or HDV device in play mode and select it in the Import From panel of the Importer. You will also need to make sure that your destination folder, compression presets, and other options are set up in the other panels the way you want them. (See “Importer panels”, page 240.) Previewing video The video currently playing on the source device should now be visible in the preview area at the central area of the display.
Below the preview image is a row of controls for automating capture by setting mark-in and mark-out points. See “Recording video and audio” on page 263 for more information. Another row of controls, the transport bar, serves as your navigation console for the source device. The transport bar for DV and HDV import, with (from left) jog controls and timecode readout, transport buttons, a shuttle control, and an audio button with a pop-out slider for controlling the preview volume.
Mark-in, mark-out: The mark in and mark out timecode fields above the ends of the transport bar indicate the planned starting point and ending point of a video capture. Note: DV and HDV sources are also suitable for snapshots; see page 269 for details. Recording video and audio The Importer supports two approaches to selecting a range of video to be imported. In the manual approach, you simply watch the preview playback and press Start Capture at the start of the desired footage.
To capture manually with the Start Capture and Stop Capture buttons: 1. Make sure that the mark-in and mark-out points are not set. If needed, use the button associated with the field to clear it with one click. 2. Manually start playback of the source tape before the desired starting point of the capture. 3. Click the Start Capture button when the starting point is reached. The button caption changes to Stop Capture. 4. At the end of the segment click the button again.
Import from analog sources To record analog video (e.g. VHS or Hi8) you need a converter that connect to your computer and that has the required video and audio connections. This is also the case when recording from analog sound sources, such as a record player. Currently supported devices include Pinnacle and Dazzle products such as 500/510-USB, 700/710-USB and DVC 100, and webcams based on DirectShow technology.
To capture for a specified duration: Verify that the correct input is connected (e.g. “Video SVideo”). Enter the desired capture duration in the Duration time-counter control below the video preview. Start the playback device just before the point at which you would like capture to begin. Video and audio previewing should now be active. (If not, check the cabling and the converter installation.) Click the Start Capture button to start recording. The button caption changes to Stop Capture.
Previewing the disc files The media on optical discs are accessed through the computer’s file system. For this reason, the previewing controls in the central area, the methods for selecting files, and the procedure for importing, are the same as for ordinary file-based assets (except that the unneeded folder view starts in the closed position). Please see page 253 for further information.
Before starting the capture, make sure that your destination folder, options and file name are set up in the other panels the way you want them. (See “Importer panels”, page 240.) If your source equipment is functioning correctly, you should have a live preview in the central area of the Importer window. Click the full-screen button at the right-hand end of the transport bar to preview on the full monitor screen. When you are ready to capture an image, click the Capture Frame button.
• Navigation buttons: These buttons are for previewing your animation. A loop button lets you cycle the animation continuously for easy checking. • Frame rate: This rate, in frames per second, determines how many frames you will have to create in order to amass one second of movie time. This rate influences the apparent speed of the animation. • Onion skin settings: Click the more button to open a small window where the onion skin feature can be configured.
Before starting the capture, make sure that your destination folder and file names are set up in the other panels as you want them. (See “Importer panels”, page 240.) Now start your camera, or roll your tape, and start monitoring the embedded preview display in the central area of the Importer window. Click the full-screen button at the right-hand end of the transport bar to preview on the full monitor screen. When you want to capture an image as it goes by, click the Capture Frame button.
Capture as many additional frames as are required. The Importer adds each one in turn to the collection growing in the Image Tray. In the course of capturing, you can change tapes, re-aim your camera, and so on as you see fit. The source video doesn’t need to be uninterrupted as long as there is signal present when you actually click the Capture Frame button.
CHAPTER 11: The Exporter One of the great things about digital video is the large and growing number of devices that can make use of it. Studio lets you create versions of your movie for whatever video viewers your audience will be using, from hand-held DivX players and mobile phones to HDTV home theaters. When you have finished editing your project, open the Exporter by pressing the Export button at the top of the screen.
The Exporter. The buttons at upper left set the export destination to File, Disc, Cloud (the Internet), or (portable) Device. Other controls let you set output options as needed for the chosen output type. The name of the project appears above the Player, while the panel below it shows the currently-selected output format. Begin by selecting one of the File, Disc, Cloud and Device buttons to set the media type of your finished project.
Configuring output Output can be configured quickly within each media type using the dropdown lists in the Settings panel. If you need hands-on control, click the Advanced button to open a panel of options for the media type. When you have confirmed your settings, click either Create Image or Burn Disc to output in disc format, Start Publishing to send your movie to the Cloud, or Start Export to begin saving as a file or to a portable device. Output buttons at the bottom of the Exporter window.
OUTPUT TO DISC OR MEMORY CARD Studio can output movies directly onto DVD and Blu-ray discs, if the requisite disc-burning hardware is available on your system. Whether or not you have a disc burner, Studio can also create a ‘disc image’ – a set of files containing the same information as would be stored onto the disc – in a directory on your hard drive. The image can subsequently be burned onto a disc or transferred to a flash memory card.
SD card, Memory Stick and Built-In Media AVCHD 2.0 disc structures can be written to flash memory cards, such as SD cards or Memory Sticks, or even to devices with built-in media support (e.g. camcorders with AVCHD 2.0 support). Creating 3D discs If your project is in stereoscopic 3D, you can easily create 3D discs in DVD, AVCHD and AVCHD 2.0 formats. On the Settings panel, the S3D dropdown menu lets you choose the correct mode. Use Anaglyph, Anaglyph Crossed Eyed, or Side-by-side 50% to create the disc.
Outputting your movie Studio creates your disc or disc image in three steps: 1. First the entire movie must be rendered to generate the MPEGencoded information to store on the disc. 2. Next, the disc must be compiled. In this phase, Studio creates the actual files and directory structure that will be used on the disc. 3. Finally, the disc must be burned. (This step is skipped if you are generating a disc image rather than an actual disc.) To output your movie to disc, or to a disc image: 1.
2. On the Settings panel, select the disc Type you are using, then whichever video quality and disc usage Preset best matches your intent. If you wish to fine-tune your output settings, choose the Custom preset then click the Advanced button to bring up the Advanced Settings panel. 3. Click the Burn Disc button. Studio goes through the steps described above (render, compile, and burn) to create the disc. Click the Create Image button to perform the identical steps but omit the burn step. 4.
OUTPUT TO FILE Studio can create movie files in all of these formats: • 3GP • Audio only • AVCHD/Blu-Ray • AVI • DivX • DivX Plus HD • Flash Video • Image • Image Sequence • MOV • MPEG-1 • MPEG-2 • MPEG-4 • Real Media • Windows Media Choose whichever format matches the needs of your audience and the details of their viewing hardware. The size of the output file depends on both the file format and the compression parameters set within the format.
If you are exporting a stereoscopic 3D project, an S3D menu will appear, offering various 3D formats, or the option of exporting your project in 2D. When your output options are in place, click the Create file button. A file browser opens to let you specify a name and location for the video file you are creating. When you are exporting a movie to a file, these panels on the Exporter display your export settings.
3GP Pinnacle Studio can generate movies in this widely-used file format using your choice of MPEG-4 or H.263 video compression, along with AMR audio compression. The format is adapted to the comparatively modest processing and storage capabilities of mobile phones. The list of presets for this file type offers two frame sizes in either encoder. Choose Small, at 176x144, or Very Small, at 128x96. Audio only Sometimes a movie’s soundtrack can stand alone without visuals.
AVCHD/Blu-ray AVCHD/Blu-Ray is the ‘transport stream’ version of MPEG-2. It may contain video in MPEG-2 or H264/AVC compression. Its applications include HD playback on AVCHD-based camcorders and Sony’s PlayStation 3 home game console. Click the preset that best meets your needs; or choose Custom, then click the Advanced button to open the Advanced Settings panel.
Click the preset that best meets your needs; or choose Custom, then click the Advanced button to open the Advanced Settings panel. DivX This file format, based on MPEG-4 video compression technology, is popular for video files disseminated over the Internet. It is also supported by a range of DivX-compatible hardware devices, from DVD players to portable and handheld units. Click the preset that best meets your needs; or choose Custom, then click the Advanced button to open the Advanced Settings panel.
Flash Video Studio supports output in Flash Video (flv) format, version 7. Virtually all current web browsers are able to display this popular format, which has been widely adopted by social networking sites and news sites. Click the quality preset that matches your needs; or choose Custom, then click the Advanced button to open the Advanced Settings panel. Image A frame of your video project can be exported as an image, a JPG, TIF or Custom.
Image sequence A section of your video project can be exported as a series of images, one per frame. The video selected must be at least one second long. Each second of video will generate between 25 and 60 images, depending on the frame rate setting. The images can be TIF, JPG, TGA, or BMP, in a variety of sizes. If the project is in stereoscopic 3D, you will be offered S3D formats for output. MOV Video This is the QuickTime® file format.
MPEG MPEG-1 is the original MPEG file format. MPEG-1 video compression is used on VideoCDs, but in other contexts it has given way to newer standards. MPEG-2 is the successor format to MPEG-1. Whereas the MPEG-1 file format is supported on all Windows 95 and later PCs, MPEG-2 and MPEG-4 files can only be played on PCs with appropriate decoder software installed. Several of the MPEG-2 presets support HD (High Definition) playback equipment.
MPEG-4 is another member of the MPEG family. It offers image quality similar to MPEG-2 but with even greater compression. It is particularly suitable for Internet use. Two of the MPEG-4 presets (QCIF and QSIF) create ‘quarter-frame’ video sized for cell phones; two others (CIF and SIF) create ‘full-frame’ video suitable for handheld viewers. Custom presets. With all MPEG variants, Custom lets you configure movie output in detail by clicking the Advanced button to open the Advanced Settings panel.
Windows Media The Windows Media file format is also designed for streaming Internet playback. The files can be played on any computer where the Windows Media player – a free program from Microsoft – is installed. Click the Advanced button to configure your output with the Advanced Settings panel. OUTPUT TO CLOUD The Pinnacle Studio Exporter lets you share your movie creations with your social network on Facebook, a n d with potentially the entire world on YouTube.
transferred between computers for collaboration and convenient access. When uploading to the Cloud, whether to Facebook or YouTube, the only action available within the Exporter itself is ‘Publish’. Settings are chosen after logging in to the service provider. After selecting a sharing provider, click the Start Publishing button at the bottom of the Studio Exporter window. If you are not already logged in to the provider’s site, a log-in page will appear.
Studio, you may be offered an upgrade to more space.) You can put your project straight into an existing folder on the Box, or use the Add Folder button to create a new folder for this project. Choosing the format for uploading to Box. Once the settings are to your liking, click the Start button at the bottom of the window to render and upload your file.
Vimeo Note: Upload to Vimeo is disabled in Pinnacle Studio for Dazzle. Please upgrade to Pinnacle Studio 16 to enable the Vimeo upload feature. After logging in to your Vimeo account, you can modify the movie’s Title, Description and Tags. Choose the Format you prefer from the dropdown menu. The Vimeo license is set to ‘All Rights Reserved’. This can be changed in your Vimeo account after uploading. When ready, click the Start button at the bottom of the window to render and upload your project.
When the settings are to your satisfaction, click the Start button at the bottom of the window to render and upload your file. After uploading When the upload is finished, you have the option of opening a web browser to view your creation, or returning to Studio. Assets you export to Box become available immediately when Studio has finished uploading. For Facebook, YouTube and Vimeo, your file must be processed before it can be viewed online, and so may not be immediately available.
Apple® Studio supports exporting files that are compatible with popular Apple devices like iPod, iPhone and iPad, and Apple TV as well. The file format used for iPod and iPhone compatible devices is based on MPEG-4 video compression technology. The combination of powerful compression with a small 320x240 frame size produces very small output files relative to the more expansive formats. The three quality presets select different data rates, each providing a different balance of quality and file size.
Nintendo Wii™ Pinnacle Studio can generate files for playback on your Nintendo Wii with the support of both AVI and FLV output formats. Sony PS3™ You can export files to your PlayStation 3 by selecting the Sony PS3 export type. Studio supports two output file formats: Full size, which is in DivX file format at 720 x 400, and HD 1080/60i. Sony PSP® Studio allows you to export files which are compatible with the popular Sony PlayStation Portable devices.
CHAPTER 12: Setup Pinnacle Studio’s central configuration window is called the Control Panel. (Note that it is for Pinnacle Studio settings only. The Microsoft Windows Control Panel is unrelated.) To begin, select Setup Control Panel on the Pinnacle Studio main menu. When the Control Panel appears, choose a page from the directory on the left side of the window. The Pinnacle Studio Control Panel is a central configuration window for the application.
Watchfolders Watchfolders are folders on a hard drive or other storage medium that are monitored by Pinnacle Studio. When the contents of a watchfolder change, the Library is automatically updated. You can create as many watchfolders as you wish and optionally set them up to watch for only one media type (video, image or audio) instead of all three, the default.
Selecting a video subfolder type on the Import Settings page. After locating and selecting the folder you want to serve as the base folder, you can optionally set up a subfolder: • No subfolder: With this option, the files you import will be stored in the base folder. • Custom: When you choose this option, a Custom Project Subfolder box will appear. Click it to enter a name for the Subfolder for that media type.
Keyboard Studio provides both an extensive default set of keyboard shortcuts and a means of customizing them. The Keyboard page of the Control Panel lists all commands to which shortcuts can be applied, together with their currently-assigned shortcuts where applicable. The commands are grouped by section. Keyboard shortcut settings window. To add a keyboard shortcut: Select the target command. 2. Click in the Press shortcut keys edit box. 1. Press the keys for the desired shortcut.
To delete a shortcut: Select the target command. 2. Choose the shortcut to delete from the Shortcuts for selected command dropdown list. 3. Click the Remove button. 1. Restoring defaults Controls are also provided that allow you to restore the default keyboard configuration either for the currently-selected command (the Reset Current button) or for all commands at once (the Reset All button). Preview These settings affect the representation/display of video.
be set anywhere from Off (0) to Aggressive (100). Whether a particular timeline ‘slice’ will be rendered depends on the amount of computation needed to prepare the effects and transitions that are used, and on the value of the optimization threshold. If this value is set all the way to Aggressive, Pinnacle Studio will pre-render all transitions, titles, disc menus and effects even when the output would have been previewable; this can considerably delay playback.
• Differential: Rather than the image content itself, the differences between the left and right frames are displayed. Identical areas show as neutral gray. • Checkerboard: Right and left eye views alternate in adjacent cells of a 16x9 grid. • Anaglyph: An Anaglyph stereoscopic preview is suitable for viewing with red-cyan stereoscopic glasses. • 3D TV (Side by Side): This mode is to be used with a 3D – capable second monitor or projector.
click anywhere on the ruler to move the playhead. In either case, zooming may also be performed by using any of: • The Plus and Minus keys on the numeric keypad • The Navigator at the top of the timeline • The scrollbars under the previews Activate trim mode by clicking near cuts: Turn this on to launch trim mode by clicking. If this setting is off, trim mode can be activated with the Trim Mode button on the timeline toolbar.
APPENDIX A: Troubleshooting Before you begin troubleshooting, take some time to check your hardware and software installation. Update your software: We recommend installing the latest operating system updates for Windows. For information on updating Windows see the following web page: windowsupdate.microsoft.com/default.htm Check your hardware: Ensure that all installed hardware is functioning normally with the latest drivers, and is not flagged as having a problem in Device Manager (see below).
with the yellow exclamation mark icon indicating an error condition. In the case of a driver problem that you cannot resolve yourself, contact the device manufacturer or your computer vendor for assistance. CONTACTING SUPPORT Please read through this section for a brief overview on how to contact support. Learn about all of your support options on our website: http://corel.force.com/pinnacle?lang=en_US Knowledge Base: Access the Knowledge Base on-line by visiting: http://corel.force.
for 30 days. Customers registering a product or purchasing a One Time Priority Support instance will receive a confirmation email with a valid Support Code that can be used to submit a question by choosing “Contact technical support” at: go.pinnaclesys.com/en-US/Support TOP SUPPORT ISSUES The remainder of this chapter draws on some of the knowledgebase articles most consulted by users. The text presented here may be less detailed or current than that provided on-line.
compatible version has been released.
3rd Party Content from eStore BIAS SoundSoap V2 PE Supported** Red Giant Magic Bullet Looks Indie Pack Supported** RedGiant Particular Studio Preset Pack Supported** RedGiant Shine Studio Preset Pack Supported** RedGiant ToonIt Studio Preset Pack Supported** RedGiant Knoll Studio Preset Pack Supported** Red Giant Trapcode Starglow Supported** Red Giant Warp Supported** ProDad Vitascene Supported** ProDad Adorage Supported** ProDad Adorage FX Pack 10 Supported** ProDad Adorage FX Pack 11
StageTools Moving Picture LE Not supported Vance Effects Not supported Algorithmix Not supported NewBlue Audio Enhancements 1 Not supported NewBlue Audio Essentials 1 Not supported NewBlue Audio Essentials 2 Not supported NewBlue Audio Essentials 3 Not supported NewBlue Audio Essentials 4 Not supported * Free for previous content owners. Eligible customers should receive an email with instructions. ** Free for previous content owners.
• DVC-100 • DVC-101 • DVC-103 • DVC-107 • DVC-130 (no 64-bit drivers available) • DVC-170 (no 64-bit drivers available) PCI-based • 700-PCI (Pinnacle Studio Deluxe 2) • 500-PCI (Pinnacle AV/DV) • Any 1394 card Unsupported hardware The following list of hardware came with older versions of Studio and is no longer in warranty or supported.
Finding your serial number For a product that you downloaded, the serial number is shown on the confirmation page at the end of the ordering process, and in the confirmation email sent at that time. If you own a physical copy of the product, the serial number is shown on either the inside or the outside of the DVD case, if one is included; and on the outside of the paper sleeve otherwise.
Specific Errors Error 1402: If you are getting a 1402 error during installation, please follow the instructions in document 364555 in the knowledge base, Error 1402 on installation. Error on install “Setup will now abort installation”: If this error occurs during installation, please follow the instructions in knowledge base document 363187, Error on install “Setup will now abort installation”.
Hangs or crashes while launching Document ID: 284223 If Studio previously launched successfully and now does not, review any changes that have been made to the computer recently for possible clues. If necessary, undo the changes to see if the problem goes away. Further troubleshooting steps: Restart the computer: Unstable software behavior of undetermined cause can often be fixed by resetting the system. This is almost always a good place to start when troubleshooting. 2.
6. End background tasks: There are a couple ways to accomplish this. One is to use start-up management software to assist in eliminating unnecessary programs that launch on Windows startup. Many shareware and freeware programs of this type have been created. Use an Internet search engine such as Google or Yahoo to search for ‘startup managers’. We don’t endorse any particular one, but recommend you try a couple to see which one works best for you.
Case 1: Pinnacle Studio crashes randomly. There doesn’t seem to be any one thing that will cause the crash, but it seems to crash frequently. Case 2: Pinnacle Studio crashes after a user action such as a click on a certain tab or button. The crash is predictable and consistent. Case 3: Pinnacle Studio crashes repeatably when you perform some specific combination of steps. Case 1: Studio crashes randomly Here are some troubleshooting steps to try. You can work through them in order until you get a result.
In Windows XP, Windows Vista and Windows 7, the Ctrl+Alt+Delete key combination leads to a window on which the Task Manager button may be selected. You may not see much under the Applications tab, but the Processes tab will show you what is running. See knowledge base document 229157, How do I turn off background programs that are interfering with system performance and software installation?, for detailed instructions about how to proceed.
Update Windows Make sure you have all available Windows updates for your computer. They are available from: v4.windowsupdate.microsoft.com/en/default.asp Optimize computer performance Windows provides a built-in tool for this purpose. Right-click Computer and select Properties. 2. Click the Advanced System Settings link. 1. This will bring up the System Properties window. 3. Click the Settings button in the Advanced section. 4. Select Adjust for best performance, and click OK.
Check for corrupt media If the instability seems to occur when you manipulate certain audio or video clips, you should recapture or import the audio or video. If the media were imported and created by another application, you should capture with Studio and create a test project. While Studio works with many video formats, the clip you have may be corrupt or in an uncommon variant format.
Case 2: Studio crashes after a user action If Pinnacle Studio crashes, or tends to crash, when you click on some particular tab or button, start by trying all of the steps in Case 1 above. Such a problem usually means that Studio is not installed properly or has become corrupt, so uninstalling Studio, then reinstalling it, and then patching the latest version should correct the situation.
Disc playback problems Document ID: 384235 If you have a problem with DVDs created by Studio not playing back, or appearing to be blank, the steps below should help to resolve it. Other kinds of playback problems may be addressed elsewhere in the knowledge base. • If the video on your disc plays back, but the sound does not, read document 222577, Discs burned with Studio have no sound.
3. If the disc fails in your set-top DVD player, try playing it back on the computer . The disc should play back successfully when DVD player software like PowerDVD and WinDVD are used. DVD playback in Windows Media Player may work depending on your version of Windows. If you have problems playing the disc DVD even on your computer’s DVD drive, read document 221479, Playing DVDs on your computer. 4. Try playing the DVD on other set-top players.
On the Timeline Settings dialog, make sure that the Size dropdown is set to the right standard. Checking the Size setting. You can also set the default video standard for projects on the Project Settings page of the Pinnacle Studio setup dialog. Resources, tutorials and training Document ID: 384227 Many resources are available for users who would like to learn more about Pinnacle Studio. Some of these are listed below. The most current list is available from our knowledge base under the above document ID.
User forums There is a good chance that other users may have a similar or the same question, so read, search and post to our free Community Forums, which are located at: http://forums.pinnaclesys.com DVD training A Pinnacle Studio training DVD is available for sale on the Pinnacle e-store, which is located at: http://www.pinnaclesys.com/PublicSite/us/Products/Consumer+Prod ucts/Home+Video/Studio+Family/Complete+Training+for+Pinnacle+St udio+16.
APPENDIX B: Videography To shoot good video, then create from it an interesting, exciting or informative movie, is something anyone with a little basic knowledge can achieve. Starting from a rough script or shooting plan, the first step is to shoot your raw video. Even at that stage, you should be looking ahead to the editing phase by making sure you will have a good set of shots to work from. Editing a movie involves juggling all your fragments of footage into some kind of harmonious whole.
can go all the way to a full-fledged script in which every single camera angle is described in detail along with notes about duration, lighting and props. Title: “Jack on the kart track” No. Camera angle Text / Audio Jack's face with helmet, camera zooms out “Jack is driving his first race...”. Noise of engines in the background. 2 On the starting line, driver's perspective; low camera position. Music is played in the hall, noise of engines.
Close-ups Don’t be stingy with close-ups of important things or persons. Closeups usually look better and more interesting than long shots do on a television screen, and they work well in post-production effects. Long shots / Semi-long shots Long shots provide the viewer with an overview and establish the scene of the action. However, these shots can also be used to tighten longer scenes.
interested audience member during a podium discussion lets you then cut back unobtrusively to a later point in the same discussion, omitting the part between. External transitions show something apart from the action. For example, during a shot inside the marriage registry, you might cut to the exterior of the marriage registry, where a surprise is already being set up.
Avoid visual disjunctions Stringing together similar shots in succession may result in visual disjunctions. A person may be in the left half of the frame one moment and in the right half of the frame the next, or may appear first with and then without eyeglasses. Do not string together pan shots Pan shots should not be strung together unless they have the same direction and tempo. Rules of thumb for video editing Here are some guidelines that may be helpful when you come to edit your movie.
Ordering your video sequences in a deliberate manner not only permits you to produce certain effects, but even enables you to convey messages that cannot or should not be shown in pictures. There are basically six methods of conveying messages through cuts. Let’s look at each in turn. Associative cuts Shots are strung together in a certain order to trigger associations in the mind of the viewer, but the actual message is not shown.
Soundtrack production Soundtrack production is an art, but it is an art one can learn. Of course, it is no easy task to create a superb narration, but short, informative comments are often very helpful for the viewer. Whatever narration there is should sound natural, expressive and spontaneous, not wooden or stiff. Keep comments brief A general rule applicable to all commentary is that less is more.
Title The title should be informative, describe the contents of the movie, and arouse interest. If it’s also a striking turn of phrase, so much the better. When it comes to presentation, the Title Editor gives almost unlimited scope for creative visuals. It’s one place in your production where you’re not tied to the reality of actual footage, so you can let your fancy run free. Of course, the ultimate goal is to communicate, so some basics almost always hold true.
APPENDIX C: Glossary Multimedia terminology contains computer and video terminology. The most important terms are defined below. Cross-references are indicated by . 720p: A high-definition (HD) video format with a resolution of 1280x720 and progressive (non-interlaced) frames. 108i: A high-definition (HD) video format with a resolution of 1440x1080 and interlaced frames. ActiveMovie: Software interface by Microsoft for the control of multimedia devices under Windows.
making the transition less apparent. Another method of anti-aliasing involves using higher resolution output devices. Aspect ratio: The ratio of width to height in an image or graphic. Keeping the aspect ratio fixed means that any change to one value is immediately reflected in the other. AVI: Audio Video Interleaved, a standard format for digital video (and Video for Windows).
CD-ROM: Mass storage media for digital data, such as digital video. CD-ROMs can be read from but not written (recorded) onto: ROM is an acronym for Read-Only Memory. Channel: Classifications of information within a data file to isolate a particular aspect of the file. For example, color images use different channels to classify the color components in the image. Stereo audio files use channels to identify the sounds intended for the left and right speakers.
COM Port: A serial port located on the back of your computer for attaching a modem, plotter, printer or mouse to the system. Composite video: Composite video encodes luminance and chrominance information into one signal. VHS and 8mm are formats that record and play back composite video. Compression: A method for making files smaller in size. There are two types of compression: lossless and lossy. Files compressed with a lossless scheme can be restored unchanged from their original state.
Dithering: Increasing the number of apparent colors in an image by the application of color patterns. Decibel (dB): A unit of measurement of the loudness of sound. An increase of 3 dB doubles the loudness. Digital8: Digital videotape format that records DV-coded audio and video data on Hi8 tapes. Currently sold only by Sony, Digital8 camcorders and VCRs can play both Hi8 and 8mm cassettes. Digital video: Digital video stores information bit by bit in a file (in contrast to analog storage media).
Field: A frame of video consists of horizontal lines and is divided into two fields. The odd lines in the frame are Field 1; the even-numbered lines are Field 2. File format: The organization of information within a computer file such as an image or word processor document. The format of a file is usually indicated by its “file extension” (e.g. doc, avi or wmf). Filters: Tools that alter data to produce special effects. FireWire: Apple Computer’s trademarked name for the IEEE1394 serial data protocol.
HD: High Definition video. Most HD formats in use have a resolution of either 1920x1080 resolution or 1280x720 resolution. A substantial difference exists between the 1080 and 720 standards: the larger format uses 2.25 more pixels per frame. This difference substantially increases requirements for processing 1080 content in terms of encoding time, decoding speed, and storage. The 720 formats are all progressive. The 1080 format has a mixture of progressive and interlaced frame types.
IEEE-1394: Developed by Apple Computers and introduced as FireWire, this is a serial data transmission protocol with rates up to 400 Mbits/sec. Sony offers a slightly modified version for transmitting DV signals named i.LINK, providing transmission speeds up to 100 Mbits/sec. Image: An image is a reproduction, or picture of something. The term is often applied to digitized pictures, consisting of pixels, that can be shown on a computer display and manipulated by software.
Keyframe: A video frame for which the value of a particular parameter of a video or audio effect is specified. During playback the animation of effects is accomplished by adjusting parameters smoothly from one key-framed value to the next. Animating effects by means of keyframes is often called ‘keyframing’. LPT: Parallel port Luminance: Brightness M1V: (File extension for) an MPEG file that contains video data only.
Non-interlaced: Describes an image refresh method in which the complete image is generated as a single field without skipping lines. A non-interlaced image (most computer monitors) flickers much less than an interlaced image (most TVs). NTSC: National Television Standards Committee, and the color TV standard created by them in 1953. NTSC video has 525 lines per frame and 60 image fields per second. It is used in North and Central America, Japan and other countries.
Raster: The area of a video display that is covered by sweeping the electron beam of the display in a series of horizontal lines from upper left to lower right (from the viewer’s perspective). Redundancy: This trait of images is exploited by compression algorithms. Superfluous information can be eliminated during compression and restored without loss during decompression. Resolution: The number of pixels that can be displayed on the monitor horizontally and vertically.
SIF: Standard Image Format. An MPEG-1 format specifying a resolution of 352 x 288 under PAL and 352 x 240 under NTSC. MPEG, QSIF Single frame: A single frame is part of a series or sequence. When this series is viewed at sufficient speed, the illusion of a “moving picture” is created. Software codec: Compression method that can create and play back compressed digital video sequences without special hardware. The quality of the sequences depends on the performance of the complete system.
TWAIN driver: TWAIN is a standardized software interface allowing graphics and capture programs to communicate with devices that supply graphical data. If the TWAIN driver is installed, the capture function of a graphics application can be used to load images directly from your video source into the program. The driver supports 32-bit programs only and captures images in 24-bit mode. VCR: “Video cassette recorder”. VHS: “Video Home System” – Popular video standard for home VCRs.
APPENDIX D: Keyboard shortcuts The tables below display the default hotkey assignments in Pinnacle Studio. Keys can be individually remapped in Setup. The defaults can also be restored there, either individually or for all the shortcuts at once. Please see “Keyboard” on page 300 for full information. The terms Left, Right, Up and Down in the tables refer to the arrow (cursor) keys.
Alt+Enter Play using full screen Esc Exit full-screen viewing, or close panel Delete Delete without copying to clipboard Double-click Open appropriate editor (Media, Titler, Project, Montage etc.
Left (or Z) Step back 1 frame Shift+Right (or Shift+X) Step forward 10 frames Shift+Left (or Shift+Z) Step backward 10 frames D (or Page up) (or Ctrl+Left) Jump backward to cut F (or Page down) (or Ctrl+Right) Jump forward to cut Ctrl+I Jump to mark in Ctrl+O Jump to mark out .
P Toggle Magnetic Snapping ; (semicolon) Split clip(s) at scrubber position M Add/Delete marker . (period) Jump to next marker , (comma) Jump to previous marker Ctrl+.
Title Editor Shift+Left Expand character selection left Shift+Right Expand character selection right Shift+Ctrl+Left Same as Shift+Left (expand by word) Shift+Ctrl+Right Same as Shift+Right (expand by word) Ctrl+B Toggle bold Ctrl+I Toggle italic Ctrl+U Toggle underline Ctrl+A Select all Ctrl+D Deselect all Spacebar With timeline area selected: Start and stop playback Appendix D: Keyboard shortcuts 351
APPENDIX E: The Installation Manager The Pinnacle Studio Installation Manager looks after the job of installing Pinnacle Studio and any additional content included in your purchase of the application. For general information about the product, please refer to the supplied Quick Start Guide or insert the DVD and – in the Studio Welcome Screen – click Read Studio User Guide. In addition, numerous free video tutorials on how to use Studio are available at: http://www.youtube.
On some systems, it may be advisable to disable antivirus protection before installing Pinnacle Studio. Pinnacle Studio can be installed on a system containing a previous Studio installation: both versions will coexist. Upgrade Installation If a qualifying previous version of the software is currently installed on the computer, the Installation Manager will automatically recognize its presence and permit the upgrade.
Supporting installations The application requires a number of Windows software components, including the .NET Framework, to be present on your system. The Installation Manager determines automatically if the components are available, and installs them if necessary. Such supporting installations require additional time, but the main Pinnacle Studio installation will resume as soon as they have completed, even if the system was restarted in the process.
Standard Installation installs the application and all available plugins. It is recommended for most users. The Customized Installation option lets you choose to install only a subset of the add-ons available. The Customized Installation screen lets you choose which add-ons to install. Green checkmarks indicate already-installed items; orange checkmarks denote available items.
Plugs-ins and bonus content As described above, the Installation Manager can optionally install a rich variety of content in addition to the Pinnacle Studio application itself. In a Standard Installation, all available add-ons and plug-ins are installed. In a Customized Installation, you can choose exactly which items to install.
Equipment requirements In addition to your Pinnacle Studio software, an efficient editing system requires certain levels of system performance as noted below. Remember too that while specifications are important, they do not tell the whole story. For instance, the proper functioning of hardware devices can also depend on manufacturer-supplied driver software.
The hard drive Your hard drive must be capable of sustained reading and writing at 4 MB/sec. Most drives are capable of this. The first time you capture, Studio will test your drive to make sure it is fast enough. Video files are often quite large, so you also need a good amount of available hard drive space. For instance, video in the DV format fills 3.6 MB of hard drive space per second of footage: a gigabyte every four and a half minutes.
Index 5 5.1. See Audio A Abbreviations, ix Add Collection button (Library), 20 Adjusting clips (timeline), 85 Adjustments Photo corrections, 124 Video corrections, 132 Album Previewing, 9 Alternative mode, 73 Analog, x Levels during import, 270 Analog video and audio (Importer), 295 Anatomy of a Montage template, 166 Animated pan-and-zoom, 157 Animation. See Stop-motion animation Stop motion, 270 With Montage templates, 159 Animation, Stop-motion, 298 Apple devices, Output to, 327 Application Setup.
Surround sound, 226 Timeline functions, 226 Uses of, 211, 213 Volume and mixing, 225 Volume keyframing, 228 Audio and video monitoring, 75 Audio corrections, 218 Audio creation tools, 234 Audio device, 332 Audio Editor, 7, 213 Channel mixer, 215 Correcting, 134 Corrections, 214 Effects, 215 Synchronous video, 218 Visualization, 216 Audio effects, 223 Applied to Montage clips, 166 Audio levels In analog import, 270 Audio Mixer, 71, 225 Audio scrubbing, 71 Authoring discs, 241 Surround sound, 226 Authori
Montage, 159, 163, 164 Moving and copying, 96 Operations, 84 Over-trimming, 86 Replacing, 81 Selecting, 84 Transitions, 102 Trimming, 85, 86, 91, 92 Close-ups, 363 Cloud Import from, 289 Saving movie to, 322 Collections Assets in, 21 Library branch, 20 Operations on, 20 Compact Library In Movie Editor, 55 Compression Options (Importer), 277 Context menus, x Timeline clip, 109 Track, 75 Continuity (videography tip), 364 Control Panel.
Multipage operations, 245 Previewing, 248 Unlinked, 248 Disc Menus Editing appearance of, 258 Disc projects, 241 Adding menus, 246 Disc Projects And the Movie Editor, 59 Disc Simulator, 261 Disc tab, 6 Discs Authoring, 226 Drag-and-drop, 78 Advanced, 80 Drivers. See Device drivers Drop zones Adding effects, 172 Aligning subclips, 171 Clearing, 171 Muting, 171 DV, ix, x DV/HDV camera (Importer), 291 DVD Image on hard drive, 306 Output movie to, 306 DVD (Importer), 296 Media.
MP2, 313 MP3, 313 MPEG, 319 Real Media, 321 WAV, 313 Windows Media, 322 Filename panel (Importer), 280 Files Importing file-based assets, 282 Project, 9 Selecting for import, 283 Filtering Library asset listings.
Installation Manager, 391 Instant projects Movies, 51 Slideshows, 48 Interactivity (designing disc menus for), 244 Internet Saving movie to, 322 K Key names, xi Keyboard shortcuts, xi, 385 General, 385 Importer, 387 Library, 386 Media editors, 389 Movie interface, 387 Playing and transport, 386 Restoring defaults, 335 Setup, 334 Title Editor, 389 Keyframing Audio panning, 233 Audio volume, 228 Effects, 146 Pan-and-zoom, 157 Knowledge base, 342 L Levels Clip (audio), 227 Playback (master), 226 Track (au
Function buttons, 34 Info button, 35 Open In Corrections Editor button, 35 Player, 33 Scenes view button, 34 Transport controls, 34 Views, 35 Library tab, 3 Live editing preview (timeline), 79 Location tabs In Library, 16 Role in asset filtering, 38 Long shots (videography tip), 363 Look settings In Title Editor, 186 Looks (Title Editor), 178 M Magnet mode, 71, 79 Make Movie Partial, 305 Make Movie mode, 303 Making movies, 303 Markers Create between markers, 305 In Video Editor, 130 Timeline, 70 Mark-
Make Movie, 303 Smart, 80 Volume keyframe editing, 71 Monitoring Trim points, 96 Monitoring video and audio (timeline), 75 Montage.
To Flash Video file, 316 To MOV file, 318 To MPEG file, 319 To optical disc, 306 To Real Media file, 321 To Windows Media, 322 Over-trimming (timeline), 86 Overview, 1 Overwrite mode, 72, 91 P Padlock buttons, 74 Pan-and-zoom, 155 Adding, 155 Animated, 157 Introduced, 137 Keyframes, 157 Settings panel, 158 Static, 156 Panner, 225, 231 Keyframing, 233 Perspectives Varying, 362 Photo and video effects, 148 Photo cameras.
Registration, 392 Removing clips, 83 Rendering, 143, 305 Replacing clips, 81 Requirements, equipment, 397 Restoring archived projects, 9 Return markers Editing on timeline, 254 Right-button menus.
Settings, 50 Storage area, 50 Snapshot, 270 Snapshot (Importer), 300 Snapshot tool, 132 Solo mode In media editors, 140 Sony PS3 and PSP, Output to, 327 Sound and music, 211 Sound effects, 211 Sounds Correcting, 134 Soundstage (ScoreFitter), 235 Speed (slow and fast motion), 99 Stabilize (video correction), 133 Stereoscopic 3D Output movie to built-in media, 307 Output movie to disc, 307 Output movie to flash memory card, 307 Role in asset filtering, 40 Titles, 198 Still cameras.
Clip effects, 108, 141 Clip operations, 84 Creating content, 83 Current position, 61 Cut, copy, paste, 98 Default track, 61, 74 Deleting clips, 83 Disc authoring tools, 251 Disc Editor, 250 Drag-and-drop, 78, 80 Editing modes, 72 Filling a gap, 80 Fundamentals, 60 Inserting clips, 81 Live editing preview, 79 Magnet mode, 71, 79 Markers, 70 Master playback level, 226 Menu markers, 250 Navigator, 62 Opening trim points, 87 Project, 60 Replacing clips, 81 Resizing, 65 Scrubber, 61 Selecting clips, 84 Sending t
Tracks Additional functions, 75 Synchronization, 87 Transitions Applied to Montage clips, 166 Cut, copy, paste, 98 In media editor, 153 Introduced, 102 Videography tip, 363 Correcting, 127 Editing tools, 128 Enhance corrections, 131 List of corrections, 131 Markers, 130 Snapshot tool, 132 Stabilize correction, 133 Transport controls, 128 Trimming, 128 Video effects Trim both, 93 Trim Editor, 89 Trimming Applied to Montage clips, 166 Clips on the timeline, 86 Dual preview mode, 89 End of clip, 92 Gaps,
