VEGAS PRO 11 ™ User Manual
Revised December 14, 2011 What’s new in version 11.0 Video • GPU-accelerated video processing. For more information, see Video tab on page 418. For the latest information about supported hardware, please see our Web site at http://www.sonycreativesoftware.com/ vegaspro/gpuacceleration. • New Titles & Text plug-in. For more information, see Adding titles and text with the Titles & Text plug-in on page 275. • Improved usability for the ProType Titler.
Welcome After Vegas® Pro software is installed and you start it for the first time, the registration wizard appears. This wizard offers easy steps that allow you to register the software online with Sony Creative Software Inc. Alternatively, you can register online at https:// www.sonycreativesoftware.com/reg/software at any time. Registration assistance Registration assistance is available online at http://www.sonycreativesoftware.com/reg/faq or by fax at (608) 250-1745.
Legal notices ACID, ACIDized, ACIDplanet.com, ACIDplanet, the ACIDplanet logo, ACID XMC, Artist Integrated, the Artist Integrated logo, Beatmapper, Cinescore, CD Architect, DVD Architect, Jam Trax, Perfect Clarity Audio, Photo Go, Sound Forge, Super Duper Music Looper, Transparent Technology, Vegas, Vision Series, and Visual Creation Studio are the trademarks or registered trademarks of Sony Creative Software Inc. in the United States and other countries.
Gracenote CD and music-related data from Gracenote, Inc., copyright © 2000-2008 Gracenote. Gracenote Software, copyright 2000-2008 Gracenote. This product and service may practice one or more of the following U.S. Patents: #5,987,525; #6,061,680; #6,154,773, #6,161,132, #6,230,192, #6,230,207, #6,240,459, #6,330,593, and other patents issued or pending. Services supplied and/or device manufactured under license for following Open Globe, Inc. United States Patent 6,304,523.
Targa file format The Targa™ file format is a trademark of Pinnacle Systems, Inc. Thomson Fraunhofer MP3 MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson.
Sony Creative Software Inc. 8215 Greenway Blvd. Suite 400 Middleton, WI 53562 USA The information contained in this manual is subject to change without notice and does not represent a guarantee or commitment on behalf of Sony Creative Software Inc. in any way. All updates or additional information relating to the contents of this manual will be posted on the Sony Creative Software Inc. Web site, located at http://www.sonycreativesoftware.com.
Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Technical support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Getting media files (continued) Importing and exporting AAF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Importing Broadcast Wave Format files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Importing video from a DVD camcorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Working with AVCHD video . . . . . . . .
Editing events (continued) Duplicating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Inserting empty events and time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using takes as alternate versions of events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Creating an event with multiple takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Adding a take to an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Choosing the active take in an event . . . . . . . . . . . . . . . . . .
Aligning left- and right-eye views and adjusting depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130 Rendering a stereoscopic 3D project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131 Working with XDCAM Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 XDCAM EX workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using audio bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Adding envelopes to an audio bus track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Adding effects to audio bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Muting or soloing an audio bus track . . . . . . . . . . . . . . .
Setting event switches (continued) Normalize (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182 Maintain aspect ratio (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183 Reduce interlace flicker (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using audio track channel strips (continued) Monitoring track levels with VU/PPM meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Monitoring track levels with peak meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Changing a track’s automation mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Muting or soloing a track . . . . . . .
Adding audio event effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Creating an event effects chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Editing an event effects chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Adding audio track effects . . . . . . . . . . . . . .
Recording (continued) Triggering from MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Recording using an input bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Working with multiple recorded takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Specifying where recordings are stored. . . . .
Working with still images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273 Creating still images for use in Vegas Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273 Capturing a timeline snapshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .274 Creating a slide show . . . . . . . . . . . . . . . . . . . . . . . . . .
Adding captions to Windows Media Video (WMV) files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Adding captions line-by-line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Adding captions from a script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Displaying captions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using transition effects (continued) Adding a transition to all selected events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327 Adding a transition progress envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .328 Understanding track layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Isolating color channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Monitoring video with scopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Displaying chrominance using the vectorscope monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Displaying luminance using the waveform monitor . . . . . . . . . . . . . . . . . . . . . .
Printing video to tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .380 Printing video to tape from the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .380 Printing HDV video to tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .385 Printing to tape using Video Capture . . . . . . . . . .
Changing the ruler format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 Creating a ruler offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Changing grid spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Using the Time Display window . . . . . . . . . .
Using Hardware Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Using a control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435 Connecting your control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435 Configuring Vegas Pro software to use your control surface . . . . . .
18 | TABLE OF CONTENTS
Chapter 1 Introduction Welcome Vegas® Pro software is an innovative and advanced multitrack media-editing system. Vegas Pro software was designed to create an efficient audio/video production environment without sacrificing the quality and processing power that you expect from Sony Creative Software Inc. Whether it’s the standard and familiar Microsoft® Windows® navigation commands or the clean and uncluttered interface, you’ll find Vegas Pro software to be a tool that will be mastered in minutes.
Getting help You can access two varieties of help within Vegas Pro: • Online help • Interactive tutorials Online help To access online help, choose Contents and Index from the Help menu or press F1. The online help window has four tabs that you can use to find the information that you need. Toolbar Tabs Information pane Tab Description Contents Provides a list of available help topics. Click a closed book then click on a topic page to open the pages, and .
Overview Vegas Pro software is designed to be an easy-to-use program with many tools that provide power and flexibility when creating and working with multimedia files. Many operations, menu items, and shortcut keys are consistent with other popular Microsoft Windows software applications. The following sections provide a graphical tour of the Vegas Pro workspace. Main window This is the window that appears when the software is opened.
Toolbar The toolbar allows you to quickly access the most commonly used functions and features. From the Options menu, choose Customize Toolbar to specify which buttons are displayed. For more information, see Customizing the toolbar on page 411.
Command bar The command bar displays when you add a command to your project. Commands add metadata to media files to create effects such as closed captioning. For more information, see Adding project markers and regions on page 95. CD layout bar The CD layout bar displays tracks and indices in an audio CD layout project for disc-at-once (DAO) CD burning. For more information, see Creating audio CD layout projects on page 390.
Transport bar controls The transport bar contains the playback and cursor positioning buttons frequently used while working on and previewing your project.
Window docking area and floating window docks By default, the window docking area is located in the upper half of the Vegas Pro workspace. This area allows you to keep frequently used windows available but out of the way while you are working with a project. Windows can be docked next to each other, subdividing the docking area, or they can be docked in a stack in the window docking area or in a separate floating docking window. When stacked, each window has a tab at the bottom with its name on it.
Explorer window - Alt+1 The Explorer window is similar to the Microsoft Windows Explorer. Use the Explorer window to select media files to drag to the project timeline or add to the Project Media window. You can also use the Explorer to perform common file management tasks such as creating folders, renaming files and folders, and deleting files and folders. Use the Start Preview ( ) and Auto Preview ( ) buttons to preview files before adding them to the project.
Master Bus window - Alt+3 The Master Bus window provides you with a streamlined view of your project’s master output. For more information, see Master Bus window on page 193. Video Preview window - Alt+4 This window displays a project’s video during project editing and playback. For more information, see Previewing and Analyzing Video on page 347. Video appears during project playback or as the cursor is moved during editing. Right-click to change Video Preview settings.
Edit Details window - Alt+6 This window serves as a highly detailed and customizable database of all of the events in a project. The database can be organized and sorted according to a large number of attributes. For more information, see Using the Edit Details window on page 116. Transitions window - Alt+7 From the View menu, choose Transitions to display or hide the Transitions window.
Video FX window - Alt+8 From the View menu, choose Video FX to toggle the display of the Video FX window. The left pane lists each of the available video effects organized in folders. Click the Expand ( ) and Collapse ( ) buttons to open and close the folders, and select a plug-in name. The thumbnail images in the right pane represent each of the existing presets for the selected effect. Hover your cursor over a preset to see an animated example.
Compositors window From the View menu, choose Compositors to toggle the display of the Compositors window. You can use this window to add compositing effects. The left pane lists each of the available compositors organized in folders. Click the Expand ( ) and Collapse ( ) buttons to open and close the folders, and select a plug-in name. The thumbnail images in the right pane represent each of the existing presets for the selected compositor. Hover your cursor over a preset to see an animated example.
Video Scopes window - Ctrl+Alt+2 This window allows you to monitor your broadcast video for image problems. Use the scopes to analyze the your video and adjust accordingly with the Brightness and Contrast, Broadcast Colors, Color Corrector, Color Corrector (Secondary), and Levels plug-ins before rendering. For more information, see Monitoring video with scopes on page 353. Surround Panner window - Ctrl+Alt+3 This window allows you to control panning in a 5.1 surround project.
Media Manager window - Ctrl+Alt+4 If you’ve installed the Media Manager™, you can use it to search for media and manage your collection of audio and video media so you can find just the right media for your Vegas Pro projects. The Media Manager maintains a database of your media, including file attributes, ACID metadata, and tags that you can assign to classify your media.
Mixing Console window - Ctrl+Alt+6 This window displays the Mixing Console, which provides an integrated view of all tracks and busses in your project using the appearance of a traditional hardware-based mixer. For more information, see Mixing Console window on page 195.
Saving and recalling window layouts - Ctrl+Alt+D or Alt+D A window layout stores the sizes and positions of all windows and floating window docks in the Vegas Pro workspace. You can store up to ten window layouts so you can quickly recall customized layouts for specific editing tasks. For more information, see Saving and recalling window layouts on page 412. Cursor indications The cursor changes depending on which functions are available.
Audio signal flow Record Monitor Audio Media Input Bus Bit-Depth Conversion Hardware Input Input Monitor On or Auto: Recording Into an Event Time Stretch/Pitch Shift Channel Conversion Resampling Insert FX Event FX Pre-Fader Send Bus Pan Event Gain/ASR Processing (Normalize, Event Invert, Track Invert, Event ASR) Bus Volume Input Monitor On or Auto: Recording Into an Event Master + Off Post-Fader Send Hardware Output Bus Assignable FX Track FX Track Volume & Mute Pre Post Post Pre Assign
Video signal flow Track signal flow Composited track signal flow 36 | CHAPTER 1
Chapter 2 Getting Started Vegas® Pro software is a new way of creating multimedia productions. Whether you are an experienced multimedia author or a budding novice, the powerful features and capabilities of Vegas Pro software are organized to increase your creativity and productivity. The following chapter summarizes the software’s basic functions and operations.
2. Enter your project settings on the various tabs. For more information, see Working with project properties on page 408. • The Video tab allows you to select the video format and other video parameters. • The Audio tab allows you to set up the basic audio settings. • The Ruler tab allows you to choose the way the ruler is delineated (beats, seconds, etc.). • The Summary tab allows you to enter any relevant information and reminders about your project.
Working with rotated projects The use of rotated displays—monitors that display vertical media—has become increasingly popular: you can see them in kiosks, presentations, and even on the nightly news. If you have a project that you’d like to display in a rotated format, Vegas Pro makes it easy. 1. Create a new project. For more information, see Starting a new project on page 37. 2.
7. Render your project to any supported rendering format. For more information, see Rendering a project on page 365. In the Render As dialog, select the Use project output rotation setting check box if you want to use the Output rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display.
Getting media files You can add media from a variety of sources to your project. You can add audio and video files, record audio into a track, capture video from a video camera, or extract music from your own CD. You can also create media such as text overlays, backgrounds, and credit rolls from within the software. For more information, see Using generated media on page 307. Vegas Pro software supports a wide range of media file types.
Note: Video is previewed in the Trimmer window. If you want to preview video in the Video Preview window, right-click the Trimmer window and clear the Show Video Monitor command. Using the Project Media window Media files, both video and audio, tend to be the largest files on your hard drive. It is therefore not always easy to move them around and impractical to store multiple copies of these files. You can add media files to the Project Media window to organize them before any editing begins.
Replacing media in the Project Media window You can replace a file in the Project Media window with a different file. When changing the media file that an event contains, every occurrence of the event on the timeline is updated with the new media file contents. 1. Right-click a file in the Project Media window. 2. Choose Replace from the shortcut menu. 3. In the Replace Media File dialog, browse for and select the file that you want to replace the current file. 4. Click Open.
6. Click the MusicID button if you want to obtain CD information using Gracenote® MusicID. If CD information is not available, you can click the CD Info button to display a dialog box where you can edit the CD information and submit it for inclusion in the Gracenote Media Database. 7. From the Speed drop-down list, choose the speed at which you want to extract the audio.
3. Click the Search Results icon to view the matching files. Tip: Right-click the Search Results icon and choose Save as Bin from the shortcut menu to save the results of your search as a new media bin. Automatically adding recorded files to a media bin Select a media bin if you want to automatically add your recorded audio to a media bin. Deleting media from a bin 1. Select a media file. 2. Press Delete on your keyboard. 3. If the All Media Folder is selected, the file will be removed from your project.
For more information, see Stereoscopic 3D Editing on page 125. Importing media From the File menu, choose Import, and then choose Media from the submenu (or click the Import button ( ) in the Project Media window) to add a media file to your project without adding it to the timeline. Vegas Pro supports the importing of a wide variety of file formats, including AAF and Broadcast Wave Format, which are discussed separately below. 1. From the File menu, choose Import, and then choose Media from the submenu.
• Track order in your exported AAF will not match your Vegas Pro project: in the Vegas Pro track model, the first track represents the foreground; in the AAF specification, the first track represents the background. • Audio is exported using frame units when the AAF Export - Use frame unit for audio check box is selected on the General tab of the Preferences dialog.
1. From the File menu, choose Import, and then choose AAF from the submenu. The Import dialog is displayed. 2. Choose the folder where the project you want to open is stored: • Choose a drive and folder from the Look in drop-down list. • Choose a folder from the Recent drop-down list to quickly select a folder from which you have previously opened files. 3. Select a file in the browse window or type a name in the File name box. 4. Click Open. The AAF file is imported into the current project.
4. From the Arrange drop-down list, choose a setting to indicate how you want to arrange audio events on the timeline: Setting Description Add across tracks A separate track is created for each .bwf file you import. Add across time All selected .bwf files are added to a single track. Note: Audio from multichannel .bwf files is always added across tracks, regardless of the Arrange setting. For example, if you import a four-channel .bwf file, the audio will be added to four adjacent tracks.
After importing is complete, the video from the disc is added to the Project Media window. Each chapter is imported as a separate file. You can then add the imported video to your project just like any other media file. Working with AVCHD video You can edit files recorded with AVCHD camcorders just like any other supported media type on the timeline. This section will guide you through the process of using AVCHD video in your Vegas Pro project. Note: 5.
4. If you choose to use the Custom Template dialog to customize your rendering template, leave all settings at their default values except for the Bit rate control. The default Bit rate setting should work for most applications. 5. To save the rendered file to your camera, you’ll need to use the software that was supplied with your camera. Adding media to the timeline Media files can be added to your project from the Explorer or Project Media windows by double-clicking them or by dragging them.
Double-clicking a media file This method places the event at the cursor’s position in the selected track. If the selected track is a video track, and you double-click an audio event (or vice versa), a new track is created for the event. Once an event is placed, you can move it from one track to another or change its position on the timeline. Inserting a video file with associated audio Media files with video frequently include associated audio.
Project references in rendered media files When your project uses media that was rendered with an embedded project path reference, you can easily open the source project in the associated application if you need to edit the media later. Recent versions of ACID, Sound Forge, and Vegas Pro software allow you to save the project path reference when you render files. For example, imagine that you have an audio file on the Vegas Pro timeline that was rendered from an ACID project.
Capturing video You can use the Video Capture application installed with Vegas Pro software to capture video clips from your DV or HDV video camera or via your SDI card and add them to the Project Media window. You can also specify a different third-party capture application for video capture. Tip: Capturing video can be demanding on your computer’s resources. To avoid potential problems, we offer the following suggestions: • Defragment your hard drive.
Capturing from an SDI card If you have a supported SDI card, you can use the card to capture video and print to tape from the timeline. The following procedure will guide you through the process of capturing clips from an SDI card. Before you begin capturing video, use the Capture Preferences dialog to configure your SDI card. For more information, see Capture Preferences on page 57.
Logging multiple clips and performing a batch capture Tip: Connect your deck and power it on before starting Vegas Pro software. 1. Use the transport controls below the Video Preview window to cue your tape. 2. Click the Clip Edit tab on the right side of Video Capture window and log your clips: a. In the Clip Name box, type the file name you want to use to save the clip. b. In the Tape Name box, type the name of the tape that contains the clip. c.
Capture Preferences You can use the Capture Preferences window to set options for capturing video from an SDI or HDV device. 1. From the File menu, choose Capture Video, or click the Capture Video button ( ) in the Project Media window. The Capture Video dialog is displayed. 2. Select the HDV or SDI radio button and click OK. The Capture window is displayed. 3. Click the Capture Preferences button ( ) in the Capture window to open the Capture Preferences dialog.
Device tab (for IEEE 1394 HDV devices) Item Description Device type Choose IEEE 1394/MPEG2-TS Device. Device Choose your HDV camera. Video Choose a setting from the drop-down list to specify the desired video format. Details Displays information regarding the capture device specified in the Device drop-down list. Device tab (for AJA Io Express, KONA 3X, LH, LHe, LHi, LS, or LSe SDI cards) Item Description Device type Choose AJA Video Device. Device Choose your device.
Device tab (for Blackmagic Design DeckLink HD Extreme, Intensity Pro, or HD Extreme 3D SDI cards) Item Description Device type Choose Blackmagic Design DeckLink. Device Choose your device. Video Choose a setting from the drop-down list to specify the desired video format. Audio Choose a setting from the drop-down list to specify the desired number of channels for capturing SDI-embedded audio. Important: Multichannel audio capture is available only if supported by your camera or deck.
Using the Device Explorer The Device Explorer allows you to browse and import clips from AVCHD, XDCAM EX, NXCAM, and RED ONE and EPIC devices; CompactFlash-based memory recording units such as the HVR-MRC1; and hard-disk-based recording units such as the HVR-DR60. 1. From the View menu, choose Device Explorer to display the Device Explorer window. 2. Connect your camera to a USB 2.0 port on your computer. The camera is displayed on the left side of the Device Explorer window.
Importing clips 1. Select your camera on the left side of the Device Explorer window. The camera’s clips are displayed on the right side of the window, and clips that have not yet been imported are indicated with a new clip icon ( 2. Click the Import button ( ). ) to import clips to the Project Media window: • If clips are selected in the Device Explorer window, only the selected clips are imported (you can hold Ctrl while clicking to select multiple clips).
The original media file. An event trimmed from the original media file. The event as it appears in the Vegas Pro timeline. Audio events are created from audio files on your computer (for example, .wav and .mp3) or can be a part of a video file (for example, .avi). You can change many characteristics of an audio event, such as speed, volume, and equalization. Audio events can be mixed with other audio events.
Moving events by small increments To move an event more precisely, click the event and press 4 or 6 on the numeric keypad to nudge it by small increments. The amount of movement caused by each nudge is determined by how far the timeline is zoomed in or out. You can also click the event and press 1 or 3 on the numeric keypad to nudge the event by frames. Moving grouped events Groups allow you to move multiple events within their tracks as a single unit.
Working with tracks A project consists of multiple audio and video tracks. The timeline is the view in which all events appear. The track list provides information about the track and contains controls that affect all events in the track. Using the timeline Numerous options are provided for viewing and navigating in the timeline. Scrolling and zooming There are several ways to scroll and zoom in the timeline.
Changing track height You can change the height of individual tracks by dragging their borders in the track list. In the example below, the main video track is fairly large to show the details of the scene while the two tracks above it, which are overlays, have been resized to a shorter height. For more information, see Changing track height on page 152. Using the track list This section describes the different controls in the track header of each track.
Button or Control Name Description Expand track keyframes Displays track keyframes on the timeline. For more information, see Working with keyframes in the timeline on page 336. Audio track header Button or Control Name Description Track number and color Track numbers and colors help organize a multitrack project. For more information, see Managing tracks on page 149. 66 | CHAPTER 2 Minimize track height Minimizes track height. For more information, see Changing track height on page 152.
Nesting projects With Vegas Pro software, you can simplify and organize complex projects by adding multiple projects to the timeline of a single Vegas Pro project. Using project nesting, you can: • Create a single element that can be used in multiple locations or projects. If you update the project, it is updated everywhere. • Create a complex composited element that can be used as a single media event in multiple locations or projects.
Playing back and previewing You can play back your project in two ways: directly from the timeline from within the software or by mixing the entire project to a preview file. Playing your project The transport bar allows you to play back your entire project or portions of your project based on a time selection or the current cursor position. For more information, see Transport bar controls on page 24.
Playback reference The following table describes all the transport bar buttons and their keyboard equivalents. You can use these playback functions at any time while working in your project. Note: The use of many multimedia keyboards is also supported for controlling playback.
Scrubbing with the playhead The playhead ( ) above the timeline can be dragged back and forth to shuttle forward or backward from the cursor position to locate an edit point. Drag playhead to scrub Tips: • Set in and out points while dragging the playhead by pressing the I and O keys. • The playhead is also available in the Trimmer window. Scrubbing with the scrub control slider The scrub control slider can be dragged back and forth.
There are several ways to adjust playback speed: • Adjust the JKL / shuttle speed selection on the Editing tab of the Preferences dialog. • Hold K while pressing J or L to emulate a shuttle knob mode. Press K+J to turn the knob to the left or K+L to turn the knob to the right. Press K again or Space to return to normal mode.
72 | CHAPTER 2
Chapter 3 Basic Editing Techniques Vegas® Pro projects are multitrack compilations of events that occur over time. The events in your project are references (pointers) to source media files. Vegas Pro software is a nondestructive editor, so editing events in your project does not alter the source media files in any way. Getting around When editing and playing back the project, the cursor identifies where you are along the project’s timeline.
Making selections You have the flexibility to select one or more events, a time range, or events and a time range. All selection options can apply to a single track or to multiple tracks. To select an event, click it. Selecting multiple events You can select multiple events in your project using several methods. Tips: • Once you have selected multiple events, you can group them together. For more information, see Grouping events on page 190.
Selecting a block of events 1. Click the Selection Edit Tool button ( ). 2. Position the cursor in a corner of the area that you want to select. 3. Click and hold the left mouse button. 4. Drag the cursor to the opposite corner of the area you want to select. A rectangle is drawn on the workspace. All events within this rectangle are selected. Hold the left mouse button and right-click to toggle through the three types of selection boxes: free, vertical, or horizontal.
Dragging to select a time range 1. Position the mouse pointer above the ruler (on the marker bar). The mouse pointer changes to a left/right arrow cursor ( 2. Drag to select a region. All events, or portions of events within the region are highlighted. 3. Drag the yellow handles on either end of the time selection to increase or decrease your time range selection. Tip: You can move the entire selection range by dragging the time selection bar. Selecting a time range during playback 1.
Selecting events and a time range Selecting a time range does not automatically select events. Excluding locked events, all items within the time range play back and are affected by Edit menu commands. However, you can select specific events to edit, and then select a time range. 1. Select the events you wish to edit. For more information, see Selecting multiple events on page 74. 2. Place the mouse pointer above the ruler (on the marker bar). The mouse pointer changes to a left/right arrow cursor ( ).
Editing events Copying events You can copy events, or portions of events, to the clipboard and paste them into your project. You can copy a single event or multiple events. Copying preserves the original event information, edits, and other modifications. Tip: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group.
Cutting events Cutting events removes them from their respective tracks, but places the cut information (events and time) on the clipboard. Once on the clipboard, you can paste the information into your project. Tips: • When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group.
Cutting a time selection and events Events and portions of selected events within the time selection are reproduced and placed on the clipboard. Time information is also placed on the clipboard. When cutting a combination of time selection and event selection, post-edit ripple mode affects the position of material on all tracks or the tracks of selected events after the cut.
Using paste repeat Use paste repeat to specify how many times clipboard events are pasted at the cursor position on the selected track and to specify the space between pasted events. 1. Copy a selection to the clipboard. 2. From the Edit menu, choose Paste Repeat. The Paste Repeat dialog is displayed. 3. Specify the number of times to paste the clipboard contents and the space between successive copies. 4. Click OK.
Punching-in and crossfading events You can insert events into the middle of (on top of ) existing events without altering the timing of the project. When the inserted event ends, the original event continues playing as if it had never stopped. You can choose the duration of crossfades for punched-in audio events. 1. From the Options menu, choose Preferences. The Preferences dialog is displayed. 2. Click the Editing tab. 3. Select Quick fade length of audio events. Specify a duration for each transition.
Trimming events This section describes simple ways to trim events. Tip: You can apply a ripple edit after trimming an event. For more information, see Applying post-edit ripples on page 89. Trimming an event During the trimming process for a video event, both the last thumbnail image on the event and the Video Preview window show the last frame in the event, allowing you to edit events very accurately. 1. Move the cursor over the edge of the event. The cursor changes when properly positioned ( ). 2.
Trimming a time selection Trimming events removes all media outside the time selection. The removed information is not placed on the clipboard. Trimming is different from cutting in that the events within the time selection are preserved. 1. Select a time range. For more information, see Selecting a time range on page 75. 2. Press Ctrl+T or, from the Edit menu, choose Trim. The material outside the time selection (across all tracks) is removed from the project.
4. Use the 1, 3, 4, and 6 keys on the numeric keypad to trim the current event edge: • Press 1 to trim one video frame left, or press 3 to trim one video frame right (or hold Ctrl+Shift+Alt while rolling the mouse wheel). • Press 4 to trim one pixel left, or press 6 to trim one pixel right (or hold Ctrl+ Shift while rolling the mouse wheel). Depending on the current zoom level, the trim duration will vary. Note: Pressing 5 on the numeric keypad exits edge-trimming mode.
Splitting selected events Only the selected events are split at the cursor’s position. Events before splitting Events after splitting Splitting a time selection Unless locked, all events within the time selection are split at the starting and ending points of the time range, meaning that two splits are made. The split occurs across all tracks.
Splitting and trimming events Hold Ctrl+Alt+Shift and click an event to split the event. Hold Ctrl+Alt+Shift and drag an event to split it at the point you click and trim the event in the direction you drag. The cursor changes to the split-trim cursor ( ). Tip: Holding the Shift key temporarily overrides snapping if it is enabled. Release the Shift key while dragging to snap the event to available snap points.
The original media file. The event on the timeline with original frames. Slipping the event two frames to the right. Slip-trimming the event two frames to the right. Sliding the event two frames to the right. Detecting and repairing audio and video synchronization problems When audio and video events are not aligned, Vegas Pro software will highlight the events in the timeline so you can see synchronization problems at a glance.
Reversing events Reversed events are perfect for backward guitar solos, creating the illusion of turning back time, or whatever else you can dream up. The event plays backward on the timeline without affecting the source media. 1. Right-click an audio or video event in the timeline. 2. Choose Reverse from the shortcut menu. The event is reversed on the timeline, and a subclip is created in the Project Media list for the reversed event. For more information about subclips, see Using subclips on page 115.
Applying a post-edit ripple manually 1. Perform one of edits discussed above. Above the timeline, an arrow indicates where the post-edit ripple will occur and the direction the affected events will move.
2. From the Edit menu, choose Post-Edit Ripple, and choose a command from the submenu: • Affected Tracks ripples only the tracks where you performed the edit. • Affected Tracks, Bus Tracks, Markers, and Regions ripples the tracks where you performed the edit and ripples any keyframes or envelopes on those tracks. This command also ripples any markers, regions, CD layout markers, and command markers in the project.
Crossfading events You are allowed to crossfade between two events on the same track. For audio events, crossfading fades out one audio event’s volume while another event’s volume fades in. For video events, crossfading creates a transition between two events, one fading out while the other fades in. Lines appear indicating how and when the event’s volume or transparency is being affected.
Changing crossfade curves You can change the crossfade curves that are used to fade in and out between two events. Right-click a crossfade to choose a different crossfade curve. 1. Right-click anywhere in the crossfade region to display a shortcut menu. 2. From the shortcut menu, choose Fade Type, and choose the desired fade type from the submenu.
Undoing a series of edits You can undo a series of edits by using the drop-down list on the Undo button. 1. Click the arrow to the right of the Undo button ( ). 2. From the drop-down list, choose the edit that you want to undo. Items above it (subsequent edits) are selected automatically. Your project is restored to the state prior to those edits. Use the mouse to select a series of edits. When you undo an edit or a series of edits, they are added to the redo history.
Adding project markers and regions Several types of project markers are provided that identify parts of your project, serve as cues, and provide additional functionality: • Markers are points that you mark along the project’s timeline. They are typically used to mark locations in the project for later reference or to mark timing cues. • Regions are ranges of time that you mark along the timeline. Regions identify ranges of time for your reference and can function as permanent time selections.
Naming (or renaming) a marker 1. Place the mouse pointer on the marker you want to name or rename. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Rename. A text box opens next to the marker. 4. Type the marker name. 5. Press Enter to set the marker’s name. You can also double-click an existing name or double-click the space just to the right of a marker to rename it.
Inserting regions 1. Make a time selection. For more information, see Selecting a time range on page 75. 2. From the Insert menu, choose Region, or press R. 3. Type a name for the region and press Enter. If you do not want to name the region, simply press Enter. Region tags are displayed at the beginning and end points of the time selection. Region start Right-click the marker bar Region end Marker bar Moving regions Drag a region tags to reposition it.
Navigating to regions You can move the cursor to the start or end of a region by clicking either region marker. You can press Ctrl+Right Arrow or Ctrl+Left Arrow to move the cursor to the next or previous region markers. Right-click a region marker to display a shortcut menu that allows you to navigate to the beginning (Go to Start) or the end (Go to End) of a region. Deleting regions 1. Place the mouse pointer on the region marker’s starting or ending point. The pointer changes to a hand icon ( ). 2.
Defining streaming media commands In a streaming media file, command markers can be used to display headlines, show captions, link to Web sites, or any other function you define. Several command types are included that you can add to a streaming media file. Some command types are exclusive to either the Windows Media or the RealMedia player. Command Player type URL Windows Media Indicates when an instruction is sent to the user’s Internet browser to change the and RealMedia content being displayed.
Defining Scott Studios data commands For .wav files using Scott Studios data, command markers can be used to define information about the file. Command Description SCOTT EOM Calculates when the next queued clip starts playing in a Scott Studios system. For more information, refer to your Scott Studios documentation. SCOTT Cue In Set the beginning of a file in a Scott Studios System without performing destructive editing. For more information, refer to your Scott Studios documentation.
• Specify the timing of the command in the Position box. Otherwise, command markers are automatically set to the current cursor position. 4. Click OK. The new command marker appears on the command bar. Editing command properties Double-click any command marker to open the Command Properties dialog and edit its contents. You can also right-click a command marker and choose Edit from the shortcut menu.
Using an external audio editing program Vegas Pro software is a nondestructive editing environment, which means that the original source files remain unchanged by any editing done in the software. Destructive (constructive) edits that modify the actual source media file can be done in a separate application such as Sound Forge® software from Sony Creative Software Inc. By setting up a separate audio editor, you can quickly access the program from Vegas Pro software via the Tools menu or by pressing Ctrl+E.
Chapter 4 Advanced Editing Techniques This chapter builds on the techniques that were introduced in the last chapter. Ripple editing, pitch shifting, and takes are just three of the more advanced editing topics that are covered in this chapter. Snapping events Vegas® Pro software is preset to snap events into place as you drag them. Snap indicator Events can snap to another event’s edges, to the cursor position, a marker or region, the grid, or to a time selection.
Snapping to the grid When snapping is enabled, you can also choose to have elements in the timeline snap to the vertical grid lines in the timeline. From the Options menu, choose Snap to Grid (or press Ctrl+F8) to toggle snapping to grid lines. Tip: To change the spacing of the grid, choose Grid Spacing from the Options menu and choose a setting from the submenu. Snapping to markers When snapping is enabled, you can also choose to have elements in the timeline snap to markers in the timeline.
Note: If you drag to a snap point that does not occur on a frame boundary when Quantize to Frames is enabled, the snap indicator is displayed as a dashed line to indicate that the snap point will be quantized to the nearest frame boundary: Important: Edits that do not occur on frame boundaries can produce an undesirable visual result. For example if you split two events and move them together to create a cut, splits that are not at frame boundaries can produce a short dissolve in your rendered video.
Editing from the timeline 1. Select an event. 2. Use the = and - keys on your keyboard (not the numeric keypad) to adjust pitch: Key Result = Raise pitch one semitone. Ctrl+= Raise pitch one cent. Shift+= Raise pitch one octave. Ctr+Shift+= Reset pitch. - Lower pitch one semitone. Ctrl+ - Lower pitch one cent. Shift+ - Lower pitch one octave. Ctr+Shift+ - Reset pitch.
4. If you selected ACID from the Method drop-down list, indicate the new event tempo and the amount of pitch shifting you want to apply: a. Type the desired event length in the New tempo box. b. Type the desired pitch shift (in semitones) in the Pitch change box. If you want to change the event length without changing pitch, type 0 in the box. If you want the pitch to be determined by the new event tempo, select the Lock to stretch box.
Using takes as alternate versions of events You can use takes to associate multiple media files with an event. For example, if you create multiple versions of a voiceover event or multiple camera angles of a video event, you can maintain all the takes in your project. By specifying which take should be used before playback or rendering, you can maintain several drafts of your project in a single project file.
Deleting the active take in an event From the Edit menu, choose Take, and choose Delete Active from the submenu. Deleting a take from an event 1. Right-click the event that contains the take. 2. From the shortcut menu, choose Take, and choose Delete from the submenu. The Delete Takes dialog is displayed. 3. Click the take you want to delete and click OK. Switching between takes 1. Right-click the event that contains the takes. 2.
Using the Trimmer window The Trimmer allows you to work with and edit one media file at a time. The entire file is opened into the Trimmer, in contrast to events on the timeline that might only contain a portion of the actual source file. The main function of the Trimmer window is to allow you to trim a media file and place portions of it on a track. You can also add regions and markers to a file, preview the media file, or open it in an external audio editing program.
Tip: Click and hold the Previous Frame and Next Frame buttons to move the cursor multiple frames. You can open any number of files in the Trimmer at the same time, selecting the one you currently want to work on from the Trimmer history drop-down list. Tips: • If you open a multichannel audio file in the Trimmer, you can choose which channels you want to display in the Trimmer window. Right-click the waveform display, choose Channels from the shortcut menu, and then choose a command from the submenu.
Choosing multichannel/multistream options When you’re working with multichannel or multistream audio in the Trimmer, you can choose whether you want to add multichannel/multistream audio to the timeline when creating events.
Adding selections at the cursor (three-point editing) 1. Open a media file in the Trimmer. 2. Make a time selection in the Trimmer. 3. Select the track in the timeline where the selection will be added. Tip: You can also select two points in the timeline and a single point in the Trimmer to perform three-point editing. In this mode, ripple editing is not applied. For more information, see Applying post-edit ripples on page 89. 4.
To clear the list, click the Clear Trimmer History button ( ). All files in the drop-down list are removed. To remove a single file from the list, click the Remove Current Media from Trimmer History button ( from the drop-down list and the Trimmer window is blank. ). The media file is removed Adding and saving regions and markers to a media file The Trimmer allows you to add markers and regions to a media file in the same way that you add them to your project.
Viewing media markers and regions in events From the View menu, choose Event Media Markers to toggle the display markers (including XDCAM essence marks) and regions that are saved in a media file. These markers are displayed in the timeline in events that refer to the media file. Media markers and regions cannot be edited within the event. However, when you edit the markers in markers and regions in the Trimmer window or in an external audio editor, the event will reflect your changes.
Selecting a subclip in its parent media 1. Right-click a subclip in the Project Media window and choose Open in Trimmer from the shortcut menu. 2. Right-click the media file in the Trimmer window and choose Select Parent Media from the shortcut menu. The subclip’s original media file is opened in the Trimmer, and the portion of the media that represents the subclip is selected.
Viewing the Edit Details window To view the Edit Details window, choose Edit Details from the View menu or press Alt+4. The Show drop-down list allows you to view categorized project information. You can edit most entries by double-clicking them or by right-clicking them to display a shortcut menu. Right-click an entry to display a shortcut menu, or double-click an entry to edit it. Use the scroll bar to view other columns in the window.
Column Description Edit function File Path Displays the path of the event’s media file. Enter a new media file reference path for the event to use. Tape Name Displays the name of the source media tape name. Change the tape name here or in the properties dialog for the media file. For more information, see Modifying media file properties on page 286. Select Displays whether the event is selected in the project. Toggle the event’s selection by clicking the check box.
Chapter 5 Working with Multicamera Video Vegas® Pro makes it easy to work with video from multiple cameras right from the timeline. You can capture and edit video for a single scene from multiple cameras or for a single scene shot multiple times from one camera. Multicamera work is generally completed in the following steps: 1. Shooting video 2. Capturing video from cameras 3. Synchronizing video 4. Creating multicamera events 5.
Synchronizing multicamera video clips In order to effectively edit multicamera footage within Vegas Pro, you must have your video clips synchronized. The best place to do this is the timeline, using the same Vegas Pro editing tools as you would for any video project. 1. Start a new project or open an existing project to which you want to add the multicamera video. For more information, see Starting a new project on page 37. 2. From the Options menu, choose Quantize to Frames if it is not already selected.
Creating multicamera events Vegas Pro uses takes for multicamera editing. While the multicamera editing feature can be used with any multitake video event, Vegas Pro makes it easy to build multitake events for multicamera editing. For more information on the takes feature in Vegas Pro, see Using takes as alternate versions of events on page 108. 1. When Vegas Pro creates multitake events from your camera tracks, the take order will match the track order.
Notes: • Vegas Pro software can preview many takes at once in multicamera mode, but your computer performance will limit the playback frame rate. • If you have multiple video tracks and/or overlapping video events, the topmost multitake event is displayed in the Video Preview window. Single-take events, such as title overlays, are ignored. When there are multiple video tracks, the topmost event is the one on the topmost track.
Recutting sections You can change the take used for an entire time selection. When possible, events using the same take are merged. If a take is not available for part of the time selection, those events are unchanged. Expanding a multicamera track to multiple tracks Vegas Pro software can expand a multicamera track to multiple component tracks. 1. Select a multicamera track in the track list. 2. From the Tools menu, choose Multicamera, and choose Expand to Multiple Tracks from the submenu. 3.
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Chapter 6 Stereoscopic 3D Editing You can use Vegas® Pro to edit stereoscopic 3D (S3D) projects without any add-ons or additional tools. Editing a stereoscopic 3D project is just like editing a standard Vegas Pro project and requires minimal adjustment to your workflow: 1. Start a new project and set your project properties to choose a stereoscopic 3D mode. For more information, see Creating projects on page 37 and Setting up your stereoscopic 3D project on page 125. 2.
Setting Description Top/bottom (half) Choose this setting when your project will contain left- and right-eye views stacked in a single frame. Left- and right-eye views are displayed as half of the available vertical resolution. In this example, the left-eye image is tinted blue, and the right-eye image is tinted red: Top/bottom (full) Choose this setting when your project will contain left- and right-eye views stacked in a single frame.
Setting Description Left only Choose the Left only or Right only setting for editing on a 2D monitor or if you’re creating separate projects for the left- and right-eye outputs. Right only In this example, the left-eye image is tinted blue, and the right-eye image is tinted red: Blend Choose this setting to blend the left- and right-eye images. This setting is useful when adjusting events. Difference Choose this setting when performing vertical adjustments to minimize vertical disparity. 3.
Setting up stereoscopic 3D previews You can use the Video tab in the Preferences dialog to choose the stereoscopic 3D format that will be used to view your 3D project in the Video Preview window. For example, you could choose Anaglyphic (red/cyan) from the Stereoscopic 3D mode drop-down list to preview your project using anaglyphic 3D glasses.
1. Add your media to the timeline using Add Across Tracks mode so the video for the left and right eyes is on separate tracks. In the following example, the left-eye track is above the right-eye track. 2. Use one of the following methods to align the audio and video so the video output is synchronized. • If you used a slate or a loud clap for your synchronization point, you can align the events to within a frame of each other using the audio waveforms: a.
4. Select both video events, right-click one of the events, and choose Pair as Stereoscopic 3D Subclip. One video event is deleted from the timeline, the active take for the event is set to the new multistream subclip, and a new multistream clip is added to the Project Media window. If you view the clip properties for the new subclip, you’ll see that the Stereoscopic 3D Mode is set to Pair with next stream. 5. Delete the audio and video tracks you created in step 1.
Item Description Floating windows Drag the Left or Right sliders as needed to correct for screen-edge violations. If your stereoscopic 3D project contains objects that cross the screen edge and appear in front of the screen, users will see conflicting depth cues: the 3D effect tells the users eyes that an object should appear in front of the screen, but the edge of the screen contradicts the screen depth.
Setting Description Use project settings Uses the setting from the Video tab in the Project Properties dialog. Side by side (half) Choose this setting when your project will contain left- and right-eye views in a single frame. Left- and right-eye views are displayed as half of the available horizontal resolution.
7. Select the Swap Left/Right check box if you need to switch the left- and right-eye pictures. This setting is useful if you’re using a line-alternate display that displays the right eye on top, if you’re using magenta/green anaglyphic glasses, or to create cross-eye free-view 3D. 8. Drag the Crosstalk cancellation slider if you experience image bleed-through. For example, if you see right-eye images in your left eye, you can adjust the Crosstalk cancellation slider to compensate.
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Chapter 7 Working with XDCAM Video Vegas® Pro software provides all the tools you need to edit proxy and full-resolution HD and SD XDCAM MXF files natively, with no transcoding required. Vegas Pro supports all HD and SD XDCAM compression types, all frame rates, all aspect ratios, multichannel audio, and essence marks. All proxy and full-resolution XDCAM source file types can be mixed in a single timeline, edited, and transferred back to XDCAM.
5. Render your project for your destination format. You can also render to XDCAM EX format by choosing XDCAM EX (*.MP4) in the Output Format box in the Render As dialog. Note: The following notes apply when rendering XDCAM EX format files: • Only embedded XML metadata is included with rendered files. Embedded XML metadata supports markers and regions; title, author, and description summary information; recording date/time; and timecode in/out.
XDCAM and XDCAM HD workflow You can use MXF files just like any other supported media type. The following sections provide a workflow for efficient editing. Note: The XDCAM deck is not available for external monitor or print to tape while in XDCAM Media Drive mode. Click the Safely Remove Hardware icon ( ) in the Windows system tray and choose your XDCAM device from the menu to disconnect the device. You can then switch to AV/C mode and reconnect to enable external monitor and print to tape functionality.
Setting up an XDCAM device Use the following procedure if you need to set up an XDCAM deck or camera for transferring clips, replacing proxy files with fullresolution clips, or exporting video to an XDCAM device. XDCAM deck XDCAM camera IEEE-1394 ports for transfer Note: The XDCAM deck is not available for external monitor or print to tape while in XDCAM Media Drive mode.
Tip: The XDCAM deck is not available for external monitor or print to tape while in XDCAM Media Drive mode. Using FTP transfers allows you to export to a remote device and or use the device’s IEEE-1394 connection in AV/C mode for external monitor previewing. 3. Click OK. Note: For information about using your camera or deck, refer to its documentation.
Item Name Description Stop Click to stop playback. Auto Preview Automatically preview media files when you click them in the XDCAM Explorer window. Views Click the down arrow and choose a command from the menu to change the way clips are displayed in the XDCAM Explorer. All Essence Marks Displays a separate thumbnail for each essence marker in a clip. Shot Marks 1 & 2 Displays a separate thumbnail for each shot marker in a clip. Clips Displays a single thumbnail for each clip.
Importing XDCAM discs You can use the XDCAM Explorer window to import full- or proxy-resolution clips from XDCAM discs to your computer for editing. Tips: • If you delete XDCAM clips from your computer, those clips will appear offline in your projects. You can reimport the clips by rightclicking the clips in the Project Media window and choosing Recapture from the shortcut menu. • The XDCAM deck is not available for external monitor or print to tape while in XDCAM Media Drive mode.
4. In the Clip Resolutions box, select check boxes to indicate which clips you want to import: Tip: Proxy files are much smaller than the full-resolution versions. If you're working on a system with limited disk space or processing power, you can edit the smaller proxy files on the timeline and replace the proxies with full-resolution files before rendering. Proxy editing is ideal for storyboarding or rough-cut editing.
Editing XDCAM clips on the timeline Creating and editing a project You can use MXF files just like any other supported media type on the timeline. Depending on your workflow, you might want to use proxy or full-resolution files on the timeline. Tip: Proxy files are much smaller than the full-resolution versions. If you're working on a system with limited disk space or processing power, you can edit the smaller proxy files on the timeline and replace the proxies with full-resolution files before rendering.
5. If you’re working with proxy-resolution clips, replace them with full-resolution clips before rendering your project or exporting it to an XDCAM disc: a. Click the Conform XDCAM Media in Current Project button ( ) in the XDCAM Explorer window. b. If the full-resolution clips are not available on your computer, the Conform XDCAM Media in Current Project dialog is displayed. c. Insert the specified disc.
2. Now click the bus button ( ) on each track to assign the channels to busses. We’ll assign channels one and two to Bus A, channels three and four to Bus B, and channels five and six to Bus C. Alternatively, you could create one bus per channel. We’ll use this channel mapping when you render your video or export it to an XDCAM camera or deck. For more information, see Exporting video to an XDCAM disc on page 146.
3. Insert the specified disc. If the events on the timeline have been trimmed, you can select the Trim clips to used regions when possible check box to import only the portions of the media files required for the events. If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see Setting up an XDCAM device on page 138. 4. Click Continue to import the full-resolution clips. 5. Repeat steps 3 and 4 as needed. 6.
4. Choose render settings: a. Select the Render format radio button. b. In the File path box, type the path to the file you want to render, or click the Browse button to browse to the folder you want to use and then type a file name. This path is used to render an MXF file to your hard drive before transferring to your XDCAM device. You can delete the file after the transfer is complete. c. Select the Enable multichannel mapping check box if you want to map render multiple channels of audio.
Exporting a rendered file Use this procedure when you have a rendered MXF file that you want to save to an XDCAM disc. Important: If you are exporting a rendered file to an XDCAM disc, the file must precisely conform to the target disc format, or the export will fail. 1. From the Tools menu, choose Export Video to XDCAM Disc (or click the Export Video to XDCAM Disc button ( ) in the XDCAM Explorer window). The Export Video to XDCAM Disc dialog is displayed. 2.
Chapter 8 Working with Tracks Tracks contain the media events on the timeline of a project. There are two types of tracks in a Vegas® Pro project: video and audio. Each type of track has its own features and controls. While tracks can be organized and mixed in any order, track hierarchy can be important in determining the final output for video. Because tracks are containers for events, effects that are applied to a track apply to every event in that track.
2. Type the new track name. 3. Press Enter to save the track’s name. Organizing tracks Vegas Pro software is flexible in how tracks can be organized. You can arrange, group, and resize tracks to fit your particular needs. Reordering tracks When you create tracks, they are arranged in the order that they were added. It is a simple process to reorder tracks to fit your needs. You can reorder one or more tracks at a time. Note: Track hierarchy can be critical in video compositing.
Adding tracks to existing track groups Drag one or more tracks into a track group to add the selected tracks to the group. Removing tracks from groups Drag one or more tracks out of a track group to remove the selected tracks from the group. You can also right-click one or more selected tracks in a group, choose Track Group, and then choose Ungroup Selected Tracks to remove tracks from a group. Clearing track groups 1. Click the track group header to select all tracks in the group. 2.
Changing track height You can control track height by dragging the bottom edge of a track in the track list. You can also change track height by clicking the buttons on the track list. Action Button Resulting Track Height Minimize Track Height Restore Track Height Maximize Track Height You can also use several different keyboard shortcuts to change all track heights at once: • Press Ctrl+Shift+Down Arrow or Ctrl+Shift+Up Arrow to change the height of all tracks in your project at once.
Using the track list Each track in your project has its own controls, faders, and sliders that are contained in the track list on the left side of the track. You can work with these controls to affect the events on the track. The controls in the track list can function as trim controls or automation controls for track volume, panning, assignable effects send, and bus send levels. Adjusting the trim control affects the level of the entire track.
The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For example, setting the trim control to -9% left has the same effect as moving every envelope point 9% to the left. Note: This procedure applies to stereo panning only. For information about panning 5.1 surround projects, see Panning audio on page 254. Tip: If you do not see this slider on a track, increase the track height. For more information, see Resizing a track on page 152.
Item Description Balance (0 dB Center) In a stereo project, this mode can help you adjust the relative signal levels of the channels in stereo source material. As you pan from the center to either side, the opposite channel begins at the specified center value (0 dB -3 dB, or -6 dB), and decays to -infinity. The signal in the side you are panning toward progresses from the specified center value (0 dB, -3 dB, or -6 dB) to 0 dB.
Item Description Film This mode allows you to pan between pairs of adjacent speakers in 5.1 surround projects using a constant power model. This mode is optimized for theater-style speaker placement. In stereo projects, Film mode functions identically to Constant Power. As you drag the pan point to the center speaker, the sound becomes diffused through the front and rear speakers. When the track is panned fully to the center speaker, there is no output from the front and rear speakers.
4. Drag the slider to adjust the level of the track sent to the assignable effects chain. Note: Assignable effect sends are post-volume by default. To change to pre-volume, click the Pre/Post Volume Send button ( ). Assigning audio tracks to busses If your project contains multiple busses, you can assign a track to a specific bus. 1. Click the Bus button ( ) in the track list to display a drop-down list of available busses. 2. From the drop-down list, choose the bus for the track’s output.
Adjusting the composite level (video only) The Level slider in the track header determines the opacity of the video track. The slider can function as a trim control that adjusts the overall opacity of the track, or it can adjust track composite level automation settings. For more information, see Adjusting the composite level automation settings on page 171. The trim level is added to the composite level automation settings so your envelope is preserved, but with a boost or cut applied.
Muting a track The Mute button ( ) in the track list temporarily suspends playback of the track so that you can focus on another track. When a track is muted, it appears grayed out on the timeline. You can mute more than one track at a time. The Mute button can mute a track or change its mute automation state. For more information, see Mute automation (audio and video) on page 165.
Soloing a track The Solo button ( ) in the track list isolates a track’s events for playback. This allows you to focus on a track’s contents without the distraction of other tracks. You can solo more than one track at a time. To solo a track, click the Solo button on that track. To solo several tracks, select the tracks and click the Solo button on any of the selected tracks. Click the Solo button again to restore the track(s) for playback.
Setting default track properties You can use the settings of a selected track to determine the default settings for all new tracks in your project. Properties that can be set appear in the Set Default Track Properties dialog. 1. Set up a track in your project with the properties to use as default settings for new tracks. 2. Right-click the track number and choose Set Default Track Properties. The Set Default Track Properties dialog appears. 3. Select the check boxes that you want to set as defaults. 4.
Resizing audio bus tracks You can drag the horizontal splitter between the track list and bus tracks to increase or decrease the space allocated to bus tracks. Perform any of the following actions to resize individual bus tracks: • Drag a bus track’s bottom border to set its height. • Click the Minimize button ( ) to minimize a track vertically. • Click the Maximize button ( ) to zoom in vertically so a bus track fills the lower portion of the timeline.
Rendering to a new track From the Tools menu, choose Render to New Track to mix multiple tracks to a single track. This function is similar to track bouncing in the analog world. Tip: When your project contains many tracks and effects, mixing down can help conserve processing power. When you render multiple tracks, any envelope or track effects that you have applied will be rendered into the new track. The original source files remain unaffected, and the new track(s) will be saved to a new file. 1.
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Chapter 9 Using Automation Automation allows you to control audio and video levels, panning, and effect parameter automation over time. You can create fades, apply stereo panning, and vary effect parameters throughout your project. Automation is represented on the Vegas® Pro timeline as an envelope or set of keyframes.
Adding or removing mute automation 1. Select a track. 2. From the Insert menu, choose Audio Envelopes or Video Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the shortcut menu. 3. From the submenu, choose Mute. A check mark is displayed next to the command, and an envelope is added to the timeline. 4.
If you adjust the fader/slider during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automation recording modes on page 178. Assignable effects automation (audio only) You can use assignable effects automation to vary the level of a track sent to an assignable effects chain. Adding or removing assignable effects automation Before you can add an assignable effects envelope, you’ll need to add an assignable effects chain to your project.
Bus automation (audio only) You can use bus automation envelopes to vary the level of a track sent to a bus. Adding or removing a bus automation envelope Before you can add a bus envelope, you’ll need to specify the number of busses for your project. 1. Select an audio track. 2. From the Insert menu, choose Audio Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the shortcut menu. 3. From the submenu, choose the bus where you want to send the selected track.
Adding effect automation 1. Click the down arrow next to the Track FX button ( ) and choose FX Automation to display the FX Automation Chooser. Note: If no track effects exist, clicking the Track FX button will display the Plug-In Chooser. Effects that can be automated are indicated by the red icon ( ) in the chooser.
Adjusting effect automation parameters You can adjust automated effect parameters by editing the envelopes in the timeline or by recording automation with the controls in the Audio Track FX, Bus FX, or Assignable FX window. If you’ve enabled the Bypass parameter for a plug-in, you can click the Bypass button in the plug-in’s banner to toggle the Bypass envelope at the cursor position.
Composite level automation (video only) You can use the composite level automation envelopes to adjust the opacity of a track over time. Adding or removing composite level automation 1. Select a video track. 2. From the Insert menu, choose Video Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the shortcut menu. 3. Choose Track Composite Level from the submenu or shortcut menu. 4.
6. Drag the Fade slider. The slider behaves differently when you change the track automation recording mode: • When the track automation mode is set to Off, the slider adjusts the fade level of the entire track. • When the track automation mode is set to Read, the slider will follow the envelope during playback but cannot be adjusted. • When the track automation mode is set to Touch or Latch, the slider edits the envelope setting at the cursor position.
2. Add and adjust envelope points as necessary to indicate how many frames will be calculated between frames (using the project’s frame rate) to create the blur. Note: Video supersampling significantly increases your rendering time. For example, when you set the video supersampling envelope to 2, Vegas Pro software renders twice as many frames as it would without supersampling. Adjust the envelope to apply supersampling only where necessary.
3. Release the mouse button when you’re finished drawing. If the Smooth and thin automation data after recording or drawing check box is selected on the External Control & Automation tab of the Preferences dialog, the number envelope points will be reduced when you release the mouse. Unthinned envelope Thinned envelope Thinning envelope points Thinning envelope points decreases the number of points on an envelope while retaining the envelope’s overall settings.
Changing envelope fade curves You can set the type of fade curve used after each envelope point: linear, fast, slow, smooth, or sharp. You can select either a point or a portion of the envelope to set the fade curve. If you select a portion of the envelope, the fade curve is applied to that envelope segment. If you select a point, the fade curve is applied to the segment of the envelope after the selected point. 1. Right-click a point or a portion of the envelope to display a shortcut menu. 2.
Alternatively, right-click an empty area of a track, choose Insert/Remove Envelope from the shortcut menu, and choose an envelope type from the submenu to remove that envelope. Note: When you remove a track envelope from a track and then add it again, all points are reset. Using the Envelope Edit tool You can also edit envelope points using the Envelope Edit tool. To use this tool, click the Envelope Edit Tool button ( ).
Copying an envelope to another track 1. Select the Envelope Edit Tool button ( ). 2. Select the envelope you want to copy: a. Double-click above the time ruler to create a selection that matches the length of your project. b. Click the envelope you want to copy. Tip: If the envelope isn’t displayed, you can right-click the track, choose Show Envelopes from the shortcut menu, and then choose an envelope from the submenu. 3. From the Edit menu, choose Copy. 4.
Automation recording modes Automation recording allows you to edit envelope and keyframe settings by using the controls in the Vegas Pro interface. When combined with a control surface, you can create fades and adjust control parameters with a level of control that only a tangible control can provide. Automation recording is available for the following settings: • Audio track envelopes (using the controls in the track header).
5. Click the Stop button ( ) to end playback and stop recording automation. Overwriting recorded settings in Latch mode In Latch mode, envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control’s current setting overwrites the existing envelope points/ keyframes. Use Latch mode to overwrite automation settings with new values. 1.
Mode Automation Write (Latch) Track Icon Description The envelope/keyframe value is applied during playback, and the control follows the envelope/keyframe settings during playback and when you position the cursor. Envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control’s last setting overwrites the existing envelope points/ keyframes.
Chapter 10 Working with Events Events are windows into media files in a project and are the most basic unit of editing in Vegas® Pro software. Media files that are inserted into the timeline are automatically contained within an event. Trimming and editing an event does not affect the source media file in any way. Setting event switches Event switches are important functions that are used to determine the basic behavior of events. You can set switches for a single event or multiple events at the same time.
For video events, turning off the Loop switch makes the last frame repeat for the duration of the event beyond its original length, creating a freeze frame effect (as in the middle example below). The Loop switch is enabled for the event in the last example below. The original three frame clip. Looping is off. The elongated event repeats (freezes) the final frame. Looping is on. The entire event repeats.
3. Click Re-calculate to normalize the event again. Tip: You can set the maximum decibel level used to calculate the event during normalization. For more information, see Audio tab on page 425. Maintain aspect ratio (video only) Video and image files of various sizes and formats can be included in a single project. The project itself can have a different frame size aspect ratio from the source media files. This is not a problem, but you must specify how these differences are handled.
Adjusting audio channels Vegas Pro software allows you to perform audio channel conversion nondestructively. You can mix channels, convert to mono, swap channels in a stereo file, or choose the channel that you want to use in a multichannel file. 1. Select an event and choose Channels from the Edit menu (or right-click an event and choose Channels from the shortcut menu). A submenu is displayed. 2. Choose a command from the submenu to specify how to treat the channels in your file.
Stabilizing video clips You can apply the Stabilize plug-in to analyze and remove camera shake from video. 1. In the Project Media window, select the video you want to stabilize. Tip: If you’re using only a portion of a longer media file, you can use the Trimmer window to create a subclip that contains only the portion of the media that is used in your project. Stabilizing a subclip requires less processing than stabilizing a full media file. 2.
Using audio event envelopes (ASR) You can apply envelopes to individual events. Envelopes, also known as ASRs (attack, sustain, and release), give you the ability to control an audio event’s fade-in, fade-out, and overall volume level. Notes: • Event envelopes only affect an event. Track envelopes affect the entire track. For more information, see Composite level automation (video only) on page 171.
Setting an event’s fade in and out The event handles allow you to change an audio event’s fade in and out volume. You can also change the type of curve that the event uses to control the volume’s fade in or out. 1. Place the mouse pointer on a handle (upper corners of the event). The pointer changes to the envelope cursor ( ). 2. Click the corner of the event and drag to create a fade. To remove a fade, drag the end of the fade curve back to the edge of the event.
Using video event envelopes Video envelopes allow you to control an event’s opacity or velocity over time. Envelopes appear as lines on an event. With a velocity envelope, you have the added control of being able to create and edit envelope points. Note: Event envelopes only affect an event. Track envelopes affect the entire track. For more information, see Composite level automation (video only) on page 171.
Changing an event’s fade curve You can set the shape of the fade curve (fast, linear, slow, sharp, or smooth) that an event uses to increase or decrease the opacity over time. To access the different fade curves, right-click anywhere in the event’s fade-in or -out region and choose Fade Type from the shortcut menu. Tip: If you use the same fade curve frequently, you can set it as a default for all new video event envelopes. For more information, see Editing tab on page 429.
Removing a velocity envelope To remove a velocity envelope and all of its settings, right-click the event, choose Insert/Remove Velocity Envelope, and then choose Velocity from the submenu. Grouping events You are allowed to group events together within tracks or across separate tracks. Once you create a group, you can move all the events in the group within their tracks as a unit and apply event-specific edits at the same time.
Clearing a group You can ungroup all events by clearing the entire group. Clearing a group does not remove events from your project. 1. Right-click one of the members of the group. 2. From the shortcut menu, choose Group, and choose Clear from the submenu. Selecting all members of a group While grouped events move together within their tracks, selecting one member of a group does not automatically select every member of that group. 1. Right-click one of the members of the group. 2.
Removing a sync link 1. Select the events in the sync link. Tip: To quickly select all events in a sync link, right-click one event in the sync link, choose Sync Link from the shortcut menu, and then choose Select All from the submenu. 2. Right-click the synchronized event and choose Remove Sync Link from Selected Events from the shortcut menu. Unlinking an event in a sync link 1. Select the event you want to unlink from a sync link. 2.
Chapter 11 Mixing Audio You can mix your audio tracks in two ways: • The audio track controls in the track list allow you to adjust relative track volumes, panning, assignable FX send levels, and bus send levels for individual tracks. • The Mixing Console window allows for advanced multichannel mixing using multiple busses and assignable effects using a traditional hardware-style mixer view. Master Bus window The Master Bus window provides you with a streamlined view of your project’s master output.
Button Item Description Master FX Displays the Plug-In Chooser if there are no plug-ins assigned, or displays the Master FX window if the bus has an effects chain. Tip: Right-click the button and choose Post Volume from the shortcut menu if you want to apply the effects chain after the bus volume. This has the same effect as right-clicking the bus output fader and choosing Pre FX from the shortcut menu.
Mixing Console window From the View menu, choose Mixing Console to toggle the display of the Mixing Console window. The Mixing Console window provides an integrated view of all tracks and busses in your project using the appearance of a traditional hardware-based mixer.
Mixing Console toolbar The Mixing Console toolbar is displayed at the top of the Mixing Console window and allows you to quickly configure the window’s display; downmix audio; dim the output; or add tracks, assignable effects, or busses. Item Description Views Click the down arrow and choose a command from the menu: Channel List Displays or hides the Channel List on the left side of the Mixing Console window.
Item Description Dim Output Attenuates the volume of all busses that are routed to hardware outputs by 20 dB so you can check your mix at a lower level (or answer the phone). Click again to restore volume. Insert Audio Track Adds an audio track to your project. For more information, see Using audio track channel strips on page 201. Insert Assignable FX Creates an assignable FX chain that you can route to one or more tracks in your project.
The View Controls pane The View Controls pane is displayed on the left side of the Mixing Console window. If the Channel List pane is visible, the View Controls pane is displayed below the Channel List pane. You can use the buttons in this pane to show or hide components in the Mixing Console. Item Description Show All Click to show channel strips for all tracks, busses, and assignable effects chains. Audio Tracks Click to show or hide channel strips for audio tracks.
Channel strips Audio tracks, audio busses, input busses, and assignable effects chains are displayed as channel strips in the Mixing Console. When a control surface is enabled, an indicator is displayed in the Mixing Console to indicate which channels are under external control. Multiple bars are displayed if a channel is under the control of multiple devices.
Item Description Peak Meters Control Region The Peak Meters control region displays peak meters you can use to monitor instantaneous levels during playback and determine the loudest level in your audio signal. Tip: To change the range of all meters in the Mixing Console, drag the Meter Range slider in the View Controls pane (or right-click a meter and choose a range from the shortcut menu). Faders Control Region The Faders control region allows you to control a channel’s gain.
Adding track, assignable FX, and bus channels In its default configuration, the Mixing Console displays a channel for each track, bus, and assignable effects chain in your project. You can use the buttons on the Mixing Console toolbar to add tracks, assignable effects chains, or busses to your project: Item Description Insert Audio Track Adds an audio track to your project. For more information, see Using audio track channel strips on page 201.
Adding or editing track (insert) effects When the Insert FX control region is visible, each track displays its effects chain at the top of the channel strip. To show or hide the Insert FX control region, click the Insert FX button in the View Controls pane. For more information, see The View Controls pane on page 198. Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name.
When the Automation Settings button ( ) in the Faders control region is selected, the fader handle is displayed as with an automation icon ( ), and you can use it to edit send volume automation on the track. Note: The trim level is added to the automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB.
Monitoring track levels with VU/PPM meters When the VU/PPM Meters control region is visible, you can display volume unit (VU) and peak program (PPM) meters to help you determine the perceived loudness of your audio signal (peak program meters provide faster response times to volume increases than VU meters). To show or hide the VU/PPM Meters control region, click the VU Meters button in the View Controls pane. For more information, see The View Controls pane on page 198.
Monitoring track levels with peak meters When the Meters control region is visible, each track displays meters you can use to monitor track levels. To show or hide the Meters control region, click the Meters button in the View Controls pane. For more information, see The View Controls pane on page 198. Note: If the Meters control region is not visible, peak meters are displayed in the Faders control region.
Muting or soloing a track When the Faders control region is visible, each track displays Mute ( ) and Solo ( ) buttons. To show or hide the Faders control region, click the Faders button in the View Controls pane. For more information, see The View Controls pane on page 198. Muting a track When the Automation Settings button ( ) is not selected, you can click the Mute button ( ) to prevent a track from being played in the mix. Click the Mute button on additional tracks to add them to the mute group.
Arming a track for recording or toggle input monitoring When the Faders control region is visible, each track displays an Arm for Record button ( ( ) you can use to turn record input monitoring on or off. ) and an Input Monitor Mode button To show or hide the Faders control region, click the Faders button in the View Controls pane. For more information, see The View Controls pane on page 198. Arming tracks for recording Select the Arm for Record buttons ( ) on the tracks where you want to record.
Adjusting track panning or volume When the Faders control region is visible, each track displays a Pan slider and a Volume fader. To show or hide the Faders control region, click the Faders button in the View Controls pane. For more information, see The View Controls pane on page 198.
Using bus channel strips A separate channel strip is displayed for each bus in your project. To show or hide channel strips for busses, click the Busses button in the View Controls pane. Renaming a bus To rename a bus, double-click the label at the bottom of the channel strip and type a new name in the box (or press F2 to rename the selected bus). The channel strip in the Mixing Console is updated when you press Enter.
• Choose Remove to remove a plug-in from the effects chain. • Choose Presets, and then choose a setting from the submenu to load a new preset. • To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.).
To choose an output device, click the Output button and choose a bus or hardware output from the menu. Important: When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you render your project.
Monitoring bus levels with peak meters When the Meters control region is visible, each bus displays meters you can use to monitor output levels. To show or hide the Meters control region, click the Meters button in the View Controls pane. For more information, see The View Controls pane on page 198. Note: If the Meters control region is not visible, peak meters are displayed in the Faders control region.
Adjusting bus panning or volume When the Faders control region is visible, each bus displays a Pan slider and a Volume fader. Tip: The Pan slider is displayed only when a bus is routed to the master bus or an auxiliary bus. It is not available when the bus is routed directly to a hardware output. To show or hide the Faders control region, click the Faders button in the View Controls pane. For more information, see The View Controls pane on page 198.
Changing pre/post routing The Pre/Post-Fader Send button in the Sends control region and the Pre/Post Fader Insert FX button ( region work together to determine the signal flow for your busses. ) in the Faders control The Pre/Post Fader Insert FX button allows you to indicate whether the insert FX chain is affected by the channel’s gain fader. When set to Post Fader Insert FX ( ), the FX chain is affected by the channel’s gain.
Using input bus channel strips A separate channel strip is displayed for each input bus in your project. To show or hide channel strips for busses, click the Busses button in the View pane. For more information, see The View Controls pane on page 198. Renaming an input bus To rename an input bus, double-click the label at the bottom of the channel strip and type a new name in the box (or press F2 to rename the selected bus). The channel strip in the Mixing Console is updated when you press Enter.
• Choose Remove to remove a plug-in from the effects chain. • Choose Presets, and then choose a setting from the submenu to load a new preset. The current preset is indicated by a check mark. • To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.).
Setting the output to Output Off is useful when you’re using an input bus as a recording input and want to monitor the bus through the track or when using an input bus as a talkback mic. Important: When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you render your project. If you want to use an input bus as a track input, click the Record Input button on the track header, choose Input Busses from the menu, and choose an input bus from the submenu.
Item Description UK PPM The UK peak program meter (also known as a BBC meter) is a Type II meter and is displayed with a scale of 1 to 7, which corresponds to a range of -12 to 12 dBu: EBU PPM UK Marks dBu 7 12 6 8 5 4 4 0 3 4 2 8 1 -12 The EBU peak program meter is a Type II meter and is displayed with a scale of -12 to +12, which corresponds to -12 dBu to 12 dBu. 0 on the EBU PPM equals 0 dBu.
Muting an input bus When the Automation Settings button ( ) is not selected, you can click the Mute button ( ) to prevent an input bus from being played in the mix. Click the Mute button on additional input busses to add them to the mute group. To unmute an input bus, click the Mute button again. When the Automation Settings button ( ) is selected, the Mute button is displayed with an automation icon ( use the button to edit mute automation on the bus track.
When the Automation Settings button ( ) is selected, the Pan slider handle is displayed with an automation icon ( can use it to edit pan automation on the bus track. ), and you Note: The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For example, setting the trim control to 9 percent left has the same effect as moving every envelope point 9 percent to the left. Adjusting volume When the Automation Settings button ( the bus.
Using FX send (assignable effects) channel strips A separate channel strip is displayed for each FX send (assignable effects chain) in your project. To show or hide channel strips for assignable effects, click the FX Sends button in the View Controls pane. For more information, see The View Controls pane on page 198.
• To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.) Adjusting assignable effects input levels When the Sends control region is visible, each assignable effects chain displays controls you can use to adjust and monitor the input volume of the effects chain. To show or hide the Sends control region, click the Sends button in the View Controls pane.
Item Description Logarithmic VU Displays the meters in a logarithmic scale (like the Sound Forge peak meters) instead of the linear scales traditionally associated with VU meters.
Muting or soloing an assignable effects chain When the Faders control region is visible, each assignable effects chain displays Mute ( ) and Solo ( ) buttons. To show or hide the Faders control region, click the Faders button in the View Controls pane. Muting an assignable effects chain When the Automation Settings button ( ) is not selected, you can click the Mute button ( ) to prevent an assignable effects chain bus from being played in the mix.
When the Automation Settings button ( ) is selected, the Pan slider handle is displayed with an automation handle ( can use it to edit pan automation on the bus track. ), and you Note: The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For example, setting the trim control to 9% left has the same effect as moving every envelope point 9% to the left. Adjusting volume When the Automation Settings button ( the bus.
This input bus provides a signal path from your effects processor’s output to your project. 6. Send your track to the effects processor: Click the bus button on the track header and choose the bus you created in step 2. The bus button on the track header lets you send the track’s audio to your effects processor. 7. Click Play ( ). When you play your project, the track is sent to your auxiliary bus, into the effects processor, out of the effects processor into the input bus, and out to the master bus.
When you speak into the cue microphone, its output is sent to the recording booth without being mixed into your project output. Creating a Cue (Headphone) Mix with the Mixing Console When you’re recording, you’ll often need to create separate monitor mixes: the performer in the recording booth may need a slightly different mix than you’re listening to in the control room. The flexibility of the Mixing Console makes it easy to create custom cue mixes.
6. Now we need to route our headphone bus to one of our sound card’s outputs. a. In the Mixing Console, click the Output button in the I/O control region on the cue mix bus. A menu is displayed that lists all of our sound card’s outputs. Tip: To show or hide the I/O control region, click the I/O button in the View Controls pane. b. Choose the output where you want to send the headphone mix. c. Connect the performer’s headphones to the selected output. 7. Now we need to create our headphone mix. a.
Chapter 12 Adding Audio Effects You can use audio effects, or plug-ins, to improve the quality of the audio in a production or to create special artistic effects. Vegas® Pro software supports a variety of DirectX® and VST plug-in effects from both Sony Creative Software Inc. and third-party vendors.
Adding audio event effects From the Tools menu, choose Audio, and choose Audio Event FX from the submenu to apply or edit DirectX or VST plug-ins at the event level. Event-level plug-ins are applied only to the event where they are applied. Creating an event effects chain 1. Click the Event FX button ( ) on the event where you want to add effects (or select the event and choose Tools > Audio > Audio Event FX). The Audio Event FX window is displayed.
Adding audio track effects From the Tools menu, choose Audio, and choose Track FX from the submenu to apply or edit DirectX or VST plug-ins at the track level. Track-level plug-ins are applied to every event on the selected track. Tip: To add effects quickly, you can drag plug-ins and plug-in packages from the Plug-In Manager window to an audio track header. Creating a track effects chain 1. Click the Track FX button ( ) on the track where you want to add effects. The Audio Track FX window is displayed.
Adding bus effects In addition to assigning effects to individual tracks, you may also apply DirectX and VST effects to busses. Bus effects will be applied to all tracks assigned to that bus. If a track contains track effects and bus effects, track effects will be processed before the bus effects. For more information, see Audio signal flow on page 35.
Adding assignable effects From the Insert menu, choose Audio Assignable FX (or click the Insert Assignable FX button ( to create an effects chain to which you can route tracks in your project. ) in the Mixing Console toolbar) You can create up to 32 assignable effects chains in your project, and each chain can contain up to 32 effects. Creating an assignable effects chain 1. From the Insert menu, choose Audio Assignable FX from the submenu. The Plug-In Chooser window appears. 2.
Learn more about a specific audio effect For more information about using specific audio effects, click the Plug-In Help button ( the plug-in’s help file. ) in the audio effects window to display Editing audio effects Audio effect settings are displayed when you click the FX button ( ) on a track, bus, or Assignable FX control.
Adding or removing effects 1. Click the Plug-In Chain button ( ) to display the Plug-In Chooser. 2. Select a plug-in button, and then click the Add or Remove button. The modified chain is displayed at the top of the window. • Effects that can be automated are indicated by the red icon ( ) in the Plug-In Chooser. • VST plug-ins are indicated by the VST icon ( ) in the Plug-In Chooser. • If you select a plug-in package, that chain will replace the current chain. 3. Click the OK button.
Creating or deleting a preset Saving a preset for an individual DirectX plug-in 1. Adjust the settings for the plug-in. 2. Type a name in the Preset box. 3. Click the Save Preset button ( ). The settings for the current plug-in are saved. Saving a preset for an individual VST plug-in 1. Type a name in the Preset box. 2. Click the Save VST Preset As button ( ). The Save VST Preset dialog is displayed. 3. Browse to the folder where you want to save the .fxp file and type a name in the File name box. 4.
Creating and using effects packages An effects package allows you to quickly recall frequently used chains of effects. FX packages retain their chain order and individual plug-in settings. Saving an FX chain as a preset 1. Click the Plug-In Chain button ( ) on the Track FX, Bus FX, or Assignable FX dialog to display the Plug-In Chooser window. 2. Use the Plug-In Chooser to add, remove, or arrange plug-ins. 3. Click the Save As button. 4. Enter a name on the Save Plug-In Package dialog and click OK.
Applying non-real-time event effects Most processing in Vegas Pro is nondestructive: editing events and adding effects does not modify your source media. You can use non-real-time event effects to add effects to an event and render a new media file that includes the processed audio. Non-real-time effects are useful for large projects or for processor-intensive plug-ins. Tip: To add effects quickly, you can drag plug-ins and plug-in packages from the Plug-In Manager window to an event in the timeline. 1.
Chapter 13 Recording Audio Vegas® Pro software can record audio into multiple mono or stereo audio tracks while simultaneously playing back existing audio and video tracks. You are limited only by the performance of your computer system and audio hardware. Audio is recorded to a media file on your computer and into an event on the timeline. You can record into an empty track, a time selection, an event, or a combination of time and event selection.
Setup with digital multitrack This setup includes a digital multitrack recorder with an optional MIDI synchronization component. Usually you would have a mixer, a microphone, etc. connected to these components. Your particular setup will vary depending on your equipment. Refer to your components’ documentation for specific setup configurations. Digital out Digital card Digital in MIDI card Sync. out The dashed line indicates an option if you are synching Vegas Pro software to tape via a MIDI timecode.
Arming the track for recording Whether recording into an existing track, an empty track, a selected event, or a time selection, you must prepare a track for recording. You can arm multiple tracks prior to recording. Click the Arm for Record button ( ) in the track header. After a track is armed, a record meter appears in the track header. Depending on your hardware, a record gain fader may also appear. Arm the track first. Track is ready for recording using the Sound Mapper.
6. A small dialog opens displaying the name and location of the file or files that were just created. Click Done to return to the main workspace. Item Description Delete button Removes the selected file. Rename button Changes the name of the selected file. Delete All button Removes all files listed in the dialog. Done button Closes the dialog and returns you to the timeline.
3. Click the Arm for Record button ( ) on the event’s track. When recording into multiple selected events, arm their respective tracks at this time. 4. Click the Record button ( ) on the transport bar to begin recording. 5. Click the Record button ( ) again or the Stop button ( ) on the transport bar to stop recording. Recording into an event with a time selection Recording into a time selection allows for a pre- and post- roll during recording.
6. Begin generating MTC from your MIDI device. The top of the time display now reads MTC Input Locked, the time updates from the MIDI device, and recording automatically begins. Typically, there is a short delay between when you begin generating MTC and synchronization. Recording using an input bus When you use an input bus to record audio, you can include input bus effects with the recorded signal. For example, imagine that you need to record an electric guitar with an amplifier-modeling plug-in.
3. Set your track to record from your input bus: a. Click the Record Input button, choose Input Busses from the menu, and choose your input bus. b. Click the Record Input button and choose Input Monitor Mode: On or Input Monitor Mode: Auto so you can hear your input signal during recording. • When Auto ( ) is selected, you will hear the input monitor signal when playback is stopped and during recording.
Working with multiple recorded takes Clicking the Loop Playback button ( ) on the transport bar enables you to continually create takes during recording. Takes are different versions of a recorded event that you can quickly switch between to choose the best one. Each take within an event references a different source media file. During recording with loop playback enabled, the time selection continually repeats and starts recording a new take until you stop recording.
Using record input monitoring If you’re using an ASIO audio device and you want to hear your recording signal with real-time track effects, you can turn on input monitoring. To turn on input monitoring, click the Record Device Selector button ( or ) and choose Input Monitor from the menu, and then choose Auto or On from the submenu. During recording, your signal will be played back with the current track effects chain, but a dry (unprocessed) signal is recorded.
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Chapter 14 Working with 5.1 Surround Vegas® Pro software allows you to create 5.1-channel mixes to prepare audio for DVD-Video or 5.1-channel music projects. What is 5.1 surround? 5.1 surround is a standard format consisting of three speakers across the front and two speakers in the rear. The “.1” is a sixth channel called low-frequency effects (LFE) that enhances the bass levels in the mix. 5.1 surround includes five main channels... Left Left Surround Center Right ...
There are several ways to set up your system, depending on the sound card and speaker setup you are using. 5.1-compatible sound card Six powered speakers Six passive speakers with a six-channel amplifier Connect powered speakers to your sound card’s outputs as indicated by your sound card’s documentation. Connect your sound card’s front, rear, and center/ subwoofer outputs to the appropriate inputs on a six-channel amplifier/home theater receiver.
Surround panner Track routed to LFE Track routed to bus Track list in 5.1 surround mode Master Bus in 5.1 surround mode Mixing Console in 5.1 surround mode Routing the master bus outputs When you’re working in 5.1 surround mode, you’ll need to indicate where to send the output from your 5.1-channel mix. Setting your default routing Use the Audio Device tab of the Preferences dialog to set default routing for 5.1 surround projects. 1. From the Options menu, choose Preferences. 2.
Overriding the default device routing By setting up the device routing in the Audio tab of the Preferences dialog, you have set the defaults for surround routing. However, you can override the default device routing at any time using the Surround Master bus. 1. In the Master Bus window, click the Audio Device Selector button ( ) on the Surround Master bus. A menu of surround channels (Front L/R, Rear L/R, and Center/LFE) appears. 2. In the submenu, match a surround pair with the appropriate output. 3.
Adjusting assignable effects send or bus send levels You can adjust send levels for busses or assignable effects chains using the multipurpose fader in the track header. Click the fader label and choose an assignable effects chain or bus from the menu. The fader in the track header can function as a trim control that adjusts the overall send level of the track, or it can adjust send level automation settings. Deselect the Automation Settings button ( ) on the track header if you want to adjust trim levels.
Panning audio You can pan audio in a 5.1 surround project in two ways: • Pan tracks individually using the Surround Panner window. • Route tracks to channel strips in the Mixing Console (busses and assignable effect chains) and pan the channel strips using the Surround Panner window. Panning tracks 1. Deselect the Automation Settings button ( ) on the track you want to pan. 2. Double-click the surround panner on the track you wish to pan. The Surround Panner window is displayed.
4. Double-click the surround panner on the channel strip to display the Surround Panner window. Double-click to display the Surround Panner window. 5. Adjust the panning settings. For more information, see Using the Surround Panner window on page 255. 6. Close the Surround Panner window. Tip: You can also use the surround panner on the channel strip to pan your track.
2. Drag the pan point to position the sound within the sound field. For more information, see Moving the pan point on page 256. 3. Click the center speaker icon to include the center channel and drag the Center fader to apply a gain to the center channel. Applying a gain to the center channel may make dialogue more present in the mix. Note: When automating panning using keyframes, you cannot automate the gain applied using the Center fader. For more information, see Automating panning on page 258.
Item Description Balance (0 dB Center) In a stereo project, this mode can help you adjust the relative signal levels of the channels in stereo source material. As you pan from the center to either side, the opposite channel begins at the specified center value (0 dB -3 dB, or -6 dB), and decays to -infinity. The signal in the side you are panning toward progresses from the specified center value (0 dB, -3 dB, or -6 dB) to 0 dB.
Item Description Film This mode allows you to pan between pairs of adjacent speakers in 5.1 surround projects using a constant power model. This mode is optimized for theater-style speaker placement. In stereo projects, Film mode functions identically to Constant Power. As you drag the pan point to the center speaker, the sound becomes diffused through the front and rear speakers. When the track is panned fully to the center speaker, there is no output from the front and rear speakers.
Adding panning keyframes With panning keyframes turned on, you can add keyframes at any location along the track or bus track. 1. Position the cursor where you want to begin panning the track. 2. Select the Automation Settings button ( ) on the track you want to pan. 3. Double-click the surround panner to display the Surround Panner window. 4. Adjust the panning settings. For more information, see Using the Surround Panner window on page 255. Note: You cannot automate muting/including channels. 5.
Working with keyframes After you add keyframes, you can work with them in much the same way as envelope points. For more information, see Composite level automation (video only) on page 171. Moving keyframes Drag a keyframe to a new position below its track. Duplicating keyframes Hold Ctrl and drag a keyframe to a new position below its track. Editing keyframes 1. Double-click a keyframe to open the Surround Panner window. 2. Adjust the panning settings as desired and close the window.
2. Drag the Smoothness slider to adjust the smoothness of the spatial interpolation path leading up to this keyframe. Three keyframes with smoothness=100... ...and the same three keyframes with smoothness=0. Locking keyframes to events If you want keyframes to move with an event when it is moved along the timeline, choose Lock Envelopes to Events from the Options menu. Hiding keyframes 1. Select the track for which you want to hide keyframes. 2.
3. In the Output Format box, choose the multiple mono template, or choose an appropriate 5.1-channel template if the selected file type supports it. Tips: • When you render a 5.1 surround project to AIFF (.aif), Perfect Clarity Audio (.pca), Wave64 (.w64), or Wave (.wav) formats, you can save each of the surround master busses to a separate file by choosing the multiple mono setting from the Template drop-down list. For example, if you’d typed My Film.
Creating a DVD or Blu-ray Disc with DVD Architect Pro software If you have DVD Architect™ Pro software, you can create menu-based projects, music compilations, picture slide shows, or a singlemovie DVD that will play back automatically in your DVD or Blu-ray Disc™ player. DVD Architect Pro software includes support for many file types and can convert your media to the formats required as needed.
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Chapter 15 Using Advanced Video Features While simple to learn, Vegas® Pro software is a powerful application with many advanced features. This chapter covers some of the advanced video features of this powerful tool. Panning and cropping video events From the Tools menu, choose Video, and choose Video Event Pan/Crop from the submenu to crop, zoom, rotate, or pan the selected video event. You can also use panning and cropping to add motion to video events created with still images.
Cropping or zooming a video event Cropping is the process of removing the outside edges from an image or video without resizing it. When you use a single setting for the duration of an event, you are cropping the contents of the event. When you add keyframes to change the extent of cropping through the duration of the event, you can create an animated zoom effect. Crop area Preview output 1.
3. If you want to create an animated crop or zoom, use the keyframe controller at the bottom of the Video Event FX window to establish distinct zoom settings throughout the duration of the event. During playback, intermediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation. For more information about keyframe animation, see Using keyframe animation on page 332.
4. Edit the curves as necessary. Button Tool Description Normal Edit Use to select and edit control points and tangents. • Click a point to select it, or drag to move the point. • Hold Ctrl while clicking to select/deselect multiple points. • Hold Alt and click a segment to select all points on the path. The pointer is displayed as a . • Hold Alt+Shift while clicking an anchor point to invert the selection state of each anchor on the path. The pointer is displayed as a .
Item Description Feather % Select the control and type a value in the box (or click the down arrow to display a slider) to set the amount of feathering that is applied to the path. 6. Repeat steps 3 through 5 as necessary if you want to create multiple Bézier masks. 7. If you want to create an animated mask, use the keyframe controller at the bottom of the Video Event FX window to establish distinct mask settings throughout the duration of the event.
1. From the Tools menu, choose Video, and choose Video Event Pan/Crop (or click the Event Pan/Crop button ( ) on the video event). The Pan/Crop plug-in is displayed in the Video Event FX window. 2. Adjust the selection area to crop the event. (If you pan the entire frame, the background behind the video event will show through.) • To resize the selection box, drag the handles located around the perimeter of the box.
During playback, intermediate frames are interpolated to create smooth motion. For more information about keyframe animation, see Using keyframe animation on page 332. Tip: Use the Pan/Crop default smoothness control on the External Control & Automation tab of the Preferences window to set the default Smoothness value for new keyframes. For more information, see External Control & Automation tab on page 432.
Item Description Lock aspect Choose Yes from the drop-down list if you want the selection box to retain its aspect ratio during resizing. When you choose No, the height and width can be resized independently. Scale about center Choose Yes from the drop-down list if you want the selection box to retain its center point when you resize the box by dragging its edges. When you choose No, the opposite side of the selection box will remain anchored when you drag the edges to resize it.
Working with still images You can use still images for a number of purposes including slide shows, overlay graphics, and titles. You can insert still images into projects just like any other media files. The default length for a still image event when it is first added to a track is five seconds (this is an adjustable preference), but this duration can be modified by dragging the edges to create a still image event of any length.
To enable this feature, select the Automatically crop still images added to the timeline check box on the Editing tab in the Preferences dialog. For more information, see Editing tab on page 429. You can use the Pan/Crop plug-in to adjust the cropping after you have added a still image to the timeline and the software has automatically cropped the image. For more information, see Cropping or zooming a video event on page 266.
Adding titles, text, and credits Most video projects include titles and credits. There are several ways to add text to your project: you can use the included plug-ins for static text and scrolling credits, or you can use an external image-editing program to create images with text on them. Adding titles and text with the Titles & Text plug-in 1. From the View menu, choose Media Generators to display the Media Generators window. 2. In the left pane, select the Titles & Text plug-in.
1. Start your image-editing application. 2. Create a new image and set the dimensions of the new image to be the same as the frame size for the project. For more information, see Correcting images for DV pixel aspect ratios on page 273. 3. Make the default canvas (background) transparent. 4. Select the Text tool and type the text for your title. Note: Size and position your titles carefully to fit within the Title Safe Area, or the titles may extend beyond the edges of your television.
Resampling video Resampling allows Vegas Pro software to interpolate frames in an event when the frame rate of a media file is lower than the project’s frame rate. With resampling, the intervening frames are interpolated from the source frames, much like a crossfade between the original frames.
Resampling at either the event or project level perform the same function. There are few cases where resampling may be particularly important: • When the frame rate of the source media for an event is slower than the project’s frame rate. For example, when you are using a source media file that has a 10 fps rate in a 29.97 fps rate project, resampling is recommended. • When changing the speed of a video event. For example, when slowing a clip to 30% using a velocity envelope, resampling is recommended.
Working in DV format Vegas Pro software is optimized for DV editing. If your project is destined for tape or television, the DV format is an excellent choice. The DV codec installed with Vegas Pro provides video with excellent image quality, even over multiple generations, and provides audio that is better than CD-quality. If you start with well-shot DV footage and stay within the DV format throughout the editing process, you can output broadcast-quality video programs.
Eliminating out-of-range colors The DV format allows color values to exceed broadcast NTSC and PAL color level standards. If you have a scene whose colors are too hot, or if you want to be sure that your video stays within legal broadcast levels, apply the Broadcast Colors effect to specific events or the entire project. Be aware that applying the Broadcast Colors effect results in recompression of the video.
Working in HDV format HDV cameras record high-definition video to standard DV tapes using a highly compressed variation of the MPEG-2 format. Because of this compression, you can capture HDV clips at data rates that are no higher than DV capture. You can use HDV files just like any other supported media type on the timeline. Capturing HDV clips If you have an HDV camera, you can use Vegas Pro software to capture your clips as MPEG-2 transport streams.
If you’re performing frame rate or frame size conversion, ensure the Video rendering quality is set to Best on the Project tab of the Custom Template dialog. Destination Proxy Format HDCAM over HD-SDI Render an .avi file that uses the Sony YUV codec. The frame rate and frame size should match your HDCAM master. Digital Betacam or XDCAM over SD-SDI Render an .avi file that uses the Sony YUV codec. The frame rate and frame size should match your master. 24p DVD Render an .
Working with RED ONE and EPIC camera files RED ONE® and RED EPIC® cameras record 4K footage as REDCODE™ RAW (.r3d) files that you can add directly to the Vegas Pro timeline and edit like any other supported media type. 1. Use the Device Explorer to browse and import clips from your RED camera’s memory card or hard drive to your local hard drive. For more information, see Using the Device Explorer on page 60. 2. Set your project properties to match the format of your final output.
Modifying properties for multiple files • When multiple files are selected, check boxes appear for slider settings that do not match across all selected files. When you drag the slider or type a new value, the check box is automatically selected, and the new value is applied to all selected files when you click OK. Clear the check box to leave the setting unchanged for the selected files.
Item Description Frame rate Choose a frame rate for the final movie’s destination from this drop-down list. For more information, see Frame Rate (Video) on page 468. Stereoscopic 3D mode Choose a setting from the drop-down list to create a stereoscopic 3D project, or choose Off to create a 2D project.
Item Description Adjust source media to better Select this check box if you want Vegas Pro to scale images or adjust interlacing to match project or render allow media files to work better with your project. settings This setting will correct for the following types of inconsistencies: • DV media will be cropped for 320x240 Internet renders to prevent letterboxing. • DV widescreen media will be cropped in HD projects. • HD media will be cropped in DV widescreen projects.
Editing properties for an audio file The following settings are available for audio files. Tip: You can also view the properties for the media file associated with an event. Right-click the event, choose Properties from the shortcut menu, and click the Media tab. Item Description File name Displays the current media file name and location. Tape name This can be used to display the name of the tape from which you recorded the audio.
Item Description Alpha channel Choose a setting from the drop-down list to change the alpha channel information for the file. If the alpha channel in an image is not detected, choose the correct type of alpha channel from this drop-down list. If you’re unsure, try the Premultiplied setting first. • Undefined: Video provides no alpha channel information. This setting ignores any alpha channel information in the file.
Setting timecode media properties These properties appear in the Timecode section of the Media tab: • The Use timecode in file radio button is the default setting, where the media file’s timecode is used. • The Use custom timecode radio button allows you to set the media file’s timecode manually. • If you have selected the Use Custom timecode radio button, a drop-down list contains the available timecode formats. SMPTE Drop (29.97 fps, Video) for example, is the timecode format for NTSC DV.
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Chapter 16 Closed Captioning Vegas® Pro software supports adding closed captions to video files and rendering those files as XDCAM HD and XDCAM HD422 MXF files. You can also add captions to video files and render as Windows Media Video for use in Windows Media Player. Adding closed captioning to video files Closed captions help make your video productions accessible to a wider audience.
1. Select events with captions. 2. From the Tools menu, choose Scripting, and then choose Promote Media Closed Captioning. The markers appear as command markers on the timeline, and you can move and edit the markers as needed: Rendering captions You can export captions in rendered media and in standalone .scc files. • When you render to XDCAM HD/XDCAM HD422 MXF formats, captioning markers are embedded in the media file. An .scc file is also created using the base name of the rendered media file.
Rendering Line 21 captions Line 21 captions are supported during rendering when using a frame size of 720x486 pixels (or taller) and a frame rate of 29.97 fps. Note: Encoding Line 21 captions for DVD is not supported. MPEG-2 video for DVD cannot exceed 480 lines of resolution. DVD Line 21 captions are embedded as metadata in the MPEG-2 video stream and are not supported.
Synchronizing captions with video After you import captions, you may need to adjust timing to synchronize the markers with your video. 1. Use the procedure described earlier in this chapter to import captions. 2. Position your video events as desired in the timeline. 3. From the View menu, choose Edit Details to display the Edit Details window. 4. From the Show drop-down list, choose Commands. Your captioning commands are now displayed in the Edit Details window. 5.
Item Description Comment Type closed caption control commands here. Commands must conform to standard caption markup, and command strings are case and space sensitive. For more information about captioning markup, see Captioning markup reference and examples on page 295. Tip: You can use your keyboard to create standard text and punctuation. To insert special characters and punctuation, use the Character Map (Start > All Programs > Accessories > System Tools > Character Map).
Caption Markup Description Usage Notes {RU3} Roll-Up Captions-3 Rows Starts a three-line roll-up caption. {RU4} Roll-Up Captions-4 Rows Starts a four-line roll-up caption. {EDM} Erase Displayed Memory Cleans the display. Required to remove roll-up and paint-on captions from the screen. {ENM} Erase Nondisplayed Memory Cleans buffered captions from memory. {EOC} End of Caption In pop-up captions, EOC ends the current caption and displays the next caption.
Caption Markup Description {BgWh} Background White {BgWhSemi} Background Semitransparent White {BgGr} Background Green {BgGrSemi} Background Semitransparent Green {BgBl} Background Blue {BgBlSemi} Background Semitransparent Blue {BgCy} Background Cyan {BgCySemi} Background Semitransparent Cyan {BgRd} Background Red {BgRdSemi} Background Semitransparent Red {BgYl} Background Yellow {BgYlSemi} Background Semitransparent Yellow {BgMa} Background Magenta {BgMaSemi} Background Semitr
Displaying closed captions in the Video Preview or Trimmer window You can preview your captions by using overlays in the Video Preview window. Tip: Overlay settings from the Video Preview window are also applied to the video monitor in the Trimmer window. 1. Click the down arrow next to the Overlays button ( ) and choose a setting from the menu to turn on the caption type that you want to preview. 2. Play your project.
Editing multiple captions with the Edit Details window The Edit Details window allows you to see all of your project’s captions at once for quick editing. You can even edit multiple captions at once. For example, if you wanted to change your 608CC1 (primary language) captions to 608CC3 (secondary language), perform the following steps. 1. From the View menu, choose Edit Details to display the Edit Details window if it isn’t already visible. 2.
Adding captions to Windows Media Video (WMV) files Captions make your final video accessible to a wider audience. You can use text commands to add captions line-by-line to a Windows Media® Video (WMV) file, or for longer projects, you can add captioning from a script. Adding captions line-by-line 1. Position the cursor where you want the caption text to appear. 2. From the Insert menu, choose Command. The Command Properties dialog appears. 3. From the Command drop-down list, choose Text. 4.
5. In the fourth column, enter a label to identify your captions. An entry such as Line 001 can help you sort the captions once you paste them into your Vegas Pro project. Note: The final caption is displayed in the Microsoft® Windows Media® Player until the end of the video. To clear the final caption sooner, add a final command with no text (as shown above). Copying and pasting captions into Vegas Pro software 1. Select the cells in the spreadsheet and copy them. 2.
6. Render your file in Windows Media Video format. For more information, see Rendering a project on page 365. Displaying captions You can use one of two methods for displaying the captions when the video is played: • Instruct your audience to turn on captions: In Windows Media Player 8: from the View menu, choose Now Playing Tools, and then choose Captions from the submenu. In Windows Media Player 9 and 10: from the Play menu, choose Captions and Subtitles, and then choose On if Available from the submenu.
Chapter 17 Using Video Effects, Compositing, and Masks Video plug-ins in Vegas® Pro software include effects and generators. Effects cover a broad range of electronic modifications that can be used to improve substandard video or artistically enhance a production. Generators can be used to create custom video events such as credit rolls or gradient overlays. A variety of options are provided in compositing video and using masks. Compositing involves mixing visual elements together into a final output.
• Click the Video Output FX button in the Video Preview window to apply an effect to every video event in your project. The Video Output FX window is displayed. Track FX Event FX Media FX Video Output FX 2. Add the effects that you want to use to the Video FX dialog: • From the View menu, choose Video FX to display the Video FX window. Select an effect in the left pane. The thumbnail images in the right pane represent each of the existing presets for the selected effect.
Plug-in chain Click a plug-in to modify its settings in the lower part of the window. Clear the check box on a plug-in to bypass it. Drag a plug-in to move it within the chain. Saving custom video effect settings as a preset 1. Click the Preset text box. The name of the current preset is highlighted. 2. Type a new name for the preset and click the Save button ( ). Tip: To use a saved custom preset, simply choose it from the drop-down list.
Applying video track effects before or after track compositing When you add effects to a video track, you can specify whether the effects are applied before or after compositing. You can choose whether an effect is applied pre- or post-compositing by arranging the Composite button in the plug-in chain at the top of the Video Track FX window.
Using generated media Generated media plug-ins are a special class of plug-in that creates virtual media files contained in events on the timeline. These virtual files are stored in the Project Media window, where their properties can be viewed and modified. Generated media provide an easy way to add text, backgrounds, or test patterns to your project. You can view the generators by choosing Media Generators from the View menu to display the Media Generators window.
2. Use the controls in the Video Media Generators dialog to adjust the plug-in’s settings. • Click the Match Event Length button ( ) to set the length of the generated media to match the length of the event. • Click the Media Properties button ( ) to edit information about the generated media, such as the frame size, frame rate, field order, pixel aspect, and rotation.
You can also produce complex compositing by creating nested parent/child groups with compositing parents and children at various levels. When you have multiple levels of parent and child tracks, clicking the Make Compositing Child button ( level and clicking the Make Compositing Parent button ( ) moves out one level. ) moves the track in one Hold Ctrl while clicking the Make Compositing Child button to move a track and all its child tracks in one level.
In the second example, track two is the child track of track one (the parent track), and the compositing mode of track one is set to Mask. This parent/child relationship was set up by clicking the Make Compositing Child button ( ) in the track list for track two. This makes the text in track one act as a mask over track two, allowing the fire to show through the mask (that is, the text). The region outside of the text is still transparent, but there is nothing below these tracks, so it appears black.
The sample below uses a generated text event that is partially transparent. For more information, see Using generated media on page 307. Set compositing mode for overlay track Overlay track Background track The following table shows how these two sample tracks are blended using each of the compositing modes. Compositing mode Sample Description Add Adds the overlay color values to the background. Subtract Subtracts the overlay color values from the background.
Compositing mode Sample Description Overlay Heightens contrast by using Multiply mode on darker colors and Screen mode on lighter colors. Hard Light Adds overlay colors as if the overlay were lit by a bright, focused spotlight. Dodge Brightens the background based on the overlay color values. Burn Darkens the background based on the overlay color values. Darken Compares the overlay and background pixel by pixel and selects the darker color value for each pixel.
Using a 2-to-1 transform plug-in to customize compositing Click the Parent Composite Mode ( ) or Composite Mode button and choose Custom from the menu to use plug-ins to control how the parent track modifies the tracks in its composite group. The included Displacement Map, Height Map, and Bump Map plug-ins can create interesting lens, mirror, water, fire, and other lightbending effects.
Single-track 3D motion 1. Click the Track Motion button ( ) on the track that contains the overlay that you want to animate. The Track Motion window is displayed. 2. From the Compositing Mode drop-down list, choose 3D Source Alpha. 3. Choose a setting from the Layout drop-down list to choose the workspace display that you want to use. The Layout setting allows you to see your track from various points of view. 4.
Composited group 3D motion 1. Click the Make Compositing Child button ( ) on the tracks you want to group to create a compositing group. For more information, see Understanding the parent/child track relationship on page 308. 2. Click the Parent Composite Mode button ( ) on the parent track and choose 3D Source Alpha. 3. Click the Parent Motion button ( ) on the parent track. The Track Motion window is displayed. Parent Motion Parent track motion affects the parent track and all child tracks.
7. The 3D track motion occurs instantly, and the results are updated in the Video Preview window. 8. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the duration of the track. During playback, immediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation.
Icon Command Description Scale About Center Select this button if you want the selection box to retain its center point when you resize the box by dragging its edges. When the button is not selected, the opposite side of the selection box will remain anchored when you drag the edges to resize it. Prevent Scaling (X) Select this button if you want to lock the horizontal dimension of the selection box.
In the next example, clicking the Make Compositing Parent button ( ) on track 3 again forces the track below (at the same compositing level) to be rendered in 3D and composited as a 2D image. However, in this case, the 3D rotation that was applied as parent motion on track 1 is not applied to tracks 3 and 4. In the next example, all tracks are compositing parents.
Creating masks Masks are used to create overlays, limit the effects of a filter, and to create transparent titles. In their simplest form, masks work by making a particular color in an image or video transparent. More complex effects can be created with gradients (smoothly blending transparent areas together) and by altering the sensitivity of the mask. Creating image masks You can use media generated by Vegas Pro software to create simple masks. You can also create masks from just about any image file.
Creating video masks You can also use video files to create masks, although the process can be more complicated than using an image as a mask. The key to any mask is contrast. You can increase the difference between the light and dark areas of a video file using video effects plug-ins. 1. Insert the video that you want to use as a mask into a video track. 2. Drag a Black and White plug-in from the Video FX window to the event to remove the color.
Bézier masks You can use the Pan/Crop plug-in to create masks using Bézier curves. For more information, see Creating a Bézier mask on page 267. Fine-tuning masks Depending on the source material, creating a clean mask can be a tricky exercise. There are a few tools and tricks you can use to fine tune a mask. • Solo the track Click the Solo button ( on the mask. ) in the track list to isolate the masked track.
Using the Mask Generator The Mask Generator is a plug-in that controls the transparency of events to be used as masks when you use events that are not grayscale. Apply the plug-in to an event (or a track) in the same way as any other plug-in: just drag-and-drop. The Mask Generator plug-in can be found in the Video FX window (from the View menu, choose Video FX). How the Mask Generator works The following illustration demonstrates some of the effects of the Mask Generator.
Chroma keying Chroma keying or bluescreening is a special case of overlay transparency. A color key is a specific color or a range of similar colors in an image that are made transparent, allowing a background video to show through. The idea is to take a video subject and film it against a solid, uniform background color. It is critical that the color be smooth and uniformly lit with no shadows, and that the color chosen for the background not be used in the subject.
8. Click the Split Screen View button ( ) on the Video Preview window to restore the video effects. The Video Preview window shows the result of the Chroma Keyer plug-in. When a subject is filmed against a solid colored background in a studio, you can key out the background color using the Mask Generator or the Chroma Keyer plug-in. You can select a wider range of colors using the Chroma Keyer plug-in, making it the perfect tool for less-than-perfect blue screens.
Chapter 18 Adding Video Transitions and Motion Want something other than a cut or crossfade between video events? Vegas® Pro software provides a wide variety of transitions you can add to your project. This chapter also covers track motion and keyframe animation, which allows you to automate video effects, media generators, cropping, panning, and more. Understanding basic transitions Transitions occur between two video events.
Using transition effects Transition effects are more complex than a simple cut or crossfade. You can replace a crossfade with a transition and then customize the transition to meet your needs. Tips: • To apply a preset without displaying the Video Event FX dialog, hold the Shift key while dragging a preset from the Transitions window to the timeline. • To move transition controls in fine increments, hold Ctrl while dragging the control.
Adding a transition to the end of an event Typically, a transition occurs between two events on a track, but you can also use transitions to fade to and from the background, whether that is an underlying image, video, or background color. For example, you can drag a Clock Wipe transition to the end of a video event and have the wipe go from the video event to black.
Adding a transition progress envelope Normally, a transition progresses from 0 to 100% in a linear fashion over the length of the transition. A transition progress envelope gives you complete control over a transition: you can hold, reverse, and repeat individual transitions. 1. Right-click a transition. 2. From the shortcut menu, choose Insert/Remove Envelope, and then choose Transition Progress from the submenu. An envelope is added to your transition. 3.
Converting a cut to a transition The transition between two events that are adjacent to each other on the same track is instantaneous and is called a cut. However, if the first event is trimmed back from the end and the second event is trimmed back from the beginning (in other words, both have enough media to overlap), you can transform the cut into a transition effect using this extra media. 1. Right-click the line between two adjacent events at the cut position. 2.
Previewing a transition The easiest way to preview a transition is to set the loop region to the duration of the transition and then loop the playback. This allows you to adjust the transition while it is playing and make changes in real time. 1. Double-click the transition. This automatically creates a time selection equal to the length of the transition. 2. Click the Loop Playback button ( ) to turn loop playback on. The selection area bar is dark blue when loop playback is turned on. 3.
Saving custom settings as a preset After you modify a transition, you can save your settings as a preset for use at a later time. You can apply presets by choosing them from the Preset drop-down list. 1. Modify the settings in the window to create your desired transition effect. For help on the different controls in the window, click the Plug-In Help button ( ) to access online help. 2. Click the name in the Preset drop-down list. The current text is highlighted. 3. Enter a name for the new preset. 4.
Using keyframe animation Keyframe animation is a technique that computer artists use to quickly make complex animated sequences. Instead of drawing every frame of a title scrolling in from top to bottom by hand, an animator simply has to set a starting and ending position for the animation and let the computer interpolate the intermediate frames. The animation pictured on the right has three keyframes: a starting, middle, and ending keyframe. More complex animations use more keyframes.
Understanding the keyframe controller The keyframe controller appears at the bottom of the Video FX window (used for transitions, effects, and generated media), the Track Motion window, and the Pan/Crop plug-in. Cursor position Keyframes Each effect in a video effects chain can have its own keyframes. Some video effects have parameters that have their own keyframes. Track Motion keyframes Sync Cursor Sync the keyframe cursor with the timeline cursor. Last Keyframe Go to the last keyframe.
Deleting keyframes 1. Select a keyframe in the keyframe controller. 2. Click the Delete Keyframe button ( ). Navigating in the keyframe controller Use the keyframe navigation buttons (First, Previous, Next, and Last) to quickly jump to a keyframe. Alternately, press Ctrl+Left Arrow or Ctrl+Right Arrow to move to the previous or next keyframe. Modifying keyframes After you create your keyframes, you can move them, copy and paste them, and change the interpolation curves between them.
For event pan/crop and video effects, the line between keyframes indicates which interpolation curve is being used. For track motion keyframes, the color of the keyframe indicates which interpolation curve is being used. Linear (gray) Fast (green) Slow (gold) Smooth (lilac) Sharp (pink) Hold (red) In the Curves view of the event pan/crop and video effects keyframe controller, you can manually adjust a keyframe’s spline curves.
Changing the relative spacing of keyframes You can change the relative positions of the keyframes as a group. This can be useful if you need to change the overall length of an animated sequence or if you need to copy a set of keyframes to another event that has a different duration than the original. 1. Click on the first keyframe, hold the Shift key, and click on the last keyframe in the sequence to select all of the keyframes. 2. Hold Alt and drag the first or last keyframe to scale the keyframes.
Viewing and moving track keyframes Once you have added keyframes to one of these track-level effects, the track keyframes appear at the bottom of the track on the timeline. Click the Expand Track Keyframes button ( ) to view the keyframes. You can drag a keyframe on the track in the same way you would in the keyframe controller. To move several keyframes at once, use the Envelope Edit tool ( ) to select and drag multiple keyframes. With track keyframes collapsed, keyframes are minimized.
Sample uses for keyframe animation The following section provides several examples of how keyframe animation can be used with features such as event panning and cropping, video effects plug-ins, and generated text events. Animating event panning and cropping You can combine event panning and cropping tools with keyframe animation to create several special effects. For more information, see Cropping or zooming a video event on page 266.
Using pan-and-scan Another way to use keyframe animation in the Pan/Crop plug-in is panning, or pan-and-scan. Pan-and-scan is a technique commonly used when film is converted for television. Movie screens and film are usually wider (~2.35:1) than television (~1.33:1).
The results of gradually transitioning into an effect using keyframe animation. Animating generated text You can add a generated text event to a project by dragging a text generator from the Media Generator window. For more information, see Using generated media on page 307. You can then animate the text by adding keyframes. Not all attributes of generated text media can be animated using keyframes, however. You cannot, for example, morph one text message into a different one.
Adding track motion The Track Motion window (accessible by clicking the Track Motion button ( ) on any video track) is used to move a video track across a background. This background can be a solid color, another video event, or an image. Picture-in-picture effects and scrolling title sequences are two simple cases where this tool is important. The gray area in the center of the window (covered by the blue/gray rectangle) represents the actual screen or area that is visible in the movie.
5. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the duration of the track. During playback, immediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation. For more information, see Using keyframe animation on page 332.
Icon Command Scale About Center Description Select this button if you want the selection box to retain its center point when you resize the box by dragging its edges. When the button is not selected, the opposite side of the selection box will remain anchored when you drag the edges to resize it. Prevent Scaling (X) Select this button if you want to lock the horizontal dimension of the selection box. Prevent Scaling (Y) Select this button if you want to lock the vertical dimension of the selection box.
2D Shadow This creates a simple drop shadow that appears under the entire window or only under the opaque (nontransparent) parts of the overlay. You can control the size and offset of the shadow as well as the shadow color. A shadow is especially effective under a picture-in-picture window or to emphasize text and titles. Use the Eyedropper tool to select a specific color from anywhere on the screen. The shadow effect creates a drop shadow under an object, window, or title.
2D Glow Glow is a bright haze surrounding an overlay. In general, light colors are used for glow effects, but you can emphasize bright text on complex backgrounds by using a very small black glow, with little or no feathering, and 100% intensity. 1. Select the 2D Glow row in the keyframe controller. When the 2D Glow row is selected, glow controls are displayed in the Track Motion dialog.
The illustration below shows some of the relevant parts of this procedure. Note the shadow cast by the overlay video. This is added by selecting the 2D Shadow check box on the keyframe controller. The Video Preview window displays the results. Tip: While overlay picture-in-picture windows are often completely opaque, you can fade them in and out using opacity envelopes. For more information, see Using opacity envelopes on page 188.
Chapter 19 Previewing and Analyzing Video As you work in Vegas® Pro software, you can preview your video by using the Video Preview window or by connecting to an external monitor. You can optimize previews by adjusting preview quality, prerendering video, or building a dynamic RAM preview. The Video Preview window also provides features such as safe area overlays, grid overlays, and isolated color channel displays to further enhance your productivity.
Button Description Copy Snapshot to Clipboard Copies the current frame to the clipboard. Save Snapshot to File Saves the current frame as an image file. You can change the size of the image using the Preview Quality button. Choose Auto or Full to capture the frame at its full resolution, or choose Half or Quarter to capture a smaller image. You can change the size of the image using the Preview Quality button.
The Auto setting will adjust the frame size to fit the Video Preview window size. The Full setting processes frames at the project frame size. The Half setting processes frames at half the project frame size. The Quarter setting processes frames at one-quarter of the project’s frame size. For example, if you have an NTSC (720x480) project, Half creates a 360x240 preview; Quarter creates a 180x120 preview.
When prerendering is complete, bars appear at the top of the timeline indicating the sections that have been prerendered. Prerendered sections As a default, these preview files are saved when a project is closed. To delete these files when you close the project, from the Options menu, choose Preferences and, on the General tab, clear the Save active previews on project close check box.
Previewing affected and unprocessed video 1. Click the down arrow next to the Split Screen View button ( 2. Select the Split Screen View button ( ) and choose FX Bypassed from the menu. ). The cursor is displayed as a . 3. Choose a preset selection or drag in the Video Preview section to create a selection. This selection will display the unprocessed video. In the following example, the Add Noise plug-in was applied to the event, and the selection displays the original video.
Identifying safe areas The Video Preview window displays the entire video frame data. However, most television monitors do not display all of this data. Previewing the video on a television monitor is the only way to verify what frame information will display. You should also note that individual television monitors vary in what they display. While there is no substitute for previewing on a television, safe areas are a good method of estimating the extent of the masking. 1.
Monitoring video with scopes From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. Broadcast video uses a narrower range of color than the RGB you see on your computer. When you broadcast a project that contains out-of-range colors, you can introduce image problems or even noise into the audio stream.
4. The vectorscope monitor displays the chrominance of the video signal: Frame Vectorscope display of frame 5. Hover over a portion of the monitor to display the chroma value at the pointer position: Chroma value Displaying luminance using the waveform monitor The waveform monitor in the Video Scopes window allows you to monitor the luminance (brightness or Y component) of your video signal. The monitor plots luminance on the vertical axis and the width of the current frame on the horizontal axis.
4. The waveform monitor displays the luminance of the video signal: Frame Waveform display of frame 5. Hover over a portion of the monitor to display the luma value at the pointer position: Luma value Displaying color levels and contrast using the histogram monitor The histogram monitor in the Video Scopes window allows you to monitor color levels and contrast of your video.
6. Use plug-ins such as Brightness and Contrast, Broadcast Colors, and Levels to adjust the color. For more information, see Applying video effects on page 303. Frame Histogram display of frame Graph Mean and standard deviation hues Displaying RGB components with RGB parade monitor The RGB parade monitor in the Video Scopes window displays waveforms for the red, green, and blue components of your video signal.
Adjusting video scope settings Click the Settings button ( ) in the Video Scopes window to set your display options. These options adjust the display of data in the Video Scopes window and have no effect on your data. 7.5 IRE setup If your video hardware will add a 7.5 IRE setup, you can configure the Video Scopes window so the display will be consistent with an external scope connected to a device that adds 7.5 IRE setup. NTSC video in the United States adds 7.5 IRE setup to convert black to 7.5 IRE.
This feature supports video output only; audio is not output to the external monitor. Notes: • If you intend to deliver your project in an interlaced format, previewing on a computer monitor is not a substitute for previewing on an interlaced broadcast monitor. • Vegas Pro software allows you to use one external video device at a time. The external monitor display will be unavailable during video capture.
You can turn off external preview by pressing Alt+Shift+4 or by clicking the secondary display and pressing Esc. Tip: Video is sent to your secondary display and the Video Preview window at the same time. If you experience dropped frames, try clearing the Display frames in Video Preview window during playback check box on the Preview Device tab of the Preferences dialog. Viewing on an external monitor via IEEE-1394 You can send video directly from the timeline to a television monitor.
Setting up an external monitor The diagram below shows the preferred setup for sending video from the Vegas Pro timeline to an external television monitor. Computer 1394 card Video to camcorder Camcorder or Media converter Analog to television Television monitor Audio to speakers Sound card Speakers The video is converted to DV format and is sent through the IEEE-1394 card to the DV device (camcorder or DV-to-analog media converter). The DV device sends analog output to the television monitor.
Viewing on an external monitor via SDI You can send video directly from the timeline to a video monitor connected to a supported SDI card. Important: Blackmagic Design DeckLink HD Extreme/Intensity Pro/HD Extreme 3D and AJA Io Express, KONA 3X, LH, LHe, LHi, LS, and LSe cards are supported. Please note that AJA XENA cards are now branded as KONA cards. For more information, please see the AJA Web site at http://www.aja.com/products/kona/transition.php.
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Chapter 20 Saving, Rendering, and Printing Projects Vegas® Pro software allows you to save and render projects into many different multimedia formats. When you render your Vegas Pro project, the project itself is not altered, but rather can be rendered in any number of different formats. This chapter explains saving a project and using the Save As and Render As functions. In addition, you will find reference information for the rendering options available.
5. Select the Copy media with project check box if you want to create copies of each of the project’s media files in the same location as the project file. This allows you to collect all of a project’s assets in a single location. 6. Click the Save button. 7. If you selected the Copy media with project check box, a dialog is displayed to allow you to specify how you want to copy media files: • Select the Copy source media radio button to copy the entire source media files to your project folder.
Rendering a project Rendering refers to the process of converting a project into a single new multimedia file and formatting it for the desired playback method: media player, Internet streaming media, CD-ROM, video tape, etc. The project file is not overwritten, deleted, or altered during the rendering process. You can return to the original project to make edits or adjustments and render it again later.
1. From the File menu, choose Render As. The Render As window is displayed. 2. Use the Output File controls to choose where you want to save your file: a. The Folder box displays the path to the folder where your file will be saved. Click the down arrow to choose a recently used folder, or click the Browse button to specify a new folder. b. Type a name in the Name box, or click the Browse button and select a file in the browse window to replace an existing file. 3.
4. If you’re rendering to .wav, .w64, .avi, or .mxf format, you can select the Enable multichannel mapping check box to render a file with multiple audio channels. For more information about rendering multichannel audio and setting up multichannel mapping, see Rendering multichannel audio files on page 368. 5. Select or clear the check boxes in the Render Options section as needed: a.
Rendering still-image sequences 1. If you want to render only a portion of your project, create a time selection and/or solo the tracks you want to include in the still-image sequence. 2. From the File menu, choose Render As. The Render As window is displayed. 3. In the Name box, type the base file name you want to use for rendered images. Files will be numbered automatically using this file name. 4.
1. Create your project. 2. In the Mixer window, add a bus for each channel (or channel pair) you want to include in your rendered file. For example, if you wanted to create a six-channel .wav file, you could set up your mixer with three or six busses. If you use three busses, the left and right channels of each bus will be saved to a separate channel. If you use six busses, you can save the mono downmix from each bus as a separate channel. Note: If you’re working with a 5.
b. Select the Save project as path reference in rendered file check box if you want to save the path to your Vegas Pro project in the rendered file. Saving the project path allows you to easily return to the source project if you use your rendered file in another project. Notes: • The project information in the rendered file is a reference to a project file only. If you modify the project file after rendering, the project data will no longer match the rendered file.
Viewing MPEG-2 files on a computer MPEG-2 files require an MPEG-2 decoder in order to view them in Windows Media Player and other applications. The Windows operating system does not include an MPEG-2 decoder, but you can download MPEG-2 decoders at http://www.vcdhelp.com. Sony Creative Software Inc. does not endorse or support any third-party MPEG-2 decoders.
Rendering projects for use in DVD Architect Pro If you have DVD Architect™ Pro software, you can avoid unnecessary transcoding or recompression by using Vegas Pro to render your media files in the appropriate formats prior adding them to your DVD Architect Pro project. Note: The Sony Creative Software Inc. AC-3 and MainConcept MPEG-2 encoders provide templates that will produce files that do not require recompression (unless the file size is too large to fit on a DVD). AC-3 audio (.
Frame Size Frame Rate Aspect Ratio Maximum Group Maximum Bit Rate of Pictures 352x288 25 fps 4:3 30 9.8 Mbps 704x480 25 fps 16:9 30 9.8 Mbps Note: The MainConcept MPEG-2 encoder in Vegas Pro renders with the Low Delay flag turned off. If you’re rendering with a different encoder, ensure Low Delay is turned off.
Frame Size Frame Rate (fps) Aspect Ratio Maximum Bit Rate 720x480 29.970 interlaced 16:9 40 Mbps 720x576 25 interlaced 4:3 40 Mbps 720x576 25 interlaced 16:9 40 Mbps 1280x720 59.940 16:9 40 Mbps 1280x720 50 16:9 40 Mbps 1280x720 24.000 16:9 40 Mbps 1280x720 23.976 16:9 40 Mbps 1440x1080 29.970 interlaced 16:9 40 Mbps 1440x1080 25 interlaced 16:9 40 Mbps 1440x1080 24.000 16:9 40 Mbps 1440x1080 23.976 16:9 40 Mbps 1920x1080 29.
Frame Size Frame Rate (fps) Aspect Ratio Maximum Group Maximum Bit Rate of Pictures 1440x1080 29.970 interlaced 16:9 30 40 Mbps 1440x1080 25 interlaced 16:9 25 40 Mbps 1440x1080 24.000 16:9 24 40 Mbps 1440x1080 23.976 16:9 24 40 Mbps 1920x1080 29.970 interlaced 16:9 30 40 Mbps 1920x1080 25 interlaced 16:9 25 40 Mbps 1920x1080 24.000 16:9 24 40 Mbps 1920x1080 23.
Custom rendering templates If the selected file type supports it, the Render As window allows you to create custom templates for saving files. Some file formats include a Project tab in the Custom Template window that allows you to associate a Video rendering quality setting with a rendering template. Final rendering template settings override the Full-resolution rendering quality setting in the Project Properties window. Notes: • Vegas Pro templates for rendering multichannel audio in .wav/.wav64, .
3. Choose a template from the Template drop-down list. 4. Click the Delete Template button ( ). Note: Built-in presets cannot be deleted. 5. Click OK to return to the Save As or Render As dialog. Copying rendering templates between computers or user accounts You can make your customized rendering templates available on another computer or user account by copying .sft2 files to the appropriate location in the new account or computer.
Rendering in real time Real-time rendering is a playback mode that renders your project to .wav format. Real-time rendering allows you to include the output from an external input source such as an effects processor with your project. For more information, see Using input busses with hardware-based effects on page 225. Notes: • When you start real-time rendering, any track that is armed for recording will be unarmed. You cannot arm a track for recording or start recording in real-time rendering mode.
6. Choose a setting from the Template drop-down list to specify the settings that will be used to save your file. You can choose to encode with QVGA, QVGA widescreen, PSP™ full-screen, or standard-definition NTSC frame aspect. • Both QVGA settings create 320x240 video, but the widescreen templates use anamorphic widescreen encoding, which is properly decoded on the PSP™ system. • The PSP™ full-screen templates create 480x270 video to match the PSP™ screen resolution.
7. Select the Public or Private radio button to set broadcast options for your movie. Public videos can be seen by any YouTube user; private videos can be seen only by members you specify. 8. Select the Normal or Higher radio button to set the video quality for your movie. The Higher setting creates better-looking video for broadband connections but will take longer to render. The estimated file size is displayed at the bottom of the dialog. 9.
3. Use the Device Setup dialog to configure your camera or deck: a. From the Device type drop-down list, choose OHCI-Compliant IEEE 1394/DV. b. From the Video drop-down list, choose the setting that matches your destination format. Important: You’ll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your project properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog.
5. Use the Leader and Trailer dialog to set up the data that will be printed before and after your project: a. Select the Add test pattern leader check box if you want to print a test pattern before your video. b. From the Test pattern style drop-down list, choose a test pattern type and video format. c. Type a value in the Duration box to determine the length of the test pattern. d.
Printing to a tape deck connected to an SDI card 1. If you want to print only a portion of your project, create a time selection that includes the section of your project. 2. From the Tools menu, choose Print Video to Tape. The Device Setup dialog is displayed. 3. Use the Device Setup dialog to configure your camera or deck: a. From the Device type drop-down list, choose AJA Video Device or Blackmagic Design DeckLink. b.
4. Use the Render Settings dialog to choose the format you want to use to print your video to tape. a. Select the Enable multichannel mapping check box if you want to render a file with multiple audio channels. For more information about rendering multichannel audio and setting up multichannel mapping, see Rendering multichannel audio files on page 368. b.
6. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your deck: Setting Description Manual Select this radio button if the application is unable to obtain device control of your deck. You will need to cue the tape and press the Record button on your deck before recording. Crash Recording Select this radio button if the application can perform basic device control of your deck. You will need to cue the tape to the location where you want to begin printing.
6. Choose render settings: a. Select the Render format radio button. b. In the File path box, type the path to the file you want to render, or click the Browse button to browse to the folder you want to use and then type a file name. c. From the Template drop-down list, choose the setting that matches your destination format. This list will include only formats that are supported by the selected device. Information about the selected rendering template is displayed in the Description box. d.
8. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your HDV recorder and how you want to print to tape: • Select Manual if your HDV device is not OHCI-compliant or if the application is unable to obtain device control of your HDV recorder. You will need to cue the tape and press the Record button on your HDV recorder before recording.
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Chapter 21 Burning Discs You can create several types of discs to archive and distribute your project: • Track-at-once (TAO) CDs can be burned in multiple sessions over a period of time. Before you can use a TAO disc in an audio CD player, however, you must close the session. TAO CDs are convenient for sharing your projects and testing your mix, but are generally not acceptable as masters for duplication. • Disc-at-once (DAO or Red Book) CDs are burned in a single session.
Setting up to burn audio CDs You can set the project properties and adjust preferences to better accommodate writing audio CDs. The ruler and time display are set up for you automatically. Viewing the ruler and time display The ruler and time display are automatically changed to audio CD time for you when you mark CD tracks in a project.
Adding media as CD tracks to a new project You have a collection of completed audio files that you want to write to a CD. An audio CD layout project can quickly be assembled from sound files in the Project Media window. You can add the tracks one at a time, or use the Project Media window to sort them into track order and add them all at once. 1. Create a new project. 2. Add all the media to be included in the project to the Project Media window.
Adding pauses Each audio CD track in your project should have a two-second pause following it. This default setting is based on the Red Book specification for audio CDs. The exception to this standard is a continuous recording, such as a live concert CD. For a continuous recording, you can omit the pauses after tracks for continuous playback. For more information, see Red Book specification on page 471. Note: The Red Book specification also requires a two-second pause at the beginning of an audio CD.
Marking indices You can create an index marker in much the same way as you create track markers. 1. Position the cursor where you want the index mark to appear. 2. From the Insert menu, choose Audio CD Track Index. The new index marker appears on the CD layout bar. Working with tracks and indices Once you have marked your tracks and indices, you can edit, move, rename, or delete them as needed.
Editing markers using the Edit Details window The Edit Details window provides a way to adjust the settings for a track or index. 1. From the View menu, choose Edit Details. The Edit Details window displays. 2. From the Show drop-down list, choose Audio CD Track List. The track settings display. 3. Double-click a setting to edit it: • In the Position column, adjust the track starting position or index position. • In the End column, adjust the track ending position.
Burning audio CDs You can burn either single tracks (track-at-once) or the entire disc (disc-at-once). Burning single tracks (track-at-once) You can burn your Vegas Pro project as a single track (track-at-once). Once you have burned all your tracks to the CD, you must close the disc before it can be played. Burning a track-at-once CD 1. From the Tools menu, choose Burn Disc, and choose Track-at-Once Audio CD from the submenu.
Burning a disc (disc-at-once) 1. From the Tools menu, choose Burn Disc, and choose Disc-at-Once Audio CD from the submenu. The Burn Disc-at-Once Audio CD dialog appears. 2. From the Drive drop-down list, use the CD drive that you want to use to burn your CD. 3. From the Speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s fastest possible speed; decrease the setting to prevent the possibility of buffer underruns. 4.
Burning a Blu-ray Disc From the Tools menu, choose Burn Disc and choose Blu-ray Disc from the submenu to render your project and burn it to a Blu-ray Disc. Stereoscopic 3D projects can be rendered to a Blu-ray 3D Disc image file (.iso) for commercial BD-ROM preparation testing. The rendered project can be played in a Blu-ray Disc player or on any computer with a Blu-ray Disc drive. Vegas Pro burns Blu-ray BDMV format to BD-R and BD-RE recordable media.
h. Select the Stretch video to fill output frame check box if you want to reformat your video so it fills the output frame size listed in the Description box. When the check box is cleared, the current aspect ratio is maintained, an black borders are added to fill the extra frame area (letterbox). This option is useful when the desired output format does not match the frame aspect ratio of your project. 4.
Chapter 22 Using Scripting Using the scripting features, Vegas® Pro software becomes an even more powerful and flexible tool. You can use scripting to streamline repetitive tasks, integrate with external applications, and implement customized features. To use scripting, you’ll need to install the Microsoft® .NET Framework. This component is available from the Microsoft Windows® Update site. (Choose Windows Update from the Start menu.
Adding scripts to the Scripting menu When you start the program, Vegas Pro software looks at the Script Menu folder in the Vegas Pro program folder to determine which scripts appear in the Scripting submenu. This folder is C:\Program Files\Sony\Vegas Pro 11.0\Script Menu by default. 1. Add or delete scripts in the Script Menu folder to change the contents of the submenu. Tip: To prevent duplication of script files, you can use shortcuts in the Script Menu folder. 2.
The default script applies the Sony Timecode plug-in to all video media in your project using the SMPTE Drop (29.97 fps) preset. If you wanted to apply the Broadcast Colors plug-in’s Extremely Conservative - 7.5 Setup preset to all audio media, you could edit the script as follows (changes appear in red): // This is the full name of the effect plug-in you want to add. var plugInName = "Sony Broadcast Colors"; // This is the name of the preset you want. Set this to null if you // want the default preset.
SCRIPTARGS Starts Vegas Pro and passes the specified arguments to a script. Example: Vegas110.exe /SCRIPTARGS "" /SCRIPT "
