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Sie haben keinen Kindle? Hier kaufen oder eine gratis Kindle Lese-App herunterladen. Edition 1. To trim a single clip on the Timeline: 1. Delete all but one clip from the Timeline. If the Timeline is empty, drag a scene in from the Album. Expand the Timescale to make fine adjustments easier. Position the mouse pointer anywhere on the Timeline except directly over the edit line.

The pointer becomes a clock symbol. Click-drag it to the right to expand the Timescale. This illustration shows maximum expansion, where each tick mark represents a single frame: 3. Position your mouse pointer over the right edge of the clip.

The pointer becomes a left-pointing arrow. Click-drag to the left while keeping an eye on the Player, which updates continuously to show the last frame in the trimmed clip.

As you shorten the clip, the arrow cursor becomes two-directional, indicating that the clip edge can be dragged both left and right. Release the mouse button. The clip is now trimmed. Multiple clips The secret to trimming a clip when multiple clips are on the Timeline is that you must first select the clip to be trimmed by clicking on it with the mouse. To trim with multiple clips on the Timeline: 1. Set up the Timeline with two short clips.

Expand the Timescale by right-clicking in the ruler. Choose 30 seconds from the pop-up menu. Click the second clip. The video track should now look something like this: You can trim the right-hand edge of the clip just as in the single-clip example above. As you do so, the last frame of the clip is displayed in the Player. As long as the second clip remains selected, you can continue to trim more video by dragging the edge to the left, or restore some of the trimmed video by dragging the edge to the right.

With the second clip still selected, move your mouse pointer over the left edge of clip until the pointer changes to a right arrow. Drag the left edge of the second scene to the right. As you drag, the first frame of the clip is displayed in the Player. As long as the clip remains selected, you can continue to trim more video by dragging the edge to the right, or restore some of the trimmed video by dragging the edge to the left.

The clip you trimmed snaps back against the right edge of the first clip. Gaps and fills: Trimming with the Ctrl key As we have seen in the example above, when you shorten a clip on the video track, the clip and any clips to the right of it move leftwards as necessary so that no gap is left.

At the same time, clips on other tracks are shortened to keep the whole Timeline in sync. When you trim a clip on any other track, however, gaps are not automatically closed up, and no other track is affected. If you press the Ctrl key before you begin trimming a clip on the video track, neither that clip nor any other will be repositioned, and gaps are not closed up.

There is no effect on other tracks. Meanwhile, using Ctrl when trimming clips on other tracks again inverts the normal behavior. The clips on the track will close in to fill any gap left by the trim. Clips on tracks besides the one being trimmed are again unaffected. Note: See page 60 for a description of the parallel behavior of Ctrl when deleting clips.

Clicking the same button a second time will close the tool. In the case of video clips — in fact, any clips other than titles — you can also open and close the Clip properties tool by double-clicking the clip in any Movie Window view. The Clip properties tool can be used to modify any kind of clip. It offers an appropriate set of controls for each type.

The Name text field: For a video clip, most of the clip property controls are for trimming. The only exception is the Name text field, which lets you assign a custom name to the clip to replace the default one assigned by Studio. The Name field is provided on the Clip properties tool for all clip types. The layout of each preview area is similar to that of the Player during normal editing.

Setting playback position: A scrubber control across the bottom of the tool lets you set the playback position anywhere within the clip. You can also set the playback position using the counter and jog buttons located between the two preview areas.

Using the counters: The positions reported by all three counters are relative to the beginning of the clip, which is position As with the counter on the Player, you can adjust the counters in the Clip properties tool by clicking in one of the four fields hours, minutes, seconds, frames to select it, then using the jog buttons.

When none of the fields is explicitly selected, the jog buttons apply to the frames field. Transport controls: While the Clip properties tool is in use, the transport controls in the center area substitute for those that normally appear on the Player.

If you modify the value, either by editing the numbers directly or by clicking the associated jog buttons, the effect is to change the out point of the clip.

Of course, you cannot reduce the duration to less than a frame, or increase it beyond the limits of the original video scene. Usage tip: If you want to switch from trimming one clip on the video track to trimming another, just click on the new clip while the Clip properties tool remains open, or drag the Timeline scrubber to the new clip.

Both clips are then automatically trimmed so that the first ends at the split point and the second begins there. To split a clip in Timeline view: 1. Choose the split point. You may use any method that adjusts the current position, such as moving the Timeline scrubber, clicking Play and then Pause, or editing the counter value in the Player. The clip is split at the current position. Even if you have performed other actions since you split the clip, the multilevel undo allows you to step back as far as needed.

The operation is allowed only if the combination of clips will also be a valid clip — that is, a continuous excerpt of the source video. On the Timeline, clips that can be combined meet along a dotted edge. The additional advanced features of Studio Plus, making use of the overlay track, are covered in Chapter 6: Two-track editing with Studio Plus. During most editing operations, Studio automatically keeps the clips on the various Timeline tracks synchronized. For instance, when you insert a scene from the Album onto the video track, the relative positions of all clips to the right of the insertion remain unchanged.

Sometimes, though, you might like to override the default synchronization. You might want to insert a new video clip into your project without displacing any clips of other types.

Or you might want to edit video separately from its accompanying original audio — a valuable technique with several variations, discussed below. Each of the standard tracks all except the menu track provides a lock button. A locked track is grayed out in the Timeline view, indicating that the clips on the locked track cannot be selected or edited in any of the three views; nor are they affected by editing operations on unlocked tracks. Apart from the menu track, any combination of tracks can be locked.

Locking the title track, for example prevents the duration of a title from being changed even when you trim clips on the main video track at the same time index.

When the title track is unlocked, trimming the main video clip above it automatically trims the title. Their special relationship is symbolized in the Movie Window by the dotted line connecting the video track indicator with the original audio track indicator, showing that the latter is dependent on the former.

The track lock buttons make it possible to deal with the two tracks independently for operations like insert editing, which typically means replacing part of a clip on the video track while the original audio track continues uninterrupted.

Under Studio Plus, insert editing may also be carried out on the overlay video and audio tracks, using analogous methods to those described here. For instance, in a sequence that shows someone recounting a story, you might wish to insert a shot of an audience member smiling or sleeping!

The lock button is highlighted in red, and the track itself is grayed to show that its contents will not be affected by editing operations. Clear space on the video track for the video clip you want to insert. Position the Timeline scrubber at the point you want the insertion to start and use 1.

Now move to the point where the insertion should end and again split the clip. Finally, delete the portion of video that will be replaced by the insertion. Because the audio track is still intact, having been locked, the video to the right of the insertion point does not move leftwards to fill the gap you have made in the Timeline, for the video and audio would then no longer be synchronized.

If you were to preview your video now, you would see a black screen as the gap portion played back, but the soundtrack would be normal. Now all that remains is to place the clip you want to insert. If the inserted clip is too long for the space you created it is automatically trimmed to fit the space. You can adjust the trimming with the Clip properties tool. The procedure is analogous to the one for inserting video: simply reverse the roles of the two tracks at every step.

Under Studio Plus, split editing may also be carried out on the overlay video and audio tracks, using analogous methods to those described here. Tip: For faster, more precise trimming, you may find it helpful to have the Clip properties tool open when following the procedures in this section. To open the tool, just double-click one of the video clips before you begin.

The L-cut In an L-cut, the cut to new video comes before the cut in the audio. Imagine a videotaped lecture in which the video periodically cuts away from the speaker to show travel or nature scenes illustrating the lecture topic.

This makes it clear to the audience that the new scene they are now watching illustrates whatever explanation the speaker has been providing. Notice that the video and audio clip boundaries in the completed cut form an L-shape. Audio cuts after video. There are many effective uses of this technique. To perform an L-cut: 1. Select the left-hand clip and trim its right edge to the point where you want the audio to end. Lock the audio track. Unlock the audio track.

The video now cuts away to the second clip ahead of the audio. Video has been trimmed from the end of the first clip, and audio has been trimmed from the start of the second clip. The J-cut In the J-cut, the new audio cuts in before the video switches.

If we let the next part of the lecture appear on the soundtrack a few moments before the video shows us the podium again, the change will be much less abrupt. This time the clip boundaries outline the letter J: Audio cuts before video. To perform a J-cut: Adjust the Timeline so you can easily count off the number of frames or seconds you want to overlap. As before, trim back the right edge of the left-hand clip, both video and audio, by the overlap interval. The audio now cuts away to the second clip ahead of the video.

Note: The procedures described above for performing the L-cut and the J-cut are not the only possibilities. With the J-cut, for example, another method would be to trim the right-hand clip to the desired start point of the video then, with the video track locked, drag the audio portion leftwards to overlap the audio of the lefthand clip. Sometimes, though, you also need to modify the video images themselves, manipulating them in some way to achieve some desired effect.

See page for descriptions of the basic set of effects supplied with Studio. The Video effects tool is the seventh tool in the Video toolbox. Video effects vs. Working with the effects list Each video or image clip in your project can be modified by one or more video effects.

Each effect is applied to the original image in turn, in the order in which they are listed on the Video effects tool. The checkboxes next to each effect name allow you to enable and disable effects individually without have to remove them from the list which would cause any customized parameter settings to be lost.

Adding and deleting effects To add an effect to the list for the current clip, click the Add new effect button, which opens an effects browser on the righthand side of the tool window.

Select the effect you want, then click the OK button to add the effect. To remove the currently-selected effect from the list, click the delete effect trashcan button. Entries having a padlock symbol are premium effects requiring separate purchase. In the illustration, variants of the padlock symbol indicate effects belonging to the Plus and Mega expansion packs, which both offer effects in several categories. Changing the order of effects The cumulative result of using more than one effect on the same clip can vary depending on the order in which the effects are applied.

With the up and down arrow buttons to the right of the effects list, you can control the position of each effect in the processing chain. The buttons apply to the currently-selected effect. The controls for the basic library of effects supplied with Studio are described below beginning on page Note: Some plug-in effects may provide their own parameter windows with specialized controls.

In those cases, the parameters panel on the effects tool displays a single Edit button, which accesses the external editor. Using parameter presets In order to simplify the use of parameters, many effects offer presets that let you configure an effect for a particular use simply by selecting a name from a list.

The default can be restored at any time by clicking the Reset button at the bottom of the parameters panel. Fading effects in and out You can smooth the application of an effect by fading it in at the beginning of the clip, fading it out at the end of the clip, or both.

As the clip begins to play, each affected parameter gradually approaches its configured value, until by the end of the fade duration the effect is at full strength.

Fading out reverses the process, by moving from the configured to the neutral values in the closing portion of the clip. The durations for fades are set in seconds and frames using the counters at the bottom of the parameters panel for the effect.

Fades can be set to any length, but the total of the fade in and the fade out must be less than or equal to the total duration of the clip. To turn a fade off, set the corresponding fade counter to zero. Previewing and rendering While you are working with the Video effects tool, choosing effects and adjusting parameter settings, the Player gives a dynamically-updated preview of the current frame in your movie.

Previewing a single frame may not be very revealing when you are working with the Time effects page , or effects that evolve over the duration of the clip like the Water drop effect, page In those cases, you will need to play back the clip to see the full impact of the effect you are applying. The progress of rendering is indicated by a colored bar that advances from left to right along the Timescale above the clip in the Movie Window.

Time effects change the tempo of playback without affecting the appearance of the video frames themselves. Color effects let you modify the coloration of a clip, whether subtly or dramatically. Fun effects like Water drop and Lens flare provide extra scope for creativity and fun in your movies.

Style effects like Emboss and Old film let you apply distinctive visual styles for added impact. The effects in the Overlay group provide the underlying functionality for the overlay features Picture-in-picture and Chroma key of Studio Plus. These features are covered in Chapter Two-track editing with Studio Plus. Expansion packs of effects from Pinnacle and other vendors will integrate seamlessly with the program.

Some expansion effects are shipped with Studio as locked, premium content. Purchasing an activation key will remove the watermark. This can be done without leaving Studio. When context-sensitive help documentation for an addon pack of video effects is available, it can be viewed by clicking the help button at the top left of the parameters panel for each effect.

They are theoretically capable of actions with the potential to damage or disrupt your system, such as modifying or deleting files and editing the system registry. Pinnacle advises against installing third-party plug-ins except those from trusted vendors. They are not a panacea. Your results will vary depending on the original material and the severity and nature of the problems. Auto color correct This effect compensates for incorrect color balance in your video. Brightness: Color correction may affect the brightness of the image.

You can apply a manual correction, if needed, with this slider. Note: The Auto color correct effect may introduce video noise into the clip as a side-effect of processing. If this happens to a troublesome degree, add on the Noise reduction effect described below. In order to minimize artifacts image defects caused as a sideeffect of image processing , noise reduction is only performed in areas of the frame where the amount of motion falls beneath a certain threshold value.

Motion threshold: This slider governs the threshold value. Moving the slider rightwards increases the amount of motion the effect will tolerate, thus tending to increase the proportion of the image that will be affected.

At the same time, the danger of introducing unacceptable artifacts into the video is also increased. Stabilize Like the electronic image stabilization feature in many digital camcorders, this effect minimizes jerkiness or jitter from camera movement. By adjusting the boundaries of the selected region on a frame-by-frame basis, Studio is able to compensate for the unwanted camera motion.

The area is adjusted from frame to frame to compensate for slight aiming differences caused by camera shake. Speed This effect allows you to set the speed of any video clip from one-tenth to five times normal. Set the slider to the speed you wish to apply to the clip.

Notice that the clip changes length in the Movie Window as you vary its speed. Playback speed is increased by omitting frames. Here, the movie will run at triple speed. In the first nine frames of the original clip top , two out of every three frames will be dropped when the final movie bottom is generated.

Conversely, you can change the playback speed of a clip directly on the Movie Window Timeline. When the Speed change pointer appears, click and drag the edge of the clip as though you were trimming its length. You can select anywhere from one-fifth to ten times the original duration. The actual trimming of the clip — the range of frames it incorporates — is not affected. Playback speed is reduced by repeating frames. Here, the movie runs at one-third speed as each frame is played three times before moving onto the next.

Slowing a clip down can make its motion look choppy. The Smooth motion option creates intermediate frames that reduce the choppiness. The Strobe repetition parameter indicates how many times to repeat each displayed frame in the currently-selected clip. The maximum setting is The clip duration remains constant; Studio drops frames to make room for the repeated ones.

Here, with strobing set to 2, six frames shaded will be dropped from the first nine frames of the clip top. In the final movie bottom , the remaining frames are repeated twice each.

The Amount slider controls the strength of the effect. Brightness: This is the relative intensity of light, without regard to color. Try adjusting both brightness and contrast to correct video that is underexposed or overexposed. Contrast: The range of light and dark values in a picture or the ratio between the maximum and the minimum brightness values. Moving the slider to the left lowers contrast, forcing all areas of the image towards medium brightness values.

Moving the slider to the right increases contrast, making dark areas darker and bright areas brighter. Hue: This is the visual property that allows us to distinguish colors. The slider biases all the colors in a clip towards red right or green left. Time left:. First Name. Last Name. Email Address. Phone Number. Zip Code. When will you purchase your vehicle?

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Check the Use all images option when you want to ensure that all the still images you have added to your project are actually used in the slideshow, regardless of the length of music you have provided. Studio will repeat or trim the music clip as required to match the number of images you have chosen. Note: The Use all images option affects SmartMovie slideshows only, not music videos.

The Relative volume slider adjusts the prominence of the background music track relative to the other audio tracks. Move the slider all the way to the right if you want to hear only the music track in the finished video. Each text line consists of two edit fields. The big moment… Finally, click the Create SmartMovie button and sit back while Studio generates your movie. Using SmartMovie from Capture mode Studio lets you jump directly from capturing your video right into the SmartMovie tool.

To use this option, simply initiate your capture as usual, then check the applicable box on the Start Capture dialog. With themes you can quickly give your videos a more professional look while maintaining a coherent structure.

You can create attractive, visually consistent sequences that integrate artistcreated titles and animations with your own photos and video. Themes are easier to use, and can provide animation and other effects not available in the Title Editor. On the other hand, the Title Editor gives you a rich set of text drawing effects, and much finer control over the appearance of the titles. Within each theme, the available templates are designed to complement one another when used in the same project.

For instance, most themes provide an Opening template and a matching Ending template. Many themes also provide one or more Segue templates for transitioning from one video or image clip to another. Here, from left to right, are an Opening, a Segue, and an Ending icon.

The zig-zag edges correspond to the placement of full-frame video in the clip. The video at the end of the Opening, and at the start of the Ending, can be edited to match that of a Segue; thus the zig-zag also indicates how the templates can be used together.

Each template defines a video or graphic sequence with blanks to be filled in by you. Most templates provide one or more slots for video or image clips. Many let you supply text captions for titles, and some have additional parameters for other special properties. Theme templates are stored in their own section of the Album. The first step in using a chosen template is to bring it into your project as a theme clip. As usual, this is done by dragging the icon from the Album to the Movie Window.

In the Movie Window, the theme clip is treated as an ordinary, self-contained video clip. The Album displays all the templates in a given theme, as selected from a dropdown list. To use a template, simply drag its icon from the Album into the Movie Window. Pick a theme from the dropdown list L to show the templates available R. To use a template, drag its icon down into the Movie Window. When the Movie Window is in Timeline View, theme clips can be trimmed and edited much like ordinary video.

You can elaborate them with transitions and effects, adjust their audio, and so on. Like disc menus, they are configured with a special editing tool, which opens automatically when the clip is added to the project, or when it is later double-clicked. The theme clip selected in illustration is treated as a unit in the Movie Window. Its special properties can be modified with the Theme Editor tool doubleclick the clip to open.

The Theme Editor tool lets you specify theme elements such as video or image clips, property settings, and text captions.

The Themes section of the Album In the Album, the templates for one theme may be viewed at a time. The default length of a theme clip depends on the design of the individual template.

If you drop a new theme clip onto an existing one on the Timeline, the new clip either is inserted beside the old one or simply replaces it. The choice of operation depends on the position of the mouse pointer relative to the target clip when you release the button. The placement lines that show the position of the new clip on the Timeline are drawn in green. Green placement lines indicate where the new clip will be inserted.

All existing clips would be moved rightwards to accommodate the new one. If you were instead to drop the new clip near the right-hand edge of the same existing clip, it would be inserted after the clip. Replacing an existing clip: If you drop a new theme clip onto the middle of an existing one, the new clip replaces the old one. The new clip also takes over any existing customizations of the old clip.

The placement lines, drawn in blue, show the boundaries of the clip to be replaced; regardless of its designed default length, the new clip will inherit these boundaries. The positions of other clips are not affected. Working with theme clips on the Timeline Theme clips behave like ordinary video clips when it comes to operations like trimming and adding transitions. When a theme clip is trimmed Although trimming operations on the Timeline are the same for theme clips as for video clips, the actual result produced by trimming depends on the nature of the clip.

In an all-animated theme, such as a fancy rolled title, the animation runs to completion at whatever speed the current clip duration dictates. Shortening the clip thus causes the animation to run faster, but does not truncate the sequence. Clips that include video, in contrast, can be trimmed in the usual way. Many themes include a variable-length video subclip. Transitions and effects Transitions can be used at the beginning and end of theme clips in the same way as with other clip types.

Video and audio effects can also be added to theme clips as usual, and apply to all the content the clip embodies. However, a few effects, such as Speed, are not available for use with theme clips. All the templates in this particular theme use the same backdrop design — an abstract, scrolling pattern. It is continuously visible except during full-frame video segments.

The coloring of the pattern is set using a parameter control available in the Theme Editor for each of these templates. Opening: An Opening template usually starts with some sort of animation, including titles, and ends with full frame video. Within the animation, two customizable captions are displayed. Both captions are flown into and out of the frame dark line color , with a one and a half second pause for stationary display light line color in between.

Just as the second caption is leaving the frame, an animated panel containing the running video subclip is launched. By default, the length of this theme clip is The embedded video clip starts at a fixed offset of and runs to the end; its length is therefore If your video subclip is long enough, you can lengthen the overall clip, extending the full-frame video portion.

Segue A: Segue templates connect two full-frame video sequences by means of some kind of animation. This first Segue example begins with two seconds of full-frame video, then zooms out to reveal a formation of multiple video panels running simultaneously. Zooming in on the final subclip leads to an expandable section of fullframe video. Segue B: This Segue achieves the basic aim of connecting two video clips more simply than the previous one.

The first subclip starts at full frame, then zooms out while rotating away from the viewer. When the reverse side of its rotating panel comes into view, the second subclip has replaced the first. The panel zooms in to fill the frame towards the end of the clip. Segue B creates a simpler transition. Once again, the full-screen segment of the second subclip can be extended by expanding the theme clip on the Timeline.

Segue C: This is similar to Segue B, except that the flying video panel takes an extra spin in the middle to admit one more subclip into the sequence. The final subclip is again expandable. Segue C includes a bridging video subclip. Fullframe video recedes to a flying panel that gives way to animated captions — just the opposite of the Opening sequence described above.

The one difference is that in the Ending clip the full-frame portion is not extendable. The Ending theme mirrors the Opening theme. Opening the Theme Editor tool The Theme Editor tool allows you to customize a theme clip by specifying your own subclips and other customizations. With these two methods, if a theme clip is currently selected in the Movie Window, it is automatically loaded into the editor upon opening.

While the editor is open, clicking on a different theme clip in the Movie Window changes the preview to that clip without closing the editor. Most templates have at least one of these; the maximum is six. Some also provide text captions and other parameters as required to customize special features.

The Theme Editor is split down the middle into two parts. On the left, a mini-Album provides access to your video and still image libraries; on the right is a customization panel. Here are the drop zones for your video and images, along with any text fields or other controls required by template parameters. Drag video or image clips onto a drop zone from either the miniAlbum or the Movie Window.

If necessary to create a longer subclip, you can also select multiple clips of contiguous video and drag them to the zone as a unit.

This is normally used to add or modify an effect on the subclip before dragging it back into the theme clip. To set the start frame of a subclip, hold down the left button with the pointer over the drop zone, then drag horizontally. To allow fine trimming, the amount of change produced by a given mouse movement is at first small then becomes rapidly greater with distance. A relatively large mouse gesture may therefore be required to get a desired adjustment. When the mouse pointer enters a drop zone with excess video available, it changes into a doubleheaded arrow.

Move the mouse back and forth to set the start frame. As you scroll the start of clip slider, the icon in the drop zone is updated to show the new starting frame. At the same time, the Player shows the frame at the current scrubber position. If the drop zone you are working with is active at that time index, the preview will reflect any changes to the start frame. Using the start of clip slider changes neither the position of the subclip within the theme clip, nor its duration.

Rather you are only choosing which excerpt of the subclip is used. The Theme Editor does not allow you to set the start of the subclip so late that the video would run out while the drop zone is still active. For example, if you drop a six-second segment onto a drop zone requiring five seconds of video, you will be able to set the start point up to one second into the subclip.

When the theme clip displays, the last frame of the subclip is frozen if necessary to fill the time allocated to its drop zone. Adding effects within drop zones It is not possible to apply video or audio effects to a subclip within the Theme Editor itself. Instead, rightclick the drop zone and select Add to Timeline from the pop-up menu.

Locate the clip on the Timeline at the scrubber position. Finally, drag it back to the drop zone, overwriting the previous contents. The Timline copy can now be deleted. Sometimes, though, you also need to modify the video images themselves, manipulating them in some way to achieve some desired effect. The Video effects tool is the eighth tool in the Video toolbox. It has two main areas: at left, an effects list showing which effects are already attached to the current clip s , and at right, a parameters panel where you can tune the effect as required.

Chapter 7: Video effects Page Video effects vs. Working with the effects list Each video or image clip in your project can be modified by one or more video effects. Each effect is applied to the original image in turn, in the order in which they are listed on the Video effects tool. The checkboxes next to each effect name allow you to enable and disable effects individually without having to remove them from the list which would cause any customized parameter settings to be lost.

Adding and deleting effects To add an effect to the list for the current clip, click the Add new effect button, which opens an effects browser on the right-hand side of the tool window. Select the effect you want, then click the OK button to add the effect. The other packs listed contain other premium effects requiring separate purchase. If you want to use the effect in an actual production, you can purchase an activation key without leaving Studio. Changing the order of effects The cumulative result of using more than one effect on the same clip can vary depending on the order in which the effects are applied.

With the up and down arrow buttons to the right of the effects Chapter 7: Video effects Page list, you can control the position of each effect in the processing chain. The buttons apply to the currentlyselected effect. The controls for the basic library of effects supplied with Studio are described below beginning on page Add-on effects are described in their own on-line documentation, which you can access from the parameters panel by pressing function key F1 or clicking the help button at the top left of the parameters panel.

Note: Some plug-in effects may provide their own parameter windows with specialized controls. In those cases, the parameters panel on the effects tool displays a single Edit button, which accesses the external editor. In Studio Plus, there are two kinds of preset: static, which store a single set of effect parameters, and keyframed, which store multiple sets of parameters in the form of keyframes see below. In versions of Studio that do not support keyframing only static presets are available.

Often, the quickest way to configure an effect is to start with the preset that comes closest to what you want, then fine-tune the parameters by hand. Resetting effects: A special type of preset is the factory default setting of each effect. The default can be restored at any time by clicking the Reset button at the bottom of the parameters panel. If Reset is clicked when keyframing is in use, the default parameter values are assigned only to the keyframe at the current movie position.

This is the standard behavior for each effect you add to the clip. Keyframing — the ability to change parameter values smoothly within a video clip — opens a wide range of new possibilities for using effects in your movies.

Availability note: The keyframing feature described here is provided in Studio Plus only. Each keyframe stores a full set of parameter values for the effect, and specifies at which frame within the clip those values should be fully applied.

With keyframing, new sets of parameter values can be applied as often as desired throughout the clip. A graphical view of the keyframes in the example above. The values of Zoom Z , Horizontal Position H and Vertical Position V are set by keyframe 1 at the start of the clip, by keyframe 2 about a third of the way in, and by keyframe 3 at the end. The values change smoothly over intermediate frames.

Most effects support keyframing. Keyframing scenarios Theoretically, a clip may have as many keyframes per effect as it has frames, but you usually need only a few. Two keyframes are enough to smoothly vary parameter values from one setting to another throughout the clip. Chapter 7: Video effects Page Keyframing gives you sensitive control over the way the effect is applied to the clip.

It becomes a simple matter to ease an effect in and out, for example. With a set of four keyframes you can ease in one or more parameter values at the start of a clip and ease them out again at the end. Two keyframes with identical parameters are created to define the start and end of each view — however many are required — within the show.

Until you do this, the effect maintains a single set of parameter values throughout the clip. When you switch on keyframing for an effect, two keyframes are created automatically. One is anchored to the start of the clip, and the other to its end. The parameters for both are set to the non-keyframed value. On the Movie Window timeline, a keyframe appears as a numbered flag on the video clip.

Keyframes for the effect currently open in the effect parameters window are shown as numbered flags over a vertical line. The current keyframe, if any, has a highlighted flag, like that of keyframe 3 here. Chapter 7: Video effects Page At the same time, additional controls are displayed at the bottom of the parameters window: the Add and Delete buttons, the Current keyframe indicator with forward and back arrows, and the Keyframe time counter with jog arrows. New controls appear at the bottom of the parameters window when keyframes are enabled.

The Current keyframe indicator shows the number of the keyframe attached to the frame you are viewing in the Movie Window. Use the arrows to advance from keyframe to keyframe. As you click, the Movie Window scrubber jumps to the next keyframe position.

When you are viewing frames of your movie for which no keyframe has been defined, the indicator shows a dash. The displayed parameter values are those that will apply to the current frame during playback. To create a keyframe at any such point, click the Add button, or simply start to adjust the parameters: when you do, Studio adds a keyframe automatically.

Keyframes are numbered in sequence from the start of the clip. When a new keyframe is inserted, or an old one is deleted, those that come after are renumbered to correct the sequence.

The Keyframe time counter shows the time offset within the clip of the current movie time — the frame showing in the Player. The first keyframe is therefore at time zero, and the last is at an offset equal to one frame less than the duration of the clip. The positions of the first and last keyframes cannot be adjusted. Others can move freely between the current positions of their neighboring keyframes.

Setting the time of keyframe 3. Previewing and rendering While you are working with the Video effects tool, choosing effects and adjusting parameter settings, the Player gives a dynamically-updated preview of the current frame in your movie. Previewing a single frame may not be very revealing when you are working with effects that evolve over the duration of the clip like the Water drop effect, page In those cases, you will need to play back the clip to see the full impact of the effect you are applying.

A colored bar appears in the Timescale above the clip while background rendering is in progress. Background rendering is optional.

In this manual, we cover the five effects in the Standard RTFX pack see page , which is included with all versions of Studio. Full documentation of the parameters for the Plus effects is included in their context-sensitive on-line help, which can be viewed by clicking the help button at the top left of the effect parameters panel, or by pressing the F1 key when the panel is open.

Expansion packs of effects from Pinnacle and other vendors will integrate seamlessly with the program. Some expansion effects are shipped with Studio as locked, premium content. Purchasing an activation key will remove the watermark. This can be done without leaving Studio. They are theoretically capable of actions with the potential to damage or disrupt your system, such as modifying or deleting files and editing the system registry.

Pinnacle advises against installing third-party plug-ins except those from trusted vendors. Auto color correction, Noise reduction and Stabilize are classified as cleaning effects, which help correct defects in the source video, such as noise and camera shake. They are not a panacea. Your results will vary depending on the original material and the severity and nature of the problems. Auto color correction This effect compensates for incorrect color balance in your video.

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Leicht zu installieren. Das Ergebnis kann jeder unter wupperphotos. Obwohl meine Video- Bearbeitungssoftware die Version14 ist, habe ich mir das Buch mit der Version 15 gekauft. Das Buch weist auch auf die V. Alle Rezensionen anzeigen. Ihre zuletzt angesehenen Artikel und besonderen Empfehlungen. Geld verdienen mit Amazon. Not the bottom half of the screen, however.

It now features a second version of the Diskometer, with two fly-out panels for adjusting audio and video levels during capture. Digital vs. It also indicates the approximate duration of video that can be accommodated, which depends on both the available space and the configured capture quality. Capture quality settings are selected using the preset buttons that are displayed on the Diskometer for some capture devices, or by entering custom settings. The Diskometer when capturing from a digital source L and an analog source R.

Click the side tabs on the analog version to open fly-out panels for adjusting video and audio levels during capture.

The Start capture button on the Diskometer begins and ends the capture process. The caption changes to Stop capture while the operation is in progress. The folder you assign will be used to store captured video during this and future sessions. The file name you enter will be offered as the default file name on your next capture.

The Camcorder Controller This panel of transport controls is shown in Capture mode if you are capturing from a digital video source. Analog devices must be cued and operated manually. The Camcorder Controller and a close-up view of the transport controls. The counter window above the control buttons displays the current position of the source tape, along with the current transport mode of the camcorder.

The Frame reverse and Frame forward buttons second row let you locate the exact frame you want. These two buttons are available only when the device is in pause mode. Choose the device you wish to use on the Capture source options panel. Performing the actual capture is a straightforward stepby-step procedure see page Upon detection, each scene is added to the Album, where it is represented by an icon of its first frame.

Automatic scene detection is described starting on page Some capture options apply to digital captures only or to analog captures only. Pinnacle Systems offers a complete line of DV, analog, and combination capture boards and devices.

For more information see your dealer or visit our web-site: www. The Capture source options panel appears. Select the devices you want to use from the Video and Audio dropdown lists in the Capture devices area, and click OK. Standard vs. With digital hardware, the frame format is detected automatically.

With analog hardware, you use the Aspect ratio dropdown on the Capture source options panel to select the format that matches the source material. The instructions apply to both digital and analog captures, with differences noted as required. Further information relating to some of the steps can be found elsewhere in this chapter. Also see Appendix A: Setup Options page for detailed descriptions of the Capture source and Capture format options panels. To capture video: Verify that your equipment is properly connected.

For an analog capture, connect the source video to the Composite or S-Video input of your capture hardware. Click the Capture button at the top of the screen if you are not already in Capture mode. The Capture mode interface is displayed see page Click the desired capture setting on the Diskometer.

For a DV capture, keep in mind that full-quality capture uses much more disk space than does preview quality. For an analog capture, keep in mind that the higher the quality setting, the larger will be your captured video file.

Click the Start capture button on the Diskometer. The Capture Video dialog box is displayed. Type in a name for the video capture file you are about to create, or accept the default name. You can optionally also enter a limiting duration for the capture.

If you are making multiple DV captures in preview quality from the same tape, use the file naming convention described on page It will help streamline the Make Movie process later on. Note: Windows 98 and Millennium have file size limitations. Studio estimates how much video of the desired quality the largest allowable file can accommodate, and displays this as the maximum duration for the capture.

If you are capturing from an analog camcorder or VCR, start playback now. This step is unnecessary with a digital-source capture, as Studio will control the playback equipment automatically when needed. Click the Start capture button in the Capture Video dialog box. The button caption changes to Stop capture. Capture begins. During capture, Studio performs automatic scene detection based on the current setting in the Capture source options panel.

Click the Stop capture button to end capture at a point you select. Studio automatically stops capturing if your hard drive fills up or the maximum duration you entered is reached. Scene detection Automatic scene detection is a key feature of Studio. As video capture proceeds, Studio detects natural breaks in the video and divides it up into scenes. A new icon is created in the Video Scenes section of the Album for each scene detected.

Depending on which capture device you are using, automatic scene detection is carried out either in real time during capture, or as a separate step immediately after capture is completed. Not all scene detection options are available with every type of video source. Options that do not apply to your setup are disabled in the dialog. Studio monitors the time stamp data on the tape during capture, and starts a new scene whenever a discontinuity is found. This feature might not work well if the lighting is not stable.

To take an extreme example, a video shot in a nightclub with a strobe light would produce a scene each time the strobe flashed. This can be useful for breaking up footage that contains long continuous shots. Press the [Space] key each time you want to insert a scene break during capture. The two DV capture quality choices are covered in detail in the following pages. This section concludes with a note on adjusting audio and video levels in digital captures page Note: If you are using a MicroMV camcorder connected to a port, the user interface in Capture mode is almost identical to that for DV equipment.

However, most DV capture options and features are not available with MicroMV captures, including preview-quality capture and DV encoding. It allows you to capture from DV videotape to a file of reducedquality video using minimal hard drive space. With SmartCapture, you can capture an entire tape onto your hard drive rather than having to pick and choose which portions to capture.

The reduced quality of the preview video therefore has no impact on the quality of your finished movie. Scenes captured at preview quality are denoted in the Album by a dotted border. Continuous timecode For the greatest convenience in using SmartCapture, your digital tape must have continuous DV timecode. Studio cannot capture in preview quality through breaks in the timecode.

If your camcorder has a timecode-striping feature, stripe your tape before shooting. If it does not, the simplest way to avoid timecode gaps is to overlap your shots if you start and stop the camcorder during shooting. Before beginning a new shot, rewind a few frames so that there will not be a blank spot.

SmartCapture can still be used with tapes that do not have continuous timecode throughout, but a separate capture file must be created for each segment of the tape.

SmartCapture will stop capturing when a break in timecode is detected. To continue capturing, cue the tape to the start of the next video segment and click Start Capture again.

Naming convention If you capture multiple segments from the same tape, we strongly recommend the following naming convention: For each capture file that originates from the same tape, use a name that starts with the same word.

Because Studio processes the files in alphabetical order when recapturing, following this convention will greatly reduce the number of times you have to switch tapes during the Make Tape process. Analog tapes Hi8 and 8mm do not have DV timecode even when played in a Digital8 camcorder. As a result, it is not possible to use SmartCapture with analog tapes played in a Digital8 camcorder. To use your analog tapes with Studio, either capture them at full quality, or copy them to DV tape.

Full-quality capture You have two choices for the way the video data is encoded and compressed in full-quality captures. The type of capture hardware you have and the capture quality you choose also help determine the minimum CPU speed needed. In cases where Studio is able to estimate that your computer is not fast enough to carry out a particular capture, it will advise you of the problem and give you a chance to cancel the operation.

DV DV is a high-resolution format with correspondingly high storage requirements. Your camcorder compresses and stores video on the tape at 3. With full-quality capture, the video data is transferred directly from the camcorder tape to your PC hard drive with no changes or additional compression.

Because the video quality is high, capturing at this setting does consume a lot of disk space, so you may want to pick and choose small segments to capture instead of the entire tape. You can calculate the amount of disk space you will need by multiplying the length of your video in seconds by 3. To capture at full quality, your hard drive must be capable of sustained reading and writing at 4 MB per second.

The first time you initiate a full-quality capture, Studio will test your drive to make sure it is fast enough. Audio and video levels — digital With DV and MicroMV captures, you are using audio and video that have been encoded digitally during recording, right in the camera. When you transfer the footage through a port to your computer, the data remains in the compressed digital format throughout, so you cannot adjust the audio or video levels during the capture.

This is in contrast to analog captures, where the audio and video can be adjusted as capturing takes place. With digital captures, you defer any needed adjustment of audio and video levels until Edit mode, where Studio provides plug-in video effects for adjusting the visual balance of a clip, and audio effects to enhance the sound.

These effects allow you to adjust individual clips rather than having to make global adjustments affecting all the video in a capture file. Capture quality options With most analog capture hardware, Studio offers three preset quality choices — Good, Better and Best — plus a Custom option.

Keep in mind that the higher the quality, the more disk space is required. Choose the Custom preset to configure your own video capture settings. For more information on video capture settings, see Appendix A: Setup Options page This feature is especially useful when you need to compensate for differences in video captured from multiple sources.

Video L and audio R panels for setting levels during analog capture. Although you can also adjust these levels with the appropriate Video effects in Edit mode, setting them correctly for capture can save you from having to worry about color correction later on.

Setting your audio options correctly as you capture will help in achieving consistent volume levels and quality. Particular capture devices may offer fewer options than are shown and discussed here. Video Choose the type of video you are going to digitize by clicking the appropriate Source button Composite or S-Video. Audio Use the Audio capture buttons to control whether Studio should capture the audio along with the video. Select the Off button if your source is video only.

The sliders on the tray let you control the input level and stereo balance of the incoming audio. Click the tabs down the left side of the Album to access the materials in the other sections. The source materials you need for making a movie are stored in the various sections of the Album, each of which is accessed by its own tab as follows: Video Scenes: This section contains your captured video footage.

You can access and preview the capture files directly, or you can load one into the Album, where its scenes are represented by thumbnail icons. To use some of the scenes in your movie, just drag their icons into the Movie Window. To use a transition, position it next to or between video clips and graphics in the Movie Window.

Titles: This section contains editable titles, which you can use as overlays or as full-screen graphics. You can create your own titles from scratch, or use or adapt the supplied ones. Studio supports rolls, crawls, and many typographical effects. Still Images: This is a section of photographs, bitmaps and grabbed video frames. You can use these images full-screen or as overlays on the main video. Most standard image file formats are supported. Sound effects: Studio comes ready with a wide range of high-quality sound effects.

You can also use wav, mp3 and avi files that you have recorded yourself or obtained from other sources. You can use these as they are, modify them, or create your own. Using the Album Each section of the Album contains as many pages as are necessary to hold the icons representing the items in that section. At the top right of each Album page, Studio shows the current page number and the total page count for the section. Click the arrows to move forward or back through the pages.

This chapter introduces each of the Album sections in turn, beginning with a detailed discussion of the allimportant Video Scenes section. Actually using the contents of the Album to create your edited movie will be the subject of chapters 4 through Source folders for Album content The scene icons in the Video Scenes section come from a captured video file, while the Transitions section is filled from resource files associated with the Studio program.

The icons in each of the other four Album sections are different: they represent the files contained in a particular disk folder. Each of these sections — Titles, Images, Sound Effects and Disc Menus — has a default folder assigned to it, but you can select a different folder if desired. The icons in the Titles section represent files stored in a selected source folder on your hard drive. The folder button beside the list lets you look elsewhere on your hard drive.

The Disc Menus section works similarly. To change the source of the current section, either select a folder from the dropdown or list, or click the button, browse to another folder on your system, and select any file. The file you select will be highlighted in the repopulated Album section.

Some Album sections also provide a Parent folder to facilitate moving around within a group of button folders containing appropriate media. In a typical production, your first step will probably be to drag some scenes from the Album down into the Movie Window see Chapter 5: Video Clips. In the Album, scenes are displayed in the order in which they were captured. This order cannot be changed, since it is determined by the underlying capture file, but scenes can be added to your movie in any order you choose.

Scenes captured at full quality do not have this outline. The checkmark remains as long as any clip in the Movie Window originates with that scene. Studio highlights any clips in the Movie Window that originate in the selected scene or scenes. To go the other way, use the Find Scene in Album command, which is on the rightclick menu for Movie Window clips.

Summary of operations Because of its central role, the Video Scenes section of the Album provides an extensive set of operations. When you are viewing the folder contents page of the Video Scenes section, both of these locations always appear on the dropdown list at the top of the Album. You can also choose other hard drive folders to access stored video files.

Both the current and previous folders are also listed, if they are different from the two standard locations, making four different folders that may appear in the list at any one time.

To change thumbnails in the Album: 1. Select the scene to be changed. Use the Player to find the frame you want used for the thumbnail. Video aspect ratios Most digital video files provide format information that allows Studio to detect the frame aspect ratio of or automatically. If the file does not provide aspect ratio information, Studio defaults to the standard format.

The Aspect Ratio and Aspect Ratio commands on the Album menu let you manually set whichever ratio you need. These commands also appear on the right-button context menu for video scenes in the Album. Studio does not allow you to mix footage of different aspect ratios in the same movie. If you want to add footage to a movie, or footage to a movie, you must first use whichever Aspect Ratio command is needed to bring the Album scenes into conformity with the movie.

The new clips will be squeezed or stretched as needed to match the movie. When the Movie Window is in Timeline View, theme clips can be trimmed and edited much like ordinary video. You can elaborate them with transitions and effects, adjust their audio, and so on. Like disc menus, they are configured with a special editing tool, which opens automatically when the clip is added to the project, or when it is later double-clicked.

The theme clip selected in illustration is treated as a unit in the Movie Window. Its special properties can be modified with the Theme Editor tool doubleclick the clip to open. The Theme Editor tool lets you specify theme elements such as video or image clips, property settings, and text captions. The Themes section of the Album In the Album, the templates for one theme may be viewed at a time.

The default length of a theme clip depends on the design of the individual template. If you drop a new theme clip onto an existing one on the Timeline, the new clip either is inserted beside the old one or simply replaces it. The choice of operation depends on the position of the mouse pointer relative to the target clip when you release the button.

The placement lines that show the position of the new clip on the Timeline are drawn in green. Green placement lines indicate where the new clip will be inserted. All existing clips would be moved rightwards to accommodate the new one. If you were instead to drop the new clip near the right-hand edge of the same existing clip, it would be inserted after the clip. Replacing an existing clip: If you drop a new theme clip onto the middle of an existing one, the new clip replaces the old one.

The new clip also takes over any existing customizations of the old clip. The placement lines, drawn in blue, show the boundaries of the clip to be replaced; regardless of its designed default length, the new clip will inherit these boundaries. The positions of other clips are not affected. Working with theme clips on the Timeline Theme clips behave like ordinary video clips when it comes to operations like trimming and adding transitions.

When a theme clip is trimmed Although trimming operations on the Timeline are the same for theme clips as for video clips, the actual result produced by trimming depends on the nature of the clip. In an all-animated theme, such as a fancy rolled title, the animation runs to completion at whatever speed the current clip duration dictates. Shortening the clip thus causes the animation to run faster, but does not truncate the sequence.

Clips that include video, in contrast, can be trimmed in the usual way. Many themes include a variable-length video subclip. Transitions and effects Transitions can be used at the beginning and end of theme clips in the same way as with other clip types. Video and audio effects can also be added to theme clips as usual, and apply to all the content the clip embodies.

The first subclip starts at full frame, then zooms out while rotating away from the viewer. When the reverse side of its rotating panel comes into view, the second subclip has replaced the first.

The panel zooms in to fill the frame towards the end of the clip. Segue B creates a simpler transition. Once again, the full-screen segment of the second subclip can be extended by expanding the theme clip on the Timeline. Segue C: This is similar to Segue B, except that the flying video panel takes an extra spin in the middle to admit one more subclip into the sequence. The final subclip is again expandable. Segue C includes a bridging video subclip. Fullframe video recedes to a flying panel that gives way to animated captions — just the opposite of the Opening sequence described above.

Most templates have at least one of these; the maximum is six. Some also provide text captions and other parameters as required to customize special features.

Drag video or image clips onto a drop zone from either the miniAlbum or the Movie Window. If necessary to create a longer subclip, you can also select multiple clips of contiguous video and drag them to the zone as a unit.

Copying subclips to the Movie Window: To copy a subclip from a drop zone in the Theme Editor to the Timeline or other Movie Window view , right-click the zone and select Add to Timeline from the menu. This is normally used to add or modify an effect on the subclip before dragging it back into the theme clip. To set the start frame of a subclip, hold down the left button with the pointer over the drop zone, then drag horizontally.

To allow fine trimming, the amount of change produced by a given mouse movement is at first small then becomes rapidly greater with distance. A relatively large mouse gesture may therefore be required to get a desired adjustment. When the mouse pointer enters a drop zone with excess video available, it changes into a doubleheaded arrow. Move the mouse back and forth to set the start frame. As you scroll the start of clip slider, the icon in the drop zone is updated to show the new starting frame.

At the same time, the Player shows the frame at the current scrubber position. If the drop zone you are working with is active at that time index, the preview will reflect any changes to the start frame. Using the start of clip slider changes neither the position of the subclip within the theme clip, nor its duration. Rather you are only choosing which excerpt of the subclip is used. The Theme Editor does not allow you to set the start of the subclip so late that the video would run out while the drop zone is still active.

For example, if you drop a six-second segment onto a drop zone requiring five seconds of video, you will be able to set the start point up to one second into the subclip. When the theme clip displays, the last frame of the subclip is frozen if necessary to fill the time allocated to its drop zone.

Adding effects within drop zones It is not possible to apply video or audio effects to a subclip within the Theme Editor itself. Instead, rightclick the drop zone and select Add to Timeline from the pop-up menu. Locate the clip on the Timeline at the scrubber position. Finally, drag it back to the drop zone, overwriting the previous contents. The Timline copy can now be deleted. Sometimes, though, you also need to modify the video images themselves, manipulating them in some way to achieve some desired effect.

The Video effects tool is the eighth tool in the Video toolbox. It has two main areas: at left, an effects list showing which effects are already attached to the current clip s , and at right, a parameters panel where you can tune the effect as required. Chapter 7: Video effects Page Video effects vs.

Working with the effects list Each video or image clip in your project can be modified by one or more video effects. Each effect is applied to the original image in turn, in the order in which they are listed on the Video effects tool. The checkboxes next to each effect name allow you to enable and disable effects individually without having to remove them from the list which would cause any customized parameter settings to be lost.

Adding and deleting effects To add an effect to the list for the current clip, click the Add new effect button, which opens an effects browser on the right-hand side of the tool window.

Select the effect you want, then click the OK button to add the effect. The other packs listed contain other premium effects requiring separate purchase. If you want to use the effect in an actual production, you can purchase an activation key without leaving Studio. Changing the order of effects The cumulative result of using more than one effect on the same clip can vary depending on the order in which the effects are applied.

In Studio Plus, there are two kinds of preset: static, which store a single set of effect parameters, and keyframed, which store multiple sets of parameters in the form of keyframes see below. In versions of Studio that do not support keyframing only static presets are available.

That keyframe is created if it did not already exist. Chapter 7: Video effects Page Keyframing The parameters for Studio video effects are ordinarily applied at the first frame of the video clip and continue unchanged to its end. This is the standard behavior for each effect you add to the clip. Keyframing — the ability to change parameter values smoothly within a video clip — opens a wide range of new possibilities for using effects in your movies.

The values change smoothly over intermediate frames. Most effects support keyframing. Keyframing scenarios Theoretically, a clip may have as many keyframes per effect as it has frames, but you usually need only a few. Two keyframes are enough to smoothly vary parameter values from one setting to another throughout the clip. Chapter 7: Video effects Page Keyframing gives you sensitive control over the way the effect is applied to the clip. It becomes a simple matter to ease an effect in and out, for example.

With a set of four keyframes you can ease in one or more parameter values at the start of a clip and ease them out again at the end. Two keyframes with identical parameters are created to define the start and end of each view — however many are required — within the show. Until you do this, the effect maintains a single set of parameter values throughout the clip. When you switch on keyframing for an effect, two keyframes are created automatically.

One is anchored to the start of the clip, and the other to its end. The parameters for both are set to the non-keyframed value. On the Movie Window timeline, a keyframe appears as a numbered flag on the video clip.

New controls appear at the bottom of the parameters window when keyframes are enabled. The Current keyframe indicator shows the number of the keyframe attached to the frame you are viewing in the Movie Window. Use the arrows to advance from keyframe to keyframe. As you click, the Movie Window scrubber jumps to the next keyframe position.

When a new keyframe is inserted, or an old one is deleted, those that come after are renumbered to correct the sequence. The Keyframe time counter shows the time offset within the clip of the current movie time — the frame showing in the Player. The first keyframe is therefore at time zero, and the last is at an offset equal to one frame less than the duration of the clip. The positions of the first and last keyframes cannot be adjusted. Others can move freely between the current positions of their neighboring keyframes.

A colored bar appears in the Timescale above the clip while background rendering is in progress. Background rendering is optional. In this manual, we cover the five effects in the Standard RTFX pack see page , which is included with all versions of Studio. Full documentation of the parameters for the Plus effects is included in their context-sensitive on-line help, which can be viewed by clicking the help button at the top left of the effect parameters panel, or by pressing the F1 key when the panel is open.

Expansion packs of effects from Pinnacle and other vendors will integrate seamlessly with the program.

Some expansion effects are shipped with Studio as locked, premium content. Purchasing an activation key will remove the watermark. This can be done without leaving Studio. They are theoretically capable of actions with the potential to damage or disrupt your system, such as modifying or deleting files and editing the system registry. Pinnacle advises against installing third-party plug-ins except those from trusted vendors. Auto color correction, Noise reduction and Stabilize are classified as cleaning effects, which help correct defects in the source video, such as noise and camera shake.

They are not a panacea. Setting the trim points: The left bracket button beside the counter in the left preview area, and the right bracket button beside the counter in the right preview Chapter 5: Video clips 95 Page area, set their respective trim points to the current position.

If you modify the value, either by editing the numbers directly or by clicking the associated jog buttons, the effect is to change the out point of the clip. Of course, you cannot reduce the duration to less than a frame, or increase it beyond the limits of the original video scene. Usage tip: If you want to switch from trimming one clip on the video track to trimming another, just click on the new clip while the Clip properties tool remains open, or drag the Timeline scrubber to the new clip.

Both clips are then automatically trimmed so that the first ends at the split point and the second begins there. To split a clip in Timeline view: Choose the split point. You may use any method that adjusts the current position, such as moving the Timeline scrubber, clicking Play and then Pause, or editing the counter value in the Player.

The clip is split at the current position. Even if you have performed other actions since you split the clip, the multilevel undo allows you to step back as far as needed. To combine clips in the Movie Window: Select the clips you wish to combine, then right-click and choose Combine Clips. The operation is allowed only if the combination of clips will also be a valid clip — that is, a continuous excerpt of the source video.

On the Timeline, clips that can be combined meet along a dotted edge. During most editing operations, Studio automatically keeps the clips on the various Timeline tracks synchronized. For instance, when you insert a scene from the Album onto the video track, the relative positions of all clips to the right of the insertion remain unchanged.

Sometimes, though, you might like to override the default synchronization. You might want to insert a new video clip into your project without displacing any clips of other types. Or you might want to edit video separately from its accompanying original audio — a valuable technique with several variations, discussed below.

Each of the standard tracks all except the menu track provides a lock button. A locked track is grayed out in the Timeline view, indicating that the clips on the locked track cannot be selected or edited in any of the three views; nor are they affected by editing operations on unlocked tracks.

Apart from the menu track, any combination of tracks can be locked. Locking the title track, for example, prevents the duration of a title from being changed even when you trim clips on the main video track at the same time index. When the title track is unlocked, trimming the main video clip above it automatically trims the title. Chapter 5: Video clips 99 Page Insert editing In ordinary Timeline editing, a video clip and the original audio that was captured with it are treated as a unit.

Their special relationship is symbolized in the Movie Window by the line connecting the video track indicator with the original audio track indicator, showing that the latter is dependent on the former. The track lock buttons make it possible to deal with the two tracks independently for operations like insert editing, which typically means replacing part of a clip on the video track while the original audio track continues uninterrupted.

Note: Under Studio Plus, insert editing may also be carried out on the overlay video and audio tracks, using analogous methods to those described here. For instance, in a sequence that shows someone recounting a story, you might wish to insert a shot of an audience member smiling or sleeping! To perform an insert edit on the video track: 1. The lock button is highlighted in red, and the track itself is grayed to show that its contents will not be affected by editing operations.

Clear space on the video track for the video clip you want to insert. Now move to the point where the insertion should end and again split the clip. Finally, delete the portion of video that will be replaced by the insertion.

Because the audio track is still intact, having been locked, the video to the right of the insertion point does not move leftwards to fill the gap you have made in the Timeline, for the video and audio would then no longer be synchronized. If you were to preview your video now, you would see a black screen as the gap portion played back, but the soundtrack would be normal.

Now all that remains is to place the clip you want to insert. If the inserted clip is too long for the space you created it is automatically trimmed to fit the space.

You can adjust the trimming with the Clip properties tool. Chapter 5: Video clips Page Insert editing on the original audio track The converse insert-editing operation, in which a sound clip is inserted into the original audio track over unbroken video, is needed less often but is also readily performed in Studio. The procedure is analogous to the one for inserting video: simply reverse the roles of the two tracks at every step.

Note: Under Studio Plus, split editing may also be carried out on the overlay video and audio tracks, using analogous methods to those described here. Tip: For faster, more precise trimming, you may find it helpful to have the Clip properties tool open when following the procedures in this section. To open the tool, just double-click one of the video clips before you begin.

The L-cut In an L-cut, the cut to new video comes before the cut in the audio. Imagine a videotaped lecture in which the Pinnacle Studio Page video periodically cuts away from the speaker to show travel or nature scenes illustrating the lecture topic.

Audio and video cut simultaneously. This makes it clear to the audience that the new scene they are now watching illustrates whatever explanation the speaker has been providing.

Notice that the video and audio clip boundaries in the completed cut form an L-shape. Audio cuts after video. There are many effective uses of this technique. To perform an L-cut: 1. Adjust the Timeline so you can easily count off the number of frames or seconds you want to overlap.

Chapter 5: Video clips Page 2. Select the left-hand clip and trim its right edge to the point where you want the audio to end. Lock the audio track. Unlock the audio track. The video now cuts away to the second clip ahead of the audio. Video has been trimmed from the end of the first clip, and audio has been trimmed from the start of the second clip. If we let the next part of the lecture appear on the soundtrack a few moments before the video shows us the podium again, the change will be much less abrupt.

This time the clip boundaries outline the letter J: Audio cuts before video. To perform a J-cut: Adjust the Timeline so you can easily count off the number of frames or seconds you want to overlap.

As before, trim back the right edge of the left-hand clip, both video and audio, by the overlap interval. The audio now cuts away to the second clip ahead of the video. Chapter 5: Video clips Page Note: The procedures described above for the L-cut and the J-cut are not the only possibilities. With the Jcut, for example, another method would be to trim the right-hand clip to the desired start point of the video then, with the video track locked, drag the audio portion left to overlap the audio of the left-hand clip.

Dozens of brief clips must be carefully aligned to the beat of the soundtrack, in order that the music and video are properly coordinated. You can make slideshows, too. SmartMovie can create an instant slideshow from any set of still images, in a choice of styles and with synchronized music. The SmartMovie tool walks you through the creation process with simple step-bystep instructions. To begin, use the Album to locate the video scenes or still images you want to include, and drag them onto the Movie Window.

Tip: The Timeline view of the Movie Window is recommended when working with audio clips. The duration of this clip — and not the amount of visual material you supply — determines the length of your music video. Conversely, clips or images will be omitted if you provide more than can be used within the duration of the song. Exception: When making a slideshow with the Use all images option checked see below , it is the number of images you provide that determines the length of the finished project, not the duration of the music clip.

SmartMovie styles Select a style from the dropdown list at the top of the SmartMovie tool window. A variety of styles is offered for both music video and slideshow projects.

A brief description of each style is displayed in the status balloon as you scroll through the style list. Chapter 5: Video clips Page For video styles, you will get the best results if the starting duration of your video footage is about double the length of the soundtrack.

Each of the slideshow styles has its own ideal ratio between the number of pictures and the length of the song. The status balloon provides guidance for getting the proportions right. SmartMovie options The Use clips in random order option lets you mix up the visual material without regard to its initial sequence. This option is the default with some styles. It tends to give a finished product with a relatively uniform texture, but sacrifices narrative continuity.

Studio will repeat or trim the music clip as required to match the number of images you have chosen. Note: The Use all images option affects SmartMovie slideshows only, not music videos. The Relative volume slider adjusts the prominence of the background music track relative to the other audio tracks. Move the slider all the way to the right if you want to hear only the music track in the finished video.

Each text line consists of two edit fields. The big moment… Finally, click the Create SmartMovie button and sit back while Studio generates your movie. Using SmartMovie from Capture mode Studio lets you jump directly from capturing your video right into the SmartMovie tool. To use this option, simply initiate your capture as usual, then check the applicable box on the Start Capture dialog. With themes you can quickly give your videos a more professional look while maintaining a coherent structure.

For instance, most themes provide an Opening template and a matching Ending template. Many themes also provide one or more Segue templates for transitioning from one video or image clip to another.

Here, from left to right, are an Opening, a Segue, and an Ending icon. The zig-zag edges correspond to the placement of full-frame video in the clip. The video at the end of the Opening, and at the start of the Ending, can be edited to match that of a Segue; thus the zig-zag also indicates how the templates can be used together. Each template defines a video or graphic sequence with blanks to be filled in by you.

Most templates provide one or more slots for video or image clips. Many let you supply text captions for titles, and some have additional parameters for other special properties. Theme templates are stored in their own section of the Album. The first step in using a chosen template is to bring it into your project as a theme clip. As usual, this is done by dragging the icon from the Album to the Movie Window. In the Movie Window, the theme clip is treated as an ordinary, self-contained video clip.

The Album displays all the templates in a given theme, as selected from a dropdown list. To use a template, simply drag its icon from the Album into the Movie Window. Pick a theme from the dropdown list L to show the templates available R. To use a template, drag its icon down into the Movie Window. When the Movie Window is in Timeline View, theme clips can be trimmed and edited much like ordinary video.

Its special properties can be modified with the Theme Editor tool doubleclick the clip to open. The Theme Editor tool lets you specify theme elements such as video or image clips, property settings, and text captions. The Themes section of the Album In the Album, the templates for one theme may be viewed at a time.

The choice of operation depends on the position of the mouse pointer relative to the target clip when you release the button. The placement lines that show the position of the new clip on the Timeline are drawn in green. Green placement lines indicate where the new clip will be inserted. All existing clips would be moved rightwards to accommodate the new one. If you were instead to drop the new clip near the right-hand edge of the same existing clip, it would be inserted after the clip.

Replacing an existing clip: If you drop a new theme clip onto the middle of an existing one, the new clip replaces the old one. The new clip also takes over any existing customizations of the old clip. The placement lines, drawn in blue, show the boundaries of the clip to be replaced; regardless of its designed default length, the new clip will inherit these boundaries. The positions of other clips are not affected. Working with theme clips on the Timeline Theme clips behave like ordinary video clips when it comes to operations like trimming and adding transitions.

Many themes include a variable-length video subclip. Transitions and effects Transitions can be used at the beginning and end of theme clips in the same way as with other clip types. Video and audio effects can also be added to theme clips as usual, and apply to all the content the clip embodies.

However, a few effects, such as Speed, are not available for use with theme clips. All the templates in this particular theme use the same backdrop design — an abstract, scrolling pattern. It is continuously visible except during full-frame video segments. The coloring of the pattern is set using a parameter control available in the Theme Editor for each of these templates.

Opening: An Opening template usually starts with some sort of animation, including titles, and ends with full frame video. Within the animation, two customizable captions are displayed. Both captions are flown into and out of the frame dark line color , with a one and a half second pause for stationary display light line color in between.

The first subclip starts at full frame, then zooms out while rotating away from the viewer. When the reverse side of its rotating panel comes into view, the second subclip has replaced the first.

The panel zooms in to fill the frame towards the end of the clip. Segue B creates a simpler transition. Once again, the full-screen segment of the second subclip can be extended by expanding the theme clip on the Timeline. Segue C: This is similar to Segue B, except that the flying video panel takes an extra spin in the middle to admit one more subclip into the sequence. The final subclip is again expandable. Dabei bestimmt er einen Start- bzw. Festpreis und eine Frist, binnen derer das Angebot angenommen werden kann Angebotsdauer.

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