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After a bit of a search, I found them. The audio mixer button is the one with a little bar graph, above the left end of the timeline. Audio keyframing is the button with the zigzag line, near the right end. So, audio keyframing is accessed differently from video keyframing, and maybe that’s necessary but it is unnecessarily confusing. The mixer uses rotary controls, imitation knobs.
Knobs are great to turn with fingers. Sliders are much easier to work with the mouse. But actually, the rotary knobs work like sliders if you mouse across the tops of them. Even with volume keyframing turned on, the knob which is labeled “adjust volume at the current location in this clip” adjusts volume for the entire clip. You have to click and release on the audio track to create a keyframe. Then you can drag to increase or decrease the volume.
Actually, clicking first is better — it avoids creating unwanted volume handles, but still, this example shows how minor changes in the interface can lead to annoyance. These need to be robustly documented. Avid Studio, and Pinnacle Studio v. Storage of voice-overs in Pinnacle v. In all versions, resizing or splitting a clip makes the positions of keyframe proportional to the new length of the clip. It is very unfortunate that this behavior can’t be turned off.
You have precisely located your keyframes, for example, to pan and zoom a clip, and if you shorten or lengthen a clip, the changes move to different times. I split clips ahead of time, either side of the place where I will be using keyframes, so as to confine the damage. Another workaround is to leave the clip the same length and overlay it on a different track, rather than to split it. You split clips in Pinnacle Studio v. In Avid Studio and Pinnacle v. They are not the same.
In Pinnacle Studio v. I didn’t find any way to recombine clips in Avid Studio or Pinnacle Studio v. Maybe there is, but I have yet to find it. File storage, backups and crash recovery are different in Pinnacle v. It is important to know how to manage these when saving, archiving or deleting files, and to avoid losing a project due to a crash or other problem.
Any video application is pushing the envelope of performance on today’s home computers, and even more so with high-definition video. Even the fastest home computers do not respond instantly to commands in video software. Some processing tasks cannot be managed quickly enough to allow editing to continue.
You may have to wait through lunch, or overnight. Expect this. Cues explaining that the computer is busy, and how long it will take, can be useful. Video files are huge, and HD video files are bigger.
Even with the best data compression, an hour of HD video will be several gigabytes in size. By default, all Pinnacle and Avid versions store your work on the C: drive, which they must share with the operating system or other applications — also slowing performance. I place the source files, project files and render files each on a different physical drive, so a drive doesn’t have to shuttle back and forth among bits of different files.
Each of the drives I use is at least one terabyte in size. The application loads faster from a solid-state drive, and putting render files there speeds rendering somewhat — though rendering actually works the CPU much harder than storage.
In older versions, its size is zero bytes, and in newer ones only a few bytes. Editing instructions, as well as items generated or processed during editing, are stored in a subfolder of the folder where the project file resides.
The subfolder has the same filename as the project. Deleting projects in Pinnacle v. In this way, you can delete older versions of a project once it nears completion, in order to free up disk space. The placeholder file and subfolder must stay together. You must be careful not to edit or delete either or you will be unable to open your project. The project file in Avid, and Pinnacle v. There is no separate folder with processed clips.
The format in Pinnacle v. You also can choose “Save As” and put a project file wherever you want. Choices for other types of files — titles, menus and voice-overs — are more limited because Pinnacle creates these files automatically — there is no “save as” option. All of the titles, menus and voice-overs from different projects are stored in the same folders, unless you change the folder setting for each project.
The locations for audio and snapshots are under the Import heading in setup, though these also are storage locations! The option on where to store voice-overs is not in Setup at all, it is in the voice-over dialog box.
You can move and relink files later, but you must be careful to keep track of them. Warning: While snapshots are named with reference to the project in which they are created, voice-over files in Pinnacle v.
If you reinstall Windows and Pinnacle, then load your documents folder from a backup. Pinnacle wild start the numbering again from zero and overwrite earlier voice-overs! For this reason, it is very important to move the voice-overs from a project to a location where Pinnacle will not overwrite them. Really, it would be much better to store the files in the same folder with the project.
You can manage this manually, though. If you would like to keep all the files which Pinnacle v. Voice-overs are are stored openly as. WAV files, so you can at listen to them in Windows Media Player or another application to help identify them..
Because these are uncompressed audio, they are rather large. Snapshots are stored as JPG,. TIF or Targa, and so they can be edited in another application, if you like. When you save a file in Avid or Pinnacle v. This saved my bacon once when Avid wrote an incomplete and unreadable project file.
Avid doesn’t direct you to the backup if the project file won’t open — you have to go to the folder with the backup, and rename it with the appropriate. Both the project file and the backup file get overwritten with each save, and so, in Avid as well as Pinnacle, it is useful to store a project under a new filename every once in a while during editing. However, Avid and Pinnacle v. This saves disk space.
The Library imports input files either by copying them — which is very wasteful of disk space as already mentioned, and puts them all in the same folder — or by linking to them. The links are absolute — they only hold if the input files remain in the same location.
You can, however, re-link either within a project or in the Library itself. If you transfer your Pinnacle installation to another computer, you need to keep all of the file locations the same, or you will have to re-link them. All versions generate render files which they use to display the edited video. These files serve only to smooth playback during editing. They may be deleted to free up disk space once editing is complete. The software reconstructs them if you return to editing later.
This takes time, but you will not have lost any of your work. These applications can only have one project open at a time. It is, however, possible to copy and paste material between projects by opening the source project, copying, then closing that project, opening the destination project, and pasting. Both projects need to be in the same file format, and the source files must be where the destination project can find them.
In this way, you can copy and paste multiple clips at once, along with the the formatting instructions from the source project. One you have exported a video, you can use it, or part of it, as a clip in another project, but you can’t change the edits in it. Avid Studio and Pinnacle Studio v.
These occurred in Avid Studio. I’ll indicate which ones I have. Checked The splash screen sits in front of anything else while the program is loading, taking up to 20 seconds on my fast desktop computer — a serious case of bad manners. Opening files from earlier versions is not intuitive.
Clicking within the Navigator sets the location for the current tab; conversely, clicking another tab transfers you to its saved location on the tree. Only the assets within the chosen location are displayed in the Browser. If the location has subfolders, however, their contents will be included.
To keep things simple, choose a location as near the bottom of the folder hierarchy as possible. Other controls let you restrict the display further by filtering out some of the assets in the chosen location. Each location tab maintains its own set of filters, so any change of filtering settings affects the current tab only. To use the filter, simply click on the star that represents the minimum rating you want to bother with.
The default filter setting is to show all assets regardless of rating. To deactivate just the rating filter click the last selected star or double-click any star. In this close-up, three stars are highlighted, meaning that only assets with ratings of three stars or better are on display.
Here the mouse pointer is poised to click the fifth star, which would set the rating filter to hide all but five-star assets. To return to viewing 2D assets as well, click 3D again.
Filter by tags Another way to narrow the field of displayed assets is with filtering by tags. Tags are keywords that you can assign to assets as you work. Once tags have been defined, you can use them in several ways to control which assets are displayed by the Browser. Search At the top right of the Library is a search field that gives one further way to filter the display. As you begin entering your search term, the Browser continually updates the view to include only those assets with text that matches your search term.
Even when multiple terms are separated by spaces, partial-word as well as whole-word matches are allowed in each term. A dropdown list lets you choose whether the search will be satisfied if even a single search term matches the asset text, or if all terms must match for the asset to be accepted. Chapter 2: The Library 37 Page 50 Inadvertent filtering The various filtering methods can be combined at will.
When an item is unexpectedly missing in the Browser, verify that filters are inactive. A filter alert like the one shown here is displayed at the top of the Browser whenever filtering is in force. Click the x icon at the right-hand end to clear all filtering at once.
Tags The Library is capable of handling a great number of asset files, sometimes far more in even a single folder than can be viewed conveniently.
The Browser therefore provides a number of methods of winnowing out irrelevant assets from the display. One method of streamlining the display of assets in the Browser is filtering by tags. A tag is simply a word or short phrase that you think would be useful as a search term. It is up to you whether you assign tags to your media, but if you do, they provide a powerful way of selecting assets to display. Tag management and filtering Management of tags, and filtering by tags, are handled in a panel that appears when the Tags button at the top of the Library is clicked.
At the top of the tags panel is a text box for entering new tag names. The panel also lists all the tags you have defined so far, lets you delete or rename them, and lets you choose which assets you want displayed in the Library.
Creating, renaming and deleting tags To create a new tag, click in the text box at the top of the tags panel and type in your tag. Select the media that you want to tag, make sure the Apply the tag to selected media box is checked, and click the Create new tag button beside the text box.
There is no limit to the number of tags you can create. To apply an existing tag to all currently-selected assets in the Browser, click the tag name. Selecting multiple assets to tag makes the process much more efficient than if you could tag only one item at a time. Hovering over a tag reveals the Rename and Delete buttons. Clicking the tag itself applies it to any currently-selected assets. Chapter 2: The Library 39 Page 52 Hovering the mouse over a tag reveals the controls for renaming or deleting the tag.
To rename, click the Rename icon, type in the new name, and press Enter. Click the Trashcan icon to delete the tag. To delete all tags at once, use the Delete all tags button at the bottom of the panel. If you are deleting a tag that is in use, you will be given a chance to back out of the operation. Under the second choice, you will see the tags being resorted each time one is checked or unchecked.
Filtering with tags Beside each tag name listed in the panel is a Filter icon that you can use to narrow the set of items displayed in the Browser. As you check and uncheck the tags, the view updates automatically. The exact effect of your selections depends on another control, the Match dropdown just above the tags. The list provides three options. None displays only assets that have none of your checkmarked tags.
Photos with neither tag will be hidden. Full selects only the assets that have all your tags. Now with the same boxes checked you should see only those photos in which at least one cat and one dog appear. To turn off all filtering at once, click the x button at the right hand end of the orange bar.
The art of tagging There is no prescribed way of using tags. The best way to use them — if you do — is the way that works best for you.
Consistency is important, however. The more faithful and systematic you are about assigning tags to your media, the more useful they will be. Since the idea is to locate an asset quickly when you need it, tags should be chosen to work well as search terms.
With family photos, your tags might include the names of the people in each shot. For vacation video scenes, tags naming the locations visited would probably be useful.
Correcting media You can apply the media correction tools in the Video, Photo and Audio editors directly to Library assets. This kind of editing does not change the underlying files.
Instead, the editing parameters are stored in the Library database and are reapplied whenever the asset is recalled. See Chapter 4: Media editing: Corrections for details. With video footage, for example, the Adjustments group of tools allows you to override the Library-assigned aspect ratio, interlace mode and stereoscopic 3D format. Dividing raw files into scene-length portions can make some editing tasks much less cumbersome than they would be otherwise.
The time required for scene detection varies depending on the length of the clip and the detection method selected. A progress bar keeps you informed of the status. To initiate scene detection, select one of the methods on the Detect scenes context menu command for video assets. By date and time: This option often results in logical scene boundaries that reflect your intention while shooting.
In many digital recording formats, such as DV and HDV, a discontinuity in the recorded timecode data occurs whenever the camera is restarted after being stopped. These shooting breaks are treated as scene breaks under the option.
By content: Under this option, the scene detection tool analyzes the image content of the material frame by frame, and establishes a new scene whenever there is an abrupt change in content. However, a quick pan or rapid movement across the frame may produce some unneeded breaks. By time interval: In this variant you define the length of the scenes to be created.
A small editing window opens for entering the desired value in hours, minutes, seconds and milliseconds. The scene duration has a one second minimum. Press Enter to confirm your input. Show the scenes To show the catalog of scenes for a particular video file, either select Show scenes from its context menu; or select the clip, then click the Scenes view button that appears at the bottom right of the Library.
The orange bar at the top of the Browser alerts you that scene view is active. At the right hand end of the bar is an x button you can use to terminate the mode. Clicking the Scenes view button again has the same effect. A single video file can contain many scenes. This makes the footage easier to manipulate during editing than if it were treated as a single segment. During editing, scene clips behave identically to other video clips. In the Library Player, navigate within the clip to each frame where a scene break should occur, then click the Split scene button.
To remove individual scenes, select one or more scenes then press Delete. The created production will include animated transitions, a full music soundtrack and eye-catching image effects. At the bottom of the Library window, just click SmartMovie. To begin, select from the Library a series of photos or video files.
Your music might come from digital audio assets already in the Library, or you can cook up a soundtrack on the spot with the ScoreFitter tool. That might be all it takes, though you can work on the project further with manual editing if you wish. Once you have a final product you like, it takes only a few clicks to burn it onto a disc or save it as a file for other uses, such as upload to the web. SmartMovie for slideshows The SmartSlide controls are presented on a panel that slides up into the window from below.
It contains three subpanels. The leftmost of these presents information about SmartSlide, and advice on how many files to include.
The center subpanel is a storage area with bins for photos and other images top and audio. The right subpanel contains controls for customizing the show. Drag thumbnails within the storage area to get the order you want.
Continue adding further images until you are satisfied. To add music, drag one or more sound files to the lower bin in the storage area.
Alternatively you can click the clef button in the bottom left corner of the audio bin to create a music soundtrack in ScoreFitter. Preview, edit and export Once your media are in place, click the Preview button on the footer bar below the tool. The project is created and presented in a preview window. If necessary, you can return to the SmartSlide tool to modify your media selections. When you click the Preview button, the media you have chosen are automatically saved in a Collection named Latest Smart Creation.
If you expect to make further use of this grouping of assets, rename the Collection to prevent it being overwritten the next time you look at a SmartSlide or SmartMovie preview. The Edit button brings your slideshow to the Movie Editor timeline for detailed editing.
The video settings button on the settings panel below provides access to these. When the presentation is the way you want it, click Export to burn a disc or create a file for upload. The storage area The photos in the upper bin are displayed as icons, while the music and sound files in the lower bin appear as text lines giving the file name and duration of each asset.
Both bins support multiple selection, drag-and-drop reordering, and a context menu with just two commands: Chapter 2: The Library 45 Page 58 Delete selected: The selected media are removed from the SmartSlide production. They remain available in the Library for other uses.
Shortcut: Delete. Any modifications you make to the media apply only within this SmartSlide production. Shortcut: double-click. SmartSlide settings The settings on this subpanel customize the SmartSlide production. The settings entered will be used the next time the slideshow is generated.
The video settings button lets you set up the timeline options that will apply if you take the production into the Movie Editor. The clear project button removes all media from the project and returns to default settings. Title: Enter a caption to be used as the main title of the slideshow.
Pan and zoom: Checking this option enlivens your presentation with simulated camera moves. Fit image: Check this option to enlarge images that are too small for the selected format. For a more flexible approach, you can also consider correcting the asset with the Crop corrections tool.
Again there are three subpanels. The leftmost presents information and advice concerning your SmartMovie. The center subpanel is a storage area with bins for video and photos top and audio.
Adding media The visual elements in your SmartMovie can include photos and other still images along with the video. Drag the assets you want to use from the Browser into the upper bin in the storage area. You can also drag thumbnails within the storage area to get the order you want.
Continue adding further material until you are satisfied. As media are added, the total running time of the source material is displayed in the top-left corner of the bin. This is not necessarily the length of the resulting movie. Chapter 2: The Library 47 Page 60 Preview, edit and export Having placed your media, click Preview on the footer bar below the tool. The project is created and opened in a preview window. If necessary, you can return to SmartMovie to modify your media selections.
The analysis phase of generating a SmartMovie may take some time to complete the first time the material is analyzed. Full rendering of the project, with progress indicated by shading on the time-ruler of the Player, may introduce an additional delay before a fully-detailed preview is available. When you click Preview, the media you have chosen are automatically saved in a Collection named Latest Smart Creation. If you expect to make further use of this grouping of assets, rename the Collection to prevent it being overwritten the next time you generate a SmartSlide or SmartMovie preview.
The Edit button brings your production to the Movie Editor timeline for detailed editing. The storage area The visual assets in the upper bin are displayed as icons, while the music and sound files in the lower bin appear as text lines giving the file name and duration of each asset.
Both bins support multiple selection, drag-and-drop reordering, and a short context menu: Delete selected: The selected media are removed from the SmartMovie production. Any modifications you make to the media apply only within this SmartMovie production. SmartMovie settings The settings on this subpanel customize the SmartMovie production. At the bottom are buttons for adjusting video settings for the generated project, and for starting over.
The settings entered will be used the next time the movie is generated. Title: Enter a caption to be used as the main title of the movie. Clip lengths: The visual tempo of your movie increases as the clip length is shortened.
Maximum uses the original length of the asset. Fit image: Check this option to enlarge material that is too small for the frame format of your project. Video volume: Set the volume of the original audio in the video segments. For a soundtrack of background music only, set to zero. The editor brings together three main components: The Library, in its compact view, provides the assets available to your project. The timeline lets you organize the assets as clips within a schematic representation of your production.
The Player lets you preview Library assets before adding them to your project. It also lets you view — on a frame-by-frame basis if you like — how any part of the production will actually appear to your audience when you export it, whether you save it as a file, burn it to a disc, transfer it to a device, or upload it to the Internet.
Along with the Library, the timeline of your project, and the Player, the Movie Editor window provides a variety of tools and panels for creating and editing titles, adding effects, and other purposes. The compact Library The compact view of the Library, which uses the top left of the Movie Editor screen, is a core feature of the editing environment. If you switch back and forth between the Library and the Movie Editor, you will see that the same location tab is selected in both views, and that the same Library assets are on display.
To make navigation easier in the compact view of the Library, the location tabs across the top bear icons that indicate the type of content that will appear in the Browser when the tab is clicked. To Chapter 3: The Movie Editor 51 Page 64 display a different part of the Library, click the expand-collapse triangle beside the icon.
This opens the folder tree through which you can access any Library asset. Finding Library assets using the expandable Navigator in the compact Library.
With the compact Library and the timeline together in the same window, adding assets to your movie becomes a breeze: just drag the items you want from the Library Browser onto the timeline. Previewing in the project editors You can operate the Player either in single or dual preview mode. Click the Preview Mode button in the upper right corner of the Player to toggle between them. Single mode conserves screen space by providing only one Player preview.
The Source and Timeline tabs above the Player indicate whether Library or timeline material is being viewed, and allow you to switch from one to the other. The player in dual mode. The side-by-side previews let you browse the Library while keeping your current movie frame in view. In dual mode, Source Library material is shown in the left-hand preview, and timeline material in the right-hand preview, each with Chapter 3: The Movie Editor 53 Page 66 its own set of transport controls.
The dual view makes it easier to locate Library assets that fit well with your movie by making both the existing and the prospective material visible simultaneously. A portion of the Movie Editor display, with the compact view of the Library at upper left, the Player at upper right partly visible , and at bottom the timeline, with the Navigator panel open in its upper region. Disc editing If you plan ultimately to release your movie on DVD with interactive menus, you will at some point need the special features of the Disc Editor.
It provides all the same timeline editing features as the Movie Editor, but also lets you create and work on the disc menus with which users will navigate your production. Please turn to Chapter 9: Disc projects for information about the special features provided for disc authoring. The other aspects of timeline editing are covered in this and subsequent chapters.
The same editing techniques apply in both cases. Timeline fundamentals The timeline consists of multiple tracks — as many as you require — in a vertical stack. Tracks nearer the top of the stack are positioned towards the front when viewed, their opaque parts obscuring the tracks below. The basic action of movie authoring is to drag an asset from the Library to a timeline track, where it is called a clip.
With a little Chapter 3: The Movie Editor 55 Page 68 practice, you can lay out a rough edit of a movie very quickly just by adding its main media assets at their approximate timeline positions. The track header: To the left of each track is a header area that provides access to functions such as disabling video or audio monitoring for the track. The default track: One track is highlighted with lighter background color, and is also marked with an orange bar to the left of the track header.
This is the default track. It has a special role in certain editing procedures; for instance, it is the target track for pastes. To make another track the default track, click in its header.
Your current position on the timeline corresponds to the video frame shown in the Player when it is in Timeline mode. The current position is indicated by a vertical red line, at the bottom of which is a draggable scrubber handle.
Another vertical line marks the same position in the Navigator see below. The toolbar Above the tracks, the timeline toolbar provides several clusters of editing-related tools. In the Disc Editor, the toolbar also includes tools specifically for disc authoring. The full-width strip appears just below the toolbar. In the Navigator, the bars representing clips have the same colors as they do on the timeline, except that the bar representing the selected clip is drawn in orange.
Clicking in the Navigator allows you to speedily access any timeline location. A portion of the Navigator strip, showing the current position vertical line, left and the translucent draggable view window. The gray rectangle that encloses a portion of the Navigator display — the view window — indicates the section of your movie currently visible on the timeline tracks.
To change which part of the movie is in view, click and drag horizontally within the view window. The timeline scrolls in parallel as you drag. Since your timeline position does not change, this may take the scrubber out of view. Zoom To change the zoom level of the timeline, either click and drag horizontally in the time-ruler along the bottom of the timeline, or drag the sides of the view window.
The first method has the advantage that it always leaves the screen position of the playhead undisturbed, which may make it easier to orient yourself after the zoom. To change the zoom of the Navigator itself, use the plus and minus buttons immediately to its right. Chapter 3: The Movie Editor 57 Page 70 Double-clicking on the view window adjusts the zoom of both the Navigator and the timeline such that your entire movie fits within the Movie Editor window.
The Storyboard Assembling a movie can involve juggling a large number of photos and video clips, as well as deciding where to place titles, Montages and the like. In the Storyboard, the clips on one track of your movie are presented as a sequence of icons, so you can see at a glance what is included and where.
To choose which track to view in the Storyboard, use the Storyboard link button in the track header. Any of the photos, video, audio, projects, Montages and titles in the Library can be added to your movie by dragging and dropping them onto the Storyboard. Once there they can be rearranged, or removed altogether if you change your mind. Different types of clips are represented in the Storyboard with different colors. For example, photos and videos have a blue frame, and projects have a gray frame.
As in the timeline, clips that have had effects applied appear with a magenta line on the top, and clips with corrections have a green line. A colored band connects the Storyboard icon with the position of its clip on the timeline; a gap in the timeline is reflected in a gap in the Storyboard. Once you become familiar with the color coding, it will help you quickly visualize the structure of your movie. The Storyboard displays a sequence of icons representing the contents of one track.
Effects magenta and corrections green are indicated on the top edge of the icon; the length of the clip is shown on the bottom. Which tools is visible, if any, is controlled by the Navigation tool selector near the left end of the timeline toolbar. Navigating in the Storyboard To scroll to a part of the Storyboard that is not in view, hover with the mouse over the Storyboard until a hand cursor appears.
Now click the left button and drag the Storyboard. Alternatively you can hover over the Storyboard and use the mouse wheel to scroll, or use the arrows at each end of the Storyboard.
Editing with the Storyboard Although most editing takes place on the timeline tracks, the Storyboard has some editing capability. For instance, effects can be added directly to a clip on the Storyboard by dragging and dropping the effect onto the clip. Any editing that takes place on the Storyboard is immediately reflected in the timeline, and vice versa.
Adding clips: Any photo, video, audio clip, project, Montage or title can be added to your project by simply dragging it from the Library to the Storyboard. An insertion line appears to indicate where the new clip will be placed. You can select multiple clips to add them all at once.
Inserting or replacing clips: If you are inserting material between clips already on the Storyboard, drag the new clip so that it overlaps the right side of the clip that will precede it. When the insertion line appears and a space opens up, drop the new clip into the gap.
To replace a clip, drag the new one onto the clip to be replaced. The insertion line will appear, and the old clip will highlight to indicate Chapter 3: The Movie Editor 59 Page 72 proper placement.
The new clip must be the same type as the old. A video clip cannot be replaced by a photo or audio clip, for example. But my training is still ongoing and a more balanced review may follow. One person found this helpful. Very comprehensive and well laid out, I would have preferred the illustrations to be in colour. The product was brilliant except that – – it failed to do its main job as far as I was concerned – it refused to burn a dvd disc.
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