Manual pinnacle studio 19 ultimate free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
By filling in the form below, your question will appear below the manual of the Corel Pinnacle Studio 20 Ultimate.
 
 

MANUAL PINNACLE STUDIO ULTIMATE – Pinnacle Studio 25 is now the newest version available

 

Enjoy access to millions of ebooks, audiobooks, magazines, and more from Scribd. You also get free access to Scribd! Instant access to millions of ebooks, audiobooks, magazines, podcasts and more. It appears that you have an ad-blocker running. By whitelisting SlideShare on your ad-blocker, you are supporting our community of content creators. Successfully reported this slideshow. Your SlideShare is downloading. Next SlideShares.

You are reading a preview. Activate your 30 day free trial to continue reading. Continue for Free. Upcoming SlideShare. Phase behavior. Among other enhancements, Pinnacle Studio 18 Plus Video Editing Software for Windows – boxed version – improves upon version 17 by adding native support for bit processor architecture, enabling increased performance when used o Can’t find what you’re looking for?

Try Google Search! Current discussions. Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Share Email. Top clipped slide. Download Now Download Download to read offline. Creative Visions Foundation Overview.

More Related Content Slideshows for you. Al Fazl International – 14 Novemember Saudi Students Guide to Atlanta. Al qaulul-mateen-fi-radd-ala-wahabeen-arabc. More from autonomo. Keep it in mind when buying Pinnacle Studio. When You invest your time in learning this product you are locked and switching to a different vendor will not be easy. I got this software upgrade for one reason alone – so I could have the capability to make Blu Ray DVDs, which allows for more video to be put on a single DVD since Blu Rays have so much more storage capacity before any loss of picture quality.

The first thing I did before burning my video project to disc was create a disc image, THEN I burned the image to disc. Some negative things I experienced while constructing my video project in Pinnacle 19, thus the 4 star rating instead of 5: Pinnacle 19 allowed me to import a video clip from a DVD that would not import while using Pinnacle However, and I’ve seen a lot of reviews that describe what I’m about to describe the audio faded out and was completely muted at certain points.

What I had to do to fix the problem was extract the audio from a second rate “copy of a copy” Sonata file using Pinnacle 14, then import the audio into my Pinnacle 19 project and layer the audio over the faulty audio, which I muted. Of course, I had to sync the audio with the video as well, which took some time to get exactly right FAR more time than it would have taken me in Pinnacle The volume control knob is a pain to use.

Pinnacle can simplify it by making it a lever that you slide up and down or left to right. That would be user friendly and allow one to adjust the volume on individual segments a lot quicker.

Some positive things I experienced while constructing my video project: Overall, this version of Pinnacle is more reliable when it comes to importing material from a DVD than, say, Pinnacle 14 is.

I never had an import fail. Creating the menu screen and chapters was easy to do and actually was a lot of fun to create. It worked flawlessly as well.

Importing previously made movie files and video clips from my videos folder was easy and relatively quick. The only problem I had was the problem I described earlier with the audio when importing material from a certain DVD.

But as far as previously made movie files, it was flawless. Everything looked the same in Pinnacle 19 as it did when I created the movie files using Pinnacle As a result, my video has well over individual movie files in it that total 8 hours, 39 minutes.

This safeguards against glitches, errors, etc. Pinnacle Studio 19 is actually a very good video editing software program once you get the hang of things. Don’t be lazy. Do some research. Go on YouTube and watch how-to videos. I had an older version of this software 16, I think — but I was lazy and never really applied myself to learning it.

One big con with this product is the complete lack of documentation that comes with it. OK, I understand that printed manuals are taboo now in the digital age, but would it kill you, Pinnacle, to actually post a user guide of some sort online? The audio plays at supersonic speed, making me sound like Mighty Mouse on helium — and I have yet to find any way to fix this or explain why it is happening.

It happens on previous videos I open as well as new videos I film using my webcam software within Pinnacle. Having the ability to open my webcam software within Pinnacle Studio 19 Ultimate and record my video there is a nice feature — but it does me no good for the time being. The audio is fine, though, if I try to edit other videos or live screen captures. One new feature I really like is audio ducking. It seems like everybody and their brother are using musical backgrounds on YouTube these days, and I hate that because as often as not the music is too loud and makes it hard to hear what the person is saying.

Auto ducking allows you to tone down the volume of the background audio during the narration of the video. That is probably not a feature I will be using, but I have watched some tutorial videos about it and find it really impressive.

People also seem to be excited about the addition of project bins, which afford you the advantage of grouping all of your files for each project together. Even if the problem is entirely my own fault, it should not be so difficult to find help in identifying and troubleshooting the problem. Overall, this looks like really good video editing software — not very intuitive but certainly powerful. The media could not be loaded. One person found this helpful. Otherwise it would be fantastic. Beware of the magazine reviews – they are concentrating on features and completely ignoring real user experience.

Yes, I am serious. And the reasons are: 1 there are numerous bugs which are making work with any movie longer than 10 minutes waste of time. This and only this already renders this otherwise fine and feature reach software completely useless and waste of time.

 

replace.me: Customer reviews: Pinnacle Studio 19 Ultimate (Old Version)

 

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-anddrop reordering, and a context menu with just two commands: Delete selected: The selected media are removed from the SmartMovie production.

They remain available in the Library for other uses. Shortcut: Delete. Any modifications you make to the media apply only within this SmartMovie production. Shortcut: double-click. The settings entered will be used the next time the production 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 movie. Clip lengths: The visual tempo of your movie increases as the clip length is shortened.

Maximum uses the original length of the asset. Pan and zoom: Checking this option enlivens your presentation with simulated camera moves. Fit image: Check this option to enlarge material that is too small for the frame format of your project. Video Track 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.

Chapter 3: The Movie Editor 59 Page 70 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 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.

Click the Preview Mode button in the upper right corner of the Player to toggle between them. The Player in single mode. 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 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 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. 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 Chapter 3: The Movie Editor 63 Page 74 other aspects of timeline editing are covered in this and subsequent chapters. The same editing techniques apply in both cases. The Project Timeline The timeline is where you create your movie, by adding video, photo and audio assets from the Library, by editing and trimming these core media, and by enlivening them with transitions, effects, and other enhancements. 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 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. Chapter 3: The Movie Editor 65 Page 76 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 Navigator The Navigator is an auxiliary navigation panel that can be revealed or hidden by clicking its icon on the Navigation tool selector near the left end of the timeline toolbar.

The full-width strip appears just below the toolbar. 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. 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. 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. Chapter 3: The Movie Editor 67 Page 78 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.

Effects magenta and corrections green are indicated on the top edge of the icon; the length of the clip is shown on the bottom. The space just below the toolbar where the Storyboard appears is also used by the Navigator and in the Disc Editor by the Menu List. Which tools is visible, if any, is controlled by the Navigation tool selector near the left end of the timeline toolbar. Navigating in the Storyboard To scroll to a part of the Storyboard that is not in view, hover with the mouse over the Storyboard until a hand cursor appears.

Now click the left button and drag the Storyboard. 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 Chapter 3: The Movie Editor 69 Page 80 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 proper placement.

The new clip must be the same type as the old. A video clip cannot be replaced by a photo or audio clip, for example. Selecting clips: To select a clip, click on its icon; an orange frame around the clip indicates selection. The timeline scrubber will jump to the beginning of the selected clip, and a connecting band of color will link the Storyboard clip with its timeline counterpart.

If the timeline position of the selected clip is currently off-screen, it will be brought into view. You can select multiple clips using the Shift and Ctrl keys according to the usual Windows conventions. Reordering clips: To pick up a clip and move it, click on it until it is selected, and then drag it to its new location. If necessary, the Storyboard will scroll until you reach the desired position. To adjust the height of individual timeline tracks, grab and adjust the separator lines between the track headers on the left.

If the vertical size of all tracks exceeds the available viewing area, a scroll bar at the right will allow you to select which tracks are in view. The timeline toolbar The toolbar above the Movie Editor timeline offers various settings, tools and functions that apply to the timeline and timeline editing. These are described in order from left to right. Customizing the toolbar The timeline toolbar can accommodate numerous buttons to help editing go more smoothly. One set of buttons is available for the Movie Editor and a somewhat larger set for the Disc Editor.

The Customize at the far left of the toolbar lets you choose which toolbar button subset of the available buttons you wish to display. Clicking the button brings up a panel upon which all the other toolbar buttons can be individually set as visible or hidden.

The gray check marks beside the Timeline settings button and a few others indicate that these buttons are not optional and will be displayed as a matter of course. Check or uncheck the boxes for the optional buttons until the toolbar has been configured to your liking, or check the Select all box to display all of the buttons.

Some of the commands invoked by buttons also have keyboard shortcuts. These work whether the button is displayed or not. Timeline settings By default your timeline settings are copied from the first video clip you add to the timeline. If you do need to change these basic image properties of your project, to open the timeline settings panel and click the Gear button configure the four settings provided.

Frame rate: Choose from a selection of frame rates consistent with the other settings. These settings can be changed at any time during the development of your movie, but you should be aware that a change of the frame rate can cause a slight shifting of clips on the timeline as they adjust to new frame boundaries.

Video material that is not in compliance with the chosen project settings will be converted automatically on being added to the timeline.

If you are making a stereoscopic movie, 2D material may be used but it will still look two dimensional, as both the right eye and left eye views will be the same. If you want to choose a video standard for your projects explicitly, rather than relying on inheriting the format from the first clip added, open the Project settings page of the application settings.

Navigation tool selector The space just under the toolbar can be occupied by the Navigator or the Storyboard, or by neither. In the Disc Editor there is a third possibility — the Menu List. The Navigation tool selector includes a dropdown that lets you select which tool you want displayed in that area. Chapter 3: The Movie Editor 73 Page 84 Clicking on the selector icon toggles the visibility of the area itself.

Audio mixer This button opens the enhanced audio control area with volume adjustment tools and access to the Panner, a surround panning control. ScoreFitter ScoreFitter is the integrated music generator of Pinnacle Studio, providing you with custom-composed, royalty-free music exactly adjusted to the duration required for your movie. Title The Title button opens the Title Editor.

If none of the many supplied titles answers your need, why not author one of your own? Audio Ducking Audio Ducking is used to automatically lower the volume of one track so that you can hear another track better. Multi-Camera Editor The Multi-Camera Editor is a workspace that lets you create professional-looking video compilations from footage of events that have been captured on different cameras, from different angles.

Razor blade To split one or more clips at the playhead position, click the razor blade button. No material is deleted by this operation, but each affected clip becomes two clips that can be handled separately with respect to trimming, moving, adding effects and so on.

If there are selected clips at the playhead on any track, only those clips will be split. Both parts of those clips remain selected after the split. Chapter 3: The Movie Editor 75 Page 86 If there are no selected clips at the playhead line, all clips intersected by it will be split and the right-hand parts will be selected to facilitate easy removal in case that is desired.

Locked tracks are exempt from the split operation. Trashcan Click the trashcan button to delete all selected items from the timeline. Snapshot If, while previewing video on the timeline, you see a frame that you would like to capture as a still image, click the Snapshot button. This creates a photo of the image currently being previewed, and puts it in the Snapshot folder under Photos in the Library.

Using the Snapshot button on the timeline is a quick way to grab a frame; for more control, use the Snapshot tool in the Video Editor. Markers The marker functions available here are identical to those provided in the media editors for video and audio. Instead of being attached to a particular clip, however, timeline markers are considered to belong to the video composite at the marked point. Only if there is a clip selection embracing all tracks at the 76 Pinnacle Studio User Guide Page 87 marked point, and only if no track is locked, will the markers change positions during timeline editing.

Trim mode To open a trim point, place the timeline scrubber near the cut to be trimmed and click the trim mode button. Click it again to close trim mode. Dynamic length transitions Ordinarily when a transition is added to the timeline, it is given the default length you have configured in Setup. Click this button if you would like to override the default length.

When the button is highlighted, the transition durations can be set by dragging the mouse to the right or left while placing the transition onto a clip. Magnetic snapping Magnet mode simplifies the insertion of clips during dragging.

This makes it easy to avoid the unnecessary — though often indiscernibly small — gaps between items that are otherwise apt to arise during editing. If you want to deliberately create such a gap, however, simply turn off the mode to allow the preferred placement.

Chapter 3: The Movie Editor 77 Page 88 Volume keyframe editing The volume keyframe editing button toggles keyframebased editing of clip audio. While the button is engaged, the green volume contour on each timeline clip becomes editable.

In this mode you can add control points to the contour, drag contour sections, and other operations. While the button is off, the volume keyframes are protected against modification. Opening the Audio Mixer automatically activates the button.

Audio scrubbing By default, the audio portion of a project can be heard only during playback in the preview. The shuttle wheel of the Player also provides audio scrubbing. Editing mode The editing mode selector at the right- hand end of the timeline toolbar determines the behavior of other clips when editing changes are made.

Material to the left of the edit point is never affected in timeline editing, so this applies only to clips that extend rightward from the edit point. Three choices of editing mode are available: smart, insert and overwrite. The default is smart, in which Pinnacle Studio selects from insert, overwrite and sometimes more complex strategies in the context of each editing operation. In a multitrack editing situation, clips typically have vertical as well as horizontal relationships. Insert mode is always non-destructive: it moves other clips on the track out of the way before inserting new material.

It will also automatically close gaps created by removing material. Only the target track is affected. Any prior synchronization with other tracks from the edit point rightwards is lost. Insert is most useful in the early stages of a project, when you are collecting and arranging clips on the timeline.

It ensures that no material will be lost, and makes it very easy to reorder clips and sequences of clips. In the later stages, when the structure of your project is approaching its final state and you have started carefully synchronizing material on different tracks, insert mode is less helpful.

This is where overwrite comes into play. Overwrite directly affects only the clips you select. Changing the length or position of a clip in overwrite mode will overwrite neighboring clips if you lengthen or leave gaps if you shorten. It will never affect the synchronization between tracks. Many actions support both insert and overwrite, but no other possibilities.

To change insert to overwrite behavior, or overwrite to insert, hold down the Alt key while carrying out your edit as usual. You can press or release Alt as you please while setting up the edit: what counts is the state of the key at the instant the operation is finally enacted, such as when you drop dragged items onto the timeline.

If you are not satisfied with the default behavior, just cancel or undo as needed, then try again with Alt. In one timeline editing operation — that of replacing one clip by another while retaining its duration, effects and other properties — the Shift key takes on a similar role. The timeline track header In the header area of the timeline are a number of controls affecting the arrangement and organization of the timeline tracks. The all tracks area above the track headers offers controls similar to those found on each track header but with global effect: they apply to all tracks simultaneously, overruling the individual settings.

Default track The orange vertical line to the left of the track header, together with a lighter background shade, identifies the default track.

It provides a destination track for certain functions, including send to and paste. Newly-created titles and ScoreFitter songs are also added on this track. To make another track the default track, simply click anywhere within the track header other than on a button or other control. Locking Click the padlock buttons to protect a track from unintended edits.

The same button in the all tracks area confers this protection on the whole project. Storyboard link The Storyboard is an alternative representation of a timeline track. A small storyboard link button appears beneath the padlock button on all track headers when the Storyboard is open. Click the button to select a given track as the one linked to the Storyboard display. Chapter 3: The Movie Editor 81 Page 92 Track name To edit the name of a track, click the name once to access the in- place editor, or select Edit track name from the track header context menu.

Confirm your edit with Enter, or cancel it with Esc. Video and audio monitoring The video and audio buttons in the track header control whether this track contributes its video and audio to the composite output of the project.

They support the many editing situations in which it is advantageous to block the output of one or more tracks in order to simplify the preview. The same buttons in the all tracks area toggle audio and video monitoring for the entire project.

Additional track functions The following functions are available in the track-header context menu: New track: You can insert a new track either above or below the existing track.

Delete track: Delete a track and all clips on it. Move track: Drag the track header up or down to a new layer position.

As you drag, a bright horizontal line appears at valid placements. Copy track: Keeping the Ctrl key pressed while moving a track will copy the track instead of move it. For custom sizing, drag the separator line between the track headers to seamlessly adjust the height.

Editing Movies The first step in any movie editing session is to bring your project into the Movie Editor to begin work. Before adding your first clip, make sure that the timeline video format will be right for the project see below. If your movie has been stored as a project package, it must be unpacked before editing.

When unpacking is finished, the unpacked project is added to the Library and opened on the project editor timeline, where it can be edited as usual. Please note that some features of projects created with a previous version of Studio may not be supported in the current version.

You can choose in the Project settings tab of the application settings to set the values of these properties automatically by matching the first clip added to the project. You can also set them manually. Depending on your timeline settings, clips in some formats might not be instantly playable. Such content will automatically be rendered in an appropriate format.

Establishing tracks With only minor exceptions, timeline tracks in Pinnacle Studio do not have specialized roles. Any clip can be placed on any track. As your projects become more complex, however, you will find it increasingly helpful to give some thought to the organization of tracks, and rename them according to their function in the movie.

Adding clips to the timeline Most types of Library asset can be brought onto the timeline as independent clips. The types include video and audio clips, photos, graphics, ScoreFitter songs, Montage and titles. You can even add your other movie projects as container clips that work just like video clips in your project. Chapter 3: The Movie Editor 85 Page 96 Drag-and-drop Drag-and-drop is the commonest and usually the most convenient method of adding material to a project.

When crossing into the timeline area during the drag and continuing to the target track, watch for the appearance of a vertical line under the mouse pointer.

The line indicates where the first frame of the clip would be inserted if dropped immediately. The line is drawn in green if the drop would be valid, and red if it would not be possible to insert a clip where indicated because the track is protected, for example. It is possible to insert multiple clips into the timeline at the same time. Simply select the desired Library assets, then drag any one of them to the timeline.

The sequence in which the clips appear on the track corresponds to their ordering in the Library not the order in which you selected them. Magnet mode: By default, magnet mode is switched on.

This makes it easier to insert clips so that their edges meet exactly. The new clip snaps to certain positions, like the ends of clips or the positions of markers, as if drawn by a magnet once the mouse pointer gets close to the potential target.

Not every movie starts with a hard cut to the first scene! Live editing preview In order to eliminate the confusion created by complex editing situations, Pinnacle Studio provides a full dynamic preview of the 86 Pinnacle Studio User Guide Page 97 results of editing operations as you drag clips around on the timeline.

Take it slowly at first. Watch the changes on the timeline as you hover the dragged item over various possible landing places, and complete the drop when you see the result you want. Either of these abandons the drag-and-drop operation. In a one-for-one clip replacement, Shift is also significant.

The smart editing mode helps you achieve these goals with ease. Filling a gap Smart mode makes it simple to fill a particular timeline gap with new material, for example. Rather than having to painstakingly pre- trim the Chapter 3: The Movie Editor 87 Page 98 new material to the space available, you simply drag items into the gap. Any clips that are not needed for filling the gap will be dropped, and the last clip used will automatically be trimmed to the appropriate length.

No clips already on the timeline are affected, so no synchronization problems can result. Inserting clips Suppose that your goal is to add new material to the timeline at a point where there is an existing clip.

Here again, smart editing provides a painless answer. Simply drag the new material to the start of the clip that is in the way, rather than into a gap. The clip moves aside exactly as far as necessary. Inserting with split If you drop an item onto the middle of an existing clip, rather than at a cut, the clip will be split.

The new material is inserted at the point you specified, and is followed immediately by the displaced portion of the original clip. In smart mode, synchronization of the target track with all other tracks is maintained by inserting in each of them a gap of length equal to the new clip.

To avoid affecting the other tracks in this way, use insert instead of smart mode. Alternatively, pressing Alt as you drop the new material will cause it to overwrite a portion of the existing clip. A third approach is to lock any track that should not be modified, although this will affect the synchronization of clips on locked tracks with those on unlocked tracks. The replacement clip will inherit any effects and transitions that were applied to the original clip. Corrections are not inherited, however, since they are usually meant to address the issues of a particular media item.

In smart mode, the replace operation will succeed only if the Library clip is long enough to cover the full length of the clip being replaced. In other modes a Library clip of insufficient length will be extended using over-trimming.

The direction and amount of the extension is based on your mouse position as you drag. If the Library asset is longer than needed, it will be truncated to the same length as the clip being replaced. The operation is equivalent to drag-and-drop, so smart mode is applied accordingly when deciding how other clips will be affected.

The Send to timeline command is found on the context menu of an individual asset or multiple selection in the compact view of the Library. If you click on a Library asset when working in the Movie Editor, the Player switches to Source mode for previewing. For trimmable media Chapter 3: The Movie Editor 89 Page video and audio , the Player also provides trim calipers for cutting out a starting or ending portion of the asset. After previewing the asset and trimming it if required, use the send to timeline button at the bottom left of the Player.

As usual, the asset is added to the project on the default track and at the playhead. A useful variation is to click anywhere within the Player screen and drag the asset onto any desired timeline track.

The asset is added at the drop point rather than at the playhead. Instead, they are created from settings and other actions you take during editing. Once your editing is complete, both titles and ScoreFitter clips will be sent to the default track on the timeline using the Send to timeline function, while voice-over clips will go to the special voice-over track instead. In smart mode, if the deletion produces a gap that spans all tracks, it is closed by shifting material to the right of the gap leftwards.

This lets you avoid accidentally creating empty sections in your movie, while still ensuring that synchronization between tracks is maintained. If the Alt key is held down when deleting, any gaps produced will be left unclosed. In insert mode, gaps on the tracks from which clips are deleted will also be closed, but other tracks will be unaffected.

No effort is made to preserve synchronization to the right of the deletion. With regard to synchronization, the safest editing mode for deletion is overwrite, which will simply remove the clips and leave everything else unchanged.

Clip operations The timeline of your project provides comprehensive support for selecting, adjusting, trimming, moving and copying clips. Selecting Select clips in preparation for performing editing operations upon them. A selected clip receives an orange frame in the timeline and in the Storyboard, and is displayed as solid orange in the Navigator. To select one clip, click it with the mouse. Any previous selections are removed.

For a fast multiple selection, click in an open timeline area Chapter 3: The Movie Editor 91 Page then drag out a selection frame that intersects the clips of interest. To clear a selection click into any gap area of the timeline. Multiple selection with keyboard and mouse To create more complex multiple selections, left-click while pressing Shift, Ctrl or both together.

To select a series of clips: Click on the first and Shift-click on the last. The two clips together define a bounding rectangle, or selection frame, within which all clips are selected. Toggle selection of one clip: Use Ctrl-click to reverse the selection state of a single clip without affecting any of the others.

Grouping and ungrouping clips You can select and group multiple clips so that you can move the clips together.

To group or ungroup clips: 1 In the timeline, select two or more clips. Adjusting changes the length of a single clip on the timeline in overwrite mode since insert mode would cause synchronization issues. If you drag the start of a clip to the right, a gap will be opened on the left side. If there is a clip to the immediate left of the clip being adjusted, dragging to the left overwrites it. The adjustment pointer also appears when the mouse hovers at the ends of a gap — an empty space on a timeline track with at least one clip to its right.

It turns out that adjusting gaps in overwrite mode, as we do for clips, is not especially helpful. Adjusting gaps therefore occurs in insert mode. Even if no gap is available, incidentally, you can get the same result by holding Alt while adjusting the sides of a clip. Over-trimming Over-trimming occurs when you try to extend the duration of a clip beyond the limits of its source material, a situation you typically want to avoid.

Notice that if you have over-trimmed your clip the invalid parts are shown in pink. Chapter 3: The Movie Editor 93 Page Overtrimmed clip: The first and last frames will be frozen in the over-trimmed sections. Over-trimming is not a crisis situation. You do not need to take action immediately. Depending on the duration of the over-trim, and the context, this simple approach may be all you need.

A brief freeze-frame can even be visually effective in its own right. The freeze-frame method will probably not give satisfactory results if it happens during a sequence involving rapid motion, however.

In such exacting cases you might consider supplementing or replacing the clip, or prolonging it with the Speed function. Multitrack trimming is a valuable editing skill. By trimming multiple tracks at once, you can assure that the clips coming later on the timeline maintain their relative synchronization.

Trimming clips without consideration for content later on the timeline can disrupt the synchronization of your project. Fortunately, there is a simple rule for safeguarding synchronization even on a complex timeline: open exactly one trim point on every track.

Whether the trim point is attached to a clip or a gap, and at which end, are up to you. Opening trim points To open a trim point on the active timeline track, position the timeline scrubber near the cut you want to trim, then click the trim mode button on the timeline toolbar. To open one trim point on each non-empty track simultaneously, Shift-click the trim mode button.

Once in trim mode, you can open trim points with the mouse pointer at the beginning or end of a clip. Notice that the trim pointer faces left at the start of the clip and right at the end. While the trim pointer is Chapter 3: The Movie Editor 95 Page showing, click once at the point you want to trim.

Then continue to open trim points on other tracks if required. You can open two trim points per track by holding down the Ctrl key to create the second point. This feature is useful for the trim both, slip trim, and slide trim operations, all described below. The Trim Editor in dual mode. The yellow rectangle shows the currently selected trim point at the start of a clip; the left side shows the final frame of the outgoing clip.

Trim points that are not currently selected are shown with an orange bar. The currently selected trim point is always shown and has a yellow rectangle around it. If the trim point is at the beginning of the clip, the first frame of the clip is shown; at the end of the clip, the last frame. You can switch the selected trim point by clicking in the other preview window, or by pressing Tab.

The left preview shows the currently selected trim point; the right preview shows the second trim point. Which frame is shown in the second preview window depends on which trim mode is being used. In a slip or slide trim, the second trim point of the operation is displayed, surrounded by an orange rectangle. In other cases, the second preview window shows the frame on the other side of the cut at the selected trim point. Above each preview window, the number of frames that have been trimmed is displayed.

If you think of the original cut point position as zero, the number indicates how many frames the new position of the cut point has moved. The clip that has the trim point is shown without the tracks above it and without any transitions applied to it.

This preview mode is most suitable for determining the exact frame to trim. The default display of adjacent frames are a complete composition of all the timeline tracks. You can toggle the in the lower right corner display behavior with the Solo button of the Trim Editor.

When solo mode is deactivated, the preview shows trim points in their timeline context. The Trim Editor in single preview mode. The Trim Editor opens in dual preview mode. To switch to single preview, click the preview mode button in the upper right corner of the preview area. Closing trim mode: Trim mode can be closed by clicking the trim mode. Select the mode from the dropdown list at the far right of the timeline toolbar.

Insert mode: Clips to the right of a trimmed clip and on the same track will shift left or right to accommodate the new length of the clip. Synchronization with other tracks may be lost, but no clips are overwritten. Overwrite mode: Only the clips you are trimming, and any neighboring clips they happen to overwrite, are altered in this mode. Synchronization across tracks is not affected. Smart mode: For trimming, smart mode is equivalent to insert mode.

With a trim point thus established, you can add or remove frames from the beginning of the clip. To trim on the clip, drag the trim point to the left or right. To trim on the Player, use the trim buttons to trim one or ten frames either forwards or backwards.

Click the loop play button for a looping preview of the trim region. Now you can add or remove frames from the end of your clip. Once again you can trim directly on the clip by dragging the trim point, or on the Player while it remains in trim mode. Trimming gaps might not sound terribly useful at first, but is in fact handy. For instance, the easiest way to insert or delete space on a single timeline track is to trim the right- hand edge of a gap.

All clips to the right of the gap are shifted as a block when this is done. Also, when you need to open a trim point on each track in order to maintain synchronization while trimming, you may often choose to trim the duration of a gap rather than that of a clip.

Remember the rule: one trim point on every track is required for keeping in sync. Chapter 3: The Movie Editor Page Trimming a gap, whether at the start or the end, is accomplished in exactly the same way described above for trimming a clip.

Two gaps and an audio out point have been selected for trimming. Because one trip point has been created on each track, the entire production stays in sync when trimmed. Trim both In this operation, two adjacent clips or a clip and an adjacent gap are trimmed simultaneously. Any frames added to the left-hand item are taken away from the one on the right, and vice versa, as long as space and material are available.

All you are moving is the cut-point where the items meet. One application for this technique is adjusting visual cuts to the beat of a music soundtrack. To start, click at the end of the left-hand clip to open the first trim point, then Ctrl-click at the beginning of the right-hand clip to open the second. When positioned over the adjacent trim points you just opened, the mouse pointer should be a horizontal two-headed arrow.

Drag left or right to move the clip boundary, or use the Player in trim mode. Dragging the trim points affects the timing of the hand-off from the outgoing clip to the incoming one, but does not disrupt the timeline. Slip trim To change the starting frame of a clip within the source material, but leave its duration unchanged, open one trim point at the start of a clip, and another at the end of either the same clip or one later on its timeline track.

Drag either trim point horizontally or use the Player trim controls to reposition the clip within its source. Slide trim A slide trim is an extended version of the trim both technique described above. In this case you open trim-points at the end of one clip and the beginning of another later on the timeline. Instead of sliding a single clip boundary along the timeline, as in trim both, you are sliding two that move together. All clips between the two trim points are repositioned earlier or later on the timeline.

Dragging either point moves the center clip — or multiple clips, if more are present — along the track while other clips remain stationary. Both slip trimming and slide trimming can be useful for synchronizing clip contents to material on other tracks. Monitoring trim points When you are trimming with multiple trim points, it is helpful to switch the preview from one trim location to another to make sure that each is properly set.

Selecting a trim point for monitoring makes it the source for audio and video during preview. Monitoring is enabled for a trim point when it is created. When multiple trim points are created in succession, you can fine tune each one as you go. To select an existing trim point for monitoring, Ctrl- click it. After using Ctrl-click to monitor a trim point, trimming can be controlled with the Left and Right arrow keys. Trim one frame using the keys unshifted; add the Shift key to trim in frame steps.

Chapter 3: The Movie Editor Page Moving and copying To move a selection of one or more clips, place the mouse pointer on any selected clip and watch for it to change to a hand symbol. When it does, start dragging the clip to the desired position.

Move can be thought of as a two-step process. First, the selection is deleted from the current timeline, according to the rules of the current edit mode. Second, the selection is moved to the desired end position, where it is inserted in a left-to-right fashion per track. The relative position of all selected clips on all tracks is retained. Moving either single clips or a complete timeline cross-section is more straightforward and should be preferred when possible.

Holding down the Alt key while moving clips allows you to toggle between insert and overwrite modes. Standard smart operation is the same as insert, since the most frequent use of horizontal moves is to reorder the playback sequence. Copying clips: Holding down the Ctrl key while moving a selection of clips will copy the clips instead of moving them.

Using the Clipboard Although drag-and-drop operations provide somewhat greater power when dealing with clips, the timeline does support the standard Clipboard operations cut, copy and paste, with the usual shortcut keys. The Clipboard also provides the only method for moving and copying transitions and effects between clips. Cut, the other usual command for adding to the Clipboard, is not available in the Library.

On the timeline, position the playhead at the point where the paste operation should begin, and select the desired track by clicking in its header. You can repeat the paste operation with the same set of clips as often as desired.

Both commands add the clips to the Clipboard; Cut removes the original clips from the project, while Copy leaves them in place. Paste the Clipboard contents onto the timeline as described above. The clips paste onto the same tracks as they originally occupied; and with the same horizontal spacing. Unlike drag-and-drop, the Clipboard does not support moving clips between tracks. Chapter 3: The Movie Editor Page Effects on the Clipboard Clips to which effects have been added have a magenta line along the upper edge.

Right-click on the clip, or right-click the line, to access the Effect context menu, which provides Cut all and Copy all commands for transferring or sharing a set of effects between clips. The effects stack will be pasted to all selected clips. The target clips retain any effects they may already have had. The pasted effects stack will be placed on top of the existing effects. Transitions on the Clipboard Right-click in the transition area in the upper corner at the start or end of a clip to access the Transition context menu.

Select Cut or Copy to put the transition on the Clipboard. As with effects, transitions can be pasted to one or more target clips, but any existing transition of the type start or end being pasted will be overwritten. The paste fails if the duration of the transition on the Clipboard is longer than the target clip. You can adjust the settings to produce any degree of slow motion or fast motion over a wide range.

A clip to which Speed Control has been applied is marked by a broken yellow line. It is set once and for all by the frames per second rate in your project settings.

To achieve slow motion, new frames are interpolated between the original ones; for fast motion, some source frames are suppressed. The options provided on the dialog are divided into several groups. Constant Select the clip playback speed as a value from 10 to percent relative to the original material. Anything under percent is slow motion. Anchor: When Constant is selected, the clip is anchored to the timeline by a specified frame during trimming operations.

You can choose the first or last frame of the clip, or the frame indicated by the current Chapter 3: The Movie Editor Page position of the playhead, to serve as the anchor. This can be useful for coordinating action between the speed-affected clip and material such as background music on other tracks.

Stretch Under this option, the first and last frames of the clip as currently trimmed will remain locked when the clip is trimmed on the timeline. Shortening the clip, instead of trimming material from the end, speeds it up just enough so that it finishes at the same frame as before. Lengthening the clip by trimming its end rightwards slows it down rather than exposing any trimmed material.

Video Reverse reverses the direction of playback without affecting the speed. Synchronous audio, if any, is suppressed with this option, since it is generally undesirable to play sound backwards. Smooth motion: This option applies a special transition technique to achieve maximum fluidity of movement from frame to frame.

Audio Hold pitch: This option maintains the original pitch of the recorded audio even when it is played back accelerated or slowed. The function becomes less effective the more the speed is changed. Beyond certain limits, it is switched off completely.

Movies within movies All the movie projects that you create in Pinnacle Studio appear as assets in the Projects branch of the Library. From the standpoint of timeline editing, it behaves just like any of your other video assets. You can trim it, move it around, apply effects and transitions, and so on.

The same is not true of disc projects. These cannot be used as clips in another project. Any modifications you make affect only the copy of the project inside the container clip, not the original. The length of the container clip on the timeline of the main project is not tied to the length of the sub-movie on its own timeline. Extending or shortening the sub-movie in the nested editor does not alter the length of the container clip in the parent movie.

You need to manually trim the container clip if you want it to match the duration of the submovie. Transitions A transition is a specialized animated effect for easing — or emphasizing — the passage from one clip to the next.

Fades, wipes and dissolves are common types of transition. Others are more exotic, and many employ sophisticated 3D geometry to calculate the animated sequences. Two transitions can be assigned to any clip, one at each end. A clip newly created on the timeline has neither. When a new clip starts, it does so with a hard cut to the first frame. When it ends, it switches to the next clip or black with equal abruptness. Pinnacle Studio offers a wide variety of transitions for softening, dressing up or dramatizing the change from one clip to another.

This creates a dissolve from the previous clip, if there is one, or a fadein if there is not. The wider you make the fold, the longer it will take the transition to complete. Folding back the top right corner of the clip results in either a dissolve to the following clip or a fade-out.

More elaborate transitions can be added to the timeline from their section of the Library under Creative Elements. When you find one you want, drag it onto one end or the other of a timeline clip. The length of the transition will be determined by the default duration defined in the Pinnacle Studio Control Panel Project settings one second by default.

If the clip already has a transition at the chosen end, the new one replaces it. One way to avoid this problem is by making sure the dynamic length transitions button on the timeline toolbar is active.

While it is, you can control the length of a new transition by dragging to the left or right as you place it on the clip. You will see the corner of the clip fold back as you drag. If the time-ruler is zoomed out enough, you will see the duration of the transition numerically displayed; clicking in this readout lets you edit it directly. The transition is added to the clip on the default track at the cut nearest the playhead.

Transitions can be added at the start or end of any clip. Chapter 3: The Movie Editor Page Finally, transitions can also be created in the applicable media editor, which opens when you double-click the timeline clip. The media editor provides editing controls similar to those for other types of special effect.

A fade-out transition is applied in ripple or insert mode, which creates an overlap by shifting the right-hand clip and all its neighbors somewhat to the left. This behavior saves the left-hand clip from having to be extended rightwards to create the transition, which might produce over-trimming. However, shifting the rightward clips causes a break in the synchronization with other tracks that may have to be worked around. A fade-in transition is added in overwrite fashion. No synchronization issue will result, but over-trimming may be produced in the left-hand clip.

To invert the fade-in and fade-out behaviors, press the Alt key during dragging and trimming. To apply a transition to multiple selected clips, hold down the Shift key while dragging a transition from the Library onto one of the selected clips. July 22, Post a Comment. Popular posts from this blog Microsoft office word tutorial pdf free.

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February 12, 2023