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The application includes numerous themes, so it’s pretty easy to create a good-looking project, with the possibility to add your very own media, regardless of the type: text, photos, sounds and videos. VEGAS DVD Architect can work with both fullscreen or widescreen formats, with an advanced preview utility to explore all the features of the latest created menu quick and easy.

Besides the fact that the tool offers you the possibility to insert text, graphics, submenus, pictures, music and video compilations, playlists and pages, it offers great navigation utilities, including next, back, previous and empty buttons. Each item comes with its very own settings, allowing you to personalize backgrounds, colors, dimensions and actions.

Once you’re ready to burn a DVD, there are two available modes, Prepare and Burn, both developed as wizards, so the user is required to follow multiple steps to get the job done. Of course, you can configure volume name, device and speed, just like in a traditional DVD burner. As a conclusion, this is one of the most powerful tools of its kind and the advanced features it comprises perfectly support this statement.

It worked smoothly on the latest Windows edition in our tests. Prepare and burn DVD and Blu-ray discs using professional authoring features provided by this comprehensive program with intuitive options. Read the full changelog. Load comments. All rights reserved.


Constantin Zamfir (constantin) – Profile | Pinterest – VEGAS DVD Architect 7.0 Build 100

It works only on bit Mac OS. I also want to thank the artist Dane Sharp who appears in the footage for the Music Video tutorial and is the singer of the song One Way Ride. If dvs are looking for an application geared toward managing extensive music collections, easy to use and with a comprehensive feature set buils MusicBee is that application. These property values are essential to ensure that the finished product will be played back correctly on the delivery-method format.


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Tip: It might even pay you to print this list out and keep it next to your editing station until you can commit the essential ones to memory. From the Preview monitor that helps you to see your edits in addition to importing clips to the timeline, which is essential to begin our project.

Getting to know all of these tools intimately will certainly give you an editing advantage and increase your speed during the editing process. These tools are the building blocks on which we will begin to expand and build your skill set for editing. So let’s continue on our journey of building your relationship with Vegas Pro 11 and dig deeper into the toolset that awaits you within this powerful software. Onward and forward to Chapter 3. It’s the place where all of the preliminary concepts you had for your video at the beginning of the project, come together.

Here we will learn some of the history of this specialized skill set and apply some of these concepts to our project. This process will also take us deeper into the settings and parameters of the tools we have been looking at. Beginner’s Guide Tutorial Project To effectively get the most from this chapter, you will need to have the project we started in the previous chapter accessible, as we will continue to edit our Music Video clip.

Once we start the Time for Action section, you will need to open the project to work on. Video Editing Concepts and Application Editing: A light history lesson In the early days of film, editing was something that was done pretty much while the footage was being shot, in the camera. So, often the cuts between one scene and the next were simply the spot where the camera was stopped and then started again. Also the attitude towards creating a movie was to make it lifelike and realtime, which consequentially lead to very long scenes with cuts and edits that felt un-natural and in effect were a very obvious jolt to the senses of the viewer.

As the audience back then was new to the experience of watching a film, they were happy to sit through these long, jerky feeling movies, just to have the experience of being entertained. Today, audiences are very savvy and extremely experienced at being a viewer. The sun and clouds presented in time-lapse footage often refers to the passage of time, just as in some older films the clock or calendar flashing quickly through hours and days does. As film producers realized they could physically cut the film and re-stick it back together splice in a different order to which it was filmed, a whole new world of movie making began.

Storylines no longer had to be confined to a fixed timeline, and this allowed screenplay writers to be far more creative with their storytelling. This is also the time when the position of editors became a recognized and rewarded part of the process. The editors themselves became the translator of the story in the directors head into a language that the viewer would understand and enjoy. So a language has been created that you the editor need to learn to make the story being told by the video a smooth and comfortable experience for the viewer.

The trick of course is to use these editing tools in a way that creates familiarity, but also with a touch of creativity. If you re-watch one of your favorite movies, but this time watch it with an analytical eye to see where some of these editing tools have been used to convey the story better, you will start to become aware of the language you didn’t realize you already knew.

Using the Tutorial Project we saved in the last chapter, let’s make some edits and cuts to our media on the timeline and see how it affects the feel and the flow of our music video. Open Vegas Pro The Project we saved called Video Tutorial may still be in the recently opened files at the bottom of the File Menu list. If so select it. Once the project is opened, choose from the menu, File Save as, and rename the file as Multicamera and save again.

Once saved, return to File Open and select our first project again and open Video Tutorial ready to start our edits. Since we will be exploring two different methods of editing and cutting our media, we need to have two versions of our project saved at the same point in time.

By saving the project under a new name called Multicamera, we can load this project at a later time and begin editing from the same starting point as our Video Tutorial project. What makes a good edit or cut Editing or cutting and splicing film was a physical process where an actual blade was used to cut the film into segments.

That allowed these segments to be shortened and or moved to a different location in the timeline of the movie and spliced back together. The advent of computers means that all of our edits are undoable, as well as being non linear, which simply means that we don’t have to roll the film all the way to the end to cut out a piece of footage and then wind it back onto the spool again to place it near the beginning.

Our modern timeline means we can select moments anywhere on the timeline and edit to our heart’s content. Some would argue that this also means we can over think and over edit when we should have had a storyboard and a screenplay in place to work to before we even started the filming process. In reality, budget and lack of time leads us to grab the camera, shoot what we can, and fix it in the edit.

Having said that, I know nothing beats good planning and writing in the creative process. Editing isn’t always just to change timelines, but also to create a flow or a visual way to guide the viewer through the story of the video from start to finish.

If you think about it, in real life we see everything through our eyes in real time, and not in the un-natural way that video is presented. For example, if we were to watch a couple meeting for the first time, we have to see and listen to all the preliminary nervous conversation and the finding of their comfort zones, all the idle chatter topics, letting down of their guards, and so on.

This process could take three hours to unfold in reality, whereas in a movie this whole procedure may only take up to two minutes or less. By using different camera angles, and Point-of-View POV shots of their faces, we can represent their relationship quickly unfolding. In the first scene they may be seated a distance apart but in the next shot, they may be seated very closely together. The viewer immediately knows that they are becoming more comfortable, and with the growing pile of empty glasses on the table in front of them suggesting that they have already had a few drinks together, which also infers the passing of time.

Suddenly in the last scene you may find them both lying in bed smoking a cigarette together, which has been for a long time a visual euphemism for the fact that an intimate interchange has taken place. This whole relationship process, which may in reality have taken a whole night or even a few weeks to take place, can now be presented in a few minutes through the magic of multiple camera shots, scenes, and edits.

Our project at hand is a little different to the one mentioned above in that it is a music video clip. But in a similar manner we need to make the three minutes or so of the song passing by do so in a way that the viewer will find interesting as well as keeping them engaged.

This music video is mostly about the performance of the song, but there is an element of storytelling involved. In this case the story is not the one of the song’s lyrics alone, but includes in part the story of the making of the song and the performer’s enjoyment and involvement in that process. At the same time, the viewer also wants to see the singer’s passion and delivery of the song as the stories unfold.

These time references are of the format where each pair of numbers starting from the left refer to hours, minutes, seconds, and frames. So a timeline number stating means a position on the timeline that is 1 minute 58 seconds and 12 frames from the beginning of the timeline.

Depending on your base format time reference, the frames are expressed in increments of 24 frames per second, which is a film standard. In my part of the world Australia , I generally use the PAL standard of 25 frames per second for Broadcast Productions unless my project will end up on film.

Time for action — selecting edit points in our media clips With our Tutorial project session open, we can start to select edits that will work to make our music video clip present well. The first step in this process is to mark any actual problems in each take that may need to be removed. Problems such as footage with digital glitches, annoying factors like hair blowing in a distracting way, and objects that are in the frame that shouldn’t be there such as crew, microphones, lights, and so on.

To be a great editor, you need to make yourself very familiar with the footage you have at hand to edit.

Some accomplish this by watching each take through several times from start to finish and noting any good or bad things that exist in the “Take” or “Media Clip” that needs to be either removed or kept, along with making note of the timeline reading that the event happens at.

For example, if we solo the Take 1 track, and move our timeline to 1 minute 48 seconds that is , you will notice that the singer brushes his hair off his face then one of the crew steps in from the left and adjusts the hair of the singer in the clip.

Obviously this section needs to be removed. Let’s do exactly that: 1. Click the Solo button on the track header of Take 1. This will ensure you are looking at that track only. In the middle of the Take 1 media clip, click the position that reads on the timeline. Press the S key on your keyboard to make a split at this point as shown in the next screenshot: 4.

Once you have made the split point, press the space bar to play the clip from that point and see how much of the clip you need to remove. You will see that the next split point will be needed at just after the crew member exits the screen. Ensuring the cursor is at press the S key again to make a second split point. Now press the left mouse button on the Take 1 media anywhere between the two split points we just created and that section of the clip will be highlighted.

Our preview monitor will now go black and we will see a gap in the Take 1 media as shown in the next screenshot: 9. Now uncheck or turn off the Solo button on the Take 1 header and place the cursor just before our newly-created gap.

Press the space bar to play the video and you will see in the preview monitor that the playback jumps from Take 1 to Take 2 and back again, successfully removing the unwanted footage and keeping the flow of the video happening.

It is not unusual for us to see the camera change from a long shot such as Take 1 to a medium shot as in Take 2 and back again. Now that we have started to cut our takes into multiple clips, we need to be sure that we don’t slide our whole media clips forward or backward on the timeline as this will put our video out-of-sync with the audio, which will make the singer’s lip sync incorrect. Definitely not a good look for a music video clip!

In this next section, if you are having trouble getting the end of the clip to change to the correct timeline number, you may need to deselect Enable Snapping from the Options Menu or alternatively use the F8 key. This will allow you to move the ends of the clips frame-by-frame. Alternatively, you can press and hold the Shift key once you have started moving the end of the clip to override the current snapping setting.

Next we need to make the timing of the jumps between Take 1 and Take 2 feel a little more natural by seeing where the changes fall compared to the musical beat or the lyrical phrasing. Don’t worry, as this sort of consideration will come naturally to you the more editing you do. To show you what I mean, move your mouse to the middle of the end of the first clip of Take 1 and use the smart tool by clicking and dragging to the right to make the clip a fraction longer. If you lengthen it to the timeline point and play the clip, you will see that the scene change happens at the end of the lyrics “Let’s just get on” with the lyric “and go” being on Take 2.

This certainly feels much more of a musical edit. In the same manner, move the beginning of the second clip on Take 1 to and we will achieve the same musical kind of edit. You can even add a slight fade offset to the beginning of the second clip that is about five frames long.

By moving the mouse to the top-left corner of the clip, the fade icon will appear allowing you to add the fade in, which will make Take 2 feel even smoother as it fades back to Take 1. As you increase or decrease your fade time, Vegas will show the changes numerically in the number of frames on the Fade Offset Display shown in the next screenshot: What just happened? Firstly we saved our project at the same point of editing as two separate projects called “Video Tutorial” and “Multicamera”.

This was done so that we can explore two different methods of “Editing” or “Cutting” our media clips to create a smooth flowing and engaging music video clip. Working on our Video Tutorial we began the first method by going on to identify an area in Take 1 that needed to be removed from the useful pool of footage, and separated and deleted this piece of media from the timeline using Split and Delete commands.

Once removed we fine tuned the edit to make the changes from Take 1 and Take 2 feel smoother and more musical. You are on your way to possibly being that Academy Award Winning Editor! Follow the same format and method as we have just used in the previous Time for action section. You can compare your edits with mine later on. Remember, we are looking for actual errors or glitches, not personal creative choices.

Those other creative choices can come later. Leave Take 3 for the moment as it is a different kind of track. Make sure you save your project when you have finished editing. Method two: Multicamera tool Previously we used a manual way to edit our media for the music video clip, but within the arsenal of Vegas Pro 11 there is a very powerful and useful tool called the Multicamera Tool.

This tool is ideal for the purposes we are currently dealing with in our music video. That is multiple takes of a similar event that we wish to choose and cut from. Be aware that this process is a lot more CPU intensive, so if the video preview becomes choppy or stuttered, then lower your preview monitor quality to Preview or even Draft so that the timing of the cuts will be more accurate.

Dependent upon your computer power you may have to forego video quality over timing while editing. Let’s go through the process now. Time for action — creating edits with the Multicamera tool You will recall that earlier we saved two version of our project. Now is the time to save and close the one you’ve been working on and open up the Multicamera project. If you saved correctly, upon opening Multicamera, you should see the three complete video tracks called Take 1, Take 2, and Take 3 plus one audio track called Master Audio.

You will see that a blue border appears around the preview monitor. While holding the Ctrl key, select each Track header for the video tracks until all three are highlighted as in the following screenshot: 3.

Please ensure the Tracks are named Take 1, Take 2, and Take 3 as this is an essential part of the Multicamera process. You will see two things happen. Firstly, it will appear that you only have one video track now, but the preview monitor is cut into four sections and you will see that they have taken on the names of the track.

The fourth box is black as we only had three active video tracks. The currently active take has the blue box around it. That is, the take that has the blue box is the take that will have priority at that point in the timeline and until another selection is made.

Although there only appears to be one video track on our timeline, all three video tracks are in fact stacked on top of each other ready for our selection.

Let’s take the timeline back to the beginning and press the space bar to start play back. Watch the preview monitor and you will see that Takes 1 and 2 are continuous performances, but Take 3 is a series of media clips that are separated by a checkerboard background.

First thing we will do is remove the checkerboard background from the take. Now by using the right-hand arrow key on your keyboard, you can nudge the timeline along in increments of around three frames, which is a default setting dependent upon your level of zoom on the timeline. If, for example, you were zoomed in closer on the timeline, the increments would drop to two frames or one frame accordingly.

Keep pressing the right-hand arrow key until the first video of the guitar player appears in the Take 3 quarter of our preview monitor. Once you see it, use the Alt key and the Left and Right arrow keys to move the timeline in one frame increments back and forward until you find the very first frame of the guitar player in Take 3. As you can see, the blue box has now moved around the Take 3 window and on the timeline a split point has been made on our media.

With a closer look you will now see that the left-hand side of the split point is Take 1 and the right-hand side is Take 3. That is just before the checker background appears again.

Now, click on Take 1 again. Your task now is to go through the above process and create split points for the remaining 18 clips of footage on Take 3. You can compare your results when all are done with the following screenshot: Now that we have divided up Take 3, we can add some Take 2 into the mix. We could go through and add more split points to the edit, or we have the ability to make some adjustments to the existing ones.

The first scene we currently see is the long shot of our singer, followed by a studio shot of the guitarist, and then back to the long shot. I think it would be nice to have the first time we see him actually sing to be a closer shot.

To do this we right-click in the middle of the third media clip we have created and select Take from the drop-down menu. In here, at the bottom you will see Take 1, Take 2, and Take 3 displayed with a little circle next to Take 1.

Let’s change this to Take 2. Now our third shot in the sequence is a closer shot taken from Take 2. If you remember our previous method, we removed the crew member that stepped in and fixed the singer’s hair. Once again we will need to do this, and we can by changing the scenes that contain the crew member to Take 2. Let’s do this now. The first clip we need to change to Take 2 is the media clip that has its left hand edge at on the timeline. Just as before, right-click in the middle of this clip, select Take, and change to Take 2.

Do the same to the three clips starting at , , and accordingly. This removes the random crew member from the clip. Now that you have this method down, go through and make changes to the other Take 1 clips that you feel are good options as well as use this method to remove any other unwanted scenes, glitches, and so on, from the video.

It is best to leave the Take 3 scenes as they are as we will be referencing them further along in the tutorial. Another quick way to get the split points close to the mark is to start the timeline from the beginning, hit play, and as the video travels along in real time make the selections on the preview monitor.

To do this, click on the take you would like to be active at that point in time, like doing a Live Camera Switch during a football match or the shooting of a TV soap opera. Once done you can come back and edit the selection’s start and finish times. This process takes a little more skill and familiarity with the footage at hand but, once your editing skills improve, this will seem like a logical step for you to do.

It will offer you an option Keep unused takes as muted events to enable later recombining? Select Yes for now, but as you become more confident and you are sure there are no more edits you can select No to remove the unwanted media clips from the timeline.

After selecting Yes, the expanded tracks will now still contain all the media clips with the un-chosen clips being grayed out or muted, and the active clips being lighter and active. Now take the timeline to the beginning, hit play, and watch the preview monitor to see our work in action. This takes the system out of Multicamera edit mode. Using the Multicamera tool as our second method of editing, we were able to make various creative and essential selections from our three takes to create a flowing and cohesive music video clip.

One of the beauties of non linear or digital editing is that you aren’t actually cutting film up into little pieces, which means nothing we do here is permanent. We can make decisions later into the project or even at the last minute that would have been impossible in the old days of film editing.

We will use this tool to achieve two things. First, we will create a zoom-in effect on a clip and then we will remove some unwanted objects from a clip as well. Panning is the result of moving the camera slowly from one side to the other; particularly for wide landscape shots or moving from one face to the other. It can also be used to bring the focus to one particular part of a scene by zooming and panning onto that spot.

Usually this effect is done in the camera at the time of shooting, but this tool allows the editor to add some creative post-camera work. This effect is also commonly used on still images to create a sense of movement. Rather than just showing a series of photographs, each photo is panned across it to take away the static feeling of the still images. This same method applies to moving clips that are in themselves a fairly still image.

Let’s give it a go now. Let’s apply them to our music video clip. The media clip we will be dealing with is the shot of the singer sitting on his luggage at the side of the road on the timeline at from Take 3. A new window will open showing a still from the media clip with a letter F over it in a bounding box with eight adjustable boxes around it.

You will notice below the frame a timeline with a track header that says Position and below that Mask. We will be dealing with the Position track. This timeline represents the duration of the selected media clip, which in this case is about in length: 3. You will notice that the character waiting is looking at his watch. As the lyric of the songs says Please don’t make me wait here forever at this point, it would be good to bring the viewers attention to this moment. Grab the top-right adjustment tab of the frame and move it towards the center of the image.

You will also note that there is one at the very beginning of the timeline. One for the start position and one for the end position. If you right-click directly onto one of the diamonds, you will see they have a variety of settings such as Cut, Copy, Paste, Linear, Fast, Slow, Smooth, and so on. If you change both our diamonds to Smooth, in our example you will see the zoom now feels even more like an actual in-camera zoom.

Alternatively, if you set the first diamond to Hold, the frame won’t move from its first position until it reaches the second diamond and there it will quickly jump to the second position. All these options are creative tools that you can explore at your leisure to see how they affect your edits.

Click the cursor just to the left of the media clip we have been dealing with on the main timeline and hit play. The speed of this zoom is editable by simply clicking on the right-hand diamond and sliding to the left to speed up the zoom or to the right to slow it down. Also, one thing we have to be conscious of in doing this is the quality of the media clip. As we zoom in we are in effect reducing the number of pixels that are being used to display the image, so if we zoom in too far on a low resolution image it will start to show up as grainy or jagged edge footage.

As you deal with higher quality HD footage in your projects, the amount of zoom allowable increases dramatically. Let’s try it now. The clips are on Take 3 at and Place your cursor at the first timeline number. It won’t need a lot of movement until it is gone. Play the video to make sure you are happy with the result and that the shadow is now gone: 3. Now because we are going to apply the same cropping to the second scene we can save ourselves a little time by saving this setting and re-applying it with one click of the mouse.

At the right-hand end there is a symbol of a floppy disk that allows us to save our settings. Highlight the word Untitled and rename the setting. A name such as “Take 3 shadow remove” would be a good description for the preset. Once you have typed your Preset Name, click on the floppy disk icon. Now click the down arrow just to the left of the floppy icon and check that your setting name is there at the bottom of the list.

You will see it’s the same scene, but the man is now at the car about to close the back door after putting his bags in. Select the down arrow of the drop down Preset menu and select the preset “Take 3 shadow remove” that you saved previously. Instantly the crop frame will move into the correct position.

We have learned how to crop a scene to remove unwanted content as well as learning the basics of automating the tool. This method of automation like we set up in the Scene Zoom applies to pretty much every plugin and tool within Vegas Pro Slow and fast motion The last thing we will look at in this chapter is slow and fast motion. Slowmo as it is often referred to, is a much used tool in the creative process.

It is also a standard tool in the sporting world to slow the film down to see that special moment in the game or competition.

We have all seen it before, and enjoyed the Slow Motion effect. Its half brother Fast Motion isn’t used nearly as much, but has been a favorite in comedy and many older films to speed up the story line, get to the point more quickly, or to give a feeling of intense hustle and bustle. In the film world this used to be achieved by making the film go through the camera at a much faster rate like 50 frames per second while being filmed, then once processed it would be played back at 24 frames per second making the action pass by the projector lens slower than was filmed.

Likewise for fast motion, the film was shot at a lower frame rate and then sped up again in the play back. There was a fair bit of fiddling and mathematics going on to get the right look, but today with digital processing this is a very easy effect to achieve. Time for action — using slow motion as a creative tool Slow and fast motion effects are great creative tools, which we will now use on our project.

Let’s apply a little slowmo to one of our media clips for a little creative input. Obviously we won’t be applying it to a part where he is singing as this would throw out the lip sync. So let’s apply it to one of our story telling clips. Let’s jump to the media clip on Take 3 at It’s the clip where the red car flies past and our character is sitting on his suitcase waiting and throwing a rock.

Firstly, let’s remove the clip directly after the clip in question. Now we have some room to move. Using the smart tool that we would normally use to lengthen the media clip, place your mouse at the center at the end of our clip. While holding the Ctrl button click the mouse in the middle of the end of the clip. You will notice the Lengthening icon appears, but with a squiggly line under it.

We are now ready to make the clip travel in slow motion. While continuing to hold the Ctrl button, drag the mouse to the right about 50 frames or 2 seconds if you like 50 frames is 2 seconds in PAL. Click anywhere to the left of our edited clip and hit play.

You will see our character is now in a slow motion state. We haven’t changed the duration or timing length of the clip, but have simply made the clip show us less frames within the time allotted.

This is much easier than slowing down cogs and pulleys in a projector! To put the clip into Fast Motion we would do exactly the same thing except pull the end of the clip towards the front of the clip. This would in turn make more frames pass by in the allotted time to make it speed up in playback.

You will also notice, as in the previous image, that a jagged or squiggly line appears through the centre of the clip to let us know it has been slowed down or sped up. Have a fiddle with a few of the clips if you wish that aren’t reliant on lip sync or music playback timing and you can add a little creative flare to some of the action shots. Save the project at this point before you start to experiment so you can come back to this, our working version, if you make a mistake.

To make an Edit or Split point to a media clip, we use the key combination? The S key on its own 2. To remove an unwanted piece of a media clip that has been cut from the timeline we use? The Delete Key c. Which tool has to be enabled to have all three Takes visible on your preview monitor at the same time? The Slow Motion tool b. The Enable Multicamera Editing tool 4. In Vegas Pro 11, zooming in on a subject in a scene is done by using?

The Zoom button on my camera b. The Zoom tool c. You can’t do it in Vegas Pro 11 5. Slow Motion or slowmo is achieved by? Making the actor go slow b. Putting your finger on the cogs of the Projector c. Although not necessary, there are many books and articles on the methods used by different editors who are willing to give away their secrets. Also we looked at two of the different methods used for editing or cutting together a film clip or series of takes.

Slow and Fast motion is now an easy thing to achieve in the Digital world. Having whetted your appetite even further towards your goal of Academy Award Winning editor, let’s now take this new found confidence and delve even further into the mystical art of Editing in our next chapter.

This chapter will continue to take us along the path to learning how to use and apply these tools and will help bring you closer to being the Editor you want to be. Important preliminary points We shall continue to edit our music video clip.

Even though some of these tools will not be used in the final version of the music video clip, by using this media we will have a better understanding of the power of the software. Essential Editing Tools Video effects a. FX The palette of video effects that we have at our fingertips allows us to make changes to the look and feel of our Media that, before digital editing, may have taken hours to achieve.

But today, the results can be seen with the click of a button or preset. With over 57 FX that come standard with Vegas Pro 11, we won’t be covering every one in this book. But the methods we will use to change and save settings, automate and change parameters, and in general manipulate the FX in our music video clip, applies to them all. Time for action — applying global FX to our media If it isn’t already, open up our Video Tutorial project so we can continue to edit it. So far we have used the Multicamera tool to create a satisfying compilation of the three video tracks.

Now that we have this edit, we need to address the footage in both a corrective and creative manner. We shall first look at the Creative point of view and in the process learn how to generally apply FX to our project. Track 3 is a series of scenes that aren’t necessarily relevant to the timeline of the video story, so they are in effect a different time in the history of the song. To keep this separated from the performance of the song, we shall desaturate the footage to give it an almost Black and White feel, but leaving some color.

This will make these scenes feel as if they are from a different time than the rest of the performance footage: 1. Place the cursor on the timeline at The preview should be showing the scene of the three boys in the band sitting in the studio having a laugh. The Video Track FX window will open and you will see that the plugin settings are available. Move the Center setting all the way to the left at 0. The same with Spread to the left till 0.

By clicking and dragging this effect onto the Video FX button of Track 3, we applied this effect to all of the video that lays on Track 3. This is also known as globally applying an effect to the track. If you look at the previous screenshot, you can see that in the Video Track FX window, there is a black tick mark next to the Saturation Adjust tab at the top.

By clicking this, you can turn the plugin on and off. Here we have learned how to apply Video FX to a track. Obviously, the creative choices are endless as well as the combination of parameters within each plugin. By trying a few different FX on Track 3 you can see for yourself some of the options available. You can adjust the parameters manually, or if you prefer select a preset from the drop-down menu to see how those effects look.

After inserting each effect, you will need to remove each plugin before applying the next one. This can be done by selecting the plugin in blue and clicking on the Remove Selected Plug-in button just to the right of the listed plugins. Hovering over this icon will reveal the function name. Make sure the timeline is set to view one of the scenes on Track 3: Global FX another option Another way to add a Video FX to a clip globally is to right-click in the middle of a media clip and from the list select Media FX.

Hello Mr. Are you sure you want to report this comment post user as questionable? You may be blocked if you misuse this feature! Sign in. See section below Music Maker comes with all versions. See section below Update Notifier comes with all versions. It is now generally recommended not to install this. Sony Vegas Pro Back to post. Note: You can access this item in Your Software Library.

SVMSP 11 build Nick, maybe I’m overlooking but did you already tried this one? Magix should have taken over all those and make available for download.. Link to VP13 manual pre Magix? My old links fail, nearest is Magix VP Is there still no a CN language version?

Go to your Magix account and download from your software the “Instructions”. Thankyou ill go check it now. By “manual”, I think he means “not using a download manager” rather than an instruction manual. Previous page. Paul i love your site, you are amazing.

Leave a reply Your email will not be published. Search Go! About Us Website HardCracked provides softwares, patches, cracks and keygens. If you have software or keygens to share, feel free to submit it to us here. Also you may contact us if you have software that needs to be removed from our website.


(FAQ) Where can I download VEGAS Movie Studio 17 or earlier?


Each item comes with its very own settings, allowing you to personalize backgrounds, colors, dimensions and actions. Once you’re ready to burn a DVD, there are two available modes, Prepare and Burn, both developed as wizards, so the user is required to follow multiple steps to get the job done. Of course, you can configure volume name, device and speed, just like in a traditional DVD burner.

Skip to main content. You are here Home. Easy DVD preview The Preview window enables you to preview your project on a simulated television screen with a virtual remote control. Do not allow the installer to download a newer version if one is released.

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