IntroductionWelcome| 00:00 | Hi! This is Larry Jordan, and welcome
to DVD Studio Pro 4 Essential Training.
| | 00:05 | The purpose of this title is to learn
how to create professional grade video
| | 00:09 | DVDs using DVD Studio Pro 4. Studio Pro
simplifies the organization, assembly,
| | 00:15 | testing and output of a finished DVD video.
| | 00:19 | There are three key concepts that you
need to understand to be able to make the
| | 00:23 | most of this application. The first is
that you create your assets outside of
| | 00:28 | Studio Pro, but you hook them together
inside the application. It's what I call
| | 00:33 | a wiring and plumbing application.
| | 00:35 | If you hire an electrician to hook up
the electrical for your house, you don't
| | 00:38 | ask him to design the color of the wall
plate or change the color of the wire.
| | 00:42 | What you want is you want them to make
sure that they reliably connect the wall
| | 00:46 | plug to the switch or the switch to
the light and that everything works
| | 00:49 | perfectly that when you turn the
switch on, the house doesn't burn down.
| | 00:53 | Now, there is a lot of talent and
skill involved in that electrical work, but
| | 00:56 | it's not the same as looking at a
blank piece of screen in Photoshop, and
| | 00:59 | designing something from whole cloth.
It's been designed. We're hooking it
| | 01:03 | together inside DVD Studio Pro. It's
what I call logical creativity. And like
| | 01:08 | Final Cut Pro, DVD Studio Pro does not
contain any media. It simply points to
| | 01:13 | the media on your hard drive and contains the
instructions and how to assemble it into a DVD.
| | 01:19 | Now, we have a lot of different titles
on DVD Studio Pro. We've got one, which
| | 01:23 | is just focused on the new features
inside DVD Studio Pro 4, another one
| | 01:27 | specifically on how to use Compressor 3,
especially some cookbook or recipe
| | 01:32 | approaches to getting your video and
audio compressed. If you have an older
| | 01:35 | version, we've got stuff on DVD
Studio Pro 3 and Compressor 2.1, but this
| | 01:40 | title is designed to be comprehensive,
and to tell you everything you need to know,
| | 01:44 | to be able to be successful of
using DVD Studio Pro, and I won't read you
| | 01:49 | all these different categories. Each of
these will be a separate collection of
| | 01:52 | movies on this disc or online training.
| | 01:55 | Also, I want to take a second and
compare the differences between iDVD versus
| | 01:59 | DVD Studio Pro 4. Both applications
support standard definition media.
| | 02:04 | iDVD though downsamples HDV to SD whereas
a DVD Studio Pro can actually create an
| | 02:10 | HD DVD disc,. Both of them compress
video and audio, but only Studio Pro allows
| | 02:15 | you to create fully-customized menus,
supports more buttons to a menu, allows
| | 02:20 | you to work with stories and multiple
audio tracks, allows you to create and
| | 02:23 | display subtitles and do scripting.
There's a tremendous amount of power inside
| | 02:29 | DVD Studio Pro 4, and we'll get
ourselves started by showing you how all this
| | 02:33 | training is organized. That is next.
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| Using this title| 00:00 | Let me explain how I think this title
could best be used. We have divided it
| | 00:04 | into the three parts. Part 1,
Chapters 1 through 4, explains basic DVD
| | 00:08 | terminology, Planning and storyboarding,
and Getting your assets ready to put
| | 00:12 | onto a DVD.
| | 00:13 | Part 2, Chapters 5 and 6, walks through
all the steps of Creating a simple DVD.
| | 00:18 | Now, don't let the word simple fool you.
This is the complete start to finish
| | 00:23 | construction of a DVD from menus, and
tracks, and slideshows. It walks through
| | 00:27 | the entire interface, and it gets you
comfortable with how the whole program
| | 00:30 | works. If you've never done a
DVD, part 2 will be essential.
| | 00:34 | Part 3, is not a project. Part 3 is
individual samplings of the advanced
| | 00:39 | features of DVD Studio Pro 4.
| | 00:41 | My recommendation is, if you are new
to the program, definitely watch Part 1,
| | 00:44 | because that's going to explain basic
terminology, and 50% of what you're going
| | 00:48 | to be doing on your DVD, is done before
you even start the program, and that's
| | 00:52 | getting everything ready to put onto
the DVD. That's where the real time gets
| | 00:55 | spent. So you need to understand what
you are doing, and that's what part 1 is about.
| | 00:59 | Part 2, orients you to the program,
then you can jump around to inside Part 3,
| | 01:03 | all the different chapters to take a
look at specific information about how
| | 01:06 | specific features of the application
work. There's one other thing I want to
| | 01:09 | tell you about, and that's
the exercise files. That's next.
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| Using the exercise files| 00:00 | By the way, if you are a premium
member of the lynda.com Online Training
| | 00:04 | Library, or if you are watching this
tutorial on a disc, you already have
| | 00:08 | access to the exercise files that I'll
be using throughout this title. If on
| | 00:11 | the other hand, you are a monthly or
an annual subscriber to lynda, then you
| | 00:15 | don't have access to the exercise files,
but you can still follow along using
| | 00:19 | your own assets and your copy of
DVD Studio Pro 4. But enough of the
| | 00:23 | orientation, let's get started, and
we're going to start with planning. And
| | 00:27 | planning is next.
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1. Getting StartedGetting prepared| 00:00 | Planning is essential to the
successful completion of any DVD. Well, planning
| | 00:05 | and testing, and actually linking stuff
up, but it still starts with planning,
| | 00:09 | and here we're going to start
with a brief look at DVD terminology.
| | 00:13 | Now, this is brief. It's only going to
be like 15 terms, but there are terms
| | 00:17 | that I use all the time. Second,
we'll talk about how you can plan your own
| | 00:20 | DVD, and then finally, how to prepare
your assets to put onto a DVD. Let's get
| | 00:25 | started with a click, and
hopefully painless look at DVD terminology.
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| Understanding DVD terminology| 00:00 | There are two broad categories of terms,
so I would like to spend a couple of
| | 00:03 | minutes defining. The first category,
are terms related to compression, and
| | 00:08 | the second, are terms related to the DVD itself.
| | 00:11 | In compression terms, bit-rate is the
speed with, which data transfers from the
| | 00:15 | DVD during playback. Bit-rate is a
measure also that's used during compression,
| | 00:20 | because our challenge in compressing
video is to get the highest possible
| | 00:24 | quality, largest bit-rate, while
the keeping the file size as small as
| | 00:29 | possible, the smallest bit-rate. In
other words, image quality and bit-rate are
| | 00:33 | almost diametrically opposed. Our
challenge is to get the best of both.
| | 00:38 | To encode is a technical term. It
means to compress the audio or video.
| | 00:43 | A GOP means a group-of-pictures, and
we use groups-of-pictures, because we
| | 00:47 | reduce the file size of our video by
compressing images in groups. Generally,
| | 00:52 | seven pictures in a group for PAL,
and 15 pictures in a group for NTSC. By
| | 00:57 | compressing pictures in a group, we
can make our file sizes much smaller, but
| | 01:02 | there are trade offs you'll
see later on in this training.
| | 01:05 | MPEG-2 is the video format of DVD
playback for video, and AIFF is an
| | 01:10 | uncompressed audio format. AIFF is
also the audio format that's used on audio
| | 01:15 | CDs that you listen to.
| | 01:17 | AC3 and DTS are two popular, compressed
audio formats, and AC3 tends to be the
| | 01:23 | most popular format of all for DVDs.
AC3 and DTS are both designed to reduce
| | 01:28 | the file size of our audio, but
keeping the quality as high as possible.
| | 01:33 | Looking now, at DVD terms.
| | 01:35 | Assets, are all the elements that go
into a DVD. A slide is an asset. A menu is
| | 01:41 | an asset. A video is an asset.
They are the components of your DVD.
| | 01:45 | Tracks, contain audio and video, and
end-jump is where a track goes when it's
| | 01:51 | done. At the end of the track it jumps
to a menu, and a menu is a background
| | 01:58 | with a button on it.
| | 01:59 | Now, this background could be a
stationary still, from say Photoshop, or it
| | 02:03 | could be a motion video that you
created inside Final Cut, but in general,
| | 02:07 | menus are backgrounds upon, which
we place buttons, and a button is an
| | 02:11 | interactive control that connects
menus with other menus or tracks. You click
| | 02:16 | buttons to go somewhere. Now, where
you go is determined by the target.
| | 02:20 | The target, is where a button or an end
-jump points. When I click this button
| | 02:24 | on a menu, it jumps to a track and
plays a video. When that video is done
| | 02:29 | playing, at the end of the track, it
jumps back to the menu. All these are
| | 02:34 | targets over a button or end-jump
points, but these connections are called links.
| | 02:40 | A link is all the interactive
connections between the tracks and between the
| | 02:43 | menus. DVD-ROM is non-video material,
which is on the DVD. Most generally it's
| | 02:49 | computer readable, and it's designed
specifically for doing things like PDF
| | 02:53 | files, or Word documents, or Excel
spreadsheet, stuff that you can't play on
| | 02:57 | your TV. It's all stored in
the DVD-ROM section of your DVD.
| | 03:02 | There are two ways to create a DVD.
One is to burn individually on your
| | 03:06 | computer, and the other is to
replicate. Replication is how DVDs are
| | 03:10 | mass-produced. Generally, it's not even
cost-effective to begin thinking about
| | 03:14 | replication unless you need more than 1
,000 titles. So burning one disc after
| | 03:19 | another generally on a computer, and
replication, mass-producing DVDs. That's
| | 03:24 | the terminology. Let's take these
terms and turn it into something practical,
| | 03:27 | like planning for a DVD. That's next.
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2. Planning Your DVDIntroducing planning| 00:00 | In this section we are going to talk
about planning your DVD and this is
| | 00:05 | incredibly important because if you
don't spend the time to plan, one, how do
| | 00:09 | you know when you are done and number
two, how do you know that you have done
| | 00:12 | it right. I remember clearly an
example where I have to throw away a hundred
| | 00:16 | thousand DVDs because of one small
error that was made in the planning process.
| | 00:21 | So first we will talk about choosing a
DVD format then we will talk about bit
| | 00:25 | budgeting, then understanding the DVD
workflow. And we will spend a little bit
| | 00:29 | of time talking about story boarding,
which is where you are going to be able
| | 00:32 | to find whether your idea makes sense
or not by outlining it first. And then I
| | 00:36 | will give you some helpful additional
software, which can make your life easier
| | 00:39 | as you are building a DVD.
| | 00:40 | But let's get started by taking a look
at the different DVD formats that are
| | 00:44 | out there and figuring out, which
one we want to choose. That is next.
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| Choosing a DVD format| 00:00 | So let's get started by choosing the
right DVD. There are two broad categories
| | 00:05 | of disks. There are DVD-R and DVD+R.
In general, on the Macintosh,
| | 00:11 | my recommendation is that you use DVD-R.
They are the most compatible on the most
| | 00:16 | machines and the reason we are
creating our DVD on the first place is we want
| | 00:20 | somebody else to watch it.
| | 00:21 | Recording it to -R format makes a
lot of sense. Then we have go different
| | 00:26 | formats of DVDs themselves, we have
got single side single layer, single side
| | 00:30 | double layer, double size single layer,
double size double layer. Well the
| | 00:36 | double-sided disk have principally
fallen out of favor right now. Mainly
| | 00:40 | because there are very, very few
players that have lasers on both sides of the
| | 00:44 | player, which means that the Viewers
got to get up and turn the disk over and
| | 00:48 | second, marking, it doesn't have any
place to put a label if you have got media
| | 00:52 | on both sides of the disk.
| | 00:54 | So things are pretty well
standardized to a single side disk. A single side
| | 00:58 | single layer disk when burned holds
4.3 gigabytes of data but when you
| | 01:03 | replicate it, holds 4.7. A double layer
disk, remember it is still single sided
| | 01:08 | when you burn, holds about 7.9 gigabytes,
but when you replicate it holds 8.5.
| | 01:14 | The technology doesn't quite give us
double the storage; it just gives us close
| | 01:18 | to double the storage. But there's a
bigger issue with these double layer disk
| | 01:22 | and the bigger issue is the fact
that when you burn the disk it is not
| | 01:26 | particularly compatible with
other players that are out there.
| | 01:29 | If you are going to do a double layer
disk then use the burned version just as
| | 01:33 | a way of testing your concept. But plan
on replicating any double layered disk,
| | 01:39 | we have seen based upon what is
happening in the market right now single side,
| | 01:43 | single layer burned disk are about 60
% to 70% compatible. That means one in
| | 01:48 | four won't work on somebody's machine,
single side double layer disk when
| | 01:53 | burned are about 30% compatible only one out
of three will work on somebody else's machine.
| | 02:00 | Replication on the other hand is
about 99% compatible, which means the
| | 02:04 | replicated disk, a mass produced disk,
whether it is single or double layer is
| | 02:08 | going to work on just about everything.
So use the double layer is a way of
| | 02:11 | testing but I would not recommend
using the double layer as a way of actually
| | 02:16 | distributing your finished work.
There's a way too much opportunity for it not
| | 02:19 | to work on somebody else's machine.
| | 02:21 | Oh and by the way there's one more DVD
that DVD Studio Pro supports and that is
| | 02:25 | a HD-DVD holds 30 gigabytes of
material and it is designed specifically to be
| | 02:31 | replicated. We cannot reliably burn an
HD-DVD disk but we can create it on DVD
| | 02:37 | Studio Pro. And we can send the
resulting files over to a replicator who can
| | 02:42 | then mass-produce it for us.
Currently DVD Studio Pro doesn't suppose the
| | 02:46 | blue-ray format.
| | 02:48 | Remember when I was talking about
the definitions and I said the Bit rate
| | 02:51 | measures the speed of data transfer
coming of the DVD disk on to your computer.
| | 02:56 | Well here's the key concept; your total
file size of all the different elements
| | 03:01 | on to your DVD cannot exceed the space
available on the DVD. That is that 4.3
| | 03:06 | gigabyte limit if you are burning
the disk or 4.7 gigabyte if you are
| | 03:11 | replicating the disk.
| | 03:12 | Or it may seem obvious that you can't
have files that are bigger than the DVD
| | 03:17 | will hold, obvious it is but
unfortunately we are always hammering up against
| | 03:22 | that 4.3 gig limit because video is
just playing so much bigger than 4.3 gigs.
| | 03:28 | So bit budgeting is the process of
determining how much space your files will
| | 03:33 | take before you go to all the effort of
creating a DVD. And where's the bulk of
| | 03:38 | your space it is in your video, so how
you compress your video determines how
| | 03:42 | big the files, determines how good the
quality is, determines whether or not it
| | 03:47 | is going to fit on to your DVD.
| | 03:49 | If you are only putting on minute or
two it doesn't make really whole lot of
| | 03:52 | difference, you have got plenty of
room to spare. But if you are trying to
| | 03:55 | squeeze on an hour and a half or an
hour and 45 minutes or two hours, every
| | 04:00 | possible thing you can do to squeeze
those files is important. So bit budgeting
| | 04:05 | helps you determine how much to
squeeze and what to set your settings at.
| | 04:08 | Now there's simple bit budgeting
built into DVD Studio Pro, it is little
| | 04:12 | thermometer that shows you how much
space is involved but there are also bit
| | 04:16 | budget calculators. Bruce Nazarian has
one at www.recipe4dvd.com and another
| | 04:21 | one is at creatspace/bitbuget and the
DVD Studio Pro manual starting on page
| | 04:27 | 633 has a number of pages devoted to
how to calculate the size of your video
| | 04:32 | before you actually compress it, so
you have got room to make changes.
| | 04:36 | Bit budgeting is critical because your
files size on the DVD is locked and your
| | 04:41 | files, no matter how much you want
them to, cannot exceed 4.3, 4.7, or 8.5
| | 04:48 | gigabytes depending upon how you
are replicating or burning your DVD.
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| Understanding the DVD workflow| 00:00 | The DVD workflow divides itself into
three sections and the first section is
| | 00:06 | planning and production. The very first
step inside planning and production is
| | 00:11 | creating the storyboard, planning
your DVD. First, how do you know what to
| | 00:16 | create if you haven't got it planned out.
Once you have got it planned then you
| | 00:20 | need to create your assets and this is
where the bulk of your time is going to be spent.
| | 00:25 | This is where you edit your video and
you produce your audio and you shoot your
| | 00:28 | slides and you get all the different
elements that you need and this could take
| | 00:31 | anything from hours to weeks
depending upon what you are working on. The
| | 00:35 | creation of the assets is what's going
to go on to the DVD, then you bit budget
| | 00:41 | how you are going to have to compress
them to get everything to fit. Again bit
| | 00:44 | budgeting is not necessary if you have
only got five or ten minutes of video
| | 00:48 | just to compress it using
default settings you will be fine.
| | 00:50 | But if you have got lots and lots of
material it is going to go on to that DVD,
| | 00:54 | remember you are always looking at that
hard 4.3 gigabyte limit. Once you have
| | 00:59 | got it bit budgeted then the
compression process starts. Compression is the way
| | 01:03 | that we squeeze these files from
dozens of gigabytes down to fit on to 4
| | 01:08 | gigabyte disk and that is called
Encoding a video and audio. Once the
| | 01:12 | compression phase is over and normally
we would use Compressor for that because
| | 01:16 | that gives us the greatest control
although you will see in this training that
| | 01:19 | we can also compress
inside DVD Studio Pro itself.
| | 01:23 | Then the DVD Studio Pro phase
starts but notice that we have done the
| | 01:26 | storyboard first, we have created all
of our assets; we have done our video
| | 01:30 | editing. We have shot at that edited
color corrected, everything finished, then
| | 01:33 | we have got it compressed. Then and
only then, half way through, we start DVD
| | 01:38 | Studio Pro and we import the assets.
Once they are imported we then create the
| | 01:43 | DVD elements. Let's create the manual,
let's create the track, let's put
| | 01:47 | everything together. Once it is
created we then link it all together and make
| | 01:51 | sure that all the connections are made.
Then once the links are done, we test it.
| | 01:56 | One of the things that you are going
to find is testing is easily 50% of all
| | 02:00 | things that you do inside DVD Studio
Pro. The actual creation of the DVD
| | 02:04 | elements and the creation of links even
for complex DVDs really don't take that
| | 02:09 | long. I have built some incredibly
complex DVDs in three or four hours because
| | 02:14 | I wasn't creating the assets and I
wasn't compressing that happened before I
| | 02:18 | even started the program. Once that
initial stage of testing is done, then we
| | 02:22 | burn a check disk and we play that and
test it again this time we test it on
| | 02:26 | some TV sets and we test it on set up
boxes and we make sure everything works okay.
| | 02:31 | Once that test is okay then we create
the master disk and it should surprise
| | 02:36 | you not at all that we then test the
disk again to make sure that it still
| | 02:39 | works. Once we have got the master
tested know that it works then we send it
| | 02:44 | off for duplication or replication.
The creation of DVD is after all of our
| | 02:50 | elements have been created and we
test and we test and we test because the
| | 02:55 | worst possible thing that can ever
happen to you is there's 200,000 copies and
| | 03:00 | somebody says Oh! By the way a link
doesn't work. You only have that happen to
| | 03:05 | you once and you never
want to have it happen again.
| | 03:08 | Well let's take a look at this first
step the creation of the storyboard. That
| | 03:13 | is next.
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| Storyboarding your DVD| 00:00 | The whole purpose of the storyboard
or a flow chart is to have a clear
| | 00:04 | understanding of what will be on the
DVD and to solve problems before millions
| | 00:09 | of copies are made. Now a storyboard or
a flow chart is often sketched on paper
| | 00:14 | and doesn't have to be formal.
Although its project size increases or as the
| | 00:19 | number of people working on the
project increase and having it be more
| | 00:22 | formalized make sense.
| | 00:24 | I want to give you three examples, the
first is a paper sketch, the second is a
| | 00:28 | more formal flow chart, and the third
is a look at the DVD Studio Pro Graphical tab.
| | 00:32 | Let's take a look first at our paper
sketch. This is a typical simple DVD. It
| | 00:38 | starts with an intro video, which then
feeds into the Main menu. The Main menu
| | 00:42 | has got several buttons, one that goes
to the credits, one that goes to special
| | 00:46 | features, one that goes to scene
selection and one that takes you to the movie.
| | 00:49 | And within these special features
you have got cast of blue person and
| | 00:52 | background.
| | 00:54 | Now what is important here's look at
the arrows notice that the intro goes from
| | 00:59 | the intro into the main menu but it
doesn't go back. It is a one-way direction
| | 01:03 | this means that the main menu doesn't
connect to the intro but the intro does
| | 01:08 | connect to the main menu.
| | 01:10 | Take a look at Scene Selection, notice
the arrow goes in both directions. The
| | 01:14 | Main menu goes to Scene Selection and
you can get back from the Scene Selection
| | 01:17 | to the Main menu. But notice the arrow
from Scene Selection to the Movie. Also
| | 01:21 | one way the Scene Selection takes you
to the Movie but when the Movie is done
| | 01:25 | it takes you back to the Main menu.
What we are doing here's we are mapping out
| | 01:29 | the flow of how the logic, how the
buttons are going to connect. There's
| | 01:33 | something go in both directions. Do I
need to have a button on Scene Selection
| | 01:37 | that goes to the Main menu? Yes, but
notice when the Movie is done it doesn't
| | 01:40 | ever go back to scene selection. It
always goes back to the main menu. Same
| | 01:44 | thing with the intro, the intro needs to connect
to the main menu but doesn't go backwards.
| | 01:48 | Just taking a few minutes to think
through where the flow is going to go and
| | 01:52 | what connects to what is going to save
you so much time. It is simple but it is
| | 01:58 | important and that is why I stress it.
| | 02:00 | Bruce Nazarian sent me this sketch.
This is for a logic diagram of the script
| | 02:05 | to play all the different tracks in
a DVD and I want to thanks Bruce for
| | 02:08 | sharing it with me. This is much more
formal, much more clearly drawn. It has
| | 02:12 | got more of the logic there and as you
get more and more complicated or as you
| | 02:15 | start to think through how a DVD is
going to work. You start with the main
| | 02:19 | menu, you have got four buttons, the
buttons determine whether a track is
| | 02:22 | played all this stuff will help you to
put the scripts together to be able to
| | 02:25 | make this play all script work and we
will do that later in this DVD training title.
| | 02:30 | But another way of looking at it is
the Graphical tab inside DVD Studio Pro
| | 02:34 | itself. Here the way this is viewed is
scripts are Brown, menus are Blue and
| | 02:40 | tracks that contain video are Green and
the lines indicate what goes where and
| | 02:45 | how it connects. It is way too complex
rest explained at this particular point
| | 02:49 | of time especially because
we are new to the program.
| | 02:51 | But just to show that we have got these
different choices from the formal flow
| | 02:54 | chart a paper sketch or the graphical
tab, it is just so critical that you
| | 02:59 | plan. It is not fun, it is not
glamorous it is just essential.
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| Using additional software| 00:00 | Finally, as we wrap up this planning
process, here's some software that can
| | 00:04 | help you to get your work done more quickly.
| | 00:06 | First, you are going to need a video
editor, Final Cut Pro or QuickTime Pro.
| | 00:09 | You need a good audio editor to
handle the audio, and your soundtracks, a
| | 00:13 | Soundtrack Pro or Bias Peak or
DigiDesign Protools. And a text editor is
| | 00:17 | surprisingly helpful, and you'll see
why, as we move further into the program
| | 00:21 | Apple Text Edit, or BareBones
Software Text Wrangler are good choices.
| | 00:25 | Graphic software is essential.
We'll be using it for menu creation and
| | 00:28 | slideshows. Photoshop and Photoshop
Elements, and Fireworks are all good
| | 00:32 | choices. Finally, I recommend that you
don't actually burn your DVDs using DVD
| | 00:37 | Studio Pro, instead, I suggest you use
Roxio Toast. You have more control and
| | 00:42 | ways that you'll see, as we get
further into the training. Well, that sort of
| | 00:46 | wraps up our planning process.
| | 00:48 | Now, we need to prepare our
assets, and preparing assets is next.
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3. Preparing AssetsPreparing video assets| 00:00 | In this chapter, I want to give you
some tips for preparing your assets. Video
| | 00:04 | assets, audio assets, and graphic
assets, and let's get started with video.
| | 00:09 | DVD Studio Pro supports most of the
video formats that you can edit inside
| | 00:13 | Final Cut Pro, whether it's NTSC, or PAL,
or HD. Keep in mind however, that all
| | 00:18 | your SD video gets converted to MPEG-
2 and all HD video gets converted to
| | 00:23 | H.264. This will be especially
important when we talk about menus and graphics
| | 00:27 | in just a few minutes.
| | 00:29 | Chapter markers can be added frame
-accurately inside Final Cut, and
| | 00:32 | frame-accurately inside Compressor,
provided it's before the compression
| | 00:36 | occurs. Once compression is done, we
can also add markers inside DVD Studio
| | 00:40 | Pro, however, they can only be + 15
frames in NTSC, or + 7 frames in PAL, and
| | 00:47 | for a complete list of technical
specs, take a look at Apple's website.
| | 00:51 | This to me is the most important screen
we are going to cover in this section.
| | 00:54 | This indicates the five ways that
computer images and video images are
| | 00:58 | different, because although it looks
like it's an image in both cases, they
| | 01:01 | don't have the same technical settings,
which has a direct impact on what we
| | 01:05 | do inside DVD Studio Pro.
| | 01:07 | Video images are mostly interlaced,
whereas the computer are always
| | 01:11 | progressive. Interlaced as you know is,
interweaving the odd and the even lines
| | 01:15 | to create the complete picture, and
sometimes with rapid movement, interlacing
| | 01:18 | is going to cause a problem.
| | 01:20 | The compute uses an RGB color space,
video uses a Y'CbCr. Apple's manual calls
| | 01:27 | it a YUV color space, but the
technical term is Y'CbCr, which is more
| | 01:31 | restricted. In other words, we can
create colors on our computer that we can't
| | 01:35 | replicate in video, specifically
saturated blues and saturated yellows.
| | 01:39 | The midtone gray, the mid-gray called
the gamma setting, is lighter on the
| | 01:43 | computer at 1.8, and darker on video.
This means that if you create a perfectly
| | 01:48 | exposed picture inside Photoshop, and
you don't compensate for the differences
| | 01:52 | in gamma, your images are going to
look a little bit light and washed out.
| | 01:55 | White levels also are different. The
computer has a much brighter white than
| | 01:59 | video does. You want to make sure that
your graphics are set so that the white
| | 02:02 | level doesn't exceed a 100%. The magic
number is 235 or 92% inside Photoshop.
| | 02:08 | As long as your white levels don't go
over 235, or your gray scale doesn't go
| | 02:12 | over 92%, your white levels will be okay.
| | 02:15 | Also the pixel aspect ratio, in video
it's rectangular, and in the computer
| | 02:19 | it's square. The difference is
that we now need to create our images
| | 02:22 | compensating for the difference in
aspect ratio, otherwise, everything looks
| | 02:26 | short and fat or tall and thin.
| | 02:28 | We'll talk about this more. When we
get to graphics in the next couple of
| | 02:31 | movies. I'm thinking of getting into
the next couple of movies, we want to talk
| | 02:34 | about audio tips. That's next.
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| Preparing audio assets| 00:00 | Just so you have something to talk
about with your friends at parties,
| | 00:03 | I thought I'd give you a list of all the
different audio formats that DVD Studio
| | 00:06 | Pro supports, from AIFF
through DTS, and Stereo through AC3.
| | 00:11 | However, to save file space, I
recommend that all of your audio be converted to
| | 00:16 | AC3 during compression. DVD Studio Pro
will take your audio and convert it into
| | 00:21 | a form, which can be loaded and stored
to a DVD, but it doesn't compress it the
| | 00:25 | way that Compressor does. So inside the
Compressor training, we'll show you how
| | 00:29 | to use APAC for earlier versions of
Compressor, or use Compressor itself to
| | 00:33 | create the AC3 files that you need.
Audio though, is reasonably simple. You
| | 00:37 | create it, you compress it,
and you put it on the DVD.
| | 00:40 | Graphics, especially menus, are
different. We'll talk about those next.
| | Collapse this transcript |
| Preparing graphic assets| 00:00 | Here's a list of the graphics formats,
which are supported inside DVD Studio
| | 00:04 | Pro, but keep in mind, regardless of
how you bring the graphic in, when the
| | 00:08 | graphic is put on to the DVD, it gets
converted to MPEG-2 video, which means
| | 00:13 | you can load the most incredible high
resolution gigantic image that you can.
| | 00:17 | It's still going to be converted down
to a very specific size, and the image
| | 00:22 | size of Standard Def (SD) video, for
NTSC is 720 pixels across X 480 pixels
| | 00:28 | down. For PAL, it's 720 X 576. These
are magic numbers, regardless of whether
| | 00:33 | my graphic starts at 1,500 pixels or
200 pixels, or whatever number of pixels you want.
| | 00:39 | All images, which are larger than 720 x
480, get scaled down to their size, and
| | 00:44 | any additional resolution gets thrown
away. Effectively, it's at 72 dots per
| | 00:48 | inch, because it isn't the number of
dots per inch, it's the total number of
| | 00:52 | pixels across, by the total number of pixels
down, and it must be one of those two numbers.
| | 00:57 | Another key point, is that because the
computer uses square pixels, and video
| | 01:01 | uses rectangular pixels, images need
to be created at special sizes to look
| | 01:05 | good on a DVD. For NTSC, if you want
to create your images at 720 X 534 X 72,
| | 01:13 | this is true for slideshows, and
that's true for menus. For PAL, you want to
| | 01:16 | create them at 768 X 576 X 72. Keep in
mind, that DVD Studio Pro is a wiring
| | 01:23 | program. It's a hook it together
program. There's no positioning. There's no
| | 01:27 | sizing, or animation controls inside
DVD Studio Pro for full screen graphics.
| | 01:32 | Yes, we can use drop zones, and take a
graphic, and reduce it in size, and put
| | 01:36 | it somewhere, but if you want to
drop in a full screen graphic, you can't
| | 01:39 | animate it, you can't change its
size, you can't rotate it, all of that
| | 01:44 | creativity stuff needs to be done
before you bring the graphic into DVD Studio Pro.
| | 01:49 | You wouldn't ask the electrician to
design the chandelier, you ask the
| | 01:53 | electrician to hang the chandelier,
and make it light up. The design work is
| | 01:57 | done somewhere else, exactly the same
concept with DVD Studio Pro. Coming up
| | 02:02 | next, I want to take you into Photoshop,
and show you how you can change the
| | 02:06 | size of an image, plus a couple of
other Photoshop tricks that could be useful
| | 02:09 | to you, as you are preparing your menus
and your graphics to go into DVD Studio Pro.
| | 02:14 | A quick look at Photoshop is next.
| | Collapse this transcript |
| Resizing an image for DVD in Photoshop| 00:00 | We are going to use this graphic as
our background for the first menu that we
| | 00:04 | create. The problem is that we look
at the dimensions down here as 2600
| | 00:07 | pixelsx1700 pixels. Well, that's a
wonderful size for doing anything that's
| | 00:13 | going to be printed. It's very, very,
very too big for video. So we need to
| | 00:17 | scale it down and that's
what I want to show you here.
| | 00:19 | Also notice that it starts quite a
4x3 aspect ratio, which we would like to
| | 00:23 | work within our first DVD. Well, one
of the things that we could do, is we
| | 00:27 | could go to image size, go to Image,
Image Size and you can your sizes here.
| | 00:32 | The problem is - is that you're not
going to get it perfect and if you turn
| | 00:36 | off, Constrain Proportions, the
stuff is going to look stretched. So this
| | 00:39 | although it will work for your images
exactly the right aspect ratio,
| | 00:43 | doesn't work in general when your image is not.
| | 00:45 | By the way, a tip that I learned
recently is if you want to make something
| | 00:48 | smaller, then be sure to set this to
Bicubic Sharper. If you want to make
| | 00:52 | something bigger, set it to Bicubic
Smoother. So just pay attention with these
| | 00:56 | two and I found that it makes a
significant difference when I make my images
| | 01:00 | smaller, Bicubic Sharper helps a lot.
But in this particular case, we don't
| | 01:04 | want to change the image by going to
Image Size, instead we're going to use the
| | 01:07 | Crop tool and that's this thing
right here. It looks like an old kind of
| | 01:11 | T-squares or something.
It's an old cropping tool.
| | 01:14 | Now, before we start to draw the crop,
notice across the top we're able to
| | 01:17 | specify exactly, what size we want the
crop to be. So we are going to set those
| | 01:21 | magic numbers of 720 px for pixels and
534 px for the Height. This means that
| | 01:28 | whatever I draw is going to be in the
right aspect ratio, and it's going to
| | 01:31 | take and make it, exactly 720 pixels.
So I'm going to drag this over to the
| | 01:36 | right and put the coral on the left,
which gives me room for my buttons and
| | 01:41 | this dark area over here on the right,
and now, when we are done, we just
| | 01:44 | double-click.
| | 01:46 | And why is it so small? Because it was
scale back, so there was so many pixels,
| | 01:49 | notice now our pixels are 720x534,
here's on the corral tip. Double-click on
| | 01:54 | the Zoom tool and it's automatically
blown back up to full screen, and there's
| | 01:58 | our 720x534 graphic in the exact
right aspect ratio, with exact right pixel
| | 02:03 | size and all we have to do is save it.
| | 02:05 | Now, notice that I was loading main
menu raw, that's in the example files that
| | 02:09 | you've got, but we don't want to call
it raw, because we've adjusted it. We can
| | 02:13 | now save it and I don't like using JPEGs,
if I can avoid it. I'd much prefer to
| | 02:17 | use PNGs or TIFs, so we are going to
save this as a TIFF, but as long as we are
| | 02:20 | inside Photoshop, one more tip to show you.
| | 02:22 | Let's say this is a video still frame,
and you are seeing interlacing in here.
| | 02:26 | The way you fix that, if you go to
Filter, Video, De-Interlace. Take all the
| | 02:32 | defaults, just click OK and when you
do all of those strange interlace art
| | 02:36 | effects will disappear. And looking
very cool, but there's no interlacing here,
| | 02:39 | because this was taken with a still
camera and everything is all sharp
| | 02:42 | progressively and we are happy campers.
So, let's get ourselves saved, File,
| | 02:46 | Save As, change this from a JPEG to a
TIFF, because an old school PNG would
| | 02:52 | work as well, but I just like TIFFs.
| | 02:54 | We are going to call this Main menu
right there, Main menu, Save it as a TIFF,
| | 02:59 | and we are going to put this in our
DVD Studio Pro assets under menus. And
| | 03:04 | we're going to click Save. LZW or ZIP,
either one of these two compressions are
| | 03:08 | fine JPEG is not and we're going to
run this on a Macintosh, we would just
| | 03:12 | leave that set there. Click OK
and it's now saved as a TIFF image.
| | 03:16 | Now, clearly, there's lots and lots we
can do to make our menus look better,
| | 03:20 | but the key thing I wanted to show you
just how to use the Crop tool and how to
| | 03:23 | set it, as you replicate exactly the
size of the image that you want and then
| | 03:27 | to save it as a TIFF. Those are the key
points, I'm wanted to get across. Just
| | 03:30 | go back and take a look at a couple
more design tips that can make our life a
| | 03:33 | lot easier as we are putting our
graphics and menus together for DVD Studio
| | 03:37 | Pro, those design tips are next.
| | Collapse this transcript |
| DVD graphic design tips| 00:00 | Here area some graphics design tips
that can save your time as you are working
| | 00:04 | to put your graphics and menus
together for a Studio Pro 4. First, to keep in
| | 00:08 | mind, that video is lower resolution
than a computer. Avoid white levels over
| | 00:12 | 100%. Avoid super-saturated colors,
especially saturated yellows and saturated
| | 00:18 | blues. Avoid lines thinner than 4
pixels because they'll flicker. Avoid lines
| | 00:23 | almost horizontal or vertical, because they
will stairstep and give you very jagged edges.
| | 00:27 | Avoid letters with very fine serifs,
those little feet at the end of the
| | 00:31 | character, or very thin lines and
very thick lines. You want to have fonts,
| | 00:35 | which are pretty evenly balanced for
a line weight. Avoid text, which is
| | 00:39 | smaller than 24 point, and add drop
shadows to all the text that you want
| | 00:43 | Viewers to read.
| | 00:44 | Now, if you don't care if they read it
or not, it can be any size, you want,
| | 00:47 | and doesn't have to have a drop shadow.
But if you wanted to be legible larger
| | 00:52 | than 24 point, then drop shadows makes
a huge difference. So that's a look at
| | 00:57 | how to prepare your video assets, some
ideas on working with your audio assets
| | 01:01 | and a lot of tips on working with graphics.
| | 01:03 | That wraps up our whole planning
process. Now, I think it's time to actually
| | 01:08 | turn our attention to DVD Studio Pro 4,
and let's take a look at the interface
| | 01:13 | itself, that is next.
| | Collapse this transcript |
|
|
4. Understanding the DVD Studio Pro InterfaceIntroducing the interface| 00:01 | I know it seems like this time would
never come, but we are actually going to
| | 00:04 | start the application- believe it or not.
I'll show you how to start DVD Studio
| | 00:08 | Pro and then I want to explain that
initial setup dialog that appears the first
| | 00:12 | time you run the program. Then we'll
discuss what Apple calls configurations
| | 00:16 | and what I would call window layouts.
I'll present the two windows and 11 tabs
| | 00:21 | of DVD SP, the floating palette, the
Inspector, the Menu, the Asset and Outline tabs.
| | 00:27 | These are used a lot. Connections,
Viewer, Graphical, Story, Script, Log and
| | 00:31 | Slideshow, which are also necessary.
Just not quite is used as often, as those
| | 00:36 | first ones that are asterisked.
Then I'll show you how we can customize the
| | 00:39 | interface to meet our particular
needs, and then some of the new features
| | 00:42 | inside Studio Pro 4 have the ability to
preview video, and we'll talk about how
| | 00:46 | to preview video. We're not going to go
into a lot detail, just enough to give
| | 00:50 | you a sense of being oriented, so you
can become productive. Then we'll start
| | 00:54 | to create a simple DVD. Well,
let's start by starting DVD Studio Pro.
| | Collapse this transcript |
| Understanding the interface| 00:00 | You can start DVD Studio Pro in three
different ways. The easiest and most
| | 00:05 | often is to simply double-click on the
name of your project and it will open up
| | 00:09 | DVD Studio Pro, but we haven't
created a project yet, so I can't do that.
| | 00:13 | Another is to go down to the dock and
click on it, but it's not in the dock.
| | 00:18 | Well, let's go to way number three, I
have opened the Application folder and
| | 00:23 | there is DVD Studio Pro. I could just
double-click on it, but how low-tech is
| | 00:29 | that, instead I'm going to just grab
the icon here and drag it down into the
| | 00:33 | dock, so we've got it in the dock.
| | 00:34 | Then we'll click on it in the dock, we
are working with Leopard here, but the
| | 00:38 | procedures are exactly the same
whether you are inside Leopard or Tiger, OS X
| | 00:43 | 10.4 or 10.5. The very first time you
run DVD Studio Pro, this dialog appears,
| | 00:50 | and it needs a little bit of
explanation because you are making a couple of
| | 00:52 | choices that are going to stay with you
for a while. None of them are permanent
| | 00:56 | and none of them are life threatening,
but first time I ran the application, I
| | 01:01 | clicked the wrong one. So let me just
explain what this is. Apple calls the way
| | 01:06 | that Windows are laid out inside DVD
Studio Pro configurations and there are
| | 01:10 | three, there is Basic, Extended and Advanced.
| | 01:14 | Basic, most closely resembles the
interface used by iDVD, but my personal
| | 01:19 | philosophy is, if you wanted to use iDVD,
why did you buy DVD Studio Pro. Basic
| | 01:26 | has got more limitations than it has
benefits. I'll show you Basic, but for
| | 01:30 | right now we are going to ignore it.
Extended works really well and it happens
| | 01:34 | to be my favorite choice in terms of
how menus are laid out. If you have an
| | 01:39 | extra large monitor like a 23" or for
those of you that are showing off, you
| | 01:43 | have something even bigger, Advanced
is perfectly okay. I'll show you all
| | 01:47 | three, but because we get to select
what our default setting is, at this choice
| | 01:52 | I'm going to select my default to be Extended.
| | 01:54 | Then we get to define what our video
standard is. If you are principally
| | 01:58 | working with NTSC, that's the default,
if you are principally working with PAL,
| | 02:02 | say PAL. We can change this later in
Preferences; this just sets up the default
| | 02:07 | settings. Again, if our standard
definition is what we are working with the
| | 02:11 | most, we leave it to the default. If
we are principally working with HD, we
| | 02:14 | would change the default and again,
Preferences overwrite this. We've got a
| | 02:18 | variety of different language choices,
a wide variety of different language
| | 02:22 | choices, but seeing as I really only
speak English and even that I sometimes
| | 02:28 | question my ability in. We're just
going to leave the default to English.
| | 02:32 | So we've set it to Extended, NTSC,
Standard def English and click OK. DVD
| | 02:40 | Studio Pro takes a while to load up.
Don't worry your machine hasn't died and
| | 02:45 | there is a lot of naval contemplation
that DVD Studio Pro has to go through to
| | 02:48 | be able to get itself started. So just
take a deep breath, relax and watch your
| | 02:53 | desktop screen while DVD Studio Pro
gets itself started, but once it's started,
| | 02:57 | it opens up in a display like this.
This is the Extended window configuration
| | 03:02 | or window layout, there are 11 tabs
and there are two folding palettes. But
| | 03:08 | before I introduce you to the tabs,
let me illustrate the three different
| | 03:11 | configurations. So you can decide,
which one do you want to use.
| | 03:15 | To get to the Basic configuration,
press the F1 key. The F1 takes you to the
| | 03:21 | Basic configuration, which has a
floating Palette in the top right, that's this
| | 03:26 | one right here. Has the Inspector in
the lower right and has a single window
| | 03:30 | consisting of four tabs, Menu, Slideshow,
Viewer and Graphical. Apple describes
| | 03:36 | this as the configuration most similar
to that of iDVD. Well, my feeling is, if
| | 03:43 | you wanted to use iDVD why would you be
learning DVD Studio Pro. I can't think
| | 03:48 | of anything, but this particular
layout is exactly useful for. So this is the
| | 03:53 | only time I'm going to talk about it.
| | 03:55 | The next configuration is the F2 key.
This is the Extended configuration. It
| | 04:00 | consists of two floating windows, the
Palette and the Inspector both on the
| | 04:04 | right-hand side and eleven tabs, which
I will introduce in just a moment. The
| | 04:09 | third configuration is the F3 key,
this is the Advanced configuration. The
| | 04:14 | Advanced configuration works best on
large monitors like a 23" or the 30" if
| | 04:21 | you are so lucky, you could, just
give me one. But no, no keep the 30 for
| | 04:28 | yourself, that's okay. I'm not jealous
at all, no. Sorry, lost for a moment.
| | 04:32 | Let's go back to F2, F2 works really
well when you have got a smaller screen as
| | 04:37 | I do here because I'm constrained by
the size of these demos that I can create.
| | 04:41 | The F3 and the F2 configuration, F2 is
Extended F3 is Advanced, have exactly
| | 04:46 | the same tabs, they are just organized
in a different fashion. I'll show you
| | 04:49 | how to change in your tab layouts in
the session on customization, which will
| | 04:53 | be coming up in just a minute. The
Palette, which is in the top right corner is
| | 04:59 | a collection of Templates, everything
from full screen templates, which we can
| | 05:02 | use for animated menus to Styles, for
buttons and text and drop sounds and
| | 05:08 | layouts. Don't worry if you don't
know what they are, all this will be
| | 05:12 | explained as we go through the
application. Apple supplies some, you can create
| | 05:16 | your own, you can have some for the
particular project. You also have Shapes
| | 05:20 | that you can work with, also
access to your Music folder.
| | 05:23 | The Audio tab gives you access to your
iTunes folder, your Stills tab gives you
| | 05:28 | access to your iPhoto folder and the
Videos tab gives you access to your iMovie
| | 05:33 | folder. All of these are stored inside
your home directory, the Movies folder,
| | 05:37 | the Pictures folder and the Music
folder. Most of the time, my recommendation
| | 05:42 | is from my point of view, from a
workflow point of view, not to use the home
| | 05:46 | directory for the storage of your assets.
That doesn't mean you can't use them,
| | 05:50 | doesn't mean that they don't work.
| | 05:52 | I just think there is a better way in,
which to organize your assets. We will
| | 05:54 | be talking about that in the section
on creating a simple DVD. The floating
| | 05:59 | Palette is wonderful, but sometimes it
just gets in your way and sometimes I
| | 06:04 | would like it to just disappear. But
the cool thing is, there is a keyboard
| | 06:07 | shortcut that makes that happen, Option
+Command+P. Option+Command+P brings it
| | 06:14 | back, Option+Command+P makes it disappear.
| | 06:18 | Immediately below it is arguably the
most important window inside DVD Studio
| | 06:22 | Pro and it's one that we've never
seen inside Final Cut. It's called the
| | 06:26 | Inspector window. The Inspector window
is where we make changes. We're going to
| | 06:31 | be spending a lot of time looking at
all the different options; there are
| | 06:35 | hundreds and hundreds of
options inside the Inspector.
| | 06:40 | Two things to keep in mind, you always
go to the Inspector to make changes and
| | 06:44 | the Inspector is context sensitive.
When you click on something, the Inspector
| | 06:49 | changes based upon what you click on.
Now, I'm not going to go through all the
| | 06:54 | different settings now, all of this
including me would be then agony by the
| | 06:57 | time it was over. No, no, we'll
spread this out over the course of the
| | 07:00 | training. Just keep in mind that if
something needs to be changed, you are
| | 07:03 | going to change it in the Inspector and
the Inspector is context sensitive. So
| | 07:10 | we'll just tuck that back over here,
those are the two floating windows. Either
| | 07:13 | way the keyboard shortcut to hide the
Inspector is Option+Command+I; to hide
| | 07:19 | the Palette is Option+Command+P.
| | 07:22 | This is useful if you want to expand
the screen, of one of the other windows,
| | 07:26 | which I'll talk about more in just a
minute. As we go across we have three
| | 07:31 | basic windows, each window has tabs to
top of it. There's a total of 11 tabs
| | 07:36 | inside the Application, briefly
the Assets windows contains a list of
| | 07:41 | everything that you have accessed to
for your DVD. It most closely resembles
| | 07:45 | the browser inside Final Cut.
| | 07:48 | The Outline is a list of everything
that is actually on your DVD. The DVD is a
| | 07:54 | very specific set of instructions and
what we create has to be very specific
| | 07:59 | technically. Consequently, the Outline
has a very formalized structure that we
| | 08:04 | need to live within as we create our titles.
| | 08:08 | The Log is feedback from the computer
to us, telling us what's going on. It's
| | 08:12 | especially useful during building that
is to say the final compilation of our
| | 08:15 | DVD and in debugging and running scripts.
For right now we are going to ignore
| | 08:20 | it totally. The Menu tab, and notice
these windows change color depending upon,
| | 08:25 | which tab is active. I have got a
light gray bar here that means, this window
| | 08:28 | is active and the tab that's light is
the active tab. Here, it's a dark gray,
| | 08:33 | which means this window is not active,
even though the tab is light. As we
| | 08:38 | switch from one window to the other,
notice that gray bar changes color
| | 08:42 | depending upon which one we click on.
| | 08:45 | The Menu tab is where we build our
menus. The Viewer tab is where we view
| | 08:49 | things like view video or view slides.
The Graphical tab shows us the structure
| | 08:55 | of the DVD that we're creating.
Connections show us all the different links and
| | 09:00 | whether they are properly linked or
not. The Track is not the same, not the
| | 09:06 | same as the Timeline inside Final Cut,
radically not the same. They both are
| | 09:12 | time-based, they both start at the
left and go to the right but after that
| | 09:17 | there is not a parallel between the
two of them, and this took me a while to
| | 09:20 | learn. We'll talk about the track as we
build our DVD, the Slideshow allows us
| | 09:25 | to build slide shows and to organize
them, Stories, which are unique to DVD
| | 09:30 | Studio Pro as compared to iDVD.
| | 09:33 | Stories are magical, they allow us to
-- well I'm going talk about it more,
| | 09:38 | during the Advanced section. If I told
you now, you would never come back. The
| | 09:42 | Scripting section allows us to build
scripts to help the DVD set top box make
| | 09:47 | decisions as it's playing back the DVD.
Again we'll be talking a lot about
| | 09:51 | scripting and stories inside the
Advanced section of this title. For right now
| | 09:56 | though, I just wanted to introduce you
to these different tabs. The keyboard
| | 10:00 | shortcuts are in alphabetical order,
Command+1 is the Asset tab, Command+2 is
| | 10:07 | the Connections tab, Command+3 is the
Log tab and so on. Here is the listing of
| | 10:14 | the keyboard shortcuts inside DVD Studio Pro.
| | 10:17 | There's actually more, Apple's Manual
has 16 pages of keyboard shortcuts. But
| | 10:22 | these are useful, because they allow
you to quickly switch from one tab to the
| | 10:25 | next without necessarily having to
click the mouse. Although it would be quite
| | 10:30 | truthful, most of the time I find
it faster to do everything or almost
| | 10:34 | everything with the mouse, unlike
Final Cut where I'm keyboard-driven. In DVD
| | 10:38 | Studio Pro, I tend to be driven much
more by the mouse just because the way the
| | 10:42 | application itself works. I'm
thinking of the application, these three
| | 10:47 | configurations, Basic, Extended and
Advanced are very useful and helpful in and
| | 10:52 | of themselves.
| | 10:53 | But sometimes, we would like to
configure it, to customize it so it's just the
| | 10:57 | way that we want it to work. I
will talk about customization next.
| | Collapse this transcript |
| Customizing the interface| 00:00 | You can customize the DVD Studio Pro
interface. There are a variety of ways to
| | 00:04 | do this. First, if you have to take a
window, notice in lower right corner,
| | 00:09 | there's this thumb, those diagonal
lines. If you click hold and drag like in
| | 00:13 | any Macintosh window, you can make the
window bigger or smaller. So first you
| | 00:17 | can change the size of the
window by grabbing it and dragging it.
| | 00:21 | Second thing, is you can put your
mouse on the dividing line between in a
| | 00:25 | window, and just as in Final Cut, you
can change the size of two adjoining
| | 00:29 | windows, or you can change the size of
a variety of joining windows. There's
| | 00:36 | actually four windows inside DVD Studio
Pro. If you go down to the extreme low
| | 00:41 | left corner, you can drag out the
fourth window. For instance, I could grab the
| | 00:46 | Log and reset the tab down into that
fourth window. Maybe I wanted to take
| | 00:52 | Scripting and move scripting up to
here. You can grab the tab and drag it
| | 00:56 | wherever you want it to go, and build
your own set of tabs based upon what your
| | 01:01 | preferences are. Again for me, I tend
to work with a three window environment,
| | 01:06 | so this bottom window is as long as
it can be, but it's entirely up to you.
| | 01:10 | To reset, press the F2 key, the F2
key brings everything back to a standard
| | 01:15 | configuration, the extended
configuration. So we can change window size by
| | 01:20 | grabbing and dragging. We can change
tabs by simply click hold and dragging it
| | 01:24 | to where we wanted it to go. In
fact, we can build out our own window
| | 01:28 | configuration, and what I'm going
to do here, is I'm going to take the
| | 01:31 | Connections tab and pull it down to
there, and take the log tab and pull it
| | 01:36 | down to here, and that way I have got
a little bit more organizational stuff
| | 01:40 | where I want to see it. Okay ,this is
great. I think this is just perfect, I
| | 01:45 | can't imagine it being any better than,
this is just the pinnacle of absolute
| | 01:51 | -- well, got carried away. Anyway.
| | 01:53 | To save this, because it wants to
reuse it, you need to go to Save
| | 01:57 | Configuration. When I click save,
I'm going to call it Larry's incredible
| | 02:04 | window layout. You are welcomed to
call yours, Larry's incredible window
| | 02:09 | layout, but you might want to consider
using your own name instead, so we will
| | 02:12 | click Save, and that saves it. Now when
we go to Manage Configurations, notice
| | 02:18 | under Manage Configurations, put that
window back where it belongs. I have got
| | 02:23 | my incredible window layout, Basic,
Extended, and Advanced, and by clicking
| | 02:28 | nearly up and down arrow keys, I can
say that I want my window layout to be
| | 02:32 | assigned to the F4 key. So I have got
the Basics. If I want go reassign the
| | 02:38 | Basic and say, I not only want to be
able to access, but I can turn off that
| | 02:42 | function key. So just to prove how it
works. When I say done, now I hit F2,
| | 02:49 | there's that standard layout, F1. F1s
are Basic layout. We go to F4, there's my
| | 02:58 | layout. Notice connections and log
down here, and there's only two tabs up
| | 03:01 | here. Go back to F2, and there are the
three tabs we are used to. To manage the
| | 03:07 | configuration here, we just delete my
incredible window layout by clicking the
| | 03:11 | - (minus) key and it's gone.
| | 03:14 | To add one, we'd hit the + key or
we reorganize our windows. So we can
| | 03:18 | customize our window size. We can
customize the tabs. We can create our own
| | 03:24 | configuration, which by the way you
need to do, because as soon as you hit F2,
| | 03:27 | it's going to forget any customization
you have put in. So you want to be sure
| | 03:31 | to save your customization,
before you switch back to a different
| | 03:34 | configuration. We can also configure
this toolbar up here. Now the toolbar,
| | 03:40 | one, it's nice, because there are a
lot of buttons here, but there are some
| | 03:43 | buttons I don't use, and a couple
of buttons I would like to see. Again
| | 03:46 | remember, your toolbar will look a
little bit different, because your screen
| | 03:49 | will be bigger than this, tutorial
screen, as you probably have a couple of
| | 03:53 | more buttons over here to the right.
| | 03:55 | But because I have got a constricted
screen I want to customize it. To do that,
| | 03:59 | I'm going to Ctrl click up here ,and I
could say, just show me the Icons, and
| | 04:04 | now I have got the icons, takes much
less space, but you got to understand what
| | 04:07 | they mean, or just show me the Text.
So now we've got a menu appear, that's
| | 04:12 | Text, or you could say, let's
Customize the toolbar. On this case before I do
| | 04:18 | that, let's go back to our Icons, and
then Ctrl click again, and Customize the
| | 04:22 | Icon. I want to take out, for instance,
everything I do is going to be English,
| | 04:28 | so I simply grab, Add Language and let go.
| | 04:33 | I want to take out Layered menu, and
I'm going to take out Build and Format. I
| | 04:39 | never want to do that all at one time.
Build, by the way means to create the
| | 04:44 | actual, digital files, and format
means to burn it to a DVD. They could have
| | 04:50 | said Build and Burn, but no, they had
to do format just to confuse all of us,
| | 04:54 | to Palette and Inspector. Okay cool.
Let's say I want to put the Show Fonts up
| | 05:00 | here, so I put Show Fonts up there,
and we'll see we can simply grab and drag
| | 05:04 | and move stuff around. I want to get
rid of the Burn, because I want to see our
| | 05:08 | Bit Budgeter. Once I'm trying
getting that organized, I click Done.
| | 05:12 | Now here's the important note. I have
just changed my toolbar, but if I don't
| | 05:18 | save that toolbar as a configuration,
as soon as I press F2, it's gone. So now
| | 05:23 | I'm going back up to here, Save
Configuration, call that Larry's toolbar.
| | 05:30 | By now you have probably guessed you
could use your own name. Notice that I have
| | 05:34 | got that Bit Budgeter showing. I hit
F2, goes back to the standard layout,
| | 05:39 | let's got to Manage Configurations,
and let's give this one the F5 key. Say
| | 05:46 | Done, and now I hit the F5 key ,and
there's my toolbar, F2, and we are back to
| | 05:54 | traditional F5, and F4 get back to
our incredible layout. I don't want my
| | 06:01 | incredible layout to last any longer
than it has to, so let's go back to Manage
| | 06:05 | Configurations, takes the incredible
layout, clicks on - (minus) key, and it's
| | 06:09 | gone. Because I want to work with the
standard toolbar, which will just make
| | 06:12 | our life a lot easier. Okay, go to the
toolbar as well, and click Done, cool.
| | 06:18 | So we can do lots of configuration, and
get this to work exactly as you expect,
| | 06:22 | and would like it to work, regardless
of what you want to change, window sizes,
| | 06:26 | or toolbars, or tab order, or whatever
you want, all that is possible inside
| | 06:31 | DVD Studio Pro. Next, I want to take
a little bit of a closer look at the
| | 06:35 | palette, and then we will take a little
bit of a closer look at the menu. That
| | 06:39 | will wrap up our introduction to the
interface, and we'll start building a DVD.
| | 06:43 | The palette is next.
| | Collapse this transcript |
| Working with palettes| 00:00 | While I introduced the idea of the
palette a little bit ago, I want to spend a
| | 00:04 | little bit more time with it now. The
palette has six tabs across the top. The
| | 00:10 | first are full screen templates that
can be used for menus. Remember, a menu is
| | 00:14 | what contains a button. Second are
Styles for buttons and text and drop sounds.
| | 00:19 | The third are different Shapes that we
can use for what are called drop sounds,
| | 00:23 | and buttons, and all kinds of stuff.
Apple supplies some as well, as what we
| | 00:27 | can create for ourselves.
| | 00:29 | We can change the size of these icons
here, from DVD Studio Pro Preferences
| | 00:35 | menu. If we go up to the Preference menu,
and go to the General tab, just make
| | 00:40 | this so we can see the palette.
Notice we have got a Thumbnail Size in the
| | 00:43 | palette. You can have it be small
thumbnails, or set it to large thumbnails, so
| | 00:48 | you can see better what they look like,
which is nice. The other thing that we
| | 00:52 | have got are these three tabs over here.
By default they point to the music,
| | 00:56 | the pictures, and the movies tabs,
insides your home directory. The problem
| | 01:01 | with this, is that if you have multiple
users logging on to your computer, only
| | 01:05 | you are able to see the home directory,
and my organizational structure is such
| | 01:10 | that I'd put all of the assets for a
particular DVD into a single folder, which
| | 01:15 | makes managing the assets and
importing the assets a lot easier. You will see
| | 01:19 | this a couple of movies from now.
| | 01:20 | Let say that I have a folder filled
with audio that I want to have access to,
| | 01:24 | and it's a different folder on my
iTunes folder. Well, notice that I have got
| | 01:28 | the Audio tab selected and I click
the + button. This allows me to navigate
| | 01:33 | over to where my DVD Studio Pro assets
are. Go to the folder that contains the
| | 01:38 | assets. Notice I have selected the
folder, but not the files inside. You always
| | 01:43 | select the folder, click Add, and now I
have added that audio folder. I'm able
| | 01:48 | to see the audio assets, and see how
long they are, the type of compression
| | 01:52 | it's using and if I highlighted and hit
the play button, I'm able to play that
| | 02:00 | particular piece of audio. So we can
also do with stills. Click the Plus button,
| | 02:04 | navigate to where your still assets
are, in this case they are in the
| | 02:09 | Stills folders. I have got a whole
bunch under sea slides, we will click Add,
| | 02:12 | and now I can go through and see each
of these different slides that I have
| | 02:17 | access to, and just as I can add
Audio and Stills, I can also add Video.
| | 02:24 | The advantage to storing it inside the
Palette, is that it is always available
| | 02:29 | to you from one project to the next.
The palette doesn't change as project
| | 02:33 | change. The disadvantages, if you are
only using that particular asset for that
| | 02:39 | particular project, storing it into
Palette is going to be kind of awkward,
| | 02:42 | it's going to be much easier to
use your Assets from the Assets tab.
| | 02:46 | So let's say you have a company logo,
or a theme, or a common graphical look
| | 02:51 | that you want to have across all your
DVDs. The Palette is the place to store
| | 02:55 | them, whether it's Video, or Stills,
or Audio. If things remain the same from
| | 03:01 | project to project, put them in the
palette. If they change from project to
| | 03:06 | project, the Asset tab, which will
discover as we start to create our simple
| | 03:10 | DVD, will be better. This has been a
good introduction to the interface of DVD
| | 03:17 | Studio Pro, but nothing explains it
better than actually getting our hands in
| | 03:21 | here, and starting to create a project.
Well, that's what's next. Let's create
| | 03:25 | a simple DVD. We will start by encoding
our assets, and from there we are going
| | 03:30 | to build the project.
Creating our own DVD is next.
| | Collapse this transcript |
|
|
5. Setup and ExportingIntroducing the Setup and Export features| 00:00 | This chapter talks about setup and
encoding, and we will start by showing you
| | 00:05 | where to setup your project, where to
store project files, and where to store
| | 00:09 | assets as well. Then we will shift over
to Final Cut and show you the best way
| | 00:13 | to export from Final Cut, including
how to set chapter markers frame-
| | 00:17 | accurately inside FCP. Then we will go
over to DVD Studio Pro, and talk about
| | 00:22 | encoding, including how to set
your compression preference settings.
| | 00:26 | Now remember, this title just focuses
on DVD Studio Pro. How to use Compressor,
| | 00:32 | either 2.1 or 3.0, are both separate
titles. This simple DVD, that we are about
| | 00:38 | to create, uses 4:3 media. Later in
this training, I will have some specific
| | 00:43 | movies dealing with 16:9 and high
definition media. So we will cover
| | 00:46 | everything. We are just going to
tackle 4:3 first. Keep in mind that
| | 00:51 | compression inside DVD Studio Pro is
for the simple stuff. It's not advised if
| | 00:56 | you need to crop your image or
compress your audio to AC3, or if you need to
| | 01:01 | add filters or watermarks or fine-
tune to your compression settings.
| | 01:05 | If you want to use distributed
compression, or convert from NTSC to PAL, or PAL
| | 01:10 | to NTSC, or SD to HD, or HD to SD, all
of these things. Means, compressor is a
| | 01:16 | much better choice. If you have a
simple DV movie, whether 4:3 or 16:9, it's
| | 01:23 | already at the right size, it's
already in a way that DVD Studio Pro can work
| | 01:27 | with directly, and you can bypass
compressor. For what we are going to do
| | 01:31 | first, bypassing compressor is a good
thing, because we are going to keep it
| | 01:35 | simple. So let's get started by taking
a look at how to set up our system, to
| | 01:40 | make it easier to work with DVD Studio Pro.
| | Collapse this transcript |
| Setting up your project| 00:00 | Whether you work with Leopard or
whether you work with Tiger, your file
| | 00:04 | organization can be the same. Now, you
can in fact store files anywhere and
| | 00:10 | you can in fact save files anywhere.
It's not quite as vigorous for DVD Studio Pro
| | 00:15 | as it is with Final Cut.
| | 00:17 | The system that I use that works the
best for me is that I will create on my
| | 00:21 | boot drive a folder called DVD Studio
Pro projects. Inside that project folder
| | 00:33 | I will then create another folder for
each project. For instance, I would say,
| | 00:39 | DVD Project 0.1, or I would give it
a name. But each projects has its own
| | 00:44 | folder. Then inside that project
folders where I would store, my DVD Studio
| | 00:50 | Pro project, just that same as we have
a project file for Final Cut, we also
| | 00:54 | have a project file for DVD Studio Pro.
But what I don't do with DVD Studio
| | 01:00 | Pro, because everything is going to get
boiled down into an entirely different
| | 01:03 | format, so I don't put my assets in the
same folder. Here, I have a difference
| | 01:08 | between how I keep Final Cut, where
everything is in one folder, and DVD Studio
| | 01:12 | Pro, where files are actually in two folders.
| | 01:16 | My project information is in the
Project folder. Then separate and distinct,
| | 01:21 | and generally on my second drive, I'm
going to create another folder, and that
| | 01:26 | folder would be called, my asset
folder. In this case I have called it My
| | 01:30 | Project Assets, and I have stored it to
the Desktop, because it's easy to find,
| | 01:34 | but I normally put the asset folder
on my second drive. The reason is, the
| | 01:40 | assets are in their native,
uncompressed and very, very, very large state.
| | 01:45 | Because I have got more space on my
second drive, than I do in my boot disk, I
| | 01:49 | always store my asset files in a
single folder named after this project.
| | 01:54 | Inside the asset folder, I generally
create three folders. One for menus, one
| | 02:02 | for Slideshows, and one for Tracks,
and tracks are Audio and Video. Because
| | 02:08 | those are the three basic categories,
that's going to be on any DVD. Now in
| | 02:13 | fact, you can store anything inside
this folder that's going to be accessed by
| | 02:17 | DVD Studio Pro, but for me, my project
file goes on my boot drive, in my DVD
| | 02:23 | Studio Pro Project folder, and my
assets go in an entire folder all by
| | 02:27 | themselves, on the second drive. The
reason is, that this is a whole lot faster
| | 02:32 | and easier to import, and manage
inside Studio Pro, when all of my assets are
| | 02:37 | all in one spot. I will show that to
you in just a minute, but first, I want to
| | 02:43 | switch over to Final Cut, and show
you how to create chapter markers inside
| | 02:48 | Final Cut and then the best possible
way to export those files. That is next.
| | Collapse this transcript |
| Exporting from Final Cut Pro| 00:00 | This is a DVC Pro HD 16:9 sequence
inside Final Cut that we want to get out of
| | 00:05 | Final Cut and into DVD Studio Pro.
Well, although it's HD, the process of
| | 00:12 | getting a file out of Final Cut into
anywhere else is exactly the same, whether
| | 00:17 | it's NTSC, or PAL, or SD, or HD, the
process is identical. Also the very astute
| | 00:25 | among you have noticed that this is a
very short project. It runs just a hair
| | 00:30 | less than one minute. Most DVDs will be
longer than one minute, but the process
| | 00:36 | of creating the DVD, and the process
of compression is the same, whether our
| | 00:41 | video is one minute or one hour, and
rather then just waste time watching
| | 00:45 | Compressor compress, or DVD Studio
Pro compress, I have kept all of the
| | 00:49 | exercise files short. So we can spend
more time working with the application,
| | 00:54 | and less time watching the computer think.
| | 00:57 | Now you may think, why would I add a
chapter marker, or any other kind of a
| | 01:02 | marker to a piece of video, which is
exactly a minute long? And the answer is,
| | 01:07 | I can't think of a single good reason,
but when has that stopped me in the past?
| | 01:13 | Let's just put a chapter marker
in anyway. Markers are set inside Final
| | 01:17 | Cut at the position of the playhead.
So I have jumped the playhead to some
| | 01:21 | arbitrary spot. Most often it's going
to be at the beginning of a shot. Once I
| | 01:25 | have got the playhead at the position I want,
type the letter M for mmm-marker, and
| | 01:32 | notice that the marker shows up in the
canvas. Now so far this is just a Final
| | 01:36 | Cut marker, it doesn't go into DVD
Studio Pro. Type the letter M a second time.
| | 01:42 | Let's give it a name. We'll
call it People, and we will give it a
| | 01:45 | comment. Say, 'People walking and running.'
| | 01:51 | So far, it's a labeled Final Cut marker,
but it still doesn't go over to the
| | 01:55 | DVD Studio Pro. It only becomes a
chapter marker when you click the Add Chapter
| | 02:00 | marker button. Once that button is
clicked, now it's a chapter marker, and now
| | 02:06 | if we tell it to, DVD Studio Pro will
pay attention. Now there's a second kind
| | 02:11 | of marker, which is a compression
marker. These don't have any impact on DVD
| | 02:15 | Studio Pro, but they do have an
impact inside Compressor. What a
| | 02:19 | compression marker doe, is it helps
bail you out of the situation where you've
| | 02:23 | got a rapid movement in the middle of
a shot. What happens is you put your
| | 02:28 | compression marker at the end of that
rapid movement, say a Swish Pan. At that
| | 02:33 | moment, during compression, Compressor
will force an I-frame, a special kind of
| | 02:39 | a frame that we will talk more
about in Compressor. What it does is it
| | 02:42 | stabilizes the picture coming off
that fast pan or that rapid movement and
| | 02:47 | gives you nice clean picture to
continue your compression with.
| | 02:51 | Final Cut will by default put
compression markers whenever there's shot change,
| | 02:56 | and whenever there's a transition. So
you don't generally have to worry about it.
| | 03:00 | You only need to worry about
compression markers if you got something rapid
| | 03:03 | happening in the middle of the shot,
not at the beginning or the end, and it's
| | 03:07 | having a hard time compressing.
Compression marker can fix that. For right now,
| | 03:11 | we are just going to add a chapter
marker. When I click OK, the marker doesn't
| | 03:16 | change color, but notice that this
bracket chapter <CHAPTER>, bracket shows up
| | 03:20 | over in the label. That tells
us that it's a chapter marker.
| | 03:23 | Once we have got our marker set, let's
just add one more chapter marker here,
| | 03:27 | we will call it Flower. A pretty flower.
Add a chapter marker, and click OK.
| | 03:35 | Now that we have got our chapter
marker set, and everything is cut and done,
| | 03:40 | because remember, we can't make any
changes inside DVD Studio Pro. It is not a
| | 03:46 | creation program, it is a wiring
program. If I want to adjust the look of
| | 03:50 | anything, it has to be adjusted before
it goes into compression, and before it
| | 03:55 | goes into DVD Studio Pro. Once I have
completed all my work, and it's done,
| | 04:01 | signed off, not going to have any
changes. Finished, now we are going to get
| | 04:07 | out of Final Cut, and to do that, we
go up to File, we go down to Export. Now
| | 04:13 | there are a lot of choices. There's
only one I recommend, and that's to export
| | 04:18 | as a QuickTime Movie. Exporting as
QuickTime Conversion, decreases the quality
| | 04:24 | of the video. It's extremely slow,
and your file sizes aren't that small as
| | 04:29 | they need to be.
| | 04:31 | The quality of using Compressor, and
the quality of QuickTime Movie are the
| | 04:35 | same. The benefit to using Compressor,
is it saves you the step of creating the
| | 04:40 | QuickTime Movie, but it's many times
longer than real-time, and Final Cut has
| | 04:45 | tied up the entire time that you are
exporting using Compressor. A much better
| | 04:51 | way to work, is to export using
QuickTime Movie. It's faster, it's the highest
| | 04:57 | quality, and it works great. So let's
export using a QuickTime Movie. This
| | 05:03 | opens up the Save dialog. But we have
the chance to give it name, determine
| | 05:07 | where it is going to be
saved, and set some settings.
| | 05:10 | Now in this particular case, I'm going
to call this Santa Barbara Life Styles.
| | 05:13 | That's what I want to call it, but as
always, I'm always surprised by what my
| | 05:25 | fingers type. Because this is going to
be a big file, I will save this over to
| | 05:29 | my Scratch disk. Current settings is
always the highest quality. Current
| | 05:36 | Settings matches the settings on your
Timeline. You can change the format when
| | 05:41 | you export, but you will never improve
the quality. Consequently, exporting as
| | 05:45 | a current setting is generally the
best choice, because it's the fastest, and
| | 05:50 | it's the highest quality. The pop up
menu of Audio, Audio and Video or Video,
| | 05:56 | is self-evident. In this case we want
Audio and Video. markers, if you don't
| | 06:01 | have chapter markers inside your video,
then you can leave this set to None. If
| | 06:06 | on the other hand, if you want to
include the chapter markers that you created,
| | 06:10 | this must be set to DVD Studio Pro
markers. Although, there are other choices
| | 06:15 | here, I have never found any of them
to be reliable. The one that you want to
| | 06:19 | use is DVD Studio Pro markers.
| | 06:22 | Even if you are not going to DVD
Studio Pro, use DVD Studio Pro markers to
| | 06:27 | include any markers from the movie
into your QuickTime export. There are two
| | 06:33 | kinds of QuickTime Movies. One, is the
Self-Contained movie, and the other is
| | 06:39 | reference QuickTime movie. The Self-
Contained QuickTime Movie contains all of
| | 06:44 | your audio fully mixed, and all of your
video and all or your render files all
| | 06:48 | put together in one gigantic file. A
reference movie, which is what happens
| | 06:56 | when this is unchecked, a reference
movie contains all your audio fully mixed,
| | 07:02 | and pointers that point to where your
render files and video files are stored.
| | 07:07 | A reference movie is tiny, compared to
a self-contained movie, and reference
| | 07:12 | movies are the fastest way to get
projects out of Final Cut. There are six
| | 07:17 | reasons that you would want to export
a self-contained movie. First, you need
| | 07:21 | to give the movie to someone else. They
don't have access to the same video on
| | 07:25 | render files, so it has to be self
contained. Second, you want to keep the
| | 07:29 | movie for a long time on your system.
If you delete even one render file, the
| | 07:35 | entire reference movie will break. Three,
if you want to delete some, or all of
| | 07:41 | the audio or video assets, it must be
self-contained. Fourth, if you're trying
| | 07:46 | to solve an output problem, you want to
export a self-contained movie, create a
| | 07:51 | new Final Cut project, and then import
that to self-contained movie into the
| | 07:55 | new project. That will
almost always fix output problems.
| | 07:59 | If you are working with HDV, it needs
to be self-contained, or if you want to
| | 08:03 | change the format of the exported file,
it will need to be self-contained. But
| | 08:09 | most times when I'm exporting a
file form Final Cut, I'm going to be
| | 08:13 | compressing it on my system. I'm going
to be compressing it immediately, and I
| | 08:18 | don't see the reason to waste the time,
or the hard disk space, to create a
| | 08:22 | self-contained movie. So if all you are
doing, is exporting for the purposes of
| | 08:27 | immediately compressing it, a
reference movie will be fine. So that gets us
| | 08:33 | back to here. We have given it a name,
we have given it a location. Current
| | 08:38 | Setting is always the highest quality,
Audio and Video, DVD Studio Pro markers.
| | 08:43 | We are not going to make it Self-
Contained. So the time by the way that you
| | 08:47 | would ever say Recompress All Frames,
as if you were going to change the format
| | 08:51 | of the video, from what it's already
stored on the Timeline, because I'm not
| | 08:55 | changing the format, and because I'm
not making it self-contained, well,
| | 08:58 | actually let's do this, here's a
quick test. Let's make this movie
| | 09:01 | self-contained and we click Save.
Let's see how long it takes. Remember it's
| | 09:04 | about a minute a long and it's HD. 1001,
1002, 1003, 1004, 1005, 1006, 1007,
| | 09:15 | 1008, 1009, 1010, 1011, 1012, 1013, 1014,
1015, 1016, 1017, about 17-18 seconds.
| | 09:27 | I was getting more into the rhythm
than being accurate, but you know, 17-20
| | 09:32 | seconds give or take in there. Let's do
the same thing again. File > Export >
| | 09:36 | QuickTime Movie, and we will call
this Santa Barbara Life Styles reference.
| | 09:45 | Everything is the same,
except I unchecked self-contained.
| | 09:49 | Let's see how long it takes to export
this version of the file? 1001 -- about a
| | 09:55 | second. Roughly 20 times faster. Now
20 times faster may not mean a whole lot
| | 10:02 | to you, but boy, that makes a
difference between getting some sleep and just
| | 10:05 | dreaming of getting some sleep. Let's
hide this, and let's just take a look at
| | 10:08 | the difference between these two. So
we see, here's our reference movie, and
| | 10:13 | here's our self-contained movie.
Because it's a DVCPRO HD, let's get info, it's
| | 10:18 | 300 mega bytes, as a self-contained
movie. Let's take a look at this one. It's
| | 10:23 | 13 mega bytes, why? The self-contained
contains all the audio and video, the
| | 10:30 | reference movie contains the audio
and simply points to where the video is
| | 10:34 | stored. Yet if we play these,
they are exactly the same.
| | 10:47 | So if we play these, I will play
these at half screen.
| | 10:50 | (Music plays.)
| | 10:56 | Exactly the same content, exactly the same audio.
If you did a bit for bit comparison, the two
| | 11:03 | movies would be identical. It's just
that the reference movie exports about 20
| | 11:08 | times faster, and it's designed as
a temporary file to last only until
| | 11:13 | compression is complete.
| | 11:15 | (Music plays.)
| | 11:18 | Well, we will come back to those movies a little bit
| | 11:20 | later when we start to deal with high
def. For right now, I want you to be sure
| | 11:24 | that you understand how to set
markers inside Final Cut. Remember to assign
| | 11:28 | them to be chapter markers and then
finally, export, using File > Export >
| | 11:34 | QuickTime Movie. Now that we have our
project exported out of Final Cut, it's
| | 11:40 | time to start building it into a DVD,
and that means it's time to start DVD
| | 11:44 | Studio Pro for real, and start to put
our DVD together. Creating a simple DVD
| | 11:51 | is next.
| | Collapse this transcript |
|
|
6. Creating a Simple DVDCreating a simple DVD| 00:00 | In this series of lessons, I'll show
you how to create a simple DVD and the
| | 00:04 | Workflow Steps how to create a new
project and set project settings to import
| | 00:10 | and if necessary, compress your assets.
I'll show you how to change compression
| | 00:13 | settings. We'll create tracks and we'll
add markers and I'll show you some new
| | 00:17 | ways to preview your video.
| | 00:19 | We'll create a slide show. We'll create
menus and buttons and I'll show you how
| | 00:23 | to work on with drop zones, and we'll
use an existing chapter index. Finally,
| | 00:26 | we'll be testing and doing up what not
all DVDs will have all these elements,
| | 00:30 | but this gives us a really good
overview of how the program works.
| | 00:34 | A couple of notes. In general, I would
create menus and buttons a little bit
| | 00:38 | earlier. I would probably create a menu
and a button almost as soon as I create
| | 00:41 | a track, but I'm saving it to the end,
because there's more of the interface
| | 00:44 | that I would like to show you. In the
general workflow, I do everything except
| | 00:49 | movement use up just a bit. Nonetheless,
let's get ourselves started and to do
| | 00:53 | that, we're going to go over to DVD
Studio Pro and finally, after a lot of
| | 00:58 | preamble, we're going to
create a new project that's next.
| | Collapse this transcript |
| Saving and naming your project| 00:00 | Welcome to a brand new project inside
DVD Studio Pro 4. There are two ways that
| | 00:05 | you could get to this spot. One is to
just start the application, or the other
| | 00:09 | is to go up to File, New. In either
case, you're going to create a brand new
| | 00:14 | project. Notice that it's got
Untitled here in the title bar. Before you do
| | 00:18 | anything else be sure you save the
project as you need to save it and give it a
| | 00:23 | name. Unlike Final Cut, which has an
Autosave function, there's no Autosave
| | 00:27 | built into DVD Studio Pro. So you
need to save on a regular basis, like
| | 00:32 | whenever you have a stop to
think, that's a good time to save.
| | 00:36 | So let's go up to File, let's Save As,
because remember we've to Save As the
| | 00:40 | first time and Save every time thereafter.
| | 00:43 | Now, I'm going to store this inside
my Macintosh HD. Inside the folder, we
| | 00:49 | created earlier called DVD Studio Pro
Projects and I've got a project here
| | 00:53 | called Project 01. I'm going to call
this Color DVD. Notice that I've got a
| | 00:59 | space here, I'll just label it the way
would any Macintosh file and click Save.
| | 01:03 | But two things have happened. Not only
has it saved my project, under the name
| | 01:07 | Color DVD, but it's also given my DVD a
name, notice it's COLOR_DVD and that's
| | 01:14 | all capital letters.
| | 01:15 | A DVD disc must have a name and that
name has to be up to 11 characters, if
| | 01:21 | it's more than that, there's a chance
that it's not going to work properly in
| | 01:23 | windows. The capital letters are
required because some operating systems are
| | 01:27 | case sensitive. So to make your life
easy, I tend to name my projects exactly
| | 01:32 | the same that I want my DVD named.
| | 01:35 | You can always see the name of the
project in two places. One is in the Outline
| | 01:38 | tab, it will be the very top line, or
with the DVD selected you'll also able to
| | 01:42 | see it over here in the Inspector. If
you need to change the name of your DVD,
| | 01:46 | you can. For instance if we add _2, we
can change the name and notice that you
| | 01:51 | use the Inspector to make changes and
those changes are then reflected on the
| | 01:55 | DVD that we create. Because I want to
limit my file name to 11 characters or
| | 02:00 | less, I'm going to leave it at Color DVD.
So we have now given this a name and
| | 02:05 | we have saved it. That's the very
first step before we do anything else.
| | 02:09 | Let's go out to the Graphical tab.
The Graphical tab is an outline of
| | 02:13 | everything that exists on our DVD so far.
Required by the DVD spec is one menu
| | 02:19 | and one Track. Every DVD needs to have
at least one of each. So by default, it
| | 02:24 | creates one menu and one Track,
though right now there's nothing in it.
| | 02:28 | Now, you'll see the strange look and
symbol appear. That symbol is the first
| | 02:32 | play symbol that tells the DVD, what
it's going to play first. Do you want it
| | 02:37 | to play a menu first? Or do you want
to play a piece of video first? For
| | 02:41 | instance, on DVDs that buy in a store
that have movies on them and they most
| | 02:44 | often start with trailers. Well, video
is stored in tracks. So the very first
| | 02:48 | thing we've got playing is the Track
that contains the trailer video and the
| | 02:53 | end-jump, the end of that Track, jumps
to a menu and the menu that gives you
| | 02:57 | buttons to choose from. So there,
they are setting their first play to be a
| | 03:00 | Track by default. Our
first menu is our first play.
| | 03:04 | Now, that we've got our basic file
saved and given a name, and we've looked at
| | 03:09 | the organization here in the Graphical
tab, because that'll always show us all
| | 03:12 | the different elements that we're
working with, then allow us to click and move
| | 03:16 | them around to build them into
different areas and you can do that by click
| | 03:20 | hold and dragging.
| | 03:22 | If things get out of control, you can
get them back by typing Shift+Z. Shift+Z
| | 03:27 | the same as inside Final Cut, allows
you to bring all of your images, sizes the
| | 03:31 | window, so you can see how
everything all fits together.
| | 03:34 | So, what we've just done first as we
save the project. We looked at our basic
| | 03:38 | organization of the Graphical tab. The
Asset tab indicates everything that you
| | 03:42 | have access to for your DVD, but the
Outline tab indicates what's actually on
| | 03:48 | the DVD. This is similar to the
browser. The Assets tab is similar to the
| | 03:53 | browser in Final Cut, where the browser
shows us everything that we have access
| | 03:57 | to for our timeline. However, we don't
really have the same concept of timeline
| | 04:02 | inside DVD Studio Pro, even though
it looks like get down here, it isn't?
| | 04:06 | In the Outline tab it's sort of the
best place that we can look to see what we
| | 04:11 | actually have on the DVD. The DVD is
highly structured environment, so this is
| | 04:16 | always in outline font to
reflect the structure of DVDs.
| | 04:20 | The Inspector is where we make changes.
By default, because I've got the Color
| | 04:25 | DVD selected, it gives us a chance to
say that we do a Standard Def or High Def
| | 04:30 | DVD, click on the one that you want.
Is it NTSC or PAL? And the rest of the
| | 04:35 | stuff we're going to leave alone for
right now. Under Disc/Volume, and we click
| | 04:39 | there, we can say, do we want to
be a Single layer, or Dual layer.
| | 04:42 | Remember Single layers just can be
burned successfully. Dual layers have got
| | 04:46 | some significant compatibility problems.
So when you create your Dual layer you
| | 04:50 | are going to actually deliver that to
replication on a hard disc. We can do
| | 04:53 | that with DVD Studio Pro. I'm just
flagging it so used a sensitive about that.
| | 04:57 | You can indicate how many sides, this
is One side, or Two sides. 99% of the
| | 05:01 | time, you are going to want to do a
single sided discs, so you get a room for
| | 05:04 | labeling on the other side, shows
you exactly how much space you have
| | 05:08 | available. See, click on that
shows how much space we have.
| | 05:12 | By the way thinking of space we've got
two places that we can see space on a
| | 05:16 | burnable disc, we can get 4.3 Gig.
That shows us how much has taken up right
| | 05:20 | now, 168 K. I think we can fit that on.
Region/Copyright we'll talk about later
| | 05:26 | the defaults are fine. Advanced, we'll
talk about later the defaults are fine.
| | 05:31 | Now, this number right here shows
you the total size of your DVD as is
| | 05:35 | currently constructed, because I want
to keep track of this all the time and
| | 05:39 | not just when I highlight this Color
DVD. I've created a new toolbar up here.
| | 05:44 | Your toolbar will show all the
different tools because your screen is bigger
| | 05:47 | than mine. Because I've got a fit line
under the smaller screen, I went up and
| | 05:51 | I created a new
Configuration called Larry's toolbar.
| | 05:55 | I deleted a couple of the settings
over to the right, which I don't use
| | 05:58 | regularly, but I wanted to keep the
Simulate, which is critical and I wanted
| | 06:01 | to see that Disc Meter, which shows me
how much space I'm adding up. So these
| | 06:05 | two I'd like to see all the time and I
just deleted a few of the icons to top.
| | 06:09 | Your menu bar will look slightly
different, there's no reason for you to change
| | 06:13 | as long as you can see all the stuff
you are fine. I just needed to do it
| | 06:16 | because my screen was too small. So
we've looked at the Graphical tab. We know
| | 06:20 | what to do with first play. We've given
our project a name and discovered that
| | 06:25 | that was the name and that was given
to our CD or in this case a DVD, if you
| | 06:28 | would get the right program I guess.
We'd looked quickly at the Inspector, in
| | 06:33 | terms of the settings that we've got.
| | 06:34 | Now, it's time to import some
assets and begin to build, that's next.
| | Collapse this transcript |
| Setting essential preferences| 00:00 | Just as Final Cut has Preferences, so
also does DVD Studio Pro. You go to the
| | 00:04 | Preferences, by going to DVD Studio
Pro, Preferences. Now, there's ten
| | 00:09 | different preference choices here and
I'm not going to go through all of them
| | 00:11 | at this point, but there's a few
that you need to be aware of and most
| | 00:14 | importantly you need to know that
changing Preferences has no impact on
| | 00:19 | anything that you've already done, same
as Final Cut. Therefore you want to set
| | 00:22 | your Preferences before you create
your project, or before you create a new
| | 00:26 | track, or before you create a new menu,
because then the Preferences will take effect.
| | 00:30 | The Project preference pane allows you
to determine whether it's a Standard Def
| | 00:34 | or High Def DVD and what the video
standard is. The General pane allows you to
| | 00:40 | set whether your Standard Def is a 4x3
or 16x9. You will generally set it to
| | 00:44 | 4x3, or Letterbox, unless you've
already got pan-and-scan information built in,
| | 00:50 | so 4x3. In this particular case, you
are also able to set how your HD menus are
| | 00:54 | set, we'll talk about that more later.
| | 00:56 | We've already reflected on the fact
that the Thumbnail Size effects how the
| | 01:00 | Palette displays, as well as the
Slideshow. We'll talk about slideshows a
| | 01:03 | little bit later.
| | 01:05 | menu defaults are basically fine, as
are the rest of these, except till we get
| | 01:09 | to Encoding. Now, the Encoding tab at
the end determines how DVD Studio Pro is
| | 01:14 | going to compress your video.
There's two tabs; one, how is it going to
| | 01:17 | compress for a Standard Def and the
second is, how does it compress for High
| | 01:20 | Def? In this particular case, we
are going to focus on Standard Def.
| | 01:24 | We need to tell what kind of video,
it's going to get. We're going to be
| | 01:27 | feeding it a 4x3 video. Second, you can
determine, what the starting timecode
| | 01:31 | is? My recommendation is just leave it
alone. Leave the field Order to Auto,
| | 01:35 | it'll figure it out perfectly okay.
But these settings, although they are the
| | 01:38 | factory defaults, I don't like them.
They are optimized to give you quick
| | 01:41 | results, but we are never doing a DVD,
because it's quick, we are doing a DVD
| | 01:45 | because we want it to look good. So
we want to set this to Two Pass VBR.
| | 01:50 | There are two ways, we can compress,
one is CBR, which tends for Constant Bit
| | 01:54 | Rate, and the other is VBR, which tends
for Variable Bit Rate. We'll always get
| | 01:59 | higher quality and more importantly,
smaller files, if compress using VBR it
| | 02:04 | just takes longer. I don't care how
long it takes, if I have to spend even five
| | 02:08 | minutes explaining to the client but
the quality is not that good, and I've
| | 02:12 | spent five minutes, so that
shouldn't have had to spend.
| | 02:14 | If on the other hand, really quality is
not important to you, CBR is absolutely
| | 02:18 | faster. But for me I just want to
compress it once and not have to worry about
| | 02:22 | compressing it second time, so
I'm going to select Two Pass VBR.
| | 02:25 | Some numbers that are really useful is
an average Bit Rate of 5.5 and a maximum
| | 02:33 | Bit Rate of 7.2. Here as I go, I had a
chance to talk to the people that helped
| | 02:37 | to write the first versions of DVD
Studio Pro and they told me that the sweet
| | 02:41 | spot for compression, the way that DVD
Studio Pro is built, is an average Bit
| | 02:44 | Rate of 6.0. This is a nice blend of
really, really high quality without having
| | 02:49 | the file size to get out of control.
| | 02:51 | One of the things that you don't ever
want to do is you don't want to take the
| | 02:54 | Bit Rate all the way to the maximum.
The problem with taking it all the way to
| | 02:57 | the maximum -- here we go -- the
problem with taking it so high is that you end
| | 03:01 | up sort of overdriving what can be
handled on some computers and overdriving
| | 03:05 | what can be handled on some set top
boxes and something you get breakup and you
| | 03:08 | get skipping and it's just awful. This
is a really good example of where going
| | 03:12 | to the maximum is not a good idea. My
recommendation for your standard Bit Rate
| | 03:17 | is 5.5, with a Maximum Bit Rate of 7.2.
| | 03:22 | Motion Estimation helps DVD Studio
Pro to figure out where the pixels are
| | 03:25 | moving from one frame to the next. You
can set it to Best, but things are going
| | 03:30 | to take a lot longer. My
recommendation instead is to leave Motion Estimation
| | 03:34 | set to Better. Finally, if you have a
fast machine, you can use Background
| | 03:35 | encoding. This means that DVD Studio
Pro will be compressing in the background
| | 04:05 | while you are building the title in
the foreground. If you have a slower
| | 04:06 | machine, you want to leave this Encode
on build that means that it's going to
| | 04:08 | wait until all of your work is done
and then you will create the final MPEG2.
| | 04:09 | Remember that on a DVD, all of your
assets, your slideshows and your video, in
| | 04:10 | fact, even your menus are all MPEG2
video. That means that everything has to be
| | 04:12 | turned into a video before it can be
put onto the DVD. So that encoding has to
| | 04:13 | happen whether it's done in Compressor,
whether it's done in the background in
| | 04:14 | DVD Studio Pro, or whether it's done
as DVD Studio Pro is building the final
| | 04:17 | version of your disc. That's entirely
up to you depending upon the speed of
| | 04:21 | your computer and the complexity of
your compression, but in all the cases it
| | 04:25 | has to be done before the DVD can be created.
| | 04:27 | In this particular case, we're going
to do background encoding, because we've
| | 04:30 | got a break quick machine. Once we
have set those settings. We click OK. Now,
| | 04:35 | that we set our Preferences, we are
ready to Import. To do that, let's go to
| | 04:38 | the Assets tab. Remember the Outline,
is what's on your DVD. The Asset tab is a
| | 04:44 | list of everything that we have access
to, whether it's on our DVD yet or not.
| | 04:49 | Now, there are several ways that we can
import into the Asset tab, first as we
| | 04:53 | could click this Import button. Second,
we could control clicking the name
| | 04:57 | column and select Import. The third,
is we can go up to the file menu and say
| | 05:02 | Import and create a list of what we
want to get. But this is where that finally
| | 05:06 | exists and we've put together at the very
beginning and this training can be so helpful.
| | 05:10 | What I tend to use the most as I
click on Import. Now, I've put together a
| | 05:15 | folder called Media and inside Media
will be all the different exercise files
| | 05:20 | that we work with on this DVD. When I
click on Simple DVD Assets, inside it
| | 05:24 | I've created menus, slides and tracks,
as we've talked about a little bit ago.
| | 05:28 | I don't click on those internal folders.
I just click on the Simple DVD Assets
| | 05:33 | and when I click Import watch what
happens. It pulls in all the files inside
| | 05:40 | all the menus and organizes it in
bins, so that I'm all set to go.
| | 05:44 | Now here's another cool thing. If I
have the Asset tab selected and I hold the
| | 05:48 | Shift key down and type Shift+tab,
it expands that whole tab to fill the
| | 05:53 | screen. Look what's happening down
here. It's compressing my video in the
| | 05:57 | background. The green means that it
all set and good to go. This means that's
| | 06:02 | being compressed, it's not yet ready to
be burned onto the DVD, but it will be
| | 06:07 | as soon as that thermometer has done
playing and DVD Studio Pro is smart enough
| | 06:10 | to figure out, what's a still?
What's video? What's audio? And more
| | 06:14 | importantly, noticed that it's
reading the frame right and it's reading the
| | 06:17 | sample right. I don't have to set any
of that stuff. It reads it automatically.
| | 06:22 | Now to put this screen back to normal
size again, hold down the Shift key and
| | 06:26 | type Shift+Spacebar. Shift+Spacebar to
expand it and Shift+Spacebar to pull it
| | 06:31 | back again. So, now we're ready to
begin by creating a track. So let's go over
| | 06:35 | the Graphical tab and we've got
Track 1, we've got menu 1, or we've got a
| | 06:40 | Compressor, we've talked
about the preference settings.
| | 06:42 | So, now that we've set our preferences
and now, that we've done our importing,
| | 06:45 | let's now start building
our first track. That's next.
| | Collapse this transcript |
| Creating tracks| 00:00 | By the way if you import the same
assets over and over, many times, you are
| | 00:04 | going to see an error message. I'm
going to show that to you. I deleted our
| | 00:07 | tracks from down here, click Import and
we'll select the tracks. Notice that I
| | 00:12 | always click on the folder that
contains the tracks, not the actual track
| | 00:16 | itself. Notice that there's an MPEG
folder here. Keep that in mind, we'll talk
| | 00:19 | about that in just a second.
| | 00:21 | When I click Import, it pulls the track
in and gives me an error message saying
| | 00:25 | Could not import one file. But actually
behind the scene, as DVD Studio Pro is
| | 00:30 | creating a whole lot of different work
files that it needs to create your DVD
| | 00:34 | those work files, though they are
needed by Studio Pro are not importable by
| | 00:38 | Studio Pro. And those folders
include MPEG folders, which is the actual
| | 00:42 | compressed version of this movie. And
the second are PARs folder, which is also
| | 00:47 | movable to PAR.
| | 00:48 | A PAR folder or an MPEG folder is
vital to the operation of DVD Studio Pro,
| | 00:53 | just can't be imported. So, this
error message says, hey I've already gone
| | 00:57 | through and created some work files for
this. I can't bring the work files in,
| | 01:00 | but don't panic, I'm just studying all
that I couldn't bring the work files in.
| | 01:04 | Just click OK. Now, the DVD Studio Pro
is working fine and you are doing OK,
| | 01:08 | it's just that it
couldn't import those work files.
| | 01:11 | Now, let's go over the Graphical tab.
The Graphical tab gives a stability to
| | 01:14 | build the structure of our DVD. How
can we do it? Well, we can create a new
| | 01:18 | track for instance, by clicking on
the Add Track icon up here and notice we
| | 01:24 | have another Track, drag it down.
Just click a couple more and we could add
| | 01:28 | whole bunch of tracks. We've got
tracks spawning all over the place.
| | 01:32 | If you want to delete a track, notice
how that changes color, when you click on
| | 01:37 | it. Click on it to highlight it, hit
the Delete key. So to add a track, one way
| | 01:42 | that you could add a track, remember
Shift+Z to get that fit again. We could go
| | 01:46 | up here and add a track. We could also
Ctrl-click in this gray area and say Add
| | 01:51 | a Track. We've got all these different
choices, but we're going to Add a Track
| | 01:55 | and highlight it and hit the Delete key.
| | 01:59 | We can also go to the Project menu,
say Add to Project. There's a Track. We
| | 02:04 | could also do Ctrl or Command+T, which
just causes my brain to hurt trying to
| | 02:08 | remember. So what I normally do as I
just go up here and I click on Add Track,
| | 02:13 | easy, fast, plain, simple, neat. How
could you possibly object? And if you
| | 02:19 | don't like Control-clicking and don't
like that, then for heaven's sake go up
| | 02:22 | to Add Project and add a track yourself.
| | 02:24 | So we've got our Track here. Let's put
a video in that track. Now, remember a
| | 02:28 | track is a container that holds audio
and video, so I'm just going to twirl up
| | 02:32 | these twirled down triangles here by
clicking on them. Twirl them up and notice
| | 02:37 | that I've got my regular track and
I've got my MPEG. Now, we want to add the
| | 02:41 | MPEG track because that's been
compressed, so we're going to simply click hold
| | 02:46 | and drag the video and drop it right into there.
| | 02:50 | Notice two things happened. Number one;
it gave me my first frame of the video
| | 02:54 | inside the Graphical tab. Two; it
automatically put the video down on the
| | 02:58 | timeline and three; it automatically
married up the audio since the audio and
| | 03:03 | video are dropped into the timeline at
the same time and perfectly in sync. The
| | 03:08 | way that works, as the two files need
to have the same file name to the left of
| | 03:12 | the dot, so BryceCanyon.mov, see that
to the left it's BryceCanyon for both of
| | 03:18 | them. Therefore, it could find both and
it married them both up. Notice that it
| | 03:22 | created an AIF file, you can only
create AC3 files using Compressor. DVD Studio
| | 03:28 | Pro always creates AIF files. AIF is
the highest possible quality, but it's
| | 03:33 | also gigantic in file size.
| | 03:35 | A Stereo AIF file takes 600 megabytes
for an hour, 1.2 gigabytes for 2 hours
| | 03:41 | and I've only got 4.3 gigabytes to work
with and there we are confronting that
| | 03:46 | hard reality of the DVD only holds 4.
3 gigs. How do we get the most on it
| | 03:51 | without going over? How do we play this?
Well, the easiest way is double-click it.
| | 03:56 | When you double-click it, it goes to the Viewer.
(Music from video starts to play in background.)
| | 03:58 | You click the Play tab and you are able to watch your
video inside the Viewer tab. Care to guess how to stop
| | 04:04 | the video? You can click the Stop button.
And if the Viewer is selected,
| | 04:17 | right there are buttons to control that.
And that rewinds to the beginning, takes us to
| | 04:23 | the end. Sorry, I lied to you, it's
back one frame at a time, forward one
| | 04:28 | frame at a time. I got my
icons confused. I'll just hit Stop.
| | 04:33 | So what we've just done is we looked
at how to import, we've looked at how to
| | 04:37 | drop it into a track to create a
track and we can have as many tracks as we
| | 04:41 | need, inside DVD Studio Pro. So what
we've done as we took our video and we
| | 04:46 | dropped it into an empty track and
notice that it automatically changed the
| | 04:49 | name of the track to reflect the name
of our movie. It automatically married up
| | 04:53 | the audio and video. It displays the
track in the Graphical tab. It displays
| | 04:58 | the track in the Track tab and when we
go to the Outline tab, notice that our
| | 05:02 | track has been renamed to the Outline tab.
| | 05:04 | It's all dynamically controlled and if
go over to here, what says Video Asset,
| | 05:08 | it gives us all the information that we
need to be able to see, how long it is
| | 05:14 | and what the image size is and what the
frame rate is and all the rest of it we
| | 05:17 | can even browse it by grabbing here
and just dragging across and see what the
| | 05:21 | image looks like.
| | 05:22 | Now, there's one thing that we
haven't done. We haven't added any
| | 05:26 | Interactivity. Now, remember the end
of a track is called an end-jump. It's
| | 05:30 | where it goes, or it jumps at the end
of the track. We'll wire the end-jump and
| | 05:35 | we get a menu created, but there's
something else that I wanted to do first and
| | 05:38 | that is that I want to add chapter
markers to this track, and chapter markers
| | 05:42 | are next.
| | Collapse this transcript |
| Previewing your DVD| 00:00 | Before we move onto chapter markers a
quick note on previewing. Sometimes it's
| | 00:04 | important to be able to look at
your video and there's a couple of new
| | 00:06 | previewing options that are built in.
It's important to look at your video as
| | 00:10 | you're building your DVD, or to look at
your slides, frankly it's important to
| | 00:13 | look at just about everything. So
how do we see it? We see it inside the
| | 00:17 | Viewer, and again, Shift+Spacebar zooms
that up to be as full screen as you can get.
| | 00:23 | If we use Option+Command+P to hide the
palette, and Option+Command+I to hide
| | 00:27 | the Inspector, we could actually grab
this thumb over here and drag it to the
| | 00:32 | right, so our video fills the entire
screen. When we want to play it, Spacebar,
| | 00:36 | (Music from video soundtrack plays.)
| | 00:38 | and Spacebar to stop. To zoom it back Shift
+Spacebar to get ourselves back to our
| | 00:44 | standard layout. Again F2 because
we're working in the extended layout, which
| | 00:48 | is F2. And to get ourselves back to
the toolbar that I was using before, I've
| | 00:52 | set that to F4.
| | 00:54 | In addition, to being able to preview
by hitting Spacebar and Shift at the
| | 00:58 | same time, remember that zooms whatever
we have up to full screen. We also have
| | 01:04 | some additional Preview options, which
are available to us inside Preferences.
| | 01:07 | When we go to Preferences and we go
to Simulator, the Simulator window will
| | 01:13 | show up or if we have appropriate
hardware attached, we can feed video out of
| | 01:18 | our FireWire drive at preview video,
or we can feed it out to capture card to
| | 01:22 | preview it.
| | 01:23 | We can also monitor the audio
either to the built-in output or whatever
| | 01:26 | hardware we have attached. As we can
control what the output resolution is
| | 01:30 | going to be because we can even
monitor HD as well as SD. We can also display
| | 01:35 | that both in 16X9 or a Letterbox or
Pan and Scan. All these different options
| | 01:40 | are available inside the Simulator.
| | 01:42 | Now, if all of you have is one
computer screen, the defaults are fine. But if
| | 01:46 | you have outboard monitors, and you
want to be able to feed your DVD to a
| | 01:50 | monitor so you can see what it looks
like on the actual video monitor, you
| | 01:53 | change your settings based upon the
hardware you have attached to your
| | 01:56 | computer by clicking on
the Simulator Preference.
| | Collapse this transcript |
| Adding chapter markers| 00:00 | We put markers in a track, so we can
keep track of where stuff is. We use them
| | 00:04 | for navigation, not for ourselves,
but for the DVD. There are actually four
| | 00:08 | different marker types inside of Studio
Pro. markers as in Final Cut are always
| | 00:13 | placed at the position of the playhead.
| | 00:15 | So, let's find a spot to put our marker.
Let's find exactly where this fades to
| | 00:20 | black. And I'm using the left and right
arrow keys on the keyboard to move one
| | 00:24 | frame at a time to the right or to the
left. There we go. Notice the timecode
| | 00:28 | is at 09:26, so I want to create a marker.
| | 00:32 | Again, just as in Final Cut I type
the letter M for marker and it puts the
| | 00:37 | marker in. Now, because the marker was
just created, the marker is selected and
| | 00:41 | the Inspector lights up, because the
Inspector is context sensitive. Notice
| | 00:46 | that it's now displaying the marker.
It gives us a chance to put the name for
| | 00:49 | the marker. We'll call it Bryce.
| | 00:52 | But notice what's happened down here.
We're at timecode 09:26, but the marker
| | 00:57 | actually goes in at timecode ten
seconds straight up and the reason is
| | 01:01 | because of the MPEG compression.
Because of the way that MPEG is designed, MPEG
| | 01:06 | doesn't compress each individual
image. It compresses a group of pictures.
| | 01:11 | Specifically in the case of NTSC, it
compresses in 15 frame clumps. Officially
| | 01:16 | in 24 frames it compresses them in 12
frames on the clumps. If you shoot in PAL
| | 01:21 | that compresses them in 7 frame clumps,
just to keep your brain from exploding.
| | 01:25 | So, it doesn't actually put the
marker where we wanted to go because to be
| | 01:28 | quite truthful frame 927 doesn't
pretty exist or 926. There's only one image
| | 01:34 | every 15 frames, everything else is
surely like our text document and where you
| | 01:38 | put timecode on a text document,
it's not meaningful. So it goes plus and
| | 01:42 | minus 15 frames, which means this is a
big advantage of putting your markers in
| | 01:46 | Final Cut or your markers in Compressor,
because in Final Cut or Compressor,
| | 01:50 | before compression, your
markers are frame accurately.
| | 01:54 | Once you get them into DVD Studio Pro
and the MPEG has been created, the new
| | 01:57 | markers are plus and minus the GOP
structure, 15, 12 or 7 frames. If we want to
| | 02:02 | move a marker, click hold and drag it
and we can drag the marker wherever we
| | 02:07 | wanted to go. If we want to delete a
marker, click on the marker to highlight it,
| | 02:11 | and hit the Delete key. So, we
typed the letter M to set a marker.
| | 02:15 | Let's go back over to the Inspector
again and with the marker selected, notice
| | 02:20 | that we've got some check boxes here.
By default every marker is a chapter
| | 02:24 | marker, but there can also be button
highlights, as is also the dual layer
| | 02:28 | break point where you switch from Layer
One to Layer Two on a very big DVD. Or
| | 02:32 | if nothing is checked, it's a generic marker.
| | 02:35 | We'll talk more about markers in the
Advanced section and I just wanted to show
| | 02:38 | you whether check boxes are right here.
For right now the default of a chapter
| | 02:42 | marker is correct and you change the
name of the marker inside the Inspector
| | 02:47 | and we'll call it Bryce. But
sometimes we don't want to set markers
| | 02:51 | individually, we want to be able to
bring all the markers in as a group and to
| | 02:55 | do that, what I did is, I've created a
document go over to TextEdit here and
| | 03:02 | open up this marker list. And what a
marker list is, is the text document
| | 03:06 | tabbed limited text, which gives the
timecode of where the marker needs to be
| | 03:11 | and the name of the marker. So this is
timecode limited by colons, followed by
| | 03:16 | a tab, followed by the name of the marker.
| | 03:18 | Now, there's a trap here and the trap
is by default. TextEdit creates the wrong
| | 03:23 | document to use this. This needs to
be an absolute pure text document and
| | 03:28 | TextEdit creates RTF, Rich Text
Documents, so here's how you fix that. You go
| | 03:33 | up to TextEdit, you go down to
Preferences. Inside Preferences, you make sure
| | 03:38 | that this Preferences set to Plain
Text, once you change the Preference and
| | 03:43 | close it, that you have to create a
new document changing the Preference does
| | 03:49 | not change any existing documents, it
only changes new documents, so then you
| | 03:54 | would create a new document, type your
timecode, hit a tab and give yourself
| | 03:57 | the name of the marker. Okay, now
let's see how this works. Notice that we've
| | 04:01 | got our timecode bar here. This is
where the playhead scrubs back and forward.
| | 04:05 | Immediately above it, there's a gray
area. If you Control-click in this gray
| | 04:10 | area, you'll see Import Marker List, so
I'm going to import the marker list.
| | 04:14 | Go over to my Media folder here. Inside
the Media folders are Simple DVD Assets
| | 04:20 | and I've created folder called
Documents and inside the Documents folder,
| | 04:25 | is the marker list.
| | 04:26 | When I click on the markerlist and
click Import, watch what happens down the
| | 04:29 | timeline, in two, one, poof!
It automatically brought in all four markers as this
| | 04:36 | dialog says up at the top, and when I
click OK, there's my Bryce marker, my
| | 04:41 | People marker, my Flower marker and my
Sunset marker. Do you want to guess what
| | 04:46 | the keyboard shortcut is to move between
markers? Same as Final Cut, Shift+M to
| | 04:51 | move to the next marker, Option+
M to move to the previous marker.
| | 04:54 | It's probably a more complicated way to
do it, but I like Shift+M and Option+M.
| | 05:00 | Again, you click hold and drag a
marker to move it where you want and again,
| | 05:03 | the markers come in based upon where
the GOP structure is. So although I
| | 05:07 | entered specific frames, it places
it to the nearest GOP, but what's the
| | 05:11 | nearest GOP. Well, that's
a Preference setting again.
| | 05:19 | When we go up to Preferences and click
on the Track icon, notice that when
| | 05:23 | it generates, it can generate marker
names automatically based upon what you
| | 05:26 | call it up here. Make sure that the
marker names are unique because you don't
| | 05:30 | want duplicates; it makes navigation
really tough. And it also allows you to
| | 05:34 | determine, do you want the markers
to always go to the previous I-frame
| | 05:39 | called that the start of a GOP, or the
next I-frame, start at the next GOP or
| | 05:44 | the nearest I-frame.
| | 05:45 | By default, Nearest is checked and
generally, nearest is going to be the best
| | 05:49 | choice for you. Also, notice down here,
this is where you're going to have the
| | 05:52 | Spacebar toggle between Play and
Pause, which is on by default. And if you
| | 05:56 | have bad markers, when the build of the
DVD occurs this will fix it. This is
| | 06:01 | off by default. I'll recommend you turn
it on. So, in this case, this under the
| | 06:05 | Track menu allows you to determine
where markers are set in relationship to the
| | 06:08 | GOP. Fixing them if they are bad.
Then you click OK and we're good to go.
| | 06:14 | Here's a note. If you are going to
use marker lists and import markers, you
| | 06:18 | need to realize that there are two
different timecodes inside Studio Pro.
| | 06:22 | There's Zero-Based timecode and Asset-
Based timecode. Zero-Based timecode
| | 06:27 | means that the timecode that's
displayed up here starts at 0, regardless of
| | 06:32 | what time the asset is. The Asset
timecode is the timecode that's exported
| | 06:36 | with the QuickTime movie from Final Cut,
or wherever the movie was generated.
| | 06:40 | If you set this to Asset-Based timecode,
the timecode that's displayed up
| | 06:44 | her, is based upon the video clip
that's inside it. When you build your marker
| | 06:48 | list, your marker list is always
based on the Asset timecode. So if this
| | 06:54 | starts at 1 hour, 0 minutes, 0 seconds,
then this is going to be 1 hour, 0, 0, 0.
| | 07:00 | Your timecode in the marker list needs
to reflect the timecode of the video,
| | 07:04 | not the timecode of the timeline
inside Studio Pro. This took me a long time
| | 07:10 | to figure out, so remember by default
it shows a Zero-Based timecode ignoring
| | 07:16 | the timecode of the clip, but any
marker list will always reference the
| | 07:20 | markers to the timecode of the clip,
so do you need to know what the Asset
| | 07:23 | timecode is to be, what built your marker list.
| | 07:26 | markers are instructions they are like
signposts that the DVD uses to navigate.
| | 07:32 | We'll also be using them for button
highlights in the Advanced section and dual
| | 07:36 | layer break points in the Advanced
section and stories in the Advanced section,
| | 07:39 | so we are going to be working with
markers a lot. But for right now, let's move
| | 07:44 | onto something different and that's
something simple, creating a slideshow and
| | 07:48 | that's next.
| | Collapse this transcript |
| Creating a slideshow| 00:00 | We are about to tackle slideshows
inside DVD Studio Pro, but before we do
| | 00:04 | I wanted to give you a summary of the
graphics image sizes to use. Remember video
| | 00:09 | uses non-square pixels, so we have to
compensate in the images that we create
| | 00:14 | for the difference between the
square pixels the computers uses and
| | 00:17 | the non-square pixels the slideshow uses.
| | 00:19 | If you're working with NTSC video,
our video image size is 720x480. The
| | 00:24 | compensated size though for a 4x3 image
is 720x534 and for 16x9 is 853x480. If
| | 00:32 | you are working in PAL, the image is
size 720x576 for video, but your slide
| | 00:37 | image needs to be 768x576x72 if you are
working in 4X3 PAL, and 1024x576x72 if
| | 00:47 | you are working with 16x9 PAL.
| | 00:49 | If you are working with HD, create
your images for 720p at 1280x720x72 or for
| | 00:56 | 1080i at 1920x1080x72. If you are
images are created full-screen those are the
| | 01:02 | numbers you need to create your full-
screen images, but how you build them into
| | 01:07 | a slideshow, that's done in DVD Studio
Pro. Let me switch over and I'll show you.
| | 01:12 | Now we want to create a slideshow. A
slideshow is just like it sounds. It's a
| | 01:16 | collection of still images all linked
together and the nice thing is it's easy.
| | 01:20 | To create a slideshow there's a variety
of ways of doing it, but the fastest is
| | 01:24 | the click the Add
slideshow button in the toolbar.
| | 01:27 | Then go over to the Assets tab.
Remember that contains a list of everything you
| | 01:31 | have access to. The outline shows
what's on your DVD. Notice that it's labeled
| | 01:36 | automatically as Slideshow 1. We could
change the name by double-clicking on
| | 01:39 | our graphical interface and call it
Undersea slideshow, that's one way to do
| | 01:47 | it. Another way to do it is with
the Slideshow selected go over to the
| | 01:50 | Inspector and notice how the Inspector
allows us to change the name, we would
| | 01:54 | call it Fish slideshow or we could if
we wanted to double-click over here and
| | 02:01 | we'd be able to change the name of it
over here. I tend to change it either by
| | 02:05 | double-clicking. Let us change that
back to Undersea slideshow or change it in
| | 02:12 | the Inspector.
| | 02:13 | So now that we've been able to rename
any of these. By the way we could rename
| | 02:16 | this double-clicking on it Main
menu just for the symmetry of it we can
| | 02:21 | double-click on anything and rename
it or select it, rename it inside the
| | 02:25 | Inspector. But how do we get the
slides in? Oh, yeah! I forgot that.
| | 02:28 | Let's go over to the Assets tab. Go
down to where it says Slides, I knew I was
| | 02:32 | going somewhere with this. Go to
the word says Undersea slides. These
| | 02:37 | underwater slides are courtesy of Chris
Mattia and they are just delightful. He
| | 02:42 | has been all over the world or
probably more accurately all under the world
| | 02:45 | looking at these images.
| | 02:47 | So I have selected them by clicking on
the first one holding the Shift key down
| | 02:50 | clicking on the last one to select the
entire range. Click, hold, drag-and-drop
| | 02:55 | right on top of and our slideshow is
now built. Notice that it automatically
| | 02:59 | selected the Slideshow tab. It's
automatically got a pop-up, which indicates
| | 03:03 | what slideshow we are looking at
in case we've got more than one.
| | 03:06 | We can have up to 99 slides in a
slideshow or just as we can enlarge this, the
| | 03:12 | Graphical tab by doing Shift+Spacebar.
We can also enlarge the slideshow by
| | 03:18 | doing click on slideshow hold the Shift
key down. Shift+Spacebar just as in the
| | 03:25 | side. If you hold the Caps Lock key
down and type this Spacebar it doesn't work
| | 03:30 | nearly as well, as if you hold the
Shift key down and do Shift+Spacebar to sort
| | 03:35 | of sharing the list slide
with you, I amuse myself.
| | 03:41 | Anyway, we have got slides. So let's
take a look at what the slideshow consists
| | 03:44 | of. Notice that each slide
automatically came in with a default length of five
| | 03:48 | seconds. That's set from
this pop-up menu right here.
| | 03:51 | If I select all my slides Command+A,
which selects all, I can change the
| | 03:56 | direction from this pop-up, have every
slide run one second or three seconds or
| | 04:02 | five seconds or whatever number. Let's
just type-in or 4.5 seconds, can we do
| | 04:07 | it? Hit the tab key. Look at that, they
all run 4.5 seconds. Again they are all
| | 04:12 | selected, so when I go I could have
more on 15.0 seconds. You could type in any
| | 04:17 | arbitrary duration you want. I click
off here so that they are not selected,
| | 04:20 | but wouldn't it be nice if
I could see my slideshow?
| | 04:24 | Well, Shift+Spacebar to go back down
here. This gives me a chance to illustrate
| | 04:29 | one of the key testing facilities
built into DVD Studio Pro and that is the
| | 04:33 | ability to Simulate or look at the
slides. Now we can Simulate from the number
| | 04:37 | of areas, but I want to start by
simulating from the Graphical tab.
| | 04:41 | Control-click on the icon and the
very last choice is always to Simulate.
| | 04:47 | Simulate turns DVD Studio Pro into a
DVD Player even though stuff has not been
| | 04:52 | finally compressed, built, multiplexed,
everything else that it needs to be, it's
| | 04:56 | still going to Simulate it, so you
can what it's going to look like.
| | 04:59 | Notice I've got the clock timing. Our slides
are 15 seconds, well, that's certainly going to
| | 05:04 | help us not at all. Command+A,
select everything. Duration,
| | 05:08 | we are going to set the duration by
clicking on it and we'll set it to 3 seconds,
| | 05:12 | so we don't have to waste time.
Control-click, Simulate Slideshow, and
| | 05:17 | now look at 3 seconds in, 1, poof!
There's our next slide, and poof!
| | 05:22 | Every 3 seconds they change.
| | 05:25 | This side over here, let's just hit
the Pause button. This side emulates the
| | 05:30 | remote control on your DVD Player and
this emulates what the picture looks like.
| | 05:35 | Just as we have got the ability
to go Stop and Start on our remote
| | 05:39 | control, we have the ability to
Stop and Start on the Simulator.
| | 05:42 | We are going to use this a lot, because
it allows us to see what our DVD looks like
| | 05:46 | as we're building it. Now one more
thing on the Simulator as long as we
| | 05:50 | are here. We can Simulate by Control-
clicking and it says Simulate Slideshow or
| | 05:55 | I can go to any slide and say Simulate
Slideshow or I could go to the top of
| | 06:00 | the toolbar and say Simulate. How
would I choose? Well, there's an important
| | 06:05 | distinction between each of those three.
| | 06:06 | When I click Simulate up here, it
always Simulates from the very beginning of
| | 06:11 | the disc. So when I click it, it's
going to go the first play and it's going to
| | 06:14 | display the menu, but the menu is
now wired up, it's not even built. So,
| | 06:19 | therefore, starting at the beginning
is not going to help me, because I don't
| | 06:22 | have a beginning set yet.
| | 06:24 | When I Control-click on an object, it
starts at the beginning of that object.
| | 06:27 | Here it's going to start at the
beginning of the slideshow. If I Control-click
| | 06:31 | down here where it says Simulate
Slideshow, it's going to start at the
| | 06:34 | beginning of the slideshow and
allow me to then Simulate from here.
| | 06:37 | So whether I Control-click on an
object inside the slideshow or Control-click
| | 06:43 | on the object in the Graphical tab it
always starts at that object, this is
| | 06:47 | where they are useful when I don't
have the whole DVD built, which I don't in
| | 06:50 | this case. So starting at the
beginning would be useless, because there's
| | 06:53 | nowhere from the menu to go at the moment.
| | 06:55 | But let's take a closer look at the
slideshow. Notice I have got this audio
| | 06:59 | well right here. If you take a look at
the stuff you imported, there's an Audio
| | 07:04 | tab and inside the Audio tab is this
Clear Vision Music. Let's grab the icon
| | 07:09 | and drag it into the audio well, and
now when we Simulate, we've got music
| | 07:19 | going with our slides.
| | 07:21 | In fact Studio Pro gives you a couple
of different options here. If we go over
| | 07:29 | to the Settings tab, notice it says
Fit To Audio. Now look at our durations.
| | 07:33 | Our durations are 3 seconds each.
When I fit the slides to the audio
| | 07:38 | the duration of the slide changes so that
now the slides will exactly end at the
| | 07:44 | end of the audio. For
instance here let's just play this.
| | 07:50 | (Slideshow music plays.)
| | 07:51 | Not from the beginning, no, no, no, no.
Now let's go to the end here. Click on
| | 07:56 | this image and just say Play, and
it plays with the second last one
| | 08:00 | (Slideshow music plays.)
| | 08:06 | and everything nicely fades to black.
| | 08:08 | Now another setting we've got is fit to
the length of the slides. So here let's
| | 08:13 | just set that Fit To Slides and change
my slide duration to 5.0 seconds. Now
| | 08:20 | the music runs 57 seconds, but here I
have got about a minute and five almost a
| | 08:25 | minute ten of slides. So let's play
starting about 50 seconds out and see what
| | 08:29 | happens. Control-click, Play.
| | 08:31 | (Slideshow music plays.)
| | 08:42 | The music ends, but the slides keep
going. In other words these slides --
| | 08:46 | the music is just going to stretch itself
until it runs out and then the slides
| | 08:50 | will continue. Well, another option
that we have is to fit the slides and loop
| | 08:54 | the audio. Here the music will repeat
over-and-over again until we reach the
| | 08:59 | end of the slides. Again let's play this.
| | 09:01 | (Slideshow music plays.)
| | 09:16 | Hear how the music repeats?
| | 09:18 | (Slideshow music plays.)
| | 09:19 | Now those of you with very acute hearing may hear
| | 09:22 | a slight (Emulates static noise) going on in
the background. That's happens in the Simulator,
| | 09:26 | but it won't be on the DVD.
| | 09:29 | Now let's take another look here.
Let's do Shift+Spacebar. Notice that my
| | 09:34 | images are sort in the order in,
which they were named. That's intentional,
| | 09:37 | because I wanted to have to be in a
specific order, but if you want to change
| | 09:41 | the order, just click on an icon, drag
it up and you can re-stack the images
| | 09:45 | however you want.
| | 09:47 | Let's say that you are building a
presentation and you want the presentation to
| | 09:50 | pause after the second image. This
gives you a chance to say present to a group
| | 09:56 | of people and have the second image
hold until you hit the Enter button on your
| | 10:00 | remote control. By checking the Pause
button on, Shift+Spacebar. Now here we'll
| | 10:05 | have to Simulate it, because the
Pause doesn't play, it just Simulates.
| | 10:09 | We have got our first slide.
| | 10:11 | (Slideshow musics plays.)
| | 10:12 | Second one is going to pause at the end of 5 seconds.
| | 10:15 | (Slideshow musics plays.)
| | 10:19 | So the audio was paused, the image was paused
until you hit the Play button, and then,
| | 10:24 | (Slideshow musics plays.)
| | 10:26 | the slideshow continues.
| | 10:27 | (Slideshow musics plays.)
| | 10:34 | Again I just click the Close button to
get out of that particular Simulator. We
| | 10:38 | will turn this back on again. So we
can change the order of our slides by
| | 10:42 | click, hold and dragging up and down.
| | 10:44 | All of our slides right now as they
play they cut, but notice here I have the
| | 10:47 | ability to add a transition.
| | 10:49 | Now there are two types of transitions
inside Studio Pro; Standard transitions
| | 10:54 | and Alpha transitions. A Standard
transition is just like you would expect to
| | 10:58 | say transition between two objects.
For instance here I have now added a Blur
| | 11:02 | transition to every
slide and we'll Simulate that.
| | 11:08 | (Slideshow music plays.)
| | 11:17 | Okay, nice Blur. Now some of these
are quite nice. Some of them are quite
| | 11:21 | tacky. If we select the Blur transition,
over here at the Inspector under Transition
| | 11:27 | notice that we have control over
that particular transition. We can
| | 11:32 | determine how long it's going to be. We
can have it be unique for every slide,
| | 11:37 | which is what we are going to do next.
| | 11:38 | So here I want to say No Transition.
Change our lengths because I'm getting --
| | 11:43 | I don't weigh this long, so I just
select all Command+A, go to the Duration
| | 11:48 | just made it shorter so stuff happens
quicker so we are not having to waste
| | 11:51 | time. Control-click on the
slide and say Transition.
| | 11:54 | Let's make the first one a Cube rotation,
and then let's make the second one a
| | 11:58 | Melt, which is actually one of my
favorites. Let's make the third one a movie
| | 12:03 | and you can play with these on your
own. Then let's make the fourth one an
| | 12:08 | Alpha transition. We know that it's an
Alpha because it's got that signal of an
| | 12:12 | Alpha.
| | 12:12 | An Alpha transition is three
different pieces of video. One is the outgoing
| | 12:17 | image, the second is the incoming
image, the third is something that moves
| | 12:20 | across the image. We will try Smoke
and then we will try -- we will do a Lens Flare.
| | 12:27 | Now let's go back up to the first one, Control-click, Simulate.
(Slideshow music starts to play in background.)
| | 12:32 | First there's our Cube rotation and there's
the Melt, and there's the slide in, there's the
| | 12:41 | Alpha channel. See how a piece of video
came in? Another transition with a Lens
| | 12:47 | Flare coming in the separate piece of video.
And we are back to our standard cuts again.
| | 12:55 | So we can apply transitions to all
the slides by selecting from up here or
| | 12:59 | apply different transitions to every
slide by Control-clicking and saying the
| | 13:03 | Transition. Then with that slide
selected we can go over the Inspector and we
| | 13:08 | can change the setting, we can change
the specific transition, we can change
| | 13:12 | its duration, we can change
the direction in, which it moves.
| | 13:16 | If you want to see a preview, just
click Preview and you can watch the preview,
| | 13:20 | I'll show you what it's going to look
like and you can play with the other
| | 13:24 | settings, which varies by transition.
Some of these you have to understand. If
| | 13:28 | I ever see you using these on a DVD, I
will personally come over and lecture
| | 13:32 | you, but others of them are quite nice.
In, which case, you get to pick, which
| | 13:35 | ones are, which.
| | 13:36 | One of the things we can do as well
and that is we could by Control-clicking
| | 13:41 | here I can remove my audio. Once the
audio is gone from the audio well, I could
| | 13:46 | take individual pieces of audio and
drag it down to the slide. For instance
| | 13:50 | here, I just took the water bubbles
sound from the Audio folder, did Simulate.
| | 13:55 | (Sound of water bubbling.)
| | 13:58 | And we Simulate the audio.
| | 13:59 | Now there's a little bit of something
weird with this particular setup that
| | 14:02 | I've got here, because when I Simulate with
audio in here, it goes at really, really fast speeds.
| | 14:07 | I suspect that's not going to last much longer, but
| | 14:10 | sometimes it is the case. By the way
to delete a slide, highlight it, hit the
| | 14:14 | Delete key. I just did an Undo to
delete the audio. Highlight the audio, hit
| | 14:19 | the Delete key, and I think that's
about it. The nice thing is slideshows are
| | 14:24 | fun to do, easy to setup, completely
easy to reorganize. You can add audio that
| | 14:29 | goes for the entire slideshow; you can
change your durations; you can change
| | 14:33 | the timing of the slides;
you can even get them to pause.
| | 14:36 | One of the things that we can do-- see
this button right here, what this button
| | 14:40 | says is convert the slideshow to a
track. Now slideshows normally, notice
| | 14:45 | they've got a different color icon,
they act as a slideshow. You can add up to
| | 14:49 | 99 slides in a slideshow, but if I
click Convert To Track, it builds those
| | 14:54 | slides out into a track. The benefit
here's that I can integrate a slideshow
| | 14:59 | with video, because video must go on a track.
| | 15:02 | So let's say I wanted to do 3 or 4
slides play a piece of video, do 4-5 more
| | 15:07 | slides, play a piece of video. I
could do that by doing lots of different
| | 15:10 | slideshows and doing end jumps between
slideshows and tracks, but sometimes I
| | 15:14 | just want to build it all into a
track and then I can add the video to it
| | 15:17 | directly with that button right here.
Convert slideshow to track allows that to happen.
| | 15:23 | Notice that each slide has a marker and
each slide also -- I just preview this
| | 15:28 | here, let's play it. Now the music is
not there. We would have to add that to
| | 15:32 | the track, but all of our
transitions are preserved and all the timing is
| | 15:37 | preserved and everything that we
created before is preserved so that we don't
| | 15:41 | have to do it twice.
| | 15:45 | I'd say easily three-fourths the DVD
that I create have slideshows on them, and
| | 15:50 | personally I have not used the 'to a
track,' because I tend to want to do the
| | 15:54 | slideshow and just have the end jump,
jump to a track. But if I don't tell you
| | 15:58 | that it's here, you will never be able
to use it and now you've got a chance to
| | 16:01 | play with for yourself.
| | 16:03 | Those are slideshows. Coming up next
the heart and soul of every DVD.
| | 16:09 | We're going to start to work with menus.
| | Collapse this transcript |
| Creating a menu from a template| 00:00 | Now it's time to create a menu and
things get a whole lot more interesting. In
| | 00:05 | this simple DVD I will show you two
ways to create a menu and in the advanced
| | 00:09 | features I will show you to more, one
of, which is my favorite. For right now
| | 00:13 | though let's start with something simple.
| | 00:15 | Remember when I introduced the Palette,
I said that there were templates inside
| | 00:19 | the Palette. Well, let's use one of
these templates and modify it for the menu
| | 00:24 | for this particular DVD.
| | 00:25 | Now inside the Graphical tab I have
created a Main menu and if we double-click
| | 00:29 | on it, notice that there's absolutely
nothing in it. We should probably set
| | 00:33 | this to First Play and we'll do that
by clicking on our Outline. Clicking on
| | 00:38 | the COLOR DVD that selects the entire
DVD and it's saying, hey, the First Play
| | 00:44 | is not set. So we will set this to menu,
Main menu, and this is what was called
| | 00:48 | setting a target. So we are setting a
target so that now our First Play symbol
| | 00:53 | shows up and now we have got our First
Play. Double-click this and we are in
| | 00:56 | the menu Editor. The menu Editor allows
us to edit menus either from scratch or
| | 01:01 | in our case we are going
to start with a template.
| | 01:03 | I want to scroll down here until I
find something worth playing with and it's
| | 01:08 | this one right here called Light Cover.
It's hard to see, but if you'd click on
| | 01:12 | it, notice that a thin gray border
appears around that particular template. You
| | 01:17 | click to make that gray border visible
and click Apply and it now applies this
| | 01:22 | menu template to the menu. Now there's
a lot of stuff here, but don't panic,
| | 01:26 | we'll explain all of it as we go.
| | 01:28 | This is actually a motion menu. If we
click on the running man down here, it
| | 01:32 | causes this to play and notice that
we get the icon that we have seen in
| | 01:36 | motion, which is the icon for a
drop zone, a place to drop picture.
| | 01:40 | The flashing of the light, the
animation all of this was done prior to bringing
| | 01:45 | it into DVD Studio Pro. None of this
animation is done inside DVD Studio Pro.
| | 01:50 | Again, we are just hooking stuff
together. We are not actually creating the
| | 01:54 | movement of the animation, we are
taking advantage of stuff that's already
| | 01:57 | there. Turn the running man off for a moment.
| | 02:00 | Notice that we've got the ability to
add content. We can change the title and
| | 02:03 | we've got six buttons pre-built, just
because we want to do this. I'd like you
| | 02:08 | to click on the little dash lines that
you can see just to the left of where
| | 02:12 | the button label is and hit the Delete
key. That allows you to select a button
| | 02:17 | and delete it. Or we can hold the
Command key down and by clicking right on the
| | 02:22 | very outside edge notice that first
outside rectangle, that's part of the
| | 02:27 | animation. It's already there. We can
drag around what we want to select and
| | 02:32 | with the Command key still held down de
-select that big rectangle, and now we
| | 02:36 | selected just the buttons. So we could
click on each individual button or by
| | 02:41 | holding the Command key down. We
can select a range of buttons, and by
| | 02:45 | continuing to hold it down you can
determine whether something is going to be
| | 02:49 | selected or not selected.
| | 02:51 | However, you decide to do it, delete
all the buttons. So now all the buttons
| | 02:55 | are gone. We are going to add some of
our own in just a minute, but first let's
| | 02:58 | give this a title.
| | 03:00 | Notice the text at the top called Title
Information Here. To change that text,
| | 03:04 | double-click on it and it highlights.
We can now type the name of our DVD,
| | 03:08 | which is Colors. Double-click on
Colors to select it and open the Fonts menu.
| | 03:13 | You can either click on it from the
toolbar or find it from the Format menu,
| | 03:18 | Show Fonts or what I tend to do is
use the keyboard shortcut Command+T.
| | 03:23 | Command+T is the Show Fonts keyboard shortcut.
| | 03:27 | We want to change this from Helvetica
Neue to Futura. So we are going to scroll
| | 03:32 | till we find Futura. Select Futura
Condensed and give it, oh let's make it
| | 03:38 | 40-point font here. Good! Nice big
colors sitting right up there, great!
| | 03:44 | So now we've got the text to our DVD.
Let's add some buttons, well again, we
| | 03:50 | are working with templates and the
templates are up in the Palette. Except this
| | 03:54 | time we are not going to look at full-
screen templates, we are going to look at
| | 03:57 | styles, and under styles we have
styles that are created by Apple and styles
| | 04:02 | that we can create ourselves,
we'll talk about that later.
| | 04:05 | Under the Styles we have Buttons styles,
Text styles, Drop Zones and Layouts. A
| | 04:11 | button is exactly what it says, a
button is something you click to go
| | 04:15 | somewhere. Text and drop zones,
we'll talk about a little bit later.
| | 04:18 | Let's select Apple, Buttons and scroll
down, scroll down, scroll down until you
| | 04:26 | find something called -- there we go,
Frames Glass Underlined. If you put your
| | 04:39 | cursor on it and click, it will be
second of the Frame Glass Buttons, we will
| | 04:44 | put Frame Glass Button. Click on it to
select it and then to drag, just click,
| | 04:49 | hold and drag. Drag that puppy over and
wait, wait by holding the Mouse button
| | 04:54 | down, until the contextual menu shows
up. The contextual menu allows you to
| | 05:00 | drop this on as a button. So we are
going to just create the button by dropping it on.
| | 05:06 | Click hold and drag it, so it goes
over to the low left corner of our screen
| | 05:09 | and notice that there are six
highlight dots. One in each corner, actually
| | 05:13 | there's eight, and in the middle. Drag it bigger
so we can make it something about that size.
| | 05:20 | That's our first button, but now we
need to format it. To format it again the
| | 05:26 | button is highlighted, where do we
make changes? We make changes in the
| | 05:30 | Inspector. Notice the Inspector now
says Button. And this gives a button a
| | 05:35 | name. The top box is the name that
DVD Studio Pro uses to keep track of the
| | 05:41 | button. We are going to call this PlayMovie.
| | 05:43 | Notice that I haven't used any spaces.
Some people will use no spaces, some
| | 05:48 | people will use a space and
some people will use an underline.
| | 05:51 | In the past DVDs were principally
done by programmers and programming
| | 05:55 | languages, of which this is a small
component, don't like spaces. So
| | 06:00 | everybody got in the habit of either
using an underline to represent a space or
| | 06:04 | by deleting spaces and just using
capitalization. DVD Studio Pro isn't that
| | 06:09 | picky with its menus and its button
labels, the names that you give stuff. But
| | 06:13 | I'd like to pick consistency.
| | 06:15 | I try to avoid spaces just because of
personal preference and I recommend you
| | 06:19 | probably try to avoid them, but don't
panic if one slips through. If you need
| | 06:24 | to have a space, use an underscore. In
the past life would be really difficult
| | 06:28 | with a space.
| | 06:29 | Currently it's just a nice feature. Try
not to use spaces, but if a space gets
| | 06:34 | in don't lose sleep over. I want to
use an underline. So I want to call this
| | 06:38 | PlayMovie. This now becomes the name of
the button like, My name is Larry, but
| | 06:43 | what the button looks like, like what
clothing it's got on that's controlled
| | 06:47 | from the bottom down here.
| | 06:49 | So let's select the button and
let's go to Style, the first tab in the
| | 06:53 | inspector. Now the style allows us to
change the style of the text. The name is
| | 06:59 | Play Movie, but the text the Viewer
sees is down here in the text box, and here
| | 07:04 | we are going to use a space because
this is what the Viewer of your DVD is
| | 07:08 | going to see Play Movie.
| | 07:11 | You can change its positions what goes
to the bottom of the button or it goes
| | 07:15 | to the left of the button, or goes to
the right of the button or goes on top of
| | 07:20 | the button. Now it's kind of hard to
see because this button is labeled. So
| | 07:23 | let's take the label away just for a
second and replace it with a space.
| | 07:29 | There we go.
| | 07:30 | Now there are two elements to a button.
There's the name we give it that's seen
| | 07:34 | by the program that's the top box and
the name that's seen by the Viewer that's
| | 07:39 | the bottom box. If this text was on
any color other than black I'd recommend
| | 07:45 | you use a Shadow, but because it's against
black, we can get away without the shadow.
| | 07:49 | Let's change the size of the text,
in fact let's change the look of it by
| | 07:53 | double-clicking on the words Play Movie.
Go back to our format Font and Show
| | 07:58 | Fonts. Let's change this from 21 point
to 24 point Futura. It makes the text
| | 08:04 | easier to read.
| | 08:06 | Now we want to change the color of the
text. Again double-click on it to select
| | 08:10 | the text and go to Format - Font
- Colors, the keyboard shortcut is
| | 08:15 | Shift+Command+C and it opens up the
Color Picker. Now we could select the color
| | 08:20 | by clicking and dragging and moving it
all over here, but that's just dumb and boring.
| | 08:24 | Let's try something more interesting.
Click on the magnifying glass and now it
| | 08:29 | turns into a Color Picker that will
pick whatever color I drag that magnifying
| | 08:33 | glass over. It doesn't have to be on
the screen, it could be anywhere on the
| | 08:36 | computer screen.
| | 08:37 | I want to pick up one of these light
green golds right up here and click on
| | 08:41 | that. Now my text has changed color.
So it matches the color near the top of
| | 08:46 | the frame. Okay, cool so far.
| | 08:50 | Well, let's just Simulate this. Let's
just see what happens if we Simulate it.
| | 08:54 | Control-click on that Drop zone, Control
-click below it, Simulate the menu and
| | 09:00 | it opens up. Well, we still have to
add that picture I guess. Wait a minute!
| | 09:06 | There's nothing happening as I rollover
my button. We've got the button in the
| | 09:12 | right spot, we've got a nice underline,
but certainly nothing is going on and
| | 09:18 | that's because we are not done yet.
| | 09:21 | We are not done because we need to
select the button and we need to tell it
| | 09:24 | what Highlight Color to use. Now
Highlight Color is used to tell the Viewer
| | 09:29 | when they have landed on a button and
when they have pushed the Enter key for a button.
| | 09:32 | If you think about it, if all you were
doing is waving your remote control in
| | 09:36 | front of the TV set and nothing was
happening, how would you know what you are
| | 09:39 | controlling? We have to give some sort
of feedback back to the DVD Viewer as
| | 09:44 | to, which button is active and what's
going to happen when they push the Enter
| | 09:47 | key, and that's done with Highlight
Colors, also in the Inspector on the third
| | 09:51 | tab. There are three highlight colors,
what's the color of the button and its
| | 09:56 | Normal, un-select its state. What's the
color of the button when you land on it
| | 10:01 | by moving the Arrow keys around on the
remote control and what's the color of
| | 10:05 | the button when you push the Enter key?
That's the activated state. Normal is
| | 10:09 | not selected. Selected means landed on,
and Activated means the Enter key has been pushed.
| | 10:15 | Well, just because we can, let's
change this selected color to a Yellow color
| | 10:20 | and let's make the Activated -- well,
let's just keep that a lurid pink. The
| | 10:24 | sliders to the right indicate the
opacity of the color. For instance the Normal
| | 10:29 | is completely transparent, so we
don't see any change to the button at all.
| | 10:33 | This yellow is a little overwhelming,
so let's pull it down to about 11 sort of
| | 10:37 | blend it in little bit with the background.
| | 10:40 | The Activated needs to be a little bit
brighter. So let's pull that up to about
| | 10:43 | 11 as well. Now we need to turn on the
button and make sure that the highlights
| | 10:48 | are working. So to do that select this,
and let's preview again. Control-click,
| | 10:54 | Simulate menu and now the button should
change -- well, you know why it doesn't
| | 10:58 | change color, because there's only
one button. Let's duplicate this.
| | 11:02 | Here's a fast way. Once we've got this
button set, we've got the right text,
| | 11:06 | we've got the right highlight, we've
got everything set except oh we've got to
| | 11:10 | name it, so let's name it here.
PlayMovie. This is the label for the button and
| | 11:17 | that's always displayed in white and in
the text down here it's displayed in a
| | 11:21 | color, because that's what we changed
it to, because I want to have two more
| | 11:24 | buttons. One button is for the slideshow
and one button is for the chapter index.
| | 11:30 | But we could go through this whole
process again by dragging stuff over, but
| | 11:35 | there's a faster way. We have already
formatted this button, so let's keep the
| | 11:38 | formatting. Hold the Option key down
and Option+Drag and now we can drag a copy
| | 11:44 | of the button and then drag another
copy of the button. And then you can use
| | 11:50 | the left and right Arrow keys to
get them aligned the way you want.
| | 11:54 | So now we have got three buttons
across the bottom of the TV set. Select the
| | 11:59 | number two button and let's not
call this Play Movie, let's call it
| | 12:03 | Chapter_index, and let's not call this
one Play, we've got to change it down
| | 12:10 | here. This is the label that's the name
of the button. This is what the Viewer
| | 12:14 | sees. Chapter Index, now don't hit a
Carriage Return, if you hit a Carriage
| | 12:20 | Return, you see how that pops up? It's
because I hit a Carriage Return after
| | 12:24 | Chapter Index. I have been
doing Word processing for too long.
| | 12:28 | Here we are going to do play_slideshow,
that's its name and here we are not
| | 12:34 | going to say, Play Movie, we're just
going to say Slideshow. If you want to
| | 12:39 | adjust the height of the text, Undo,
prompted by the Mouse. Notice that I have
| | 12:44 | got the word Slideshow here. If you
look all the way down the low right corner,
| | 12:49 | we've got a text offset X and Y. Click
hold-and-drag like motion and you can
| | 12:55 | move the text left or right, that's
the X value or set it to 0. You can just
| | 13:02 | type in a value, but how boring is that,
or you could use the Y value to set
| | 13:06 | the text above or below the line.
| | 13:09 | In our particular case we'll set it
right about there. Now let's Simulate to
| | 13:13 | see what happens. Simulate menu, and
notice as your Mouse rolls over the
| | 13:18 | different buttons, they change color.
Not only does the bar change color, but
| | 13:23 | the text changes color.
| | 13:25 | What happens if we don't want the text
to change color? Well, we go back down
| | 13:31 | here select the button and we un-check
include text and highlight. Now just the
| | 13:36 | bar changes color. You want the text
to change? Have that turned on; you want
| | 13:41 | the bar to change? Have it
turned off. Let's Simulate this again.
| | 13:46 | Notice the bar, that's because we
turned the bar off on this button, but we
| | 13:51 | didn't select the other two so we have
to change the other two by selecting and
| | 13:59 | un-include by un-checking.
Click to select and un-include.
| | 14:04 | Now you began to see the power that
this Simulator provides, because now with
| | 14:10 | this Simulator we can make sure that
everything looks exactly the way we want
| | 14:15 | before we have to burn any coasters. We
can make sure words are spelt correctly
| | 14:20 | and colors are correct and
everything behaves the way we are expecting.
| | 14:24 | Now when I click Play Movie, the bar
changes color, but no movie plays, and we
| | 14:31 | are still missing that Drop Zone there.
Well, let's go back to work. First
| | 14:35 | thing let's fill the Drop Zone. If we
go over to the Assets menu and twirl down
| | 14:40 | slides and twirl down undersea slides,
there are all of our slide images. I
| | 14:45 | could drop a piece of video in here,
but in this case we want to drop a slide.
| | 14:49 | I'm going to click, hold and drag and
hold it until that contextual menu pops
| | 14:54 | up and say Set Asset, and let go. Now
when I click the running man, there's the
| | 15:01 | video coming from our
slideshow and the light flickering.
| | 15:04 | Now the last thing we have to do, I'll
turn the running man off. If you want to
| | 15:08 | preview a motion menu, turn the running
man on. If you want to stop previewing,
| | 15:12 | turn the running man off. There's a
keyboard shortcut to do that as well.
| | 15:16 | It's this motion one right here.
It's Command+J, but I like clicking the
| | 15:19 | running man. Let's see what's going on
here, there we go. Now one more thing we
| | 15:24 | have to wire up the buttons. So select
Play Movie, remember you have to click
| | 15:28 | on that dotted area to select it, and
notice the target, the target is not set.
| | 15:34 | The target is what determines what
happens when you click the button. In this
| | 15:38 | case I want the target to go to the
track called Bryce Canyon. Now Bryce Canyon
| | 15:44 | has markers in it as well as
the beginning of the track.
| | 15:47 | If you set this to that, which is in
brackets the movie will start at the very
| | 15:51 | beginning. If you set this to the name
of a marker, the button will start at
| | 15:55 | that marker and play to the end of the movie.
| | 15:58 | So here if I set this to Flower, it's
going to jump to Bryce Canyon. Jump to
| | 16:03 | the marker called Flower and play from
Flower to the end of the movie. Well, in
| | 16:07 | this case I'd like to see the whole
movie. So I'm going to set this to track
| | 16:10 | and brackets.
| | 16:12 | Tracks, Bryce Canyon, track. I don't
have a chapter index yet set, so I'm going
| | 16:16 | to leave that unattached. Click on
Slideshow, remember target tells it where
| | 16:21 | it's going to jump when the button is
clicked. I'm going to find the slideshow.
| | 16:25 | Undersea slideshow.
| | 16:27 | Now if I say start at image six,
it's going to start it halfway into my
| | 16:30 | slideshow and play to the end. Doesn't
make much sense to me at this moment, I
| | 16:34 | want to have them see the entire
slideshow. So I'm going to click on that,
| | 16:37 | which is in brackets always at the top
means it's going to start at the beginning.
| | 16:41 | Control-click again, Simulate our menu
and we'll click on Slideshow, watch it
| | 16:49 | change color to pink, boom,
there's our slideshow.
| | 16:54 | (Slideshow music plays.)
| | 17:01 | Now we click up here on the top
left corner, click on Menu.
| | 17:06 | (Slideshow music.)
| | 17:13 | And menu is not programmed. I'm clicking it, but
nothing happens. That's fixed from the DVD.
| | 17:23 | When we click on Outline and we click
on Color DVD, see on this very first tab
| | 17:30 | it says Remote Control and there are
three buttons here Title, menu and Return.
| | 17:34 | When you click the Title menu, where do
you want it to go? I will look at that,
| | 17:37 | it's got the exact same thing as
the targets we have for buttons.
| | 17:41 | I wanted to go the Main menu, and if I
wanted go to the Main menu and highlight
| | 17:46 | no buttons, I select menu. If I wanted
to go to the Main menu and highlight the
| | 17:50 | Play_Movie button, then I would select
Play_Movie. If I wanted to highlight the
| | 17:54 | Chapter_index or the Play_slideshow,
I'd highlight those. Well, in this case I
| | 17:57 | don't want it to highlight
anything when you go to Title.
| | 18:00 | When you go to the Main menu, we
pushed the menu button. I wanted to go the
| | 18:04 | Main menu, but this time highlight
Play_Movie. When you hit the Return key,
| | 18:08 | it's going to go to the Main
menu and highlight nothing.
| | 18:12 | So these are the three main buttons
on your remote control that you are
| | 18:16 | controlling by programming them inside
the DVD. So you select the DVD that's in
| | 18:21 | the Outline, remember the Outline
contains everything that's on your DVD.
| | 18:25 | You select the name of the DVD, it's
always the top line. The Inspector is
| | 18:29 | always context-sensitive. And you need
to go down to Remote Control the very
| | 18:33 | first tab, and you set the Main menu,
the menu on the return to be what you want.
| | 18:37 | Now they will default to your first menu,
but now if you create a new menu and
| | 18:42 | you want to change it or you want them
to go somewhat different, now you know
| | 18:45 | where to program them.
| | 18:46 | Let's change this again,
Simulate menu and let's play our movie.
| | 18:51 | (Music plays as slideshow is entered.)
| | 18:53 | Cool! Let's go back to the menu, boom!
Takes us back. Yay, us! Slideshow.
| | 18:59 | Queue the slideshow, click on Menu, takes
us back. Let's go to Slideshow again. Let's
| | 19:04 | click on title, takes us back. So we
have got it exactly the way we want. Title
| | 19:11 | or menu takes us back to the main
menu and our buttons change color.
| | 19:16 | Our buttons are programmed and
our Main menu is good to go.
| | 19:20 | Let's just take a look at what's been
happening over here. Look at what we have got.
| | 19:25 | We have now got some arrows,
because we've set up interactivity such that
| | 19:29 | there's a button that takes the main
menu and connects it with Bryce Canyon.
| | 19:34 | Look what's happening here; the
button goes in one direction. Remember our
| | 19:37 | discussion on doing flow charting. A
button that goes in one direction means
| | 19:41 | that the flow goes in one direction,
but there's no way to jump from Bryce
| | 19:45 | Canyon back to the Main menu. Or the
way that's fixed is by highlighting Bryce
| | 19:50 | Canyon, and look at there, this name
is the track and this is the second line
| | 19:55 | down. This is always the target for
a button or always the end jump for a
| | 19:59 | track. Where do I want the track to go?
I want it go back to the Main menu and
| | 20:04 | I want to have no buttons selected.
| | 20:06 | Where do I want the slideshow to go
when it's done? I will look at the end jump
| | 20:10 | is empty. I want the slideshow to go
back to the Main menu and have no button
| | 20:15 | highlighted. Now my arrows are in both
directions. What we have just created is
| | 20:20 | a very simple little DVD where I
have a Main menu that takes us to Bryce
| | 20:25 | Canyon, the movie, and the movie
jumps back when it's done takes us to a
| | 20:29 | slideshow, and the
slideshow jumps back when it's done.
| | 20:34 | Now, it took us a while to get here,
but the idea of menus and buttons is core
| | 20:39 | toward understanding of how to build an
interactive DVD. Whether you start with
| | 20:44 | a template or whether you start with a
Photoshop graphic or whether you start
| | 20:47 | with a piece of video you created in
Final Cut, in all cases you are going to
| | 20:51 | create a background. You are going to
put a button on top of that background.
| | 20:55 | Then you are going to connect that
button with a target that says, when that
| | 20:58 | buttons gets clicked, watch to jump to
another menu, to a track, to a slideshow.
| | 21:03 | That's a lot to learn in one chunk.
So I will give you a second to think it
| | 21:07 | over, because there's an entirely
different way of creating menus using a
| | 21:10 | Photoshop background. We
will talk about that next.
| | Collapse this transcript |
| Creating a menu from an image| 00:00 | That last movie had more concepts in it
than just about any other movie we are
| | 00:05 | going to cover. It talked about menus,
which is the heart and soul of what DVDs
| | 00:09 | are all about. It talked about buttons,
it talked about working with templates,
| | 00:13 | it talked about changing fonts and
font colors, it talked about button
| | 00:16 | highlights, and targets, and end jumps,
and linking, I mean boy, if there was
| | 00:21 | one movie that put all the
concepts in, in one spot, that's it.
| | 00:25 | We are going to just sort of do the
exact same thing, only different. We are
| | 00:28 | going to create another kind of a
menu, now the menu still has the same
| | 00:31 | function, we are just going
to create in a different way.
| | 00:34 | So let's create a new menu. To do that
we are going to click on the Add menu
| | 00:37 | button, and it shows up right down here.
We could also Control click and say
| | 00:41 | Add a menu. We could also go up to
Project, Add the Project, Add a menu. We
| | 00:46 | could type command Y, why, I don't know,
but anyway, I always use the Add menu
| | 00:51 | button, it works fine, and
let's just keep our lives simple.
| | 00:54 | To jump to the menu Editor, we could
either select this, and click the menu
| | 00:57 | Editor, which just strikes me its
taking too much time, or double click
| | 01:01 | directly on the icon, and it jumps
you over to the menu Editor itself.
| | 01:04 | Now let's hit Shift+Spacebar and
open this up, because there are some new
| | 01:08 | buttons, you see these three buttons,
you have been looking at them all of the
| | 01:11 | time, but when your window is really
small, like it is here, notice those three
| | 01:15 | buttons are gone. I would give up any
of these other buttons to keep these
| | 01:20 | three, these three are the most
important buttons inside this window. So let's
| | 01:24 | just do Shift+Spacebar and open this up.
Now let's close it back again. I got
| | 01:27 | to do one more thing.
| | 01:28 | I have created inside the Photoshop
a graphic, which I want to use as the
| | 01:32 | background to my menu. So let's go find
it. Select the menu and give it a name.
| | 01:37 | We are going to call it Backup_menu,
remember the underscore. The space or not
| | 01:45 | having a space is all personal
preference. My recommendation is just pick
| | 01:49 | something that you like and stick to it.
So we have named the menu, it's now
| | 01:52 | named over here inside the outline. The
outline is a list of everything we have
| | 01:56 | on our DVD. The Assets are
everything we have access to.
| | 01:59 | Now let's go up to the where it says
menu, and notice that we have a Main menu
| | 02:04 | with no buttons, and it's a TIF image.
I'm not a fan of JPEG, even though DVD
| | 02:08 | SP will support it. I like the
uncompressed TIF or PMG. Now how do we add this
| | 02:14 | to the menu? We have got a couple of
ways of doing it. Go to the Graphical tab,
| | 02:18 | click hold and drag the TIF and drag
it in, cool, but we have done that.
| | 02:22 | And now there's to go to the menu Editor,
grab the TIF, hold and wait, and the
| | 02:27 | contextual menu pops up. Now let's say,
Set Background, when we let go. Poof,
| | 02:32 | we have created a menu, it's already
blocked off for Title Safe, the way we did
| | 02:37 | that, is we went up to the Settings menu,
and we say check Title Safe here, and
| | 02:41 | we can turn that off, so we can see
the whole thing, or we could just see
| | 02:45 | Action Safe, or we could see
Action Safe and Title Safe.
| | 02:50 | Just smoking this, just brings tears to
your eyes, so in this case because all
| | 02:56 | my graphic is designed with Title Safe
in mind already, we'll turn off both the
| | 03:00 | Title Safe and Action Safe. But just
as you cannot ignore Title Safe with
| | 03:05 | video, you cannot ignore Title Safe
with your DVD. So be sure to turn on
| | 03:09 | Settings Title Safe, and make sure that
all of your essential text is contained
| | 03:14 | inside Title Safe.
| | 03:16 | I have got another of these wonderful
Chris Mattia underwater photographs, and
| | 03:20 | I have taken this into Photoshop, I
added the title here to that in Photoshop,
| | 03:24 | and I created these lighter areas also
in Photoshop. What I want to do is, I
| | 03:28 | want to put a button here. Now I could
go up to the Styles menu, but we have
| | 03:32 | already done that, and while we have
not looked at even a fraction of 1% of the
| | 03:37 | buttons that are there, the way
that we work with them hasn't changed.
| | 03:40 | So let's try something different.
Notice that I have got three button areas
| | 03:43 | here. If I click, hold and drag, I can
drag out a button, and I'm going to drag
| | 03:51 | it so it just nestles over the top of
that first area. By default it's named,
| | 03:56 | Button 1, because it's the first
button that we drew. If I drew a second
| | 04:01 | button, you would never guess what
the name is going to, it's just amazing,
| | 04:04 | isn't it?
| | 04:05 | Anyway go back to Button 1, click on
it, and notice that these size buttons
| | 04:10 | show up. I can change the height of it
by grabbing the one in the middle, or
| | 04:14 | grab a corner, and I can change stuff
all around, but I wanted to just leave
| | 04:17 | that right there. Now it's labeled
Button 1, and we change the label in the
| | 04:21 | Inspector. The Inspector is where we
make all of our changes, we are going to
| | 04:24 | call this, Play_Movie, and I call it,
what I type is always just open to
| | 04:29 | debate, Play_Movie.
| | 04:32 | Now, if I were to Simulate this right
now, nothing shows up, because I have
| | 04:37 | named a button, but I haven't put any
text in for the Viewer to see. So we have
| | 04:43 | got to do that, and we keep the Button
selected, and go down to the bottom of
| | 04:46 | the Inspector, and this is the
text that the Viewer sees, Play Movie.
| | 04:50 | Now we can control the position of
Play Movie, by this text position. In this
| | 04:54 | case I could put it to of the top of
the button, put it at the bottom of the
| | 04:57 | button. I could click, hold, and drag
the X value back and forth and move it
| | 05:03 | all around. I could click, hold, and
drag the Y value and move it all around,
| | 05:08 | but frankly, I'm just going to click
here, and set that to zero, and set that
| | 05:11 | to zero. I want to put this right in
the center, so there's the name that I
| | 05:17 | gave the button and here's
the text the Viewer sees.
| | 05:20 | Now I want to change this text and make
it more interesting to look at, so I'm
| | 05:23 | going to double click it, and drag
across to select all of it. Go to Format,
| | 05:27 | Font, Show Fonts or type command T.
Let's go back to Futura, I like that face,
| | 05:33 | go to Futura, medium and let's make it
Condensed. And we'll set this to say 30 point.
| | 05:42 | Make a statement. Ugly, ugly, ugly,
it's white. Well, here's another thing we
| | 05:50 | can do with the Button. Remember how in
that last exercise that, which changed
| | 05:55 | the color was the bar below the text,
we can also have the text itself change
| | 06:00 | color. To do that, the Button is
selected, and we say, Include the Text in Text
| | 06:05 | Highlight. Now the color of the text
is not based upon the Format, Font, Show
| | 06:10 | Colors, the color picker, no,
it's based upon the Colors tab.
| | 06:15 | To change the color of a button, okay,
notice we have three states, when it's
| | 06:19 | not selected, when it's selected, and
when it's activated. Well, I need to have
| | 06:24 | the text to be readable all the time,
so I'm going to change the color of the
| | 06:27 | button when it's not selected to a
white, like this, sort of a translucent
| | 06:33 | white. Then when you will land on it,
let's make it an orange, and make it a
| | 06:40 | little bit quieter orange there, and
then when it's activated, let's turn into
| | 06:43 | a green, so we'll set the green here.
| | 06:46 | It would be nice if I could preview
the different colors of my button that
| | 06:50 | happen to go the simulator, well,
that's where those three buttons that
| | 06:53 | disappear, on we go. When your screen
is big enough, and yours is, mine isn't,
| | 06:58 | these three buttons show up. When I
click on this button, this shows me the
| | 07:01 | button in its unselected state, the
color of white. The little button shows me
| | 07:06 | the color of the button in its
selected state, orange. And this shows me the
| | 07:11 | color of the button and it's activated
when you push the Enter key state. So
| | 07:16 | you can quickly see the different
colors of a button by clicking through here.
| | 07:21 | Two key concepts that I need to stress.
The first is, we can create a button by
| | 07:26 | simply click, hold and dragging on a
menu that sets a button area. And we can
| | 07:31 | put the text inside the button, and we
can have a changed color as the various
| | 07:35 | selections states require.
| | 07:37 | Dragging buttons is something you are
going to be using over and over and over
| | 07:42 | again, so you need to be really
comfortable how those get resized, and changed,
| | 07:46 | and positioned, but one of the things
that you are not going to be doing, is
| | 07:49 | you are not going to be actually
writing text and having it change color, and
| | 07:52 | the reason is, if you look very closely
on your screen, you may not be able to
| | 07:56 | see it on this movie, but
on your screen you will.
| | 07:58 | The text inside DVD Studio Pro is not
anti-aliased. The color of the background
| | 08:04 | layer shows through, and the text
itself tends to pixelate. In other words,
| | 08:08 | it's ugly as sin, and you don't really
want to do this, because you spent all
| | 08:12 | this time making great looking movies
and great looking DVDs, and then you have
| | 08:16 | the text change color, and it looks
like just a bad -- well, I'll let you
| | 08:22 | imagine what it is instead. I'm
showing you that it's doable, but I'm not
| | 08:26 | recommending it. Drawing out buttons,
yes, we do that all the time. Changing
| | 08:30 | the color of the text in the button,
no, there's a much better way, and I'm
| | 08:35 | going to show that to you
in the advanced section.
| | 08:37 | But we have gone through all this
effort-- that was Shift+Spacebar again. We
| | 08:42 | have gone through all this effort to
design the button, let's hold the Option
| | 08:45 | key down, and drag out another copy.
Oops! The right arrow key will nudge that
| | 08:52 | back into place, and the down arrow key
will put it exactly where we want, and
| | 08:56 | then, option drag one more copy, and
again nudge it into place using the up and
| | 09:02 | down arrow keys, and the
left and right arrow keys.
| | 09:04 | So we now have three copies. The
advantage of using the option key, is I just
| | 09:08 | have to design it once, and after
that I can get it to be whatever I want.
| | 09:12 | Click on the first button, it's
labeled Play Movie, I wanted to jump to the
| | 09:16 | track called Bryce Canyon, play from
the beginning, click on the number two movie.
| | 09:22 | This is going to be Chapter_Index, is
what it's going to be. What it's going to
| | 09:28 | be called, I don't know, but it's what
I'm going to type. Chapter_Index and the
| | 09:32 | target is not set. The third one is
going to be called Play_Slideshow. I typed
| | 09:40 | it right the first time, I couldn't
believe it, immediately deleted it,
| | 09:44 | slideshow. And the target is, go to
the slideshow, and play starting at the
| | 09:48 | very beginning.
| | 09:49 | I should probably change this text by
clicking on the Style tab, going down to
| | 09:54 | the lower right corner, and we'll
just call it slideshow, and here we will
| | 10:01 | click on the number two movie, go to
the text box at the bottom, Chapter Index.
| | 10:07 | Remember, the one at the bottom is what
the Viewer sees, the one at the top is
| | 10:10 | how the button is labeled.
| | 10:12 | Now let's just test this by control
clicking, Simulate Menu, and notice that
| | 10:17 | wherever I roll over, my text
changes color and when I click on it, boom!
| | 10:21 | It changes color again, and our movie starts.
| | 10:23 | (Slideshow music plays.)
| | 10:25 | And we'll close this. Oh, here's a cool thing.
| | 10:28 | Notice within the graphical,
we have got the Backup_menu as wired in,
| | 10:34 | but I don't have two-dimensional
buttons and two directional buttons,
| | 10:38 | and the reason is the target on end
jump can only go to one place. I have got
| | 10:42 | two menus. Well, this can only go to
one. So it picks to go back to the main
| | 10:47 | menu. Same thing with our DVD, notice
that when you click the remote control,
| | 10:52 | the same menu, it takes you to the
Main menu. So we just simply created this
| | 10:56 | Backup menu, just to show you a
different way of creating the menu.
| | 11:00 | I can't have the end jump of the track
go to two different places at the same
| | 11:05 | time. Well I can, it's by using a
script, and we'll talk about that in the
| | 11:10 | advanced section. For right now, all
I wanted to do is to show you how we
| | 11:13 | could create a different kind of menu,
by creating this image inside Photoshop.
| | 11:19 | Dragging out the button, and then
configuring the button. In this case, the
| | 11:23 | highlight is the text itself changing
color. What I want to show you next is an
| | 11:28 | interesting concept that first showed
up in DVD Studio Pro, and has migrated
| | 11:32 | over to motion, and that's the
concept of compositing, using drop zones and
| | 11:37 | drop zones are what we'll talk about next.
| | Collapse this transcript |
| Using drop zones| 00:00 | I have a created a spare menu, which
is exactly the same as the menu we just
| | 00:04 | created except I removed the background.
It has the buttons and all the same
| | 00:08 | links, but there's no background.
Because I'd like to illustrate a new concept,
| | 00:12 | well relatively new that is, with
DVD Studio Pro called drop zones.
| | 00:16 | What a drop zone allows us to do is to
composite images without having to use
| | 00:21 | Photoshop or Final Cut. I have
imported a slide here called slide 15,
| | 00:27 | we'll just drag it over and hold and wait
to set background. If you ever want to
| | 00:31 | change the background, the easiest way
to do that is drag a slide over, hold it
| | 00:34 | down, say Change Background and you
can just drag in whatever images you want
| | 00:39 | to change as part of your background.
But in this case I want something, which
| | 00:42 | is relatively consistent and
that school of fish works fine.
| | 00:46 | A drop zone allows me to composite
another image on top of it. To get there you
| | 00:52 | click on the Styles tab, click on
Apple and click on drop zones. And the very
| | 00:57 | first one here's a rectangular grid of
blocks, 3D blocks. Now this has got an
| | 01:04 | entirely different kind of look, very
much not realistic, more the playful kind
| | 01:09 | of feeling, and we've got these
selection dots around the corners and the
| | 01:13 | edges, so I'm going to drag this
out until it fills the entire frame.
| | 01:17 | Now I have got these free floating 3D
blocks floating on top of the school of
| | 01:21 | fish. Well, what would cause this
school of fish to run frantically in all
| | 01:24 | directions, and the answer is a
Barracuda. So what I did is I grabbed image
| | 01:32 | number 7, which does happen to be a
Barracuda and I dragged it over and I held
| | 01:37 | it down until the Set Asset button
appeared and it set the assets so it's
| | 01:41 | composited the picture of the Barracuda
in these 3D blocks, which were floating
| | 01:47 | on top of the school of fish.
| | 01:49 | Anyone with design skills could argue
about whether this makes any sense or
| | 01:52 | not, but at least what I'm able to do
is to show you how to work with a Drop
| | 01:57 | Zone. Now the problem with the Drop
Zone is once you've put it full-screen you
| | 02:01 | can't Control-click on it. I mean you
can say send this thing to the back and
| | 02:05 | it goes to the back and our buttons
pop out to the front, but there's nowhere
| | 02:09 | on here that allows me to Simulate my menu.
| | 02:13 | To do that we are going to have to
click on the Outline. Remember the Outline
| | 02:16 | is everything that's on our DVD and we
have been working in Spare_menu, from
| | 02:21 | this pop-up menu we can select the
three, we've got the main menu that we
| | 02:24 | created first. Then we've got menu 1,
which was our Backup menu and then we
| | 02:30 | have our Spare menu.
| | 02:31 | I have been doing some practicing I
should probably rename that, so we'll
| | 02:34 | switch to menu 1, click on the
Inspector and change this to Backup_menu, here
| | 02:43 | we go, now it matches. So you can
switch between menus by going to this pop-up
| | 02:48 | menu and selecting, which menu you
want to use, let's go back to our
| | 02:51 | Spare-menu, and because I can't Control-
click and say Simulate, instead I will
| | 02:55 | Control-click on it over here inside
the Outline, Simulate is always on the
| | 02:59 | bottom and there's our menu.
| | 03:02 | Now it just so happens both the picture
of the Barracuda and the school of fish
| | 03:06 | are stills, but now we get an entirely
different look that I would have to go
| | 03:11 | out to Photoshop to create or I'd have
to design in some other way, and I can
| | 03:15 | design it easily using drop zones
inside DVD Studio Pro and the buttons still
| | 03:20 | work the same way, click Play Movie
or whoop! Remember the link? Let's click it
| | 03:25 | here and in the next we will show why.
| | 03:27 | If we go to the Graphical tab, notice
that the menu buttons only go out to the
| | 03:32 | Movie, the movie returns back to Main
menu. I'm just giving you different menus
| | 03:36 | to look at but basically the
programming is such that -- well, that's where the
| | 03:41 | Graphical tab becomes useful to see,
oops it doesn't go back to the spare_menu
| | 03:45 | after we program, how would I do that?
Click on the track and say the end jump
| | 03:49 | goes to the spare_menu with nothing selected.
| | 03:53 | Now Main menu doesn't go back to the
Main menu instead it goes back to the
| | 03:57 | spare_menu, let's just try it. So we'll
select here Simulate Menu, Play Movie.
| | 04:04 | (Slideshow music plays.)
| | 04:05 | That's the end jump. Notice here is a cool
thing. See these two outside buttons here?
| | 04:11 | Click on it; it jumps you one chapter
marker ahead at a time. This is the end of
| | 04:19 | the movie. See the end jumps back to
the spare menu, and jump. Look at that, so
| | 04:32 | when we click the menu, this takes us
back to whatever we program the menu
| | 04:35 | button for, that's done on the remote
controls of the Inspector, the end jumps
| | 04:39 | takes this back to how the end jump
at the end of the track is programmed.
| | 04:42 | So now you've got a sense of how Drop
Zones work, it's a way of compositing
| | 04:46 | video, I'm using them full-screen,
but you could use them much less
| | 04:49 | full-screen. Let's just do an experiment,
one more thing to show you here quick.
| | 04:52 | Double-click on this, Spare_menu,
Graphical tab, Spare_menu, good,
| | 05:02 | let's click on that drop zone, hit
the Delete key, to delete it you simply
| | 05:06 | click on it to select it. There's
another drop zone that we've got here, you've
| | 05:09 | got to just find it, called frosted
panes, right there. Click, hold and drag
| | 05:18 | this out and notice how it blurs out
the background, send it to the back.
| | 05:25 | Let's see what happens if we put
something on top of it here. Let's put our
| | 05:30 | Barracuda on top. Click number 7,
Set Asset, now this is how we are
| | 05:36 | superimposing the Barracuda on top of
the blurred vacuum, which is of this
| | 05:40 | school of fish, now here the white of
the button is a little awkward because
| | 05:44 | it's just light-blue against white, and
we could reposition those, but it just
| | 05:48 | gives you a different way of looking
at how drop zones can create different
| | 05:52 | looks without having to take it out to
Photoshop, or Fireworks or Final Cut or
| | 05:56 | however you want to do your compositing.
| | 05:58 | Some very cool stuff but there's still
more to go, which is a Chapter Index and
| | 06:02 | I'll do that next.
| | Collapse this transcript |
| Using chapter indexes from a template| 00:00 | The one button that we have left
blank is the Chapter Index button, so I'm
| | 00:04 | going to cover chapter indexes in two
parts. First, I'll show you a very easy
| | 00:08 | way to use existing templates, then in
the second movie I will show you how to
| | 00:12 | modify a template and make it
exactly what you want to use over and over.
| | 00:15 | What a chapter index is is simply a
listing of all the different chapter
| | 00:19 | markers on your DVD. So you can select,
which scene you want to jump to. When
| | 00:23 | you click on that button you'll start
at that marker and play to the end of
| | 00:27 | your video. So let's create one.
| | 00:29 | In order for us to create a chapter
index, we need to have a track that has
| | 00:33 | markers in it. If you don't have any
markers, you are not going to be able to
| | 00:36 | do a chapter index. So I have gone
back to our opening menu and I'm going to
| | 00:40 | the Outline tab and the Bryce Canyon
movie, remember that's a one minute long
| | 00:45 | piece of video has a variety of
markers in it, you can see them down here in
| | 00:49 | the Timeline.
| | 00:50 | I grab the track that has the markers,
click, hold and drag and drop it on top
| | 00:56 | of the button but don't let go. Four
choices show up in this contextual menu,
| | 01:02 | Set Asset, means that it takes the
first frame of the video and puts that video
| | 01:06 | inside the button so you can see what
that video looks like. Connect to Track
| | 01:11 | means that you are going to connect,
you will draw a link, a target, you are
| | 01:15 | setting the target from that
button to that piece of video.
| | 01:18 | Set the Asset and Create a Chapter
Index takes the first frame of the video
| | 01:22 | makes that the background of the
button and creates a chapter index. While
| | 01:26 | creating a chapter index builds
customized chapters, that's easier to see than
| | 01:31 | to explain. So watch what happens, I
don't want to change the button look, so I
| | 01:34 | don't want to Set the Asset, instead
I'm just going to drop here on top of
| | 01:38 | Create Chapter Index and watch what happens.
| | 01:41 | It says okay, help me figure out,
which template you want me to use. Well we
| | 01:45 | were working with the Light template,
so there's that main screen and there's
| | 01:50 | the Index for it. So I'm going to
click on this and a very subtle dark gray
| | 01:54 | border shows up, when I click OK, two
things are going to happen, one you are
| | 01:58 | going to see another menu pop-
up over here in the menus column.
| | 02:03 | See there it is, menu 1. Now let's just
Simulate this, because it's fun to see
| | 02:08 | first time. When I click on Chapter
Index, look at what's happened behind the
| | 02:12 | scenes, I click it's created a whole
new template and this gives the same look
| | 02:18 | and feel but it's put a window in for
each of the different markers, that we
| | 02:26 | have used and it's named that
particular button by the name of the marker.
| | 02:30 | To get back to the main menu,
we just click on Main. Very cool.
| | 02:36 | Now, let's just take a closer look at
that menu, double-click it over here in
| | 02:40 | the Outline tab. Remember the Outline
is everything that we have already built
| | 02:43 | on to the DVD and there's our template,
we need to change the title. We have a
| | 02:48 | got a strangely named button called
Chapter 1 that's because every track always
| | 02:52 | has one button called Chapter 1, I
should probably change that and the Main button.
| | 02:58 | So the easiest way to use a Chapter
Index is to create your menu, create a
| | 03:04 | button for the chapter index, grab the
track that has the markers in it, drag
| | 03:09 | it on top of the button and wait and
then say Create Chapter Index and select
| | 03:14 | from the template that you want to use.
| | 03:16 | But that template wasn't exactly what I
had in mind. I would like to customize
| | 03:20 | it. Well to customize it, I'll
show you that in the next movie.
| | Collapse this transcript |
| Customizing a menu template| 00:00 | I'm working with a project file called
Color DVD Part 2 and the Graphical tab
| | 00:04 | shows us where we are so far. We
have created a main menu, our track,
| | 00:08 | our slideshow, couple of spare menus to
discover different ways of creating menus
| | 00:13 | and our template. The reason you create
templates is because you want to have a
| | 00:18 | similar look and feel across either all
the menus in one DVD or multiple menus
| | 00:23 | across multiple DVDs. If everything
always looks different, templates are not
| | 00:28 | in your future but many times you want
to have the same look across multiple
| | 00:32 | menus and there creating it once and using it
over and over again can save you a ton of time.
| | 00:37 | So what I like to do is I would like
to show you how to modify a template and
| | 00:41 | save the template and then we will
use that modified template inside this
| | 00:45 | project. Now I'm not going to do a lot
of modifications, because the process of
| | 00:49 | adjusting a template really is as
varied as your imagination. But I will give
| | 00:53 | you the basic steps so you have enough
to play with on your own. Just to show
| | 00:56 | you how this works, let's create a new menu.
| | 00:59 | We go up to the Graphical tab and I
want to click on Add menu and we will just
| | 01:03 | drag it up over here, remember Shift+Z
automatically scales stuff. So you can
| | 01:08 | see what you are working with. Double
click this menu to load it up into the
| | 01:11 | menu Editor and now the menu is
loaded into the menu Editor. I'm going to
| | 01:14 | scroll over to Templates and find that
Light Index, right there. Light Index,
| | 01:21 | I'm going to click on it once; the
light gray bar shows up. I click Apply and
| | 01:25 | it applies that template to our menu.
| | 01:28 | The template is actually carefully
designed, notice down here, although it's
| | 01:32 | hard to read. You have got a Previous
an Up and a Next button. If I click on
| | 01:37 | the Previous button notice that this
has been very carefully named so that's
| | 01:43 | _PREV_. That's a special command that
DVD Studio Pro uses to go to the Previous
| | 01:49 | menu on the same level. _Up_ takes us
back up a menu level and _Next_ takes us
| | 01:58 | to the Next menu. So Next and Previous
take us between menus on the same level
| | 02:03 | that are created by this template.
Those names are specifically created; you
| | 02:07 | don't want to change the button
name because its part of the template.
| | 02:09 | This particular templates has six
buttons but I have decided that I want my
| | 02:13 | template to only have four buttons
and instead of having it say, Title
| | 02:17 | Information Here I'm going to set it up
to be Colors and then I want to change
| | 02:20 | the button highlights, I want to do
some modifications. So let's start first by
| | 02:25 | clicking on a button and hitting the
Delete key. Clicking on another Button,
| | 02:28 | hitting the Delete key and then we
will select a button, hold the Command key
| | 02:32 | down and with the command key held
down I'm going to drag these buttons a
| | 02:36 | little bit closer together and
remember click and then Command+click that
| | 02:42 | allows you to select different
ranges of buttons, so click and then
| | 02:48 | Command+click.
| | 02:49 | I will just drag this in so there's
four buttons. There's no reason for 4, just
| | 02:53 | I want to. Double click on the text
and that opens up the Text dialog and we
| | 02:57 | will type in new text, sorry I should
say selects the text Color and its way
| | 03:02 | too tiny. So double click it again, go
up to Format, Font, Show Fonts or type
| | 03:07 | Command+T and it's in Helvetica
Neue and I want to make it Futura,
| | 03:12 | Condensed and enough size to have people
pay attention to it. We will set it to 48 point.
| | 03:19 | So oops! It's Colors, plural. There we go.
Much better. So now we will just take
| | 03:24 | this and up and down arrow keys will
allow you to raise the text up and down as
| | 03:27 | necessary. Let's select all of our
buttons by Command-clicking. Click on the
| | 03:32 | first one, Command+click on everything
else and what I want these buttons to do
| | 03:38 | is I want them to change color
depending upon their highlights state. Well,
| | 03:42 | notice the Inspector is now set to
the Button Inspector and colors are
| | 03:46 | controlled by the Color tab. When the
button is not selected the Opacity is all
| | 03:51 | the way to zero, which means that it
has no color, there's no change to the button.
| | 03:55 | When the button is clicked on, it's
selected, it goes solid white. I think it's
| | 03:59 | pretty ugly so let's change it to gold
and let's pull that down to about 10 or
| | 04:03 | 11 and when it's Activated we want it
to go to this turquoise color and we will
| | 04:08 | drag that up so it has an Opacity of
about 11. So now we have changed all of
| | 04:12 | our buttons to the same button
selection. So let's just click on this and see
| | 04:17 | we have got Colors, we have got our
buttons thereof. It didn't take our button
| | 04:25 | colors. Alright now lets just gets it
attention back again and say we want this
| | 04:32 | button to be that one and we want that
button to be that one and we want them
| | 04:36 | both to be 11.
| | 04:39 | It's why you always test, test, test
and test again because really the wiring
| | 04:46 | part is really simple. Once you will
learn this application you can put really
| | 04:50 | complex DVDs together in no time
whatsoever. It's the testing that drives you
| | 04:54 | nuts, it just have to a lot of time to
test it. So I tested, I just clicked on
| | 04:58 | the button and looked at the colors
and they didn't match; so I changed them.
| | 05:03 | Good, that's much better.
| | 05:05 | I will accept, maybe I want to have
different colors for these buttons. Maybe I
| | 05:08 | want to have this button go white and
then have it go red and this button goes
| | 05:16 | white and red and that button goes
white and red. Notice that I'm able to have
| | 05:21 | different button states. There's
actually three different button colors you can
| | 05:25 | have per menu. These buttons are all
tied together with the second Color Set
| | 05:31 | and these buttons are all tied together
with the first Color Set. So I want my
| | 05:37 | navigation buttons to look one color
and I want the buttons on the rest of the
| | 05:41 | template to look the second color. Now
I have got three Color Sets here that I
| | 05:46 | can use to change my Buttons, that's very cool.
| | 05:49 | A button can only have a single
color and a button only has three states
| | 05:53 | Normal, Selected and Activated and I
don't have wide variety of colors to
| | 05:57 | choose from. Although I have more than
you might think; we will show you that
| | 06:00 | in the Advanced section. Nonetheless,
it's nice to know that I have got
| | 06:02 | different colors available. So I have
changed the Colors, I have changed the
| | 06:06 | organization. I have re-laid out the
screen. I could change the background. In
| | 06:10 | the next movie, I'm going to
show you how to add audio to this.
| | 06:13 | But for right now, let's say this
is perfect the way it is. So now we
| | 06:16 | Control-click on this clip and we are
going to create a template. When I create
| | 06:21 | a template, it pops-up a dialog box
and it says, "Hey! Larry what do you want
| | 06:25 | to call it". So I'm going to call it
the Colors index template, fast and not
| | 06:33 | accurate. If you check Project, then
this will be stored in the Project portion
| | 06:39 | of the palette, but it's only
available in this particular Project.
| | 06:43 | If you want it to be available across
multiple DVD Projects then you want to
| | 06:47 | make sure the Project button is not
checked because then it will be stored in a
| | 06:51 | custom index that you have created.
Single Project, check Project available
| | 06:56 | across multiple Projects, don't
check Project and I always recommend
| | 07:00 | Self-Contained. The only reason, you
would not do Self-Contained is because you
| | 07:03 | don't want to take the disc space up.
But disc space is so big and so cheap,
| | 07:07 | make your life a hell lot easier,
make it Self-Contained. So I want to have
| | 07:10 | this available to me across multiple
Projects. So I'm not going to check this
| | 07:14 | and I do want it to be Self-Contained
and when I click Save, it now saves the template.
| | 07:18 | Template is now saved, where's it?
Well, it's not an Apple template because
| | 07:23 | Apple didn't create it. It's a custom
template because I created it. If it was
| | 07:28 | a project template, it would show up
in the Project tab. In all cases it's a
| | 07:31 | template. Apples' are unmodifiable,
Customs and Projects are one that I
| | 07:36 | created. Custom is available across
multiple DVD Studio Pro Projects and
| | 07:41 | Project is available just in this one
Project. Okay so let's see how we use it.
| | 07:46 | So now we go back to the Graphical tab
and we delete this menu because I don't
| | 07:51 | need it and I'm going to delete
this menu because I don't need it.
| | 07:54 | We go back to our Main menu and how do
we create any chapter index. You grab
| | 07:59 | the track that has the Markers in it,
click hold and drag it over the button
| | 08:03 | itself and don't let go. Wait until the
pop-up menu shows up; if you want it to
| | 08:08 | set the image of the video as part of
the button then you Set Asset. In this
| | 08:13 | case, I just want it to create the
link and create the index, so I say create
| | 08:16 | the chapter index. It says where's it?
I say it's in the Custom Category.
| | 08:20 | There's our Custom menu, see the four
Buttons. So I select it, click OK. Now it
| | 08:26 | has created two menus for us. Let's
double click this one, there's our first
| | 08:31 | menu; it's got Colors, it doesn't
have a Previous because this is the very
| | 08:35 | first menu. So it just has the Main
and the Next button and there's the four
| | 08:39 | buttons and there's the Colors. When I
click on menu 2, double click on it. We
| | 08:43 | have one icon that shows up on the
second menu and there's the Previous Button.
| | 08:48 | This could be just too cool, so let's
just preview by clicking Simulate and
| | 08:53 | click on Chapter Index. Look at what
happens, there's our buttons, there's our
| | 08:58 | animation. It has got colors it's
taken and if I click on Next; look at the
| | 09:05 | white and the red. Takes this. Look. If I
click on Back, there's the white and the red.
| | 09:09 | I click on this particular button say
with Bryce and it goes to gold.
| | 09:14 | If I change it goes to turquoise. It's
accepted our colors, it is very cool.
| | 09:20 | (Slideshow music plays.)
| | 09:22 | The power of templates is that you can
create it once and reuse it over and over
| | 09:27 | and over and it handles all the
modifications for you. This is a very powerful
| | 09:32 | feature, again if you want
everything to look different you might want to
| | 09:36 | modify a template, just to give you a
starting point, but generally you wouldn't
| | 09:39 | use templates. You use templates when
you want to have a consistent look and
| | 09:42 | feel across a wide variety of DVDs or
within a single DVD. There's some cool
| | 09:47 | stuff here. Next I want to show you one
more thing. Not only can we have audio
| | 09:52 | on our tracks, we can also add
audio to our menus and that's next.
| | Collapse this transcript |
| Menu tricks| 00:00 | Before we end this section on menus,
there's two menu tricks that I want to
| | 00:03 | show you. One involves creating a
still frame from a piece of video, which
| | 00:07 | could be used for a menu and to know
where else to put it and the second was
| | 00:10 | how to add audio to a menu. Let's do
the audio part first, if I go to this Main
| | 00:15 | menu by double clicking on it and if
I want to add audio to it, I go to my
| | 00:18 | Assets tab. I take a look and find
the Audio folder. I have got a piece of
| | 00:23 | Audio here, called Clear Vision.
| | 00:25 | Couple ways so we could do this, one
is click hold and drag it and don't let
| | 00:28 | go. Drag it into the menu and wait
until the contextual menu pops-up and then
| | 00:32 | say Set Audio and now to hear it click
the running man so you get the motion
| | 00:37 | and our audio is playing. Okay, so we
don't get sick of it, I'm going to stop it now.
| | 00:43 | Another way to add audio and to change
the audios. If you select the menu and
| | 00:48 | we are putting this to Backup_menu
here, now notice over here the menu is
| | 00:52 | selected, the Inspector says menu and
down at the bottom of the General tab is
| | 00:56 | an Audio box and there it lists our
Clear Vision audio and it runs for a minute
| | 01:01 | and a couple of frames. If I wanted to
add additional audio so it would play
| | 01:05 | first one clip and then another grab a
second audio clip. Drag it right into
| | 01:09 | here; this is actually a very important dialog.
| | 01:14 | You want to make sure, within the same
menu or within the same track that all
| | 01:18 | your audio matches. It all has to be
AIF or it all has to be AC3, it all has to
| | 01:24 | be Stereo or it all has to be Mono.
You want to make sure that your audio is
| | 01:28 | all exactly the same; if it isn't, it
won't be able to be combined. So here
| | 01:35 | this is a good example, AIF is easy to
do, it's uncompressed. DVD Studio Pro
| | 01:40 | handles it natively. The problem is its
really big an hour of AIF audio is 600
| | 01:45 | megabytes in size for a stereo pair.
| | 01:48 | If we compress it to AC3, it's about
120 megabytes in size or about 5-6 times
| | 01:53 | smaller because we are still working
with that 4-8 gigabytes file limit. I mean
| | 01:58 | the total amount of space doesn't
change regardless of what we would like it to
| | 02:01 | be. AC3 it is always a better choice
for your Audio. Now again if you have got
| | 02:05 | something, which is 5 minutes, nobody
cares. It's going to be AIF; it's going
| | 02:08 | to be simple DVD Studio Pro handles
that natively, everything is great. It's
| | 02:12 | only when your stuff gets longer and
you are trying to squeeze more and more
| | 02:14 | material on that one DVD. That you
have to start worrying about file size;
| | 02:18 | remember that bit budget
discussion we had a while ago.
| | 02:20 | So first thing that I will do is I'm
sitting down, thinking about my plan and
| | 02:24 | how I want to compress stuff as I said,
do I need to compress the Audio, if
| | 02:27 | not, I will just leave it all AIF. But
you get better performance in smaller
| | 02:30 | file size if all your audio is AC3. To
add audio to menu, it's easy. You just
| | 02:35 | grab, drag it in. If I wanted to add
additional audio, we can go down to here;
| | 02:40 | I will just duplicate this, click on
the Audio. Drag it over into the box and
| | 02:43 | let go it. We will pretend clip 1 and
clip 2; if you want to get rid of Audio
| | 02:48 | that's assigned to the menu, highlight
and click the Minus key. We can get rid
| | 02:52 | of all the Audio by
highlighting and clicking the Minus key.
| | 02:55 | If you wanted to change the Audio, we
could change the stacking order. So all
| | 02:58 | the Audio for a menu is contained right
here, in the inspector when the menu is
| | 03:03 | selected in the General tab down here
in the Audio box. Now also in category of
| | 03:09 | miscellaneous an interesting thing is
to know, we can actually create still
| | 03:12 | frames inside DVD Studio Pro. To do
that let's decide just type hypothetically
| | 03:18 | that we want to use that shot right there
of Bryce Canyon to create a still frame from.
| | 03:23 | Well we can't just create a still
frame from the position of the playhead.
| | 03:27 | Still frames have to be created from
markers and the reason is a marker can
| | 03:31 | only be placed on the I-frame and the I-
frame is the only complete image. So we
| | 03:35 | put our playhead near where we want
the still frame to be in, create a marker.
| | 03:39 | It jumps to the nearest I-frame;
with that marker selected go over to the
| | 03:43 | Inspector and see where it says Save
Still. So you click on marker, click on
| | 03:49 | Save Still, it says give it a name,
we will call it Bryce still frame. I'm
| | 03:54 | going to Save it to the Desktop, click
Save. Now I will just go over to here
| | 04:00 | and double click it and there's the
still frame that we just exported out of
| | 04:04 | DVD Studio Pro.
| | 04:06 | We could use this over to Photoshop and
resize it for a box packaging or we can
| | 04:10 | feed it up to the web to give you a
still frame of what's on your DVD.
| | 04:14 | You could bring it back in the DVD Studio
Pro; use it as a background for a menu.
| | 04:18 | If you didn't have access to the
Source Files but you still needed a still
| | 04:21 | frame. It's possible to do by going
to set a marker in the track that you
| | 04:25 | wanted to create the still frame, put
the marker where you want the still to be.
| | 04:28 | With the marker selected, go to the Inspector,
click on Save Still and you have got it.
| | 04:34 | So just a couple of small things,
adding Audio to the menus will do a little
| | 04:37 | more that but there's not a whole lot
more to learn. The Audio just needs to
| | 04:41 | match, it needs to be Mono or Stereo or
it needs to be AC3 or DTS or AIF and I
| | 04:47 | would suggest keeping it consistent
throughout the whole title. It needs to be
| | 04:50 | consistent for the menu; it needs to
be consistent for the Track. But just as
| | 04:54 | general purposes I try and keep it
consistent so everything is always the same,
| | 04:57 | you don't have to worry about it.
That's just miscellaneous menu thoughts, now
| | 05:01 | we need to talk about that, which trips
all of a sudden. At least, I don't know
| | 05:05 | half a million times as we create our
DVDs and that's testing, and testing is next.
| | Collapse this transcript |
| Testing your DVD| 00:00 | Well our DVD is done. We are ready to
start building it, but there's a really
| | 00:04 | important step that occurs between
what you think is done and what's actually
| | 00:08 | done and that step is called testing.
What I would like to do is spend a few
| | 00:11 | minutes and show you some of the test
facilities that are built inside DVD
| | 00:14 | Studio Pro because there's nothing
worst then replicating. Oh! I don't know a
| | 00:18 | billion DVDs, only to discover that
maybe a couple links don't work. This can
| | 00:22 | be a very frustrating experience.
| | 00:24 | So lets take a look at how we test.
First thing that I would do is as we have
| | 00:27 | been doing throughout is work with the
Simulator. So let's take a look at some
| | 00:30 | of the test facilities that are built
inside DVD Studio Pro. I always start by
| | 00:34 | going to the Graphical tab, going to
the Graphical tab allows me to take a look
| | 00:38 | at everything and I always type Shift+Z
to make sure that all of the different
| | 00:43 | elements that are inside the Graphical
tab are visible. Now notice here I have
| | 00:46 | got a couple of orphans.
| | 00:48 | I was busy creating menus and I
created a couple too many. I have got a menu
| | 00:53 | that's not attached to anything.
There's no arrows; there's nothing inside it.
| | 00:56 | So that tells me I should probably get
rid of this menu, so I highlight it, hit
| | 00:59 | the Delete key. Highlight the Track and
hit the Delete keys. So the first thing
| | 01:03 | I do is clean up any loose ends that
didn't get discarded. By the way, I'm
| | 01:07 | working on a Project called Color DVD
Test, in case you are wondering where I'm
| | 01:11 | because I have created one
just for testing purposes.
| | 01:13 | Well, so I have looked at the Graphical
tab and superficially everything looks
| | 01:17 | okay. So lets go to the Simulator, we
click on Simulate. Now remember when we
| | 01:21 | Simulate here, it Simulates from the
top of the disc and already we have a got
| | 01:25 | a problem, The "First Play" target has
not been set. So we weren't paying close
| | 01:29 | enough attention because notice that
there's another that little blue First
| | 01:33 | Play icon on any of these discs.
| | 01:37 | Well, we clearly have to set that,
don't we? Well, there's a couple of ways we
| | 01:40 | could set the First Play icon. But
the easiest is to go to the Outline tab,
| | 01:44 | remember that contains everything
that's on our DVD. Click on the name of the
| | 01:47 | DVD and go over to the Inspector.
Inspector is where we make changes and First
| | 01:52 | Play is not set. What a devious trick
that was. So we are going to just change
| | 01:58 | First Play and the very first thing
that I want it to have Play is the Main
| | 02:01 | menu. Now if you set the one that's in
brackets, that means it will go to the
| | 02:05 | Main menu and nothing is selected.
| | 02:07 | I want it to go the Main menu and
have Play Movie selected to encourage the
| | 02:11 | Viewer to play the movie first. So
that's what we do, the First Play is now set
| | 02:15 | to the Main menu with select in a Play
Movie button and our First Play is set
| | 02:19 | up here. Again when we Simulate from
the toolbar, we are always simulating from
| | 02:24 | the top of the disc. If I Control-click
and I Simulate, I always Simulate from
| | 02:28 | the point that I Control-click on
because we want to make sure the whole disc
| | 02:33 | works properly, you want to be sure to
Simulate from up here in the toolbar to
| | 02:37 | start at the beginning of the disc and
there it is and I have added some audio for us.
| | 02:41 | (Slideshow music plays.)
| | 02:42 | And notice the Play Movie is selected.
| | 02:45 | So the first thing that I want to do
is I want to use the Simulator and I'm
| | 02:49 | going to go through every one of these;
play them all the way to the end, click
| | 02:53 | on jumping back out again. I want to
click on every link. Well you can do that
| | 02:58 | on your own. So I'm not going to take
our time here to make sure everything works okay.
| | 03:07 | (Slideshow musics plays.)
| | 03:11 | But so far going to the Simulator,
things seem to be working fine.
| | 03:15 | Looking at the Graphical tab things
seem to be looking fine, so how can we be
| | 03:19 | sure that stuff is actually working fine?
| | 03:21 | Well this gives us a chance to go the
menu we haven't been to before and that's
| | 03:24 | the Connections menu. The Connections
menu shows all the different potential
| | 03:29 | hyperlinks that are on our DVD that
should or could be connected. They fall
| | 03:34 | into three categories Basic, Standard
and Advanced. Basic are all the links
| | 03:40 | that absolutely, positively without any
question must be connected all the time
| | 03:45 | period. Basic always needs to be linked.
Now as you start to get more and more
| | 03:48 | into more complex DVDs, Standard will
show more links and Advanced shows every
| | 03:54 | possible link, Shift+Spacebar here.
Every possible link that could be on your DVD.
| | 04:00 | You can have a link coming off every
slide; you can have a link coming off
| | 04:04 | every marker. There's lot here that we
can do, but this is little bit on the
| | 04:08 | overkill side for our simple DVDs. So
let's go back to Basic and even this can
| | 04:12 | be somewhat intimidating when you look
at it because there's a long list here.
| | 04:16 | How do you know if it's working
correctly or not? Well this is a very cool
| | 04:19 | feature, I like this is a lot. First
you select Basic, now this will show all
| | 04:24 | the links. These will show all the
links that are connected and this shows all
| | 04:30 | the basic links that are not connected.
| | 04:33 | Look at that, we have missed one; the
End Jump at the end of the Video does not
| | 04:37 | go anywhere. We would play till the end
of the video and the video would break,
| | 04:41 | it would stop the DVD set-top box with
nowhere to go next. It will just go to
| | 04:45 | black and hang and the reason that we
didn't spot it in the Simulator is we
| | 04:49 | didn't play the track all the way till
the end. We were impatient; we said okay
| | 04:52 | it starts fine therefore it must end
fine. No, the End Jump is missing. If we
| | 04:56 | look at the Graphical tab, look at
that, there's an arrow that goes in one
| | 05:00 | direction but there's nothing that
points back from the Track anywhere.
| | 05:04 | So the Graphical tab was telling us if
we had just taken the time to look. Well
| | 05:09 | that's where the Connections come in.
It allows us to see all the links that
| | 05:14 | are not connected. So how do we
connect it? Well, the easiest way is to twirl
| | 05:17 | down over to here, at the end of it, we
like to go to Main menu. So twirl down,
| | 05:21 | there's Main menu, twirl down. Do I
want it to connect to the Play Movie button
| | 05:25 | or Play menu? I just want it to go to
Main menu. So I click where I want it to
| | 05:30 | go to, drag it to target and let go and
poof it's no longer unconnected. If we
| | 05:36 | go see all of them, the Bryce Canyon:
End Jump now connects to the Main menu.
| | 05:40 | This Basic, Unconnected has saved my
posterior on many projects because I get
| | 05:45 | so involved in getting everything all
connected and I missed one thing. So I
| | 05:49 | always, always check the Graphical tab
first, I then Simulate to run the entire
| | 05:54 | disc and of course I forget something.
So I go to the Connections tab and I
| | 05:58 | make sure that whatever is forgotten
gets fixed and now it's time to actually
| | 06:03 | Build our DVD.
| | 06:05 | I can't stress testing too much,
you just have to do it because the
| | 06:10 | repercussions of missing a link or a
track that doesn't have an end jump, that
| | 06:14 | goes somewhere and there's so much on
it, even a simple DVD. It's easy, easy,
| | 06:18 | easy to forget. So give yourself the
time, look at the Graphical tab, run the
| | 06:23 | Simulator, test everything, then Build
it and then once it's built. There's one
| | 06:29 | more way we can test, building in
that final test; I will show you next.
| | Collapse this transcript |
| Outputting your DVD| 00:00 | We have got our DVD done and it's
tested. Now we need to put in onto a disc.
| | 00:04 | How we are going to do that? We have
several options up here on the File menu,
| | 00:08 | we have Burning. Under Advanced Burn
we have Building, Format and Build and
| | 00:14 | Format. Of all these choices what
should we use? Well, what Burn does is Burn
| | 00:19 | is a single one click button that it
takes us through the entire process of
| | 00:24 | building a DVD, builds it; it burns it
to a DVD. I can't think of a good reason
| | 00:29 | to recommend this except it's a fast
way to burn a check disc because it skips
| | 00:33 | for me one of the most important
testing functions. But if what you want to do
| | 00:37 | is you just want to quick burn a
disc, this is a fast way to do it.
| | 00:41 | What Build and Format do however is
it takes the burn process and breaks it
| | 00:45 | into three steps. The first is a DVD
is actually created up two folders, a
| | 00:50 | VIDEO_TS folder called Video Title Set
and an AUDIO_TS folder, an Audio Title
| | 00:55 | Set. All of the material, all the
different Assets that we have are coalesced
| | 00:59 | into that VIDEO_TS folder
and the AUDIO_TS folder.
| | 01:03 | The Build process takes all the
different Assets and creates them in the very
| | 01:07 | specific format required by a DVD.
Formatting takes that VIDEO_TS folder and
| | 01:13 | burns it on to your DVD. Burn does all
the Building, does all the Formatting as
| | 01:18 | a single click. My strong
recommendation is that you always Build to create the
| | 01:22 | VIDEO_TS folder then test it one
last time using Apple's DVD player. The
| | 01:27 | VIDEO_TS folder is bit for bit
identical of what's going to be on your DVD. If
| | 01:32 | it still works and nothing is broken,
then its time to burn, but if you have
| | 01:36 | got a problem it's a whole lot faster
and a whole lot easier to simply delete
| | 01:40 | the file that's on your hard disk,
that's the VIDEO_TS folder that's got the
| | 01:43 | break in it. Then it is to
take a DVD and to trash the DVD.
| | 01:48 | There's another benefit, if you see
something that's wrong. The Build process
| | 01:51 | makes corrections simpler. Let me
illustrate, lets just take our Main menu here
| | 01:57 | and we are going to change the spelling
to Color. Now we know that it wants to
| | 02:01 | be Colors, plural, I want to pretend
that we have a spelling error here. I have
| | 02:05 | one more thing to show you. Command+H
hides the application. I always create my
| | 02:11 | builds to my second disc, which here's
called Scratch. When I open up Scratch,
| | 02:15 | notice that I have added a Builds folder.
I always build my DVDs into a Builds
| | 02:20 | folder because it just helps me to
keep track of them and that way I know
| | 02:23 | exactly where they are going to go.
They go on to a second drive, which has got
| | 02:27 | plenty of room and plenty of speed. So
I create the Builds folder and I'm going
| | 02:31 | to store my store my Builds inside there.
| | 02:33 | So let's switch over to DVD Studio Pro,
go up to File, Advanced Burn, Build.
| | 02:39 | This creates the VIDEO_TS folder, I
will click on the Scratch disc, click on
| | 02:43 | the Builds folder. Just select the
folder; there's nothing to name it because
| | 02:46 | the naming is automatic and defined by
the DVDs back and click Choose. This is
| | 02:51 | going to take a bit of time, while it's
doing it. Notice over here, the Log has
| | 02:55 | become active and it's showing us
exactly the steps that it's going through as
| | 02:59 | it's creating this folder.
| | 03:01 | Thing is it's going to take a bit; I
will join you when it's over. The Build
| | 03:05 | process is almost complete and notice
the Log has been spelling out all the
| | 03:08 | different activities that have been
going on as its building the slideshows and
| | 03:12 | building the tracks and everything else.
So the Log will give you a sense of
| | 03:15 | what's going on. When it's done, it
says the Compile Completed Successfully.
| | 03:19 | There's no problems. If there's an
error or a missing link it will warn you
| | 03:23 | during the Build Process.
| | 03:24 | So I'm going to click OK, we will come
back again to the Log when we talk about
| | 03:28 | Scripting. But most of the time I
just keep my eyes on the Log to make sure
| | 03:31 | that we don't have a problem as this
Build Process is going through. Now let's
| | 03:35 | hide DVD Studio Pro and go inside
the Builds folder and look at what's
| | 03:39 | happened. It's created an AUDIO_TS
folder and a VIDEO_TS folder and these must
| | 03:44 | not be renamed. They are very specific;
you break the set-top box, I mean you
| | 03:49 | won't break the box, you would just
break the DVD; these must go on to the DVD
| | 03:52 | exactly as named.
| | 03:53 | Now here's the neat part, I want to
test these. So let's find an application
| | 03:57 | down in the Dock that I have stored here,
called Apple's DVD Player. I click on
| | 04:01 | DVD Player to start it, it says,
"Okay show me where the DVD media is."
| | 04:06 | In other words, where's the VIDEO_TS
folder. So on the Scratch disk, it's inside
| | 04:10 | Build and I simply click on the VIDEO_
TS folder. Inside are all the different
| | 04:15 | files that DVD Studio Pro creates. The
main directory, which is the IFO, back
| | 04:20 | up directory, which is the BUP. The
video object block, which contains the
| | 04:24 | menus and the videos, I click on
the VIDEO_TS folder and click Choose.
| | 04:31 | There's our DVD playing exactly as
it's going to appear on the DVD.
| | 04:36 | (DVD menu music plays.)
| | 04:37 | If it works here, chances are it's going to
work on the DVD that we create. If it doesn't
| | 04:42 | work here -- OK, now look at here. We
have got a typo. If I get back to the
| | 04:50 | main menu, here we go. That should be Colors.
| | 04:54 | Oh, darn. Yes, I want to quit.
| | 04:59 | I have a typo in my piece. Well you and I
both know I created it but I can still
| | 05:04 | sound like I'm discouraged because
goodness knows it's happened before.
| | 05:07 | So let's go back to DVD Studio Pro and
change this typo. So I want to just add the
| | 05:12 | letter 'S'.
| | 05:13 | Now you would think, that we would
have to go back and save this, which we do
| | 05:18 | and now rebuild it, which is going to
take forever. But one of the neat things
| | 05:21 | about DVD Studio Pro, is it only
rebuilds that, which needs to be changed. So
| | 05:26 | when I go back and I say Build again it
says, where's it. I'm going to say its
| | 05:31 | right there. It says something already
exists, do you want me to reuse this. I
| | 05:36 | say absolutely reuse this. So it goes
through, it doesn't have to compile all
| | 05:41 | the video tracks, it doesn't have to
compile all of the slideshows. It just has
| | 05:44 | to go back and fix the Main menu with
that one typo. It will take a fraction of
| | 05:50 | the time, that it took to Build the first DVD.
| | 05:52 | This is another reason I like using
DVD Player because I can interactively,
| | 05:56 | reasonably take a lot at it. There's a
mistake, go back, fix it, rebuild it.
| | 06:00 | Look at this; it's done in just a few
seconds. Compilers Complete, hide this,
| | 06:05 | go back to the Dock, start DVD Player.
Open DVD Media and it's already got that
| | 06:12 | file selected and look at
the colors is corrected. Yay us!
| | 06:18 | (DVD menu music plays.)
| | 06:20 | Okay so let's just play
our movie, play the movie.
| | 06:26 | (Slideshow music plays.)
| | 06:29 | Looks like it's a movie playing to me
and notice that DVD Player has got this
| | 06:32 | little remote control here. So it tells
exactly where you are, shows you what's
| | 06:37 | happening. You have got the menu, click
on menu. You go back to menu. Click on
| | 06:41 | Slideshow, we got a pause button. You want to
jump, all this stuff you've got control over.
| | 06:48 | Okay done.
| | 06:50 | So now it's time to burn the DVD; again,
we have got two choices. We can burn it
| | 06:55 | by going up to File > Advanced Burn >
Format. Remember Format is just a fancy word
| | 06:59 | that means burn it to a DVD. However I
tend not to use the File menu, I tend to
| | 07:04 | use Toast and the reason that I use
Roxio Toast for burning my DVDs is it gives
| | 07:09 | me the ability to do two things. One
add DVD raw material much more easily, We
| | 07:14 | will talk about that in the advanced
section and two unlike DVD Studio Pro,
| | 07:18 | Roxio gives me the ability to control
the burn speed and I want to Burn my DVDs
| | 07:22 | slowly. Even if I have got an 8x
burner, I'm going to burn about 2x speed.
| | 07:27 | There's some argument in the
industry about whether burn speed makes a
| | 07:30 | difference but I have not had any DVDs
come back to me that I have burned at
| | 07:34 | slower speeds and I have had problems
with DVDs that I burned faster. So Roxio
| | 07:38 | Toast allows me to set my burn speed at
2x; if you are going to change the burn
| | 07:43 | speed make sure you buy DVD Media that
supports the speed you are burning at.
| | 07:47 | Don't try to burn 8x media on a 2x
speed, its not going to work. You want to
| | 07:52 | match that burn speed to the speed of
the media. It's like matching the film to
| | 07:56 | the light that's hitting it back from
those days when we used to film, I guess
| | 08:00 | dating myself there.
| | 08:01 | To output this, you could use Burn;
it builds and formats in one stroke.
| | 08:05 | I recommend you use Build, create the
VIDEO_TS folder and then run Apple's DVD
| | 08:09 | Player to make sure everything works
okay. One last thing to show you before we
| | 08:13 | wrap this up; the VIDEO_TS folder will
have lots of files in it. The AUDIO_TS
| | 08:19 | folder is always empty, that's because
the AUDIO_TS folder is not used by video
| | 08:24 | DVDs. It's used by audio DVDs. Your
audio still exists, just stored in the
| | 08:29 | VIDEO_TS folder, not to panic
everything is there, it works great. Don't change
| | 08:34 | the names, don't change the files; just
Burn those two at the highest level of
| | 08:39 | the CD. You name the CD and those two
files they don't go in a folder. They
| | 08:43 | don't get renamed, just put them
on the DVD and you are good to go.
| | 08:46 | Let's summarize what we have learned
about output and testing. First you want
| | 08:50 | to test your DVD using both the Mouse
and a Remote Control because they operate
| | 08:55 | differently and they highlight
buttons differently. Remove any unneeded
| | 08:59 | elements in the Graphical tab. Then
verify all of your links, using the
| | 09:03 | Connections tab. Simulate and test the
entire disc. Not only dumping out early
| | 09:08 | but play the entire track all the way
through to make sure your end jumps and
| | 09:11 | then your special comes in
middle of the track work properly.
| | 09:14 | Then go to File > Advanced Burn >
Build to create both the VIDEO_TS and the
| | 09:18 | AUDIO_TS folders and remember the AUDIO_
TS folder will always be empty. But you
| | 09:23 | still need to copy it because early set
-top boxes look for both folders even
| | 09:27 | though one of them is empty and if it
doesn't see the AUDIO_TS folder. The
| | 09:31 | set-top box won't play the DVD. Once
you have created the VIDEO_TS folder, test
| | 09:35 | it using Apple's DVD player and then
finally burn the disc using Roxio Toast,
| | 09:40 | which I will show you in the next movie.
| | 09:42 | Here's some tips to better output.
First slow down your Burn speed, personally
| | 09:47 | I prefer 2x. There's disagreement in
the industry, nobody says burning slower
| | 09:51 | does harm. Some people don't feel it
does any good. I haven't had any discs
| | 09:55 | come back, I love 2x. Match the speed
of the media to the speed of your burn.
| | 10:00 | Don't Burn slow on media, which are
designed to be burned quickly. Look at the
| | 10:05 | actual disc, if it's designed to be
burned at 8x, it won't work at 2x. Make
| | 10:09 | sure you match your burn
speed to the media speed.
| | 10:12 | Burn using DVD-R discs rather than DVD+
R, they are more compatible and don't
| | 10:17 | use Burn Dual-Layer discs for
distribution. They are highly not compatible;
| | 10:23 | there's only may be one in three
chance that another computer is going to be
| | 10:26 | able to read a Dual-Layer Burn disc.
Replicate it, 99% compatible, burned way
| | 10:32 | not compatible. Test your final disc
on multiple computers and set-top boxes
| | 10:37 | for compatibility and set-top boxes are
much more forgiving then computers for
| | 10:41 | DVD Playback.
| | 10:42 | If you are going to have a problem, it
will most often show up on a computer
| | 10:45 | and tends to show up on older
computers first. If you are delivering
| | 10:49 | replication masters, deliver the final
AUDIO_TS and VIDEO_TS folders either on
| | 10:54 | a FireWire drive or DLT tape. Both of
these are much, much more accurate than a
| | 11:00 | burned DVD. In replication you are
going to make tens of thousands of copies,
| | 11:04 | you want to make sure those copies are
accurate. So be sure, you work with the
| | 11:07 | FireWire drive or a DLT tape.
| | 11:10 | There's one more thing, I want to show
you before we wrap up this section on
| | 11:13 | outputting and that's how to burn your
VIDEO_TS folders to a disc using Roxio's
| | 11:17 | Toast, that's next. That's a lot to
cover for one simple DVD but the nice thing
| | 11:25 | is it; it's everything you need to know
to create your own title. There's still
| | 11:28 | more to learn however. We will
tackle the next section on the advanced
| | 11:31 | features, next.
| | Collapse this transcript |
| Burning your DVD with Toast| 00:00 | I have started Toast Titanium, which is
published by Sonic Solutions, and there
| | 00:04 | are two ways that we could burn DVDs
using Toast 8.0. The first is, if we have
| | 00:08 | just have a VIDEO_TS Folder, well if
that's the case, once it's started, you
| | 00:12 | click on the video tab, and you click
on the VIDEO_TS Folder, and it says,
| | 00:16 | select where you want the VIDEO_TS
Folder to come from. I can either drag it
| | 00:19 | in, but in this case I want to Select it,
go to the Scratch disc, we go to the
| | 00:25 | Builds folder. We click on VIDEO_TS
files, and click Choose. It automatically
| | 00:31 | loads up the VIDEO_TS file into here,
and it will own its own create a blank
| | 00:36 | empty AUDIO_TS folder, which
is appropriate for DVD video.
| | 00:40 | There's a gotcha however, if this
check box is on by default, what that check
| | 00:44 | box does is, if your video is
larger than 4.3 Gigabyte, it's going to
| | 00:49 | automatically compress it even further,
which will degrade video quality. So if
| | 00:54 | you've done your homework correctly,
just uncheck this. If the video fits,
| | 00:58 | you're in fine shape. If the video
doesn't fit, it's going to pop up the dialog
| | 01:02 | saying, these files are too big to fit
to burn DVD, in which case you need to
| | 01:06 | make changes inside DVD Studio Pro,
don't degrade the quality by having that turned down.
| | 01:11 | We then click the red record button, it
pops up the record dialog, and this is
| | 01:15 | where we are able to set Write Speed.
The first set of numbers, refer to CD
| | 01:20 | burn speeds. The second set of numbers
are DVD burn speeds. I always set mine,
| | 01:26 | to 2X, and then click the Record
button, and it goes off and it burns the
| | 01:30 | VIDEO_TS and the AUDIO_TS folders to a disk.
This is okay, but there's a better system.
| | 01:34 | It's a little bit trick here, but
it's the one that I recommend. What we do
| | 01:39 | instead, is we go up to the Data folder,
and we have different choices here. I
| | 01:43 | want to burn a DVD-ROM. A video DVD is
just a DVD that has specific data, in
| | 01:50 | specific files and specific names on
it. There's nothing magical about the
| | 01:54 | actual burning process, it's burned
like any other DVD. What makes it special,
| | 01:58 | is the VIDEO_TS folder, and all
that formatted information inside.
| | 02:02 | The benefit of burning the DVD-ROM,
is that now, let's say that my DVD has
| | 02:07 | both, a VIDEO_TS folder and DVD_ROM_
FILES. These are computer files, which
| | 02:12 | can't be played on a TV set, maybe
their excel spreadsheets or interactive
| | 02:17 | games or large high resolution images,
or burning using the VIDEO_TS folder
| | 02:22 | doesn't allow me to include these DVD-ROM files.
| | 02:25 | So what I do is I will switch to DVD-
ROM. I select all these files and just
| | 02:30 | drop them in. This also gives me the
ability to name my DVD, remember, we want
| | 02:34 | to have it be all capital letters, no
spaces, and we want to keep it less than
| | 02:40 | 11 characters. So COLOR_DVD, so I'm
able to name my DVD. I'm able to add my
| | 02:47 | AUDIO and VIDEO_TS folders, and I'm
able to include as many DVD-ROM files as
| | 02:52 | will fit within that 4.3 Gigabyte limit.
| | 02:56 | Once I've got the disc named, the
video in a TS, there are two TS folders
| | 03:01 | copied over, and the DVD_ROM files on,
now I've got every thing set, and I
| | 03:05 | can't easily do this inside DVD
Studio Pro. Then when I click the Record
| | 03:10 | button, and I can now say, set the burn
speed to 2X. I've got the .best of all
| | 03:15 | worlds, I've got control over my burn
speed, I've got control over the name of
| | 03:19 | my discs, and I can easily include
multiple DVD-ROM folders, multiple DVD-ROM
| | 03:24 | files, and hold my video and audio in
the TS folders. For me, this makes the
| | 03:28 | perfect sense, it works great. I've
got complete control, and it's simple,
| | 03:32 | reasonably simple, if you
know how, and now you do.
| | 03:36 | This is a lot to cover, inside our
simple DVD, the nice thing is we've a whole
| | 03:42 | lot of small things to show you at the
advanced level. But we are not going to
| | 03:45 | be creating standalone DVD. We'll
give you some specific exercises, so if
| | 03:50 | there's something specific you want
to learn, take a look at the advanced
| | 03:53 | section, it will give you all the
information you need. All the advanced tips
| | 03:57 | is next.
| | Collapse this transcript |
|
|
7. Advanced FeaturesUnderstanding advanced features| 00:00 | Welcome to Part 3, the Advanced
Features of DVD Studio Pro. Now this section,
| | 00:05 | unlike creating a simple DVD, doesn't
build a single project. Instead what we
| | 00:09 | do is we take each of these, and we
start to go into more detail and give you
| | 00:13 | specific examples of how to use
each of these different categories.
| | 00:16 | For instance, we start with DVD Setup
Inspector settings, including, how to set
| | 00:21 | copy protection, and set up a dual layer disk.
| | 00:23 | Advanced menus and buttons, and there's
a lot to talk about here. Working with
| | 00:28 | markers, because there are four
different marker types inside DVD Studio Pro.
| | 00:33 | Creating a chapter index template and
working with stories, which happens to be
| | 00:36 | my absolute favorite feature inside
the DVD Studio Pro 4. Creating and
| | 00:41 | modifying subtitles and introduction
to scripting, including some sample
| | 00:45 | scripts. Using multiple video and audio tracks.
| | 00:48 | How to include DVD raw material, and
creating 16:9 and HD DVDs. There's a lot
| | 00:55 | to cover, and we are going to get
started with taking a closer look and the
| | 00:59 | Inspector for DVD Setup, that is next.
| | Collapse this transcript |
| Working with the DVD Inspector| 00:00 | This section takes a closer look at
the DVD Inspector settings for the DVD
| | 00:04 | itself. We'll show you the Remote
control settings, copy protection, including
| | 00:08 | region codes, CSS and Macrovision.
Show you how to change video formats, and
| | 00:12 | the options that become possible,
and we'll also have a separate movie,
| | 00:16 | immediately after this one.
| | 00:17 | Talking about how to create dual-layer
discs, and understanding how to set the
| | 00:20 | break point. Let's switch first to DVD
Studio Pro. Here is a blank new project,
| | 00:26 | inside DVD Studio Pro. If we
select under the Outline tab the disc,
| | 00:32 | UNTITLED_DISC, the Inspector sets the
disc settings. This is where we able to
| | 00:35 | name the disc, DVD_PROJECT. Remember
that you don't want to name your disc with
| | 00:41 | any spaces, and you want to try to
keep the name to 11 characters or less.
| | 00:46 | There are four tabs inside the
Inspector, the General tab must be set before
| | 00:52 | you start adding any assets in to your
project. We've two different standards,
| | 00:55 | the Standard def DVD and a High def DVD.
You can switch from Standard def to
| | 01:00 | High def at any time, but once you
switch to High def, you are not able to go
| | 01:04 | back. So we are going to leave this set
to Standard def for just a minute. You
| | 01:08 | can then determine whether the
standard is going to be NTSC or PAL.
| | 01:12 | Streams are related to multiple tracks,
multiple subtitle streams, multiple
| | 01:16 | video streams, and multiple audio
streams. We'll talk about those in a separate
| | 01:19 | video a little later in this section.
Remote Control, are the remote control
| | 01:24 | buttons on your Remote Control for the
DVD Set Top Box. By default they set to
| | 01:29 | a menu, but you can change
them to any to any thing you want.
| | 01:33 | You can also have DVD Studio Pro
track, your DVD-ROM Content, but it only
| | 01:37 | tracks it for a specific folder. If
you want to have multiple folders of
| | 01:41 | DVD-ROM Content, DVD Studio Pros is
not going to able to track it. You would
| | 01:45 | say there's DVD-ROM Content, you click
Choose and select the folder, the folder
| | 01:49 | will then show up here. Joliet
Extension Support means that it will support
| | 01:53 | early versions of Windows
with the 8. naming convention.
| | 01:57 | The benefit to doing it here, is that
the thermometer, which shows how much
| | 02:01 | space is needed, and this estimated
size will also include the DVD-ROM
| | 02:06 | material. The disadvantage is, every
thing has to be in a single folder. To me,
| | 02:11 | that's too big of a disadvantage. So I
generally don't track DVD-ROM content
| | 02:15 | inside Studio Pro. I'll keep track of
how big my DVD-ROM Content is, and I used
| | 02:20 | that in my calculations of how much
space I need to allow for my ROM Content.
| | 02:25 | I always burn my discs using Toast,
consequently I don't need to worry about
| | 02:30 | burning the DVD-ROM Content
inside Studio Pro. I just in my head, I
| | 02:33 | accommodate, how much space is going
to be involved, and these need to be set
| | 02:38 | before you bring in any Media. If we
go to Disc/Volume, this allows us to
| | 02:42 | specify what kind of disc we are
burning to just to now. We can change this up
| | 02:46 | until the time that we format the disc,
and we can have a Single layer or Dual
| | 02:51 | layer. We'll talk about how to set
these settings, a little bit later in the
| | 02:55 | Dual layers. I'm going to
skip over it for right now.
| | 02:58 | You can determine whether you are on
the single side or dual sided disc.
| | 03:01 | Dual-sided discs though theoretically
wonderful, really are difficult to work
| | 03:06 | with, because you got no place to put
labels or marketing information. You're
| | 03:09 | much better of putting it to
multiple discs. It's not to say that it
| | 03:12 | technically it doesn't work, just from
the marketing point of view , it is not
| | 03:16 | a really good idea.
| | 03:18 | So I tend to always work on single
sided discs, and you can determine the size
| | 03:22 | here. Most of the time you are going
to be single layer, you are going to be
| | 03:26 | single side, and it can be 12 cm. The
region and the copyright allows you to
| | 03:32 | select copy protection. Now region
codes were originally established, so that
| | 03:36 | the disc could be placed in one region,
but couldn't be played somewhere else.
| | 03:40 | By unchecking, for instance, a set top
box that's coded for Europe, we would
| | 03:45 | not be able to play this disc.
| | 03:48 | Now region codes are set the very
first time you turn on a set top box. It
| | 03:52 | says, where in the world are you? And
it then burns into the set top box that
| | 03:56 | region code, and the disc has to be
flagged to be played in this region, for it
| | 04:00 | to be playable on that disc. There's a
copy protection scheme, is pretty lame,
| | 04:06 | but it still exists, and you can
still control it. So that if you wanted to
| | 04:09 | have a discs specifically for North
America or specifically for Europe, then
| | 04:13 | you could turn off one or the other.
| | 04:15 | You have to have at least one region
code selected in general purposes, because
| | 04:21 | every thing that I create, I want be
able to send anywhere in the world. I have
| | 04:25 | all the region codes ON. It's not that
region codes don't work, it's not the
| | 04:28 | world's best copy protection by any
means, but for me, most of the disc that I
| | 04:33 | created for marketing purposes, I will
want them to be playable on as different
| | 04:37 | machines as possible.
| | 04:39 | In addition to region codes, we can
also enable Copyright Management. This
| | 04:43 | allows us to set flags, indicating
how many copies we can make. Copying
| | 04:47 | permitted means that, somebody can burn
multiple copies of this DVD. In, which
| | 04:52 | case, Copyright Management doesn't
even have to be turned on at all. You can
| | 04:56 | also limit the copies, so that only
copy can be made of this DVD. Well, this is
| | 05:01 | a little bit strange, because you can
actually make as many one copies as you want;
| | 05:06 | you can't just copy the copy.
The copy is what gets locked up.
| | 05:10 | The master can create as many
one-offs as it needs. Only when you set this
| | 05:15 | to No Copy Permitted, are you be
able to turn on CSS copy protection or
| | 05:19 | Macrovision. CSS changes the actual
sector blocks on the DVD, so that instead
| | 05:26 | of being 2048, they are actually 2054,
changes how the actual data is written
| | 05:32 | to the DVD. But the CSS Copy
Protection cannot be added by DVD Studio Pro.
| | 05:38 | That's a licensed facility, both CSS
and Macrovision. In order for you to take
| | 05:43 | and add CSS, you have to replicate the
disc, you cannot burn a disc with CSS
| | 05:49 | on. It has to be replicated. So this
is setting a flag for the replicator, to
| | 05:54 | say, please add CSS Copy Protection.
| | 05:58 | CSS is designed to prevent the disc
from being duplicated, that is to say, you
| | 06:02 | put it in your computer and make a
copy of it. Macrovision is designed to
| | 06:07 | protect against the video being
hijacked, coming out the back of the set top
| | 06:11 | box, they put copy protection on the
analog video stream, using Macrovision.
| | 06:16 | They copy protect the digital format of
the DVD using CSS. So if you are going
| | 06:21 | to do copy protection, you need both.
They both need to be licensed, and they
| | 06:25 | are licensed from the
company that does your replication.
| | 06:31 | Under the Advanced tab, Embed Text Data
only needs to be turned on, if you are
| | 06:35 | using DVD access. DVD access is the
ability for your DVD to access the Web. As
| | 06:41 | you will hear, this doesn't really work
very well. My recommendation is not to
| | 06:45 | use it, so I leave it off. Additionally,
on your Remote Control, you have the
| | 06:49 | ability to change the Video Angle,
jump to a particular chapter. There's a
| | 06:53 | Chapter button, Angle button, Audio
and a Subtitle. You can program exactly
| | 06:57 | where these things go, and that's just
identical to how these are programmed,
| | 07:02 | Title menu and Return, with the
Remote Control just has more buttons.
| | 07:06 | These three buttons, Title menu and
Return, are required to be programmed.
| | 07:11 | Under the advanced, these four buttons
need not necessarily be programmed. On
| | 07:15 | my systems, I generally set them all
to point to the Main menu, but you can
| | 07:19 | change depending upon what you want to
do. We'll talk about changing Angles and
| | 07:23 | changing Audio tracks and Subtitle
tracks in the multiple track section coming up.
| | 07:28 | GPRM Variable Names is only used for
scripting, and as we'll talk about them
| | 07:33 | extensively in scripting, we can ignore
them for right now. Oh, let me show you
| | 07:37 | one other thing, notice under Disc/
Volume, under here, we only have the ability
| | 07:42 | to set, whether it's a Single or
Dual layer disc. When we change this to
| | 07:46 | General, and we change it to HD DVD,
pops up a dialog saying, remember you
| | 07:50 | can't go back. So I click
OK, it's now set to HD DVD.
| | 07:55 | But notice there's a change here under
Disc/Volume; it's added a Disc Media.
| | 07:59 | This allows me to specify whether
I'm burning with a red laser, that's a
| | 08:02 | traditional DVD, or burning with a
blue laser. That'd be an HD DVD. If you
| | 08:08 | have an HD DVD burner attached to your
system, you want to set this to Blue
| | 08:13 | Laser. If you don't have a blue laser
disc, you want to set this to Red Laser.
| | 08:18 | You can actually burn HD DVD discs,
which can be played on spec compliant HD
| | 08:24 | DVD players, using a red laser with
this set. DVD Studio Pro will allow that,
| | 08:29 | and we'll talk about how, during the
section on high definition media, later in
| | 08:33 | this advanced section.
| | 08:35 | So this allows you to specify
whether you are doing it to red laser/
| | 08:38 | traditional, or blue laser/new.
Remember that right now, DVD Studio Pro does
| | 08:43 | not currently support Blu-ray DVDs.
So if you need to create a blue ray DVD,
| | 08:48 | you are not going to be that with
Studio Pro. That takes care of everything we
| | 08:53 | need to know I think, in terms of
setting up for a disc. What I want to focus
| | 08:57 | on next, is the specific description
of how you create a dual layer DVD, to
| | 09:02 | make sure that your Break Point is
set in the right spot, that's next.
| | Collapse this transcript |
| Working with dual-layer discs| 00:00 | A special form of the DVD is a dual
layer DVD. Remember everything is on one
| | 00:06 | side, but there's actually two layers
inside the DVD, layer 1 and layer 2, and
| | 00:11 | you can control where it
switches from layer 1 to layer 2.
| | 00:15 | Now as long as your video fits to a
4.3 Gig drive, you don't ever need to
| | 00:19 | create a dual layer. A dual layer is
necessary only when you want to burn more
| | 00:24 | than 4.3 GB of data to a DVD. To get
to the controls point, we click on the
| | 00:30 | outline, we click on the name of the CD
and we go to the Inspector and click on
| | 00:34 | the Disc/Volume tab. We have two
different settings, Single and Dual.
| | 00:39 | A Single layer, means everything will
fit to 4.3 Gig. A dual layer gives us
| | 00:45 | access to 8.54 Gigabyte of storage. So
we get almost but not quite double the
| | 00:50 | storage. We have two different Track
Directions, Opposite Track Path and
| | 00:56 | Parallel Track Path. A CD is like a
grove on a record, it starts at the center
| | 01:03 | of the record, and it goes to the outside.
| | 01:05 | When we are playing the CD or the DVD
for the first time, it starts at the
| | 01:09 | center, and it slowly moves out. When
the layer shift occurs, if it starts with
| | 01:15 | the opposite track path, the head
immediately go straight up to the next track
| | 01:19 | path. So it stays on the outside of
the disc, and now it starts to move from
| | 01:23 | the outside to the in, this make
for the fastest possible transition.
| | 01:28 | A PTP or a Parallel Track Path, means
both layer start at the center of the
| | 01:33 | disc and spool out. For most DVDs that
we create, on Opposite Track Path, the
| | 01:38 | OTP is the best choice, because it
minimizes the amount of time necessary for
| | 01:42 | the laser to jump from Track 1 to Track 2.
| | 01:46 | A Break Point, is, which marker do
you want to use, to make the switch from
| | 01:51 | side one to side two. Well, this is a
little trickier than it may at first
| | 01:55 | seem, because first the Layer 1 has to
be longer than Layer 2, just the way the
| | 02:01 | technology works. So when you set your
Break Point, for instance, here a Break
| | 02:06 | Point must be a marker. But it's a
special kind of marker, if we click here on
| | 02:11 | this marker, notice that we have
got a check box right here that says,
| | 02:14 | Dual-Layer Break Point, when I click
it, notice that there's now a dot that
| | 02:19 | appears on the center of that marker.
That's the one spot where it is going to
| | 02:23 | switch from layer 1 to layer 2.
| | 02:26 | Ideally you want to have that happen in
black, or you want to have it happen on
| | 02:31 | the stationary scene, because
there's going to be a freeze, for between a
| | 02:34 | quarter-and-a-half-a-second, while the
layer 1 switches to layer 2, the laser
| | 02:39 | refocuses, it's able to pull video off
and it continues your movie. There will
| | 02:43 | be a transition. The easiest way to fix
this, is to put in where you think the
| | 02:49 | layer Break Point is going to be. Say,
add 3 markers, I'm just going to put one
| | 02:52 | there, but I want to turn that Off, so
it's not a Chapter marker. Notice it's
| | 02:56 | gone green. It's now just a Standard marker.
| | 03:00 | I put a couple of markers, two or three
around the area where I want to put the
| | 03:03 | Break Point to exist. Then I build
the DVD, advance burn built. It builds a
| | 03:09 | video TS folder, even if the DVD is
not complete, that particular track is
| | 03:14 | complete, and the markers are complete.
When you go back to setting the Break
| | 03:19 | Point, some of these markers are going
to be grayed out, which means they are
| | 03:22 | in the wrong place, they won't work
properly for DUAL_LAYER disc. Some of them
| | 03:27 | will be black.
| | 03:28 | See you get the pick of the black
markers, which is the one that you want to
| | 03:31 | use for your Break Point, which should
be the least disruptive to the Viewer,
| | 03:35 | and that's the one for instance right
here. Notice that, that becomes my Break
| | 03:38 | Point marker. It's got the dot in it,
and that's the exact instant where the
| | 03:42 | laser is going to switch
from layer 1 to layer 2.
| | 03:47 | You have the ability to make the
transition between layer 1 and layer 2
| | 03:51 | seamless. Now you have that ability,
it's not a very good thing to do. You want
| | 03:56 | to make sure that you leave Seamless
unchecked, because some set top boxes
| | 04:00 | have a real problem with playing
seamless transitions between layers. Rather
| | 04:05 | than causing your set top box to choke,
leave the set top box alone, leave
| | 04:10 | Seamless unchecked.
| | 04:12 | So DUAL_LAYER, you can select
Opposite Track Path. That will be the fastest
| | 04:16 | transition. Build your DVD, and
select the point based upon, which of these
| | 04:21 | markers is dark, that becomes your
transition point from layer 1 to layer 2,
| | 04:25 | and leave Seamless unchecked.
| | Collapse this transcript |
| Relinking files| 00:00 | Sometimes when you open a file, for
instance, 004a Relinking, when I open it
| | 00:04 | up, I'm going to get a dialog box.
That dialog box says it can't find some files.
| | 00:09 | In Final Cut terms, these have
gone offline. If you know where the file is,
| | 00:14 | select the file that you want to
reconnect and it's going to automatically
| | 00:17 | open up the dialog that shows where it is.
| | 00:20 | But let's pretend that you've opened
the file and you click Continue. When you
| | 00:24 | click Continue inside DVD Studio Pro,
it shows red for the files that it can't
| | 00:28 | find. It can't find at least one slide
in the slideshow, the whole slideshow
| | 00:33 | may not be offline, but if we go to
the Assets tab, and scroll down where our
| | 00:37 | slides are, notice that the very
first slide has red. That means that it is
| | 00:43 | found everything in black text,
but can't find that, which is red.
| | 00:48 | To reconnect, you can either reconnect
from that opening dialog, or by Control-
| | 00:53 | clicking on the file that it can't
find, and say Re-Link. To do that, we'll
| | 00:58 | just go back to our DVD Studio Pro 4
files, click on Media, and then in the
| | 01:03 | Simple DVD in Slides, the Undersea
Slides, click on image 01, when we re-link,
| | 01:10 | it's now black text, which means that
DVD Studio Pro can find it. Save your
| | 01:14 | file, all the re-connections will be
remembered, and everything is fine.
| | 01:18 | If you have multiple images that have
gone off line, and assuming that they are
| | 01:22 | all in the same folder, or the same
location, just moved the folder to
| | 01:25 | somewhere else, reconnecting one
should automatically reconnect everything
| | 01:30 | else. So theoretically once you
find one, you'll find them more.
| | Collapse this transcript |
|
|
8. Advanced Buttons and MenusIntroducing menus| 00:00 | In this chapter, we'll talk about
advanced buttons and menus. We'll start by
| | 00:05 | creating a simple overlay menu. Then
we'll create an advanced overlay menu.
| | 00:10 | I'll show how to edit the highlight
color palette, and change the button tab
| | 00:14 | order. Then we'll create a modify
button templates, and move over to motion
| | 00:19 | menus. First in LiveType, second in
Motion, and we will wrap up by showing a
| | 00:25 | Photoshop layered menu. There's a lot
to cover, and we'll get started with a
| | 00:30 | simple overlay menu.
| | Collapse this transcript |
| Creating a simple overlay menu| 00:00 | Overlay menus is my absolute favorite
menus inside Studio Pro, and they are
| | 00:05 | easy to create, plus we've complete
creative flexibility and they are
| | 00:09 | extremely fast when they
play back on a set top box.
| | 00:12 | Let me show you how the finished
button looks. I've created a menu, and I've
| | 00:16 | put three buttons on it. Let's just
Simulate this menu by clicking the Simulate
| | 00:21 | button. Notice what happens as I
pull my mouse over the top of a button.
| | 00:25 | Notice there's a rectangle that
highlights, and when I click the button the
| | 00:29 | rectangle changes color. Well,
everything except the rectangle shows up over
| | 00:34 | here in my project. Where did the
rectangle come from? Well, let's switch back
| | 00:40 | over to the Photoshop, because this
all starts in a Photoshop document.
| | 00:44 | Here is my Photoshop file, it starts
with the color slide as a background. I
| | 00:49 | added the color of my DVD, and I edit
my text in the boxes. But if you notice
| | 00:54 | that how everything is organized inside
Photoshop, I've three layers over here,
| | 01:00 | the background is all this. Then I add
the text as a separate layer, I didn't
| | 01:06 | have to, I could have put it down to
the main layer, but I want to do it
| | 01:10 | separately to show your
feature inside Studio Pro.
| | 01:13 | But the magic is that, that, which
changes color, these buttons, are a whole
| | 01:18 | separate layer, and if we look them
more closely, they are solid black, there's
| | 01:23 | no anti-aliasing. That's important,
because Studio Pro locks on to the color
| | 01:29 | black, and aliasing can get confuse it.
So you want to make sure that when you
| | 01:33 | creating a simple overlay, your overlay
is solid black, and I'll save this as a
| | 01:38 | three-layer Photoshop file.
| | 01:41 | Now, I've positioned everything
inside Photoshop, I have got it all looking
| | 01:45 | exactly the way I want inside Photoshop.
I then saved it as a file. Now let's
| | 01:51 | switch back to DVD Studio Pro, and
I'll show you how we put it together. Let
| | 01:56 | reset this to not set. I'm going to
live my buttons, well, I would just take
| | 02:00 | the buttons out. Click on them, hit
the Delete key. Okay, now we've reset
| | 02:04 | everything to absolute nothing. I've
got two items here, one menu and one
| | 02:08 | Track. I can go to the menu tab to see
the menu, or I can just double click on
| | 02:13 | it to get to the menu, either way
you need to be in the menu Editor.
| | 02:17 | Under the Assets, I've imported all
the different files inside the Advanced
| | 02:21 | menus. I'm working on a project called
05 Advanced menus, and I've imported all
| | 02:27 | the graphics that we need. In this
particular case, I'm going to select Overlay
| | 02:31 | menu simple, click Hold and drag it.
Now I could set it as a background with
| | 02:36 | all Photoshop layers visible, or with
none of the Photoshop layers visible.
| | 02:41 | Let's make it simple, and let's just
keep everything visible, when I let go,
| | 02:45 | there's all three of my layers, my
background, my text and my boxes .
| | 02:50 | What Studio Pro actually does, when I
drag that graphic in, is it sets the
| | 02:54 | background to equal that Photoshop file.
So you would set right over here on
| | 02:58 | the Inspector. Now let's go down to
the bottom, and notice that it has an
| | 03:03 | Overlay menu. It's in Overlay File, so
that, which we want to change color, is
| | 03:08 | the Overlay, and I want the Overlay to
come from that simple PST. And because
| | 03:13 | the Photoshop document has three layers,
it wants to know, which layer is the
| | 03:18 | highlight. So in this case, I set it
to the Overlay menu, and I set it to
| | 03:22 | button highlights.
| | 03:24 | That's the first part of this technique,
you need to drag it and make sure it's
| | 03:28 | a background. Then you set the Overlay
File to where the Overlay is, in this
| | 03:33 | case it's the same file, later it
won't be. We need to tell it, which all the
| | 03:37 | layers inside the file the highlights
come from. Now let's go over to the menu
| | 03:42 | tab, next and over. Studio Pro wants
to know where's the background? Is the
| | 03:47 | background just the button squares?
No, that's not the background. Is the
| | 03:53 | background just the text? No, that's
part of the background, but not all of it.
| | 03:57 | The background is actually
both those bottom layers.
| | 04:00 | Now I could have absolutely pushed the
text down, flattened it, so everything
| | 04:05 | was on the single layer. Perfectly
doable, but this gives me a chance that I
| | 04:09 | can have multiple layers combining to
the background. When the DVD gets burned,
| | 04:14 | all of this Photoshop stuff is going
to get turned into just a standard MPEG2
| | 04:18 | movie. So in Final Cut term, it is
going to rendered, and in Studio Pro term,
| | 04:24 | it's going get converted to a MPEG2.
But notice that I've left off the button
| | 04:29 | highlights. Now we need to draw a
rectangle around the button. Why? Because we
| | 04:34 | have to tell it where the button is.
Right now all we've got is a pretty
| | 04:37 | picture. We haven't told
it where the buttons are.
| | 04:40 | To draw a button, you click Hold and
drag the button out. So I just simply
| | 04:45 | click Hold and drag, and we could name
this button if we want. We can call it
| | 04:49 | PlayMovie, but that's not the important
part, the important part is that we can
| | 04:54 | now use that region, which is what we
drew out. We can use that region, we can
| | 04:59 | change its color. Well, that requires
me to have access to those three buttons
| | 05:03 | down here, the bottom of screen, which
never show up, and my monitor is tiny,
| | 05:07 | so we hold the Shift key down type,
Shift+Spacebar, and that blows this up, so
| | 05:12 | we can now see it full screen. Notice
that now my three buttons are here. Now
| | 05:16 | there are three button states inside
Studio Pro. There's the normal button,
| | 05:20 | that's on the left. The selected button,
that's when you click on it once, and
| | 05:25 | notice what's just happened, my
rectangle has shown up, and the third button
| | 05:30 | state is the activated state, that's
what happens when you press the Enter key.
| | 05:34 | Well, this allows me to quickly toggle
between seeing the three states of the
| | 05:39 | button: normal state, selected state
and activated state, and I change the
| | 05:47 | colors of those states over here in the
Inspector with the button highlighted,
| | 05:51 | I'll click on the Colors tab. Notice
that I've got a simple Overlay, so that's
| | 05:56 | selected. Down here at the bottom of
the Inspector, I have three choices,
| | 06:01 | what's the color of my overlay, when
the button is in normal position? What's
| | 06:05 | the color of my overlay when the button
is selected? And what's the color of my
| | 06:09 | overlay when it's activated?
| | 06:10 | Well, there are two choices here. One
is, what's the color, and the second is
| | 06:15 | what's the Opacity? With the normal
state, the color of the button is black,
| | 06:19 | but the Opacity is all the way off,
which means you can't see the rectangle at
| | 06:23 | all. See now this I click down here,
it's in normal state, no rectangle. We go
| | 06:28 | to the Selected state, and I've set
that color of the button to be orange, and
| | 06:33 | mostly opaque, but not fully opaque,
back it off just a bit. I like sort of
| | 06:38 | having it blend a little with the
background, and I've got 16 colors to choose
| | 06:42 | from. I could make it red, I could make
it whole white, I could make it yellow,
| | 06:47 | remember, we could change the Opacity
and make it really subtle to really quite
| | 06:52 | in your face.
| | 06:54 | We've got all these different colors,
and later I'll show you how to change
| | 06:57 | them. Let's go back to, back to yellow,
orange. As long as we are dealing with
| | 07:08 | this, just leave it orange. Now that's
my selected button state color. Now my
| | 07:13 | activated state color is red and that
says maybe it could be black, maybe it
| | 07:18 | could be white. In other words, I have
got the same 16 choices, and what this
| | 07:22 | does is, when I Simulate this button,
notice when I click on it, it changes the
| | 07:27 | color to white or orange. There's only
button, so there's nothing for it to be
| | 07:31 | deselected, but this allows me to
determine what the colors of the button are
| | 07:35 | when they are normal, when it's
selected, and when it's activated.
| | 07:39 | Now let's just make a couple of
other buttons, and here's a great, great
| | 07:43 | keyboard shortcut. You get your button
zone drawn there, just as nicely as you
| | 07:48 | want to draw it. Remember nobody will
see the zone, it's just the area in,
| | 07:52 | which the person has to click their
mouse. Remote Controls don't care at all.
| | 07:56 | But you need to define the area where
the mouse is going to click. Hold the
| | 08:00 | Option key down, and Option, drag, it
makes a copy of it, and notice that now
| | 08:05 | I've got my second selection rectangle
showing. Okay, here we go. Option, drag
| | 08:12 | again, and now we've got our third
rectangle showing. As I click on a different
| | 08:18 | button, and change its selection state,
I can see the selection state vary from
| | 08:22 | normal, to selected, to activated. Look
at that white is just not making it for
| | 08:28 | me. Let's make it back to red, make a
statement a little less. On your face, a
| | 08:33 | little more translucent here, and now
poof, let's Simulate this, and now as I
| | 08:39 | roll over the different buttons, the
square keep track of where my mouse is.
| | 08:44 | When I click the mouse,
the button changes color.
| | 08:49 | What I wanted to illustrate, is that
we could create this document inside
| | 08:52 | Photoshop, and the benefit is, we can
have these little symbols next of the
| | 08:58 | text, changing color. The reason I've
mention this, is changing the color of
| | 09:02 | text through highlights is almost
always going to look awful, and the reason it
| | 09:07 | looks awful, is that for the text to
look smooth on a TV or a computer screen,
| | 09:11 | it needs to be anti aliased. And DVD
Studio Pro and the DVD Spec, don't support
| | 09:16 | aliasing. Consequently your text looks
like it's been chewed by small mice. It
| | 09:21 | has stair stepping, it's got colors
leaking around the edges, it just looks ugly.
| | 09:26 | So rather than try to use highlights to
change the color of the text, which is
| | 09:30 | what we did in the simple DVD, it's
much, much slicker to be able to start to
| | 09:35 | play with graphical elements that
change color, which is next to the text, but
| | 09:39 | not the text. And if you look at the
commercial DVDs that you buy in the store,
| | 09:44 | virtually every one on the menu has got
some sort of a graphical icon, a weird
| | 09:49 | shaped X, like X file uses, or the
green fairy on Moulin Rouge, or a check box
| | 09:54 | or squares or lines or any thing,
except changing the color of the text, which
| | 09:58 | looks pretty bad.
| | 10:00 | Overlays are incredibly fast in playback,
very responsive within a DVD, and it
| | 10:07 | gives us creative control to create
anything we want. Well, we've got more
| | 10:11 | kinds of Overlay menus to create,
which is actually six, that we will be able
| | 10:15 | to demonstrate here. But they are all
build around the same concept, building
| | 10:20 | some sort of graphical look, in this
case I've chose a box, and then later I'll
| | 10:24 | be using a check mark, a little
later I'll have other shapes as well.
| | 10:28 | But you build a graphic, and you save
it as black on white. Let's look at this
| | 10:33 | back here on Photoshop again. Notice
that I have black or I have white, when
| | 10:38 | this gets saved, it will remember
exactly where the color black is, and the
| | 10:42 | background we get treated as white.
| | 10:44 | The white will become invisible, and
just the black squares would be what is
| | 10:49 | changing color inside Studio Pro. If
you've got this idea of working with
| | 10:54 | separate layers inside Photoshop, that
the layers must be black or white, that
| | 10:59 | is to say, you only got two colors, no
aliasing, and you understand the idea of
| | 11:05 | drawing button regions, a rectangle
around the button, and then changing the
| | 11:09 | highlight color from the Inspector tab,
then you are completely in sync with
| | 11:14 | this first lesson. Because this
lesson is going to be the foundation upon,
| | 11:17 | which everything else builds. It's all
modifications of this exact same basic
| | 11:23 | theory. Let me show you another example,
which is called an advanced menu, and
| | 11:28 | that is next.
| | Collapse this transcript |
| Creating an advanced overlay menu| 00:00 | An advanced Overlay menu builds upon
what we have learned in the simple Overlay
| | 00:05 | menu, but it gives us more choices and
more control. For instance here, I have
| | 00:11 | opened up 06 Advanced menus. Let's
click on Simulate. Notice that where my
| | 00:16 | mouse moves, not only are the
squares changing color, but I've added two
| | 00:20 | graphical elements, two triangles, and
the triangles are different colors both
| | 00:25 | from each other, and from the square.
When I click, everything changes to a
| | 00:30 | third color.
| | 00:31 | In other words, I have got greater
flexibility in what is what color, where
| | 00:36 | it's located and what happens to it
as the button has it's three states of
| | 00:40 | Normal, Selected, and Activated.
| | 00:43 | Well, let's see how we created this,
let's go back to Photoshop, and there's
| | 00:48 | our Graphic. Except, notice here I have
got a Black square, a red triangle, and
| | 00:53 | a blue triangle. One of the things
that took me a while to learn when I first
| | 00:58 | started working with this, is it is not
really black and red and blue. Think of
| | 01:02 | these as chroma key colors, and I'm
going to Chroma Key the black out, and
| | 01:07 | replace it with a different color.
I'm going to Chroma Key the red out, and
| | 01:10 | replace it with a different color, and
different from black potentially, and
| | 01:13 | the blue gives me a third key color.
| | 01:15 | Now it isn't actually Chroma Key, so
don't try to think creatively, again, I'm
| | 01:20 | just trying to give you an analogy,
because we are going to take the red, we
| | 01:23 | are going to drop it out and put
something else in its place. Now there are two
| | 01:26 | ways that we could set these Highlights.
Again, I'm going to turn my background
| | 01:29 | off, turn my text off. I have got two
different kinds of Highlights. One, our
| | 01:34 | Grayscale, I have got a 100% black, 66
% black, 33% black, and the background,
| | 01:44 | which is 0% black or white.
| | 01:47 | So I really have four colors here,
background is 1, that's number 2, that's
| | 01:52 | number 3, and this is number 4. Just
as when you are creating the Simple
| | 01:56 | Overlay menu, it is critical that you
do not have any aliasing in your shapes,
| | 02:01 | because aliasing is going to screw this
up because aliasing are varying shades
| | 02:05 | of gray. This is already keying on
varying shades of Gray. So aliasing is just
| | 02:10 | going to make things get worse.
| | 02:12 | Another choice, instead of working with
four levels of gray, white, light gray,
| | 02:17 | dark gray, and black, by the way this
is a 100% black, 66, 33 & 0. Let's turn
| | 02:23 | on Chroma highlights. What Chroma does,
is again this is more of a Chroma Key,
| | 02:28 | pure black 100% black, pure white
100% white, pure red and pure blue.
| | 02:36 | Now, we are not going to keep the red,
the blue or the black, we are going to
| | 02:40 | use that as our key color, and replace
it inside Studio Pro. Let's see how this
| | 02:45 | works. So I go back to the Studio Pro
here, and let's just make this background
| | 02:54 | disappear, so we can build everything
from the start, and we will make our
| | 02:58 | overlay just become not set. I have
got three buttons, and you know how to
| | 03:03 | create the buttons, you click hold
and drag them up. Grab the Overlay menu
| | 03:07 | Advanced, click, hold and wait.
| | 03:11 | Now we can set the background with All
Layers Visible. I'll set the background
| | 03:15 | with No Layers Visible. With the
Simple menu we did with All Layers Visible,
| | 03:19 | and we could do exactly the same thing.
but let's just see what happens here.
| | 03:23 | When you set the background with No
Layers Visible, nothing is visible. What a shock!
| | 03:33 | I'm sorry, I digress.
| | 03:36 | Anyway, the background has been set
to the Overlay menu Advanced, because
| | 03:40 | that's what we dragged in. But when we
click on the menu, notice that none of
| | 03:45 | our choices are lit down here. This
gives us a chance to say, well, please
| | 03:48 | turn on the background, that's part of
the background, and please turn on the
| | 03:52 | text, that's part of the background.
But these highlights are not part of the
| | 03:56 | background, therefore
they should not be checked.
| | 04:00 | Now there's one of thing that we have
to be careful of here, if we go back to
| | 04:03 | the General tab, notice down here it
says, where's the Overlay coming from? We
| | 04:07 | want to make sure that we tell that the
Overlay file is coming from the Overlay
| | 04:11 | menu Advanced. The only files that are
seen, are files that have been imported
| | 04:16 | into Studio Pro.
| | 04:18 | So these are all the different files
that I have imported, but the only one
| | 04:21 | that I care about is the Overlay menu
Advanced, and then you can determine, you
| | 04:26 | want to use overlays based upon
Grayscale or overlays based upon Chroma. We are
| | 04:30 | going to work with our overlays
based on Chroma. Okay, so we have set our
| | 04:35 | background by click, hold, and dragging,
and we have set our Overlay file to
| | 04:39 | make sure it points to the same
file that our overlays are in.
| | 04:42 | We have made sure we have selected our
layer that's got the Overlays we want to
| | 04:46 | work with. And then we have turned on
just that, which is on the background by
| | 04:51 | going to the menu tab. Now let's
change our colors by going to the Color tab,
| | 04:55 | and because I need those three buttons
down here, let's hold down the Shift Key
| | 04:59 | and type Spacebar, and we'll below up
the menu, se we can see what we are doing here.
| | 05:03 | I have already drawn the button of
regions, so I'm going to click on the
| | 05:07 | button, and notice as I click through
this three different choices, okay, the
| | 05:11 | first choice. Let's say I click on
the Normal state, and I have said that,
| | 05:16 | which is black, make it gold, and make
it about 50% transparent. So I get this
| | 05:22 | nice 50% transparent, that's the
normal state for all of my buttons when they
| | 05:27 | are not selected.
| | 05:27 | Let's click on the number 2 button
down here, it's not the world's greatest
| | 05:35 | colors I know, but that's what I could
come up with. So we go to the Selected
| | 05:40 | state, this shows me what the button
looks like in the Selected state, and this
| | 05:45 | says, this is where -- oh, I should
show you this. If you have a Simple
| | 05:49 | Overlay, you set it to Simple; if you
have an Advanced Overlay, you set it to
| | 05:53 | Advanced. So this tells us what to do.
This means that it's just the color
| | 05:56 | black, this means that it's either
Grayscale or red, blue, black and white.
| | 06:02 | Then you need to tell it, is it a
Grayscale button or is it a Chroma button? So
| | 06:06 | you get to click on, which one is
accurate. If it's Grayscale, then we have our
| | 06:10 | four choices 100% black, 66% black, 33%
black and white. And what we are doing,
| | 06:16 | is we are saying take these colors that,
which is black and make it this color.
| | 06:19 | That, which is dark gray, make it that color.
| | 06:22 | If we go to Chroma, now I have got four
colors, which are black, red, blue and
| | 06:26 | white. Remember the background is white.
So I have said, in the Selected state,
| | 06:31 | because we have got three states, the
button unselected, the button clicked on,
| | 06:35 | and the button when I hit the Enter Key.
In the Normal state, I want everything
| | 06:40 | to be invisible, that's why I passed
this all the way to the left. And I want
| | 06:44 | to take the color black and make
it orange, and make it about 50%.
| | 06:49 | Now in the Selected state, take that,
which is black and rather than having it
| | 06:54 | be orange, either side, well, let's
try turquoise, and make it just a little
| | 06:58 | bit brighter, so I made it a little
more intense, totally, totally up to you,
| | 07:03 | whatever looks good for you. Clearly,
coordinated color schemes are not
| | 07:08 | something that's a strong set of mind.
Anyway, I want to take the color red,
| | 07:13 | that, which is red, remember that was
our triangle on the left, I want to have
| | 07:17 | it be yellow, or maybe I want it to
be that color, or maybe I want it to be
| | 07:21 | that color. Maybe I want it to be this
color, I don't know what color I want, I
| | 07:27 | think I'll make that color. And I
could adjust the Opacity from very
| | 07:31 | transparent, to very not transparent,
it's called Opaque. Anyway, let's move on.
| | 07:37 | Notice the color blue, that's the
right hand triangle, I can make that any
| | 07:41 | color I want. I can make it red, I can
make it blue, and just completely mess
| | 07:46 | with people's minds. I could make it
pink. Let's make it brown, okay good, and
| | 07:55 | I will make it a little bit
transparent, so that's our number 2.
| | 08:01 | Now let's go to the Activated state.
The Activated state, I have made the black
| | 08:06 | boundary bright red. Well, we have
clicked on it, and I have made both the red
| | 08:10 | and the blue the exact same color,
yellow, and turned up the Opacity on them so
| | 08:15 | they just really jump off the screen.
Let's Simulate this and see what it looks like.
| | 08:20 | So there's our un-state. We roll
the mouse in, so it changes colors, and we
| | 08:28 | click on it, boom! Really flashes and
pops. This isn't Advanced menu, because I
| | 08:36 | have got more advanced features. It
still builds on everything we have learned.
| | 08:40 | We draw a rectangle around the button,
and because we had either four colors,
| | 08:45 | black, red, blue and white, or four
Grayscales black, dark gray, light gray and
| | 08:50 | white. We can adjust the colors of each
of those different settings, like doing
| | 08:54 | a chroma key, except the keying is
done automatically for us, and we can only
| | 08:57 | use one of these 16 colors.
| | 09:00 | In a bit, that's how you can change the
colors, but for right now we are locked
| | 09:03 | into these. And the benefit is, is
that this kind of a menu is so fast, that
| | 09:11 | there's almost no delay between the
time the Viewer selects it on the remote
| | 09:15 | control, and the screen changes. It
plays back very quickly, and performance is
| | 09:20 | really important when you want to
give back feedback to the Viewer.
| | 09:24 | So much so that virtually every
commercial Hollywood DVD uses this kind of a
| | 09:29 | menuing structure. So their color
selections are a little better, but there's
| | 09:35 | still more to cover. What I want to
talk about next, is actually how to change
| | 09:40 | the colors to get you something that
might be a bit more pleasant to your
| | 09:43 | palette, changing the color palette is next.
| | Collapse this transcript |
| Editing the highlight color palette| 00:01 | Studio Pro limits you to 16 colors as
part of this color picker over here, and
| | 00:05 | that's a restriction of the DVD spec.
But that doesn't mean you have to live
| | 00:09 | with these 16 colors. You can change
them. The easiest way to do that is when
| | 00:13 | you are on the Colors tab to click the
Edit Palette, and it opens up a dialog
| | 00:18 | that allows you to set, say, click on
this color. Say I want to make it a blue,
| | 00:23 | click on whatever color you want. And
when you are get done, when you close the
| | 00:27 | color picker, that color has been updated.
| | 00:29 | Not only has it been updated in any one
of these, it's been updated throughout all
| | 00:33 | four of these. They all have to have
the same Color palette. However, this only
| | 00:38 | changes the Color palette for this
particular menu. If you want to change the
| | 00:42 | Color palette for all of DVD Studio Pro,
you go up to the Preferences menu, DVD
| | 00:47 | Studio Pro Preferences, and under the
preferences you click on the Colors tab,
| | 00:51 | and here you are able to see the
Master palette. So let's just change this to
| | 00:55 | blue, and we'll click on the same blue.
| | 00:59 | Now the Master palette is blue, when I
click okay, this blue exists everywhere.
| | 01:05 | Now, that's just for the sake of
discussion. Let's edit it back to brown. So
| | 01:11 | now my Master palette in preferences
is blue, and the palette here on this
| | 01:16 | particular menu is brown. So what's
going to happen when I create a new menu?
| | 01:22 | Let's go find out.
| | 01:24 | Click on the Graphical tab, click on
Add menu, drag it down to here, and when I
| | 01:30 | click on it, notice that my Color
palette is blue. New menus are always based
| | 01:37 | on a Color palette set in Preferences.
You can also set this, so that by
| | 01:42 | default if you are going to work with
Advanced Overlays, you can set it to
| | 01:46 | automatically look for Grayscale, or
automatically look for Chroma. This is a
| | 01:49 | default type for how the menu get set,
and you can have it automatically
| | 01:53 | default to what state of the button you
wanted to look at, Normal, Selected or
| | 01:58 | Activated.
| | 02:00 | For me, on my system I have got it set
to Chroma, as opposed to Grayscale, and
| | 02:04 | I have not generally change the colors
of my palette, because I'm only working
| | 02:09 | mostly with simple colors. So whenever
you create a New menu, the Color palette
| | 02:13 | is based upon the preference's setting,
but you can change it, by clicking Edit
| | 02:19 | palette, and making it whatever color
you want; remember that you are limited
| | 02:23 | to 16 colors.
| | 02:25 | Also when I just click here, and open
up menu 1, change this to the base that
| | 02:33 | we had. Back when we were creating
buttons on the simple DVD, remember we had
| | 02:40 | Color Sets? Well, Color Sets are only
available to you, when you are in Simple
| | 02:44 | mode. When you are in Simple mode, you
could have one set of buttons that work
| | 02:48 | with color set 1, another set of
buttons on the same menu, they work with color
| | 02:53 | set 2. And the third set of buttons
if you want, on the same menu, that
| | 02:57 | work with color set 3.
| | 02:59 | These varieties of colors are available
only when you are working with simple,
| | 03:03 | that is to say, one-color overlays. As
soon as you start working with multiple
| | 03:08 | color overlays, you will lose to build
it out multiple sets. So not only can
| | 03:13 | you control the colors that you are
picking from those 16 colors by editing
| | 03:17 | them, you can also when you are in
Simple mode, have different colors for
| | 03:21 | different types of buttons to
distinguish between say Navigation buttons and
| | 03:26 | Scene Selection buttons, and some
other kind of button that you may have on
| | 03:29 | your menu.
| | 03:30 | The whole idea is just to make it
possible for the Viewer to understand what
| | 03:35 | they are going to do, when
they push the Enter button.
| | 03:37 | Now as we have seen, there are three
different Color Sets that can be assigned
| | 03:42 | to a button, but how does the button
know, which color set it's supposed to
| | 03:46 | get? Well, let's work with this
highlighted slide show button. We determine
| | 03:50 | what the colors are from the Colors tab.
We determine what style the button is
| | 03:54 | going to have, from the Style tab.
Notice down here we have three different
| | 03:59 | Highlight Sets. If we hit Shift+
Spacebar to blow this up, we will just go to
| | 04:03 | the Selected state for the button.
| | 04:06 | Watch what happen as I assigned it to
different Highlight Sets? The colors
| | 04:10 | change depending upon what
Highlight Set we are using.
| | 04:14 | Now the Highlight Set is assigned by
button, so if I go up to here, this button
| | 04:19 | is assigned to Highlight Set 1. This
button will assign to Highlight Set 3,
| | 04:24 | this button will assign to Highlight
Set 2. So we have got three different
| | 04:28 | buttons, and different colors
associated with each button, based upon, which
| | 04:32 | Highlight Set they are working with.
| | 04:34 | Colors are determined from the Color
tab, styles are assigned from the Style
| | 04:40 | tab, but there's more to buttons than
just their color. There's also the order
| | 04:45 | in, which they are selected. Now if you
are using a mouse, the order of buttons
| | 04:49 | is meaningless, you roll the mouse over
to whatever button you want, you click
| | 04:52 | it. But if you are using a remote
control, all you've got for navigation is,
| | 04:55 | up, down, left and right arrows. How do
you control where up, down , left right
| | 05:00 | goes, when you push the button? That is
determined by tab order, and tab order
| | 05:05 | is next.
| | Collapse this transcript |
| Changing button tab order| 00:00 | In this lesson I want to talk about the
tab order of buttons. Now tab order is
| | 00:05 | only relevant to the Remote Control,
because with the mouse where you can move
| | 00:08 | it all over the screen, the order of
the buttons makes no sense whatsoever, but
| | 00:12 | for the Remote Control, all you have to
work with is the up, down, left, right
| | 00:16 | buttons, and the tab order
can sometimes make a difference.
| | 00:18 | I have opened an exercise file called
07 Advanced menu. So I have three clumps
| | 00:23 | of buttons. Button 1 through 4 on the
left, 5 through 7 on the right, and 8 & 9
| | 00:29 | at the bottom. What I would like to do,
is I would like to have button 1,2,3,4
| | 00:32 | & 8 act as a group, 8 & 9 act as a
group, and 5,6,7 & 9 act as a group. To do
| | 00:42 | that, we are going to play with the tab order.
| | 00:44 | To adjust the tab order for a button,
you select the button and go to the
| | 00:48 | Advanced tab over in the Inspector.
In the Advanced tab under Navigation,
| | 00:53 | notice what happens. It says that when
you click the up button on the Remote
| | 00:57 | Control, button 1 is going to go up
to button 7. But I don't want it go to
| | 01:03 | button 7, I want it to go up, so that
it cycles between buttons 1 through 8.
| | 01:08 | So when I hit the up button, it goes
to button 8. when I hit the down button,
| | 01:13 | it goes to button 2. That's what it's
set for. When I hit it, and when I hit
| | 01:17 | the Left button, I want it to go to
button 5, so I'm going to set that there,
| | 01:22 | and when I hit the Right button, it
goes to button 5. So both as I go Right or
| | 01:27 | Left, it goes to button 5.
| | 01:28 | When I select button 2, when it goes up,
it goes to button 1, when it goes down
| | 01:33 | it goes to button 3. When it goes Left
or Right, it goes to button -- in this
| | 01:38 | case I want it go Left to button 5,
and I want it to go Right to button 5.
| | 01:42 | So in all cases you can program this
to whatever you want, but I want it to
| | 01:46 | always start at the top at this
vertical stack here. 3 goes up to 2, down the
| | 01:52 | 4. Left goes to button 5, and Right
goes to button 5, and we'll do 4, up to
| | 01:58 | button 3, down to button 8, so that
goes exactly where we want. Left and Right
| | 02:03 | go to button 5.
| | 02:05 | Now you could argue that for your title
you wanted to go to a different button,
| | 02:08 | the nice thing is, you have got control.
When it goes up, it goes to button 4,
| | 02:13 | and when I hit the down button then I
want it to go down to button 1, and now
| | 02:17 | when it go to the Left or go to the
Right, it goes to button 9, either way,
| | 02:22 | button 9.
| | 02:22 | So up it goes to 4, down it goes to 1,
left or right goes to 9. So let's a take
| | 02:28 | a look at 9. When button 9 goes up, it
goes up to 7, when it goes down, it goes
| | 02:33 | all the way to button 5. So it goes up
1 and when it goes down, it goes to the
| | 02:37 | top of the stack again. Left it goes
to button 8 and right it goes button 8.
| | 02:43 | Look at 7, up it goes to 6, down it
goes to 9. See Left and Right goes to the
| | 02:50 | top of that next stack, button 1 ,and button 1.
| | 02:54 | Click on button 6, up it goes to 5,
down it goes to 7, in the top of the other
| | 02:59 | stack, goes to button 1. So we just
go through it, one button at a time,
| | 03:03 | getting everything to work exactly the
way that we want, and this is finished
| | 03:08 | adjusting this.
| | 03:09 | Now we can't test this with the mouse,
because the mouse is going to just move
| | 03:14 | wherever it wants to move. So let's
Control click on here, Simulate this menu,
| | 03:19 | and as we Simulate this I'm going to
use not the mouse to move up and down, but
| | 03:22 | the up and down arrows. Notice as I
move down, it goes down through the
| | 03:26 | buttons. As I move up it goes up to
the buttons, exactly as you expect.
| | 03:31 | If I go Left, Left and Right works
exactly as we expect between those two. Now
| | 03:36 | that I shift over to the other side,
it just skips up, or skippy-poos down.
| | 03:40 | Skippy-poo is of course a technical
term used to define the direction of
| | 03:45 | buttons as you move from one spot to
the other. We close this again and Roody
| | 03:50 | Kazoody there it is. It is done. We
have been able to control under our own
| | 03:54 | power where our buttons move.
This is button tab order.
| | Collapse this transcript |
| Creating and modifying button templates| 00:00 | Studio Pro has a wide variety of
templates that you can use, not just for menus
| | 00:05 | and text, but also for buttons, and
this is really helpful when you want to
| | 00:09 | create a specific look to your buttons,
and not have to redo it all the time.
| | 00:12 | Well, clearly one way that you can
do it is simply create the button, and
| | 00:16 | option drag it, that makes copies, but
let's create a template that we can use
| | 00:19 | across projects.
| | 00:21 | To get there I will go up to the
Palette, and click the Styles tab. Now there
| | 00:26 | are lots of different styles that are
available to us, the ones in the Apple
| | 00:29 | section are created by Apple, and
shipped with Studio Pro. We have button
| | 00:34 | templates and text templates and
Dropzone templates. I like to click Button
| | 00:38 | Templates, and there's lots to
choose from, but I don't like some of the
| | 00:43 | templates where the button text just
change in color, I want to find the
| | 00:46 | template where the text doesn't change
color, and we have the ability to add a
| | 00:51 | little bit of a picture in a Dropzone.
| | 00:53 | If we scroll down here for a bit, we
will come to some that have got Mosaics to
| | 00:58 | them, and we will find it here in just
a second, there it is, Mosaic, and we
| | 01:04 | want Mosaic number 3, click on the
button you want, we just wait, it will pop
| | 01:10 | up a little tool tip that shows you
what it is, and we are going to drag that
| | 01:13 | button right in here.
| | 01:16 | This is what a template looks like, and
the first thing I want to do, is add a
| | 01:20 | picture to it. So I have got this
Shark picture that I will just drag in. Now
| | 01:24 | remember Set Asset, means it will take
that image and put the image into the
| | 01:29 | button. The nice thing is, the Asset
travels regardless of what size the button
| | 01:34 | is, Command+C to undo this. We have
got this nice kind of Mosaic look.
| | 01:39 | Well, I want to change the text of
the Word button, a little kind of boring
| | 01:43 | actually, so I double click on it,
go to Format, Font, Show Fonts or type
| | 01:47 | Command+T ,and let's set this from
Helvetica Neue to Futura, Condensed, and
| | 01:55 | let's bump to point size up to 24 point,
make it nice and big and easy to read.
| | 02:01 | Now, we are going to leave the Word
button right there, and highlight it, and
| | 02:06 | change the color, so that we know
exactly what our overlay colors are going to
| | 02:10 | be. In its Normal mode, I want the
overlay dots to be black. In the Selected
| | 02:16 | mode, I would like the overlay dots.
That's Shift+Spacebar and click on our
| | 02:21 | Selected mode. Let's have our overlay
dots be green, green, here we go. And in
| | 02:28 | the Activated state, we will have it
red. We will make a copy of that, option
| | 02:34 | drag, just that we can test it, we
will make some copies option drag, and
| | 02:39 | Simulate. And notice as I roll over the
buttons, the little lights turn green,
| | 02:43 | and I have got my text, okay cool.
Let's save this by control clicking on it,
| | 02:49 | and say, Create Button Style, and when
I do, it pops up a dialog saying give
| | 02:54 | this a name. I'll call it,
Shark button template.
| | 02:59 | If you want it to be available only
in this one project, click the Project
| | 03:03 | button. If you wanted available
across multiple projects, leave the Project
| | 03:07 | button unclicked, and because I'm
including Assets with it in the picture of
| | 03:11 | the Shark, make it Self-contained,
that way in case for some reason in the
| | 03:15 | future, I delete the Shark icon, I
still have access to it here, and click
| | 03:19 | Save, done.
| | 03:20 | Now I will just delete all of our
little shark keys there, and now let's add a
| | 03:25 | New button. Well, it's in Styles, but
it's not an Apple anymore, because I
| | 03:30 | created it. If I had clicked Project on,
it should show up in a Project tab,
| | 03:35 | but because I did not check Project, it
shows up in the Custom tab, and to get
| | 03:40 | it into our menu, click, hold, and
drag, drag it in, and there's our text.
| | 03:45 | Now we want to change the text for
this button, because remember it's a
| | 03:48 | template, and the easiest way to do
that is to double click on it, but you can
| | 03:51 | also go to the Style tab and select
the text right down here, where's says
| | 03:55 | button, and I'm going to call this
Sharks Today, it's like a talk show. No,
| | 04:03 | it's not about Wall Street.
| | 04:05 | But the problem is, it goes
into our Graphic here, and I
| | 04:07 | want to shift that over. So I
go down to the lower icon of the
| | 04:11 | Inspector with the Style tab selected,
and adjust the text offset, and this
| | 04:15 | allows me to slide my text horizontally,
till it centers up nicely, or move it
| | 04:20 | vertically. Put it wherever you want.
If we want it to have a drop shadow, we
| | 04:25 | would click the Shadow button here,
but as you can see as it is black, it
| | 04:28 | doesn't make a whole on difference. I
don't want the text to change color, I
| | 04:32 | just want these two little squares to
change color. So therefore, I leave the
| | 04:35 | text in highlight unchecked, and we are done.
| | 04:41 | We can make another one. We could do it,
Older Sharks, and we can option drag
| | 04:51 | over here, and we will call this one,
Young Sharks. Okay, that size is a little
| | 04:59 | bit big, so let's double click the text,
Command+T, changes to 22 point, and
| | 05:06 | because I didn't click on it, it
changed that text here to Young Sharks. The
| | 05:12 | problem was, when I double clicked on
this, I left the text selected, and when
| | 05:18 | I did Command+T, notice that that's not
selected, it's still Young Sharks down
| | 05:22 | here. I had to click on it to change
the color, and get that pale blue around
| | 05:26 | it. That means when I changed the
point size, it wouldn't change the text. We
| | 05:30 | have learned how we can save that in
the future. Here we go, get those to line
| | 05:36 | up properly. Click, hold, and drag
over it in the X Offset and hootie kazootie!
| | 05:42 | Simulate, and our Sharks are ready to go.
| | 05:47 | Now you still need to link the
buttons up, but you remember that from our
| | 05:50 | simple DVD section, when we were
selecting a button, you go to the target, and
| | 05:55 | you indicate what it's going to
link to, but linking buttons, once you
| | 05:57 | understand that doesn't change, every
button needs to have a target, every
| | 06:01 | button needs to go somewhere.
| | 06:02 | Now what you have got is to be able to
take your button, and take a template,
| | 06:05 | modify it, make it look beautiful,
and reuse it over and over and again.
| | 06:11 | But believe it or not, there are still
more to talk about. We have talked about
| | 06:15 | Simple menus, and the Advanced menus,
but now it's time to put our menus into
| | 06:19 | Motion, and we'll work first with
the LiveType menu. That is next.
| | Collapse this transcript |
| Creating a motion menu in LiveType| 00:01 | Everything we have learned about
creating menus is still the same, even when
| | 00:05 | the menu start moving, it's just that
they are moving, and we can create these
| | 00:10 | menus in a wide variety of applications.
Here for instance, I will illustrate
| | 00:14 | how to use LiveType. Let me show you where
we are going just so you get a sense
| | 00:17 | of what we are going to be creating.
Here's our menu, our background is moving,
| | 00:21 | our text animates, so does the button
for that matter. Then the button lights
| | 00:25 | up, we are able to select whichever
menu we want, and when we click on it, the
| | 00:29 | button changes color.
| | 00:31 | This is a combination of putting a
video as a background into your menu and
| | 00:36 | adding overlays, and it requires a lot
of different applications to pull off,
| | 00:41 | but it's not hard. Let me first give
you the workflow. Let's just close this
| | 00:45 | and switch over to here. Here is the
workflow for a LiveType menu. First, you
| | 00:51 | create the motion menu to match your
video format. In this particular case I'm
| | 00:55 | working with DV.
| | 00:57 | Then from LiveType export a still
frame. This is used for placement.
| | 01:02 | You open the still frame in Photoshop,
and you scale the still frame, because
| | 01:06 | remember video does not use square
pixels, video uses rectangular pixels, and
| | 01:11 | you have to compensate for the
difference. Create an overlay image inside
| | 01:15 | Photoshop and save it as a TIFF or PNG.
Then wire both the motion menu and the
| | 01:21 | overlay into DVD Studio Pro, remember
to set your overlay colors, but something
| | 01:25 | we haven't seen yet, is the menu Loop
Point. We need to set that as well. Then
| | 01:30 | if you have changes, you can roundtrip
back to Photoshop or roundtrip to LiveType.
| | 01:34 | Here is how it works in practice. I
have created a simple piece of animation
| | 01:41 | inside LiveType, and if you need
details on how to work with LiveType, we have
| | 01:45 | got a title on exactly that. If we hit
the Spacebar and look at there, we have
| | 01:49 | got a motion background, we have got
text sliding in, and we have got our
| | 01:53 | buttons zooming up. If we look at the
Timeline, what we have done, is we have
| | 01:56 | created a layer, there's our background,
here's each of the pieces of text that
| | 02:01 | are sliding in, and we can see that we
have add another effect to each one, and
| | 02:05 | there's the zoom up that's
going on for each of those bullets.
| | 02:08 | Okay so far, although it's lot of
tracks, nothing unusual from the point of
| | 02:12 | view of LiveType. I'll just close this
back down again, Ctrl+U, get it out of
| | 02:17 | the way. Here is a really important
note with LiveType. Be sure before you
| | 02:22 | export, you go up to edit, project,
properties, edit project, properties, and
| | 02:26 | when you do, set this pre set, so it
exactly matches whatever video format you
| | 02:31 | are working with. If you are doing NTSC
DV, be sure that it is set to NTSC DV32
| | 02:37 | not, NTSC 43, but NTSC DV32,
that sets your image size.
| | 02:44 | Now it just so happens, that NTSC DV is
exactly the right size, as a NTSC DVD.
| | 02:52 | Many times for motion menus, working
with DV format works great, because you
| | 02:56 | don't have to do any special cropping,
or special treatment. Anyway, here's the
| | 02:59 | secret part, down here, see where it
says, Render Background, by default,
| | 03:04 | Render Background is not checked, and
if it is not checked, what that means is,
| | 03:09 | everything below this
heavy gray line is ignored.
| | 03:14 | So let's take a look here, and let's
load this up into DVD Studio Pro. If I
| | 03:20 | click on import, and click on our assets,
it's the LiveType motion menu, click
| | 03:32 | on import, and to set it as a
background, click on it and drag it. Remember,
| | 03:38 | always hold it, if we want to set it as
a background. Just as you can set Still
| | 03:42 | Images as a background, you can also
set video as a background, but where did
| | 03:47 | that beautiful blue background go?
That's the check box I mentioned, which
| | 03:51 | gives me a chance to illustrate
this process called round tripping.
| | 03:55 | If I Ctrl-click on the clip and I say,
open an editor, this does two things.
| | 04:00 | First, it tells DVD Studio Pro, that
this particular file is going to be
| | 04:05 | updated. Second, it opens the file up
inside LiveType. I can then go to the
| | 04:10 | edit menu, to down to project
properties, and turn on Render Background. When
| | 04:17 | Render Background is turned on,
everything below that heavy gray line is
| | 04:21 | included, to get it back into DVD
Studio Pro, all we have to do is to
| | 04:25 | File > Save, Command+S.
| | 04:27 | Saving tells Studio Pro that the
file has been changed, and it will
| | 04:31 | automatically look for it, say that,
hey, I have updated it all right, and
| | 04:35 | there's our background, and we are all
set to go. Not only can we round trip to
| | 04:40 | LiveType we can round trip Photoshop,
and we can round trip to Motion. This
| | 04:46 | makes making iterative changes really,
really easy, because in every case, you
| | 04:50 | Control-click on it. Say open an editor,
and make changes, and then save it,
| | 04:55 | open an editor, save, that's the round trip.
| | 04:58 | Okay, now that I have shown that you,
let's go back to LiveType, I want to find
| | 05:03 | the spot where all my animation is
complete, and that's right at five seconds.
| | 05:07 | I'm going to put my playhead at the
spot where the animation is complete, and
| | 05:11 | my buttons are in their final state.
Go file, export frame, we'll call this a
| | 05:18 | LiveType Still, and save it to the
desktop. By default it saves it as a TIFF.
| | 05:24 | Okay, now we have created in LiveType
our animation, we have found the spot
| | 05:29 | where our animation is complete,
and we save the still frame.
| | 05:33 | Now we switch over to Photoshop, and we
go, file, open, and there's our Still,
| | 05:40 | pull it in. Okay, so far we are doing
great, except look at what our size is,
| | 05:45 | 720:480. Well yeah, you say that's the
size of video. Yes, it is, except this
| | 05:51 | isn't in video, it's now been
converted to a TIFF. From the point of view of
| | 05:55 | Studio Pro, this is a Still Image that
was created on the computer, and Still
| | 05:59 | Images as we discovered earlier, have
to be 720:534, if you are working with a
| | 06:05 | 4:3 image, and you are
working in a standard def DVD.
| | 06:09 | For NTSC videos, the numbers are
different for other video formats, and we
| | 06:12 | talked about that earlier. So the very
first thing I have to do is I have to
| | 06:16 | resize this graphic. I go to image,
image size, turn off constrain proportions,
| | 06:22 | and change it from 720:480 to 720:534,
because I want to make this slightly
| | 06:28 | bigger. I'll make sure that it is set
for Bicubic smoother, which is better for
| | 06:32 | enlargement, and I click OK, done.
| | 06:35 | All we are using this for, is a place
holder, all we want to do, is to figure
| | 06:40 | out where we have to create our
overlays that will change color. We are not
| | 06:44 | going to actually use this image, we
are using it simply to set places. So
| | 06:49 | let's create a layer here. We now
have a layer, then select the background.
| | 06:53 | With the background selected, let's go
to our Magic Wand tool and click on the
| | 06:57 | white square. That selects the first one.
Hold the Shift key down, click on the
| | 07:01 | next one, hold the Shift
down, click on the next one.
| | 07:05 | Because we want this to change colors,
we are going to create an overlay, so we
| | 07:08 | click on the layer above it, we are
going to fill that with a foreground. Edit,
| | 07:13 | fill, and we are going to use the
foreground color, click OK, and everything
| | 07:18 | goes black. Now let's turn off the
background layer, and deselect everything,
| | 07:25 | and now we have got our overlay set.
Go to file, save as, and we will call
| | 07:31 | this, LiveType overlay. Make sure that
it is set as TIFF. We don't need alpha
| | 07:39 | channels, we don't need layers, we just
save it. LZW compression is fine, click OK.
| | 07:45 | Now we are done with this, close that.
Let's go back to DVD Studio Pro, I have
| | 07:51 | already imported it, it's LiveType
overlay. You can see by double clicking,
| | 07:55 | there's our squares, and there's our
Motion menu, which is in the Viewer right
| | 08:00 | now. So let's go back to our menu, we
click on the menu tab, and click hold,
| | 08:05 | and drag, the LiveType over, but this
time we don't want it to be a background,
| | 08:09 | but if we did, it will be pretty ugly.
| | 08:12 | So instead you click on LiveType, set
that as a background, and now let's grab
| | 08:16 | the LiveType overlay and drag it over,
but this time, set it as an overlay.
| | 08:21 | When we do, now we have set that
LiveType is an overlay, but we can't see it
| | 08:26 | yet, let's click the running man, and
running man plays our animation, there it
| | 08:31 | is, coming in beautifully. I have
already drawn the buttons, and you remember
| | 08:36 | how to do that, you just simply click
hold, and drag, that drag out a button.
| | 08:40 | Let's stop the running man and click here.
| | 08:42 | I have selected a button, I go over to
the colors tab, and when the button is
| | 08:47 | in its normal state, it's totally
transparent, and I have set it to a color of
| | 08:52 | about 50% transparency in green, and
almost a 100% transparency in yellow. So
| | 08:58 | now when we play this, here's the neat
thing. Click on Simulate, oh dear, our
| | 09:06 | button is green before it even zooms up,
we must have missed something, and we
| | 09:12 | did, but it is something we haven't
talked about yet. When we select the menu
| | 09:16 | and go to the general tab, we have
three pictures, because we have a video as
| | 09:21 | the background, this tells us where our
videos starts, at 0 minutes, 0 second,
| | 09:26 | 0 frames on the video, in
other words, the very beginning.
| | 09:30 | It says that our video runs exactly 30
seconds, but at the end of 30 seconds,
| | 09:35 | what are we going to do? Well ,we have
3 choices, at the end of 30 seconds it
| | 09:40 | will do a still frame and not go
anywhere, if that's set to still. It will loop
| | 09:45 | over, and over, and over again, if
you set it to loop, or if you set it
| | 09:50 | timeout, it will execute something,
like at the end of 30 seconds, it will play
| | 09:55 | a movie or run a script.
| | 09:56 | We will be using this when we get to
scripting a little later. For right now,
| | 10:00 | we wanted to repeat over, and over,
and over again. The problem is, if it
| | 10:05 | repeats over, and over, I'm going to
see the animation come on, and on, and on,
| | 10:10 | pretty trashy programming actually. So
here's the neat thing. This is the loop
| | 10:15 | point, the loop point does two things.
First, the video starts at start, and
| | 10:20 | goes to the end, and then comes back to
the loop point. So the start only plays once.
| | 10:27 | And remember I asked us to keep track
of what the time was when that animation
| | 10:31 | was complete, well, it was at 5 seconds.
So at 5 seconds it's going to start at
| | 10:35 | 0, go to 30, then start 5 seconds in,
and go back looping, and looping, and
| | 10:39 | looping, over those two points. The
nice thing is, that way we only see the
| | 10:44 | animation once. The other interesting
thing about the loop point, is it does
| | 10:48 | not turn your buttons on, they aren't
even clickable, until you reach the loop point.
| | 10:53 | So for the first five seconds, your
buttons are inactive. You can use this
| | 10:58 | technique in case you wanted to have
your buttons not be available right away,
| | 11:02 | even if you are not using a motion menu,
say you wanted to have an announcer
| | 11:06 | talking before the buttons becomes
clickable. Set the loop point to any number
| | 11:11 | except 0, and your buttons are inactive,
until the loop point is reached. Let's
| | 11:16 | take a look at it now. Click Simulate.
There's our animation; our buttons have
| | 11:23 | not changed color. Now they change
color, because we just reached the loop point.
| | 11:29 | When you click, they can go to the
different colors that we have programmed,
| | 11:34 | and then when it loops over and over
again, here, let's do this. Close that.
| | 11:38 | Let's set this to 10 seconds, so
we don't have to waste so much time.
| | 11:43 | Ctrl-click, Simulate, 1001, 1002 1003,
1004, 1005. They change color, 7,8, 9,
| | 11:54 | 10 loops. See, of course,
the buttons never go away.
| | 12:04 | Motion menus add real excitement in
whether you create them in LiveType or
| | 12:08 | motion, which we'll demonstrate next,
or Final Cut, or any other application.
| | 12:13 | The key is to able to calculate your
highlights, and the best way to do that is
| | 12:17 | to export a still frame, pull that
into Photoshop, and remember because it's
| | 12:21 | still frame, you are going to have
to stretch it to compensate for the
| | 12:24 | rectangular pixels of video. Once you
have done that, save it as an overlay,
| | 12:28 | bring it in, and now, we set the
overlay by dragging it over, and saying, set
| | 12:33 | overlay. Well, let's take a look at
the exact same idea, except this time we
| | 12:38 | will create it inside motion, and
discover a new feature that just showed up
| | 12:42 | with Motion 3. The ability to set
a menu loop point, Motion is next.
| | Collapse this transcript |
| Creating a motion menu in Motion| 00:00 | Well, let's create a motion menu using
Motion, but before we create it, let me
| | 00:04 | show you where we are headed. I will
click on the Simulate button, and I have
| | 00:08 | created a motion project here. And our
text animates and we have got our check boxes,
| | 00:15 | and when I click, it will change color.
| | 00:19 | That's exactly what we have been
working with before, when we were doing an
| | 00:22 | Overlay menu, and when we were
creating motion menus in LiveType, but Motion
| | 00:26 | gives us some additional capability.
Let me show you what that is. But before
| | 00:30 | we start, just in case you didn't
watch the LiveType section, here is the
| | 00:35 | workflow for creating a motion menu in Motion.
| | 00:38 | First, you want to create the menu
to match the video format of your DVD.
| | 00:42 | Second, as you want to set a menu
loop marker in Motion. We will see why in
| | 00:47 | just a minute. Then export a still
frame from Motion, because you need to set
| | 00:52 | the overlays and that has to be done
inside Photoshop. So you open the still
| | 00:55 | frame in Photoshop and remember to
scale the still frame, because it's no
| | 01:00 | longer video now; it's a still.
| | 01:02 | So you have to scale the still frame
so it compensates for the difference
| | 01:05 | between rectangular and square
pixels. You create the overlay image in
| | 01:09 | Photoshop, and save it as a TIFF or a
PNG. Then wire that into DVD Studio Pro,
| | 01:14 | and set your overlay colors, and if you
need to make changes it's easy to do a
| | 01:18 | roundtrip. Let me show you how it works.
| | 01:22 | Okay, I have taken a Motion template
and made some minor changes to it, and you
| | 01:26 | can find the same Motion template
inside your exercise files, or use your own,
| | 01:31 | and it runs about ten seconds, little
bit longer, and I have got some basic
| | 01:36 | pictures going on with some
interesting treatments, and the text itself
| | 01:40 | animates on screen.
| | 01:41 | Let's just take a look here from the
beginning. Here we go. So you've got the
| | 01:48 | text animating on, and as we grab the
playhead and drag it, the animations are
| | 01:52 | done right around 98, 99 frames.
Because MPEG likes compressing in 15 frame
| | 01:58 | increments. Now let's just set
a marker right here, here we go.
| | 02:04 | Now to set a marker inside Motion, we
press the F6 key, and we Ctrl-click, or
| | 02:11 | type the letter M to add a marker. Now
that we have got the marker there, let's
| | 02:17 | double click it, and we are going to
change it from a standard marker, to a DVD
| | 02:22 | menu Loop marker. What a menu loop does,
is it tells DVD Studio Pro when the
| | 02:27 | animation is done playing, it should
not go back to the beginning. It needs to
| | 02:32 | go to this loop marker that we have set.
Now we don't see the animation playing
| | 02:36 | more than once.
| | 02:38 | But unlike LiveType, which doesn't
give us ability for this kind of marker,
| | 02:42 | this menu marker does exist inside
Motion 3, so we will take advantage of it.
| | 02:46 | So now that we have got
that done, we'll do File, Save.
| | 02:51 | Now let's hit F6 again, to hide that
bottom. Keeping our playhead right here,
| | 02:56 | because everything is done. We will do
File > Export, and we want to export the
| | 03:04 | Current Frame, and we will call this
Motion Still, we will save it to the
| | 03:11 | Desktop. All we need, is we need it
saved as a TIFF, and I don't need to have
| | 03:17 | it do anything. So After Export we'll
set it to Do Nothing, and we'll click
| | 03:21 | Export, done.
| | 03:24 | Now let's hide Motion, and let's go
over to Photoshop, and we will open up
| | 03:30 | inside Photoshop that Motion Still TIFF,
and open this up. Now let's zoom this
| | 03:40 | in just a bit, double click on our
Zoom tool, so we can see what's going on.
| | 03:45 | So this is the still that shows the
final position of our animation of where a
| | 03:50 | text is going to be. So we need to
create something that's going to change
| | 03:54 | color or overlay. To do that, let's
create a new layer. We will click the New
| | 03:58 | Layer button down here inside
Photoshop, and we will relabel this Overlay.
| | 04:05 | Don't have to, but at least
helps us keep track of it.
| | 04:08 | Now let's take our Text tool, click
there, and click anywhere in here, and I'm
| | 04:13 | going to go up to the American Flag
Symbol. Your flag will probably be
| | 04:16 | different, but what I care about, is
the Show Character Palette, and this is
| | 04:21 | all the different bizarre characters
that are inside a Macintosh type phase. We
| | 04:26 | have got all kinds of things to work
with, but I'm going to start by clicking
| | 04:30 | on the check box.
| | 04:31 | We have got two, one inside Arial, one
inside Zapf Dingbats, and to apply it, I
| | 04:37 | will just double click it. As long as
I have the Text tool selected, it will
| | 04:41 | automatically insert the character
that I double click on, at the position of
| | 04:45 | the Text tool.
| | 04:47 | So let's click on our Text Box here. I
will just touch, and we will set this up
| | 04:53 | to Zapf Dingbats, starts with the Z, oh,
oh slower right there, Zapf Dingbats,
| | 05:01 | and we are going to change the color to
-- we should leave it black, because we
| | 05:05 | need that. So then we will hit the
Enter key to make that permanently recorded.
| | 05:11 | There we go. There's our check box.
Put it down, so we can see what we are
| | 05:14 | working within the light.
| | 05:16 | Now that's a little bit on the big side.
So we will set it to around 32 points.
| | 05:23 | That's subtle enough to work, and we
will move that up so it's right next to
| | 05:27 | the slideshow, doesn't have to be big.
You will notice it instantly. Hold the
| | 05:32 | Option key down, and drag this
straight up, so we can see what's going on.
| | 05:37 | Now let's release zoom-in, and set
this correct. So I click on the Zoom tool,
| | 05:42 | and just drag a rectangle around the
beginning of my characters here. Pull down
| | 05:47 | a guide. Put it at the bottom of the
text, pull down a guide, and put it at the
| | 05:51 | bottom of the text here. Click on one
of the overlays, and using the up and
| | 05:56 | down arrow keys, we will set it what we
needed to be. Here we go. Both of them are done.
| | 06:02 | Now I need to have both of these
overlays on the same layer, and notice that I
| | 06:07 | have got them on two different layers.
We will just -- here we go. Turn off the
| | 06:11 | background. Now, we can Merge Visible,
and we have all of our overlays on a
| | 06:16 | single layer. See, they are
there or they are not there?
| | 06:19 | Now in this particular case, I don't
care about the background. We use the
| | 06:23 | background only for positioning. All I
really need, are those two check boxes.
| | 06:28 | So with those check boxes set, we will
go File, Save As, and we are going to
| | 06:34 | save this as, Motion overlay. We will
save it as a TIFF. We don't need Layers,
| | 06:42 | we don't need Alpha Channels. We just
need it saved. Save it to the Desktop.
| | 06:46 | The LZW compression is fine.
Click OK, and we are done.
| | 06:52 | Now switch back over to DVD Studio Pro,
it wants me the menu changed. That's
| | 06:57 | okay. Now I have already imported this.
There's our overlay, there's our check
| | 07:03 | boxes, so how do we add it to the menu?
Well, we'll click on the menu tab,
| | 07:08 | we'll set this to menu 1, which is
where we are. We grab our Motion Overlay.
| | 07:13 | Click hold and drag. Wait for the
pop-up, but we don't want it to be a
| | 07:16 | background. See, pretty ugly, instead
we want to drag it over and say, set this
| | 07:23 | to be an overlay.
| | 07:24 | I have already drawn the button range,
so when I preview this, we've got our
| | 07:30 | Motion menu. There comes our text.
Select the buttons, there's our little check
| | 07:36 | box. You don't necessarily see until
the button is selected. Well, let's change
| | 07:40 | this, so what we have got is, it goes
white at the beginning. And you know how
| | 07:44 | to change those colors; we have been
working on that for a while. And it goes
| | 07:47 | red when it's activated.
| | 07:49 | Let's do Shift+Spacebar to pull
this up full screen, and we click on a
| | 07:53 | different button, we check the
different button states. They look good, both
| | 07:57 | white and red. Let's just Simulate
this. Turn off the Motion man. Simulate.
| | 08:08 | Hmm-hmm-hmm. Animation and there it is.
| | 08:14 | And look at that. It set the loop point for us
| | 08:16 | automatically based upon the
marker that was inside Motion.
| | 08:21 | Now just one other thing. I mentioned
this for LiveType, but we will mention it
| | 08:24 | here too. When the menu is done, if you
set this to still, then you will get a
| | 08:30 | still frame at the end of your menu. If
you set this to loop, it will loop over
| | 08:34 | and over, but it loops back to the loop
point, and if you set it to timeout at
| | 08:39 | the end of the menu, it will do
whatever action you have set. You could have it
| | 08:42 | jump to a track or jump to a menu, we
generally have it jumped to a script.
| | 08:47 | If you need to change the background
that you have got assigned, go up to the
| | 08:50 | Background tab and change it to
whatever you want it to be. If you need to
| | 08:54 | change the overlay file ,you can
change it. Now both of these need to be
| | 08:58 | imported into DVD Studio Pro.
| | 09:00 | This doesn't read from your Mac, it
reads from that, which is imported into DVD
| | 09:04 | Studio Pro, but the process of
creating a Motion menu whether it's in Motion,
| | 09:09 | which gives you the advantage of the
menu loop point, or LiveType, or you are
| | 09:12 | simply creating video inside Final Cut,
and then they are imported. In all
| | 09:16 | cases, you create the motion outside of
DVD Studio Pro. Then create an overlay
| | 09:21 | template, use that in Photoshop, that
works great, and now you know how to make
| | 09:25 | the whole thing work.
| | 09:27 | One other thing, see these yellow dots
here. I keep forgetting to talk about
| | 09:30 | those. So I will just mention it real
quickly. A green dot means that it's all
| | 09:33 | set to be compiled into the final DVD.
The yellow means that it still needs to
| | 09:38 | be compressed. So we have got a couple
of files here, which are made a video,
| | 09:42 | which have not yet been compressed.
This will either be a yellow dot if the
| | 09:48 | Preference Setting is set to Encode
on build, which means it's going to
| | 09:51 | compress it into MPEG2, when you build
that video TS folder, or if you wanted
| | 09:57 | to do compressing in the background,
this will change instantly to a
| | 10:01 | thermometer, and it shows you how
it's compressing those pieces of video.
| | 10:05 | So all those lights are simply mitigate
the status of your video, whether it's
| | 10:09 | ready to build to a DVD, or still has
to be compressed, and thinking of other
| | 10:13 | stuff to do. We have got one more menu
to show you. It's like the menus just
| | 10:18 | never stop. This one however is not a
motion menu, but it is unique. It's a
| | 10:24 | layered menu from Photoshop, and that's next.
| | Collapse this transcript |
| Creating a layered menu in Photoshop| 00:00 | A Photoshop layered menu is a very
intriguing menu inside DVD Studio Pro.
| | 00:06 | It's only downside is that it takes a long
time for the laser to reposition in a
| | 00:11 | set top box or in a computer. If you
are running this DVD as a kiosk with a
| | 00:16 | hard disk, layered menus can be really
exiting, but the main reason Hollywood
| | 00:21 | has gone with the overlay menus
is they are just faster and they don't
| | 00:24 | take as much space. Let
me show you how it works.
| | 00:26 | If I click on the Simulator, notice that
I have got sea creatures and I want you to
| | 00:32 | click on the name of a sea creature.
As soon as you do, the picture changes
| | 00:37 | based upon where your mouse rolls over.
So you could have a bunch of different
| | 00:42 | animals listed here and this becomes
much more interactive in terms of showing
| | 00:46 | what the animal is. When we click on
it to learn more about the Squid, watch
| | 00:50 | next to the word Squid, a yellow check
mark appears or next to Barracuda or the
| | 00:55 | Moray Eel.
| | 00:56 | Now what's happening is I'm rolling
over one portion of the picture and
| | 01:01 | something else is happening
somewhere else in the picture. This is a very
| | 01:05 | carefully constructed Photoshop document,
and let me show you how it works.
| | 01:11 | Inside Photoshop, I create a layer.
First I have got three background layers.
| | 01:16 | I have got my background image, my
background text, and that little box, which
| | 01:21 | just gives me something pretty to
look at when it's in its normal state.
| | 01:26 | Then I have got an empty layer just to
make it easier to read what I have got.
| | 01:29 | Now I have got the active picture for
the Squid. Now the Squid, by itself, is
| | 01:35 | just that one image. This is all that's
being superimposed. When I click on the
| | 01:40 | selected Squid, it's the exact same
image plus the checkbox. Now what's
| | 01:45 | happening is there's a check box;
there's the image, the layer has to complete.
| | 01:49 | I can't combine between layers. So we
go up to Barracuda; there's the Barracuda
| | 01:56 | in the box.
| | 01:57 | Again I have got all the artwork that
is being inserted that is on its own
| | 02:01 | layer. When I do Barracuda there's
that with the check box, in other words, I
| | 02:06 | can't take from column A and column
B and put them together. This not a
| | 02:09 | creative tool, let's say, wiring tool
and same thing with the Eel. There's the
| | 02:13 | picture of the Eel, and there's the
picture of the Eel with the checkbox.
| | 02:18 | Now it takes a while to build this
inside Photoshop and you have to careful
| | 02:22 | that everything lines up properly. So
it's not something you can do at the
| | 02:25 | drop of a hat, but it's the only thing that
exists inside DVD Studio Pro that allows us to
| | 02:31 | have an image appear somewhere else
than where we click. Let's go back and take
| | 02:36 | a look at Studio Pro and
see how this is hooked up.
| | 02:39 | When I click on the menu and I click on
General and I'm going to make Layer tab
| | 02:43 | being not set, okay. I'm going leave
the buttons; you don't have to crop
| | 02:46 | buttons, there's no surprise here.
Here's the first big step and that is that
| | 02:51 | you can't use the regular menu, you
have to have a layered menu. So I have
| | 02:57 | created a new menu, I have clicked
on the layered menu that tells us it's
| | 03:01 | getting a layered Photoshop document.
| | 03:04 | I then renamed it layered menu and now
I grab my PST, which I have imported and
| | 03:10 | I say, set it to background. Now
here we have got two choices, all layers
| | 03:13 | visible or no layers visible. Because
there are so many layers we're not going
| | 03:18 | to make anything visible. So we set the
background, no layers visible. Now the
| | 03:24 | picture is there rest everything is dark.
| | 03:27 | First we need to tell that where's the
background. We go to the Layered menu,
| | 03:31 | the General tab and we turn on just
those parts of the image that become the
| | 03:36 | background, just those three, and
everything else changes based upon the state
| | 03:40 | of the button. Now select that top
button. Notice the Inspector has changed,
| | 03:47 | the second tab is now a Layers tab,
we have never seen this before.
| | 03:51 | When Squid is normal, we want
everything to be just as it is. This is the
| | 03:55 | normal. What do you want to have lit
when Squid is normal, in this case,
| | 03:59 | nothing. When Squid becomes selected
what do we want to active? We want to have
| | 04:04 | that layer active, right here. When
Squid becomes activated we wanted it be
| | 04:12 | right there. So let's look at this,
Shift+Spacebar, okay that's Squid by
| | 04:20 | itself, just the background has lit
up. That's the next state; that's the
| | 04:25 | middle column, we want to Squid
picture turned on, and this the activated
| | 04:30 | state, we want to see that
picture and the checkbox.
| | 04:35 | Now we do the same thing for Barracuda.
Barracuda when it's in its middle state
| | 04:40 | and when it's in its advanced state;
and Moray Eel when it's in its middle
| | 04:44 | state and the advanced state. The power
of a Photoshop layered graphic is that
| | 04:51 | we can put any image anywhere on the
screen. Notice here I don't even have to
| | 04:55 | have the highlight inside the
selected area of the button. That picture is
| | 04:59 | going to appear whether it's
inside of the selected area or not.
| | 05:02 | This makes it really wonderful from
the design point of view, just slow. If
| | 05:07 | slow is not important; this is killer.
Here's one other thing, when we preview
| | 05:13 | this, notice that the Barracuda lights
up first, but it's not the first button.
| | 05:20 | Why was Barracuda lit first? And the
answer is, because on the menu, I went to
| | 05:26 | the menu tab and under the menu tab we
were able to specify what our default
| | 05:31 | button is. The default button is the
button that you want to have active when
| | 05:36 | you first go to the menu, and I
wanted the button number Two, the Barracuda
| | 05:39 | button to be active.
| | 05:41 | I can even program the return buttons,
so if I want the return button to change
| | 05:45 | on a menu by menu basis, then I can
change it based upon the programming right
| | 05:49 | here. I can set it to go
wherever I want it to go.
| | 05:53 | Photoshop menus, wrap up our whole
discussion of the advanced menus and buttons
| | 05:57 | that we have been spending a lot of
time looking at, because menus are at the
| | 06:01 | heart of what DVD Studio Pro creates
and that's how it works to create the
| | 06:05 | interactivity that you need for your DVD,
but there's still more to learn. The
| | 06:09 | next thing that I wan to talk about
is how we create our own chapter index,
| | 06:13 | talk about that next.
| | Collapse this transcript |
|
|
9. Creating a Chapter Index TemplateCreating a chapter index from scratch| 00:00 | Earlier in this training, I showed
you how to take an existing template and
| | 00:04 | modify it to create a chapter index.
Here, I would like to show how you to create a
| | 00:07 | chapter index out of whole cloth. To
start, we will create the index itself.
| | 00:11 | We create add menu by clicking on the
button that says Add Menu and double click
| | 00:16 | on the menu, and open it up inside the
Menu Editor. I have turned settings to
| | 00:20 | display Title Safe, to make sure
that is on. Otherwise my titles could be
| | 00:24 | in the inaccurate area, and I have
got the ability to change other view
| | 00:29 | settings here, but most of the time
the only thing I'm toggling on and off are
| | 00:32 | one of these two.
| | 00:34 | In Motion I created a background,
exported it as a DV video. It's going to be
| | 00:38 | compressed later, and that you have
to work within your exercise files.
| | 00:42 | Whenever we want to add text, we double
click. Double clicking opens up a text box.
| | 00:47 | 'Add Title Here.' OK, except I want
to format the title, so double click it
| | 00:54 | to select it. Go to Format > Font > Show
Fonts, Command+T gets us there. Futura is
| | 00:59 | the face we have been using a lot.
We'll use Futura, and we will kick it up a
| | 01:02 | bit, and that's too much of a bit. Let's
click it to about 32. There we go, and we
| | 01:10 | can use the arrow keys to position that
exactly where we want. So it's right up
| | 01:14 | against title safe.
| | 01:16 | Remember our goal is not to create the
title; we are creating a template. Now,
| | 01:20 | we earlier created a button template,
if you recall. We go up to Styles, go
| | 01:25 | to Buttons, go to Custom, we created
the shark template. Well, I want to change
| | 01:29 | the asset, but the button template is
fine, so let's just put that right there,
| | 01:33 | drag it down and over, and then with
that button selected we will go over to
| | 01:38 | the color section, and we don't want
to go yellow and whiten we wanted to go
| | 01:44 | green and we will have it about
there, and we will have it go red.
| | 01:50 | So that becomes our buttons, remember
Shift+ Spacebar to open that up and we
| | 01:54 | can check the buttons states, and see
how those little lights change color
| | 01:57 | there. Notice, this is called button one,
option drag over to here, and use the
| | 02:02 | yellow grid lines, to line stuff up
properly. Button two, option drag down to
| | 02:08 | here, and button three, and option
drag over to there. If you need to change
| | 02:13 | the name of the button, just click on
it, and as usually you can change the
| | 02:16 | name in the Inspector. We are not
setting targets, remember, we are building a
| | 02:19 | template.
| | 02:20 | So let's deselect that button, and
let's go back up to Apple styles, and let's
| | 02:26 | create a previous button. So we'll say,
create button, and it makes it infinite
| | 02:31 | decimally small, so you click on,
whatever looks like you can select, and just
| | 02:35 | drag this bigger, until we see the
arrow appear. You will put that one there,
| | 02:42 | drag this one over, click on wherever
you can get your little mouse on here and
| | 02:47 | drag it, until it's big enough, so you
can see what's going on, and align the
| | 02:52 | two buttons, and drag until they look
about the same size. I'm sure there's a
| | 02:58 | scientific way to do it, but
these buttons will work fine here.
| | 03:01 | Now I want to have these have a
different style, so let's go to colors. I do
| | 03:06 | not want them to go green and red, so
let's have it go yellow and magenta for
| | 03:12 | this one. and now let's go find another
button, it's down near the bottom, and
| | 03:17 | it's a square. Here it is right there,
click hold and drag, change that button,
| | 03:25 | just drag him out of the way, here it is.
Creates up a button, double click the
| | 03:32 | text, Command+T, Futura, Condensed,
and we will make it 22 point, close that,
| | 03:41 | and we will set that to be main menu.
| | 03:44 | Now these have got a very specific name,
we have got to be real careful of as
| | 03:48 | we do this, because otherwise it
won't work. The buttons need to be named,
| | 03:54 | button5 is named _PREV_. That takes us
to the previous menu. This is _NEXT_,
| | 04:06 | and this one is _UP_, those were
programmed specifically, so it knows how to
| | 04:14 | link to the menus on the same level,
previous and next, and the main menu up,
| | 04:19 | make that dot just a little bit smaller,
it's little bit too much on my face.
| | 04:22 | Okay good, now, we have now built our
template. We could have put more buttons
| | 04:26 | on, we could have made button smaller,
we could use totally different buttons,
| | 04:30 | but this will work for what we are
doing right now. Now, let's Control click on
| | 04:33 | it, and say, create template, and we
are going to call this, let's say, we are
| | 04:38 | going to call it, colors template. If
I wanted to store it in the project, I
| | 04:44 | put it in the project.
| | 04:46 | If I wanted it stored self contained, I
click self contained. In this case I do
| | 04:50 | just want it for the project, and I
definitely do want self contained, so we
| | 04:54 | will click Save. Now, now that we
have saved that, we can delete the menu,
| | 05:00 | because we don't need it any more.
Let's go to our main menu, and let's create
| | 05:03 | a button, I'm just going to drag one
out here, and we'll keep it simple, click
| | 05:07 | on the Styles tab, and call this a
chapter index, and we'll set it to the
| | 05:13 | center, because I want to show how
it's linked, not how it's designed.
| | 05:18 | Double click, Command+T, Futura,
Condensed, close it off, okay good. So that's
| | 05:26 | our Chapter Index button, could we
create a different button? Sure. Could we
| | 05:29 | use a template? Absolutely. Could we
design the heck out of this? Yes indeed,
| | 05:33 | we have just spent the last lifetime
looking at that. We have designed this
| | 05:37 | template. Now I'll show how to apply
it. I have created my movie down here,
| | 05:41 | notice I have got five buttons, and we
will call chapter one, we will call that
| | 05:45 | the Intro. To rename a marker, you
will see that in the next section, but to
| | 05:49 | rename it, just select it and
change its name inside the Inspector.
| | 05:53 | Now grab the track from the outline tab,
and drag the track into the button.
| | 05:59 | Now do we want to set the asset, that
means to simply put the first frame of
| | 06:04 | the video inside the button, that
would be no. Do we want to connect it to a
| | 06:08 | track? Not yet. Do we want to set the
asset? Put the video inside the button,
| | 06:13 | no, but we do want to create a
chapter index, so when I let go, watch what
| | 06:17 | happens over in the outline tab, and
poof, alright, alright, it's going to show
| | 06:21 | up there in just a second, but first
look in the center. Where's our template?
| | 06:25 | It's under custom? No, it's under
projects. We check the project button. I want
| | 06:28 | to use the color template, so I go
to project, select the color project
| | 06:32 | template, click OK. Added two menus
over here. And just for the sheer joy of
| | 06:37 | it, let's click on Simulate. Let's
click on the chapter index and look at what
| | 06:42 | has happened. We have got our buttons
to go to the next one, our buttons to go back.
| | 06:48 | Our button to go to the top, we can change
the design of all this stuff. Click on
| | 06:52 | chapter index. I forgot to add colors
to it, which is why it doesn't change,
| | 06:55 | but notice it has put the video in
here automatically and look at our green,
| | 06:59 | and our red works perfectly. Click on
People and we are looking at people. Go
| | 07:04 | back to menu, just close the X because it's
not all programmed yet. But if we look at what's
| | 07:09 | going on in the view, it took the
background that we created, it took the
| | 07:13 | buttons that we created, it
automatically added the name of the marker into
| | 07:17 | each button, it automatically added the
video into each button, and all I have
| | 07:22 | to do now is go back and
just sort of clean it up.
| | 07:24 | But look at how much time that could
save. I create one template and I reuse
| | 07:29 | it over and over again, without having
to do each of these individual elements.
| | 07:34 | Now clearly you can design this
totally differently. This is not an exercise
| | 07:39 | on how to do great design. It's an
exercise on how to save time, and chapter
| | 07:43 | indexes and the creation of template, it all
works the same. Design it, save it as a template.
| | 07:48 | Custom if you want it to live
between projects, and Project if you
| | 07:52 | just wanted to be in that specific project.
| | 07:54 | What I would like to do now is to
showcase the importance of a very small thing
| | 08:00 | called a marker, and markers are next.
| | Collapse this transcript |
|
|
10. Working with MarkersUsing markers| 00:01 | In this chapter we will show you how to
create markers and teach you some extra
| | 00:05 | things to know about markers. I will
show you how to import markers, and
| | 00:09 | explain the difference between zero-
based and asset-based timecode and finally
| | 00:14 | I will illustrate how to create a
still frame from a marker. Markers are
| | 00:18 | incredibly useful, and here's a few
more things you can keep in mind about them.
| | 00:21 | You can have up to 255 markers
per track, but only 99 of those markers
| | 00:27 | can be chapter markers.
| | 00:29 | You must have at least 1.0 second
between markers, except for button highlight
| | 00:34 | markers, which require 1.5 seconds. You
can assign end-jumps to markers, which
| | 00:40 | is generally not the case, because
it really messes with playback of your
| | 00:43 | video, but if you do assigned end-
jumps to markers, then you cannot have more
| | 00:47 | then a total of a 106 markers plus end
jumps in a track. Cell/generic markers
| | 00:54 | are most often used to end button
highlights. There's a lot we can do with
| | 00:59 | markers. We can create them manually,
but we can also import them, and that's
| | 01:05 | what I want to show you next.
| | 01:07 | Creating markers is easy. I have
created a project called 13 Markers, and we
| | 01:12 | are working with an HD project, just
because we can. And I have a clip down
| | 01:18 | here, which runs 5 minutes. Now, if I
put my playhead here, and type the letter
| | 01:23 | M, it automatically creates a marker,
and it starts the name of the marker with
| | 01:27 | the word chapter. We can grab this
marker, and we can drag it wherever we
| | 01:31 | wanted to go. Keep in mind that once
our video is been compressed, it only can
| | 01:35 | set at plus or minus 15 frames for NTSC,
plus or minus 12 frames for stuff that
| | 01:42 | we have shot at 24 frames, and plus or
minus 7 frames for a material that we
| | 01:46 | will shot at PAL's speeds, and that's
simply because of the way that MPEG2 is
| | 01:51 | compressed. Markers cannot be frame
accurate, once the video is been compressed.
| | 01:55 | So we can set marker at the position
of the playhead, by typing the letter M,
| | 01:59 | or we just simply click up here in the
marker dialog, and it will automatically
| | 02:03 | add a marker. We can click hold and
drag the marker wherever we wanted to go
| | 02:07 | and whenever we have a marker selected,
it shows up in the Inspector. By now,
| | 02:12 | the Inspector should be old hat, in
terms of making changes. Now when we go to
| | 02:16 | the inspector, notice that we have got
several choices under type, and let's
| | 02:20 | just delete this chapter marker.
Notice that it is the color purple, and that
| | 02:25 | means that it is a chapter marker.
| | 02:27 | Notice also that there's always a
chapter marker at the beginning of a track,
| | 02:30 | that has to be there, the DVD spec
requires it, doesn't have to be called
| | 02:35 | chapter one, but you can't delete it.
In our particular case, let's work with
| | 02:39 | this chapter two marker. How did I
get its name? It got its name from
| | 02:42 | preferences. If we go up to DVD Studio
Pro, go down to Preferences, and we find
| | 02:47 | track, notice that under track we have
a marker prefix. Every marker that we
| | 02:53 | create will start with the word
chapter. Then it will make sure that every
| | 02:57 | marker has a unique name, specially
for using them for navigation, you can't
| | 03:01 | have two markers that are called the
same thing, because then you would never
| | 03:04 | find the second one.
| | 03:06 | You can either generate marker names
automatically, which is what it is doing,
| | 03:09 | chapter one, chapter two, chapter
three, or you can generate a marker based
| | 03:13 | upon timecode. Now that's when it
generates the marker name, as you will see
| | 03:17 | in a minute, we can change the marker
name to anything we want. The marker can
| | 03:21 | be snapped to the previous I-frame,
or previous group of pictures, means it
| | 03:25 | always moves the marker earlier, or
it always moves the marker later, or it
| | 03:29 | always moves marker to whatever I-
frame, the beginning of a group of
| | 03:33 | pictures, as closest.
| | 03:34 | In our particular case I like generating
marker names automatically and I like
| | 03:39 | jumping to the nearest group of
pictures, the nearest I-frame. Once we click
| | 03:43 | OK, I have got the marker selected. If
we go the Inspector, we can change the
| | 03:47 | name of the marker, My Marker. We can
even set an end jump for the markers that
| | 03:54 | when the playhead gets to that marker,
it can jump somewhere. This is not
| | 03:59 | generally a good idea, because once
you get to that marker, how you are going
| | 04:02 | the watch the rest of your video, but
it's nice to know that markers can have
| | 04:05 | end jumps, should you desire.
| | 04:08 | The zero one asset based timecode, we
are going to talk about a little later,
| | 04:11 | when we talk about importing markers.
So I'm going to skip that part for right
| | 04:15 | now, and concentrate instead on these
three buttons. By default, every marker
| | 04:20 | is a chapter marker, which means, we
can use it for navigation, we can jump to
| | 04:23 | a chapter marker. If I uncheck the
chapter marker, notice the color of the
| | 04:28 | marker has gone green. This is a
generic marker, and you will see how we use
| | 04:33 | that in stories, which will be the next chapter.
| | 04:36 | We can also make what's called the
button highlight. Notice the button has gone
| | 04:39 | orange. A button highlight is a special
kind of button, which allows us to put
| | 04:44 | buttons over video, and we will talk
about that, when we talk about sub titles.
| | 04:50 | We could also make it a dual layer
break point button. A dual layer break point
| | 04:54 | is, there's only on of those per DVD,
and it switches your dual layer DVD, from
| | 04:59 | layer one to layer 2. We talked about
dual layer points, when we discussed
| | 05:04 | setting up your dual layer DVD in the
chapter called DVD set up, when we went
| | 05:08 | through the Inspector.
| | 05:10 | So button highlight markers will be
discussed in sub titles. So dual layer
| | 05:14 | break point is discussed talking about
setting up your DVD. A generic button
| | 05:18 | will be discussed next with stories.
For the rest of this chapter, we are going
| | 05:23 | to focus on chapter markers. Thinking
of Chapter Markers, there are a few more
| | 05:27 | things we can talk about, and
we'll save that for the next movie.
| | Collapse this transcript |
| Importing a marker list| 00:01 | In the exercise files for this title,
there's a folder called Media, and inside
| | 00:05 | that is Documents, and inside that you
will find a text data document called,
| | 00:09 | Aspen markers. This is an example of a
marker list, with the timecode on the
| | 00:15 | left followed by a tab, followed by
the name of the marker on the right.
| | 00:19 | This is especially useful, this marker
list, when you are working with video
| | 00:23 | that you have don't the ability to
compress, and you don't know exactly where
| | 00:27 | the markers are supposed to go? Well,
the people that created the video can
| | 00:30 | supply you a text document, which is
tabbed, limited text, which list the time
| | 00:35 | code of where they want the marker to go.
Now keep in mind that once the video
| | 00:39 | has been compressed, your markers are
going to go plus or minus a little bit
| | 00:41 | here, based upon the
compression that you are using.
| | 00:44 | But nonetheless we put these together
using just a Straight Text Editor, and
| | 00:48 | it's stored in the documents folder, so
you can play with this yourself. Okay,
| | 00:52 | let's go back to DVD Studio Pro, here's
our Aspens movie. We have already seen
| | 00:56 | that we can set markers manually,
now let's see how we import them.
| | 01:00 | When we Control-click up in this marker,
gray marker bar here, we see that we
| | 01:04 | have an Import Marker List, and when
we import the marker list, it says,
| | 01:08 | where's it? Well, it's inside the
documents folder, I will click on Aspen
| | 01:11 | markers, and I click on Import. And
hootie kazootie, it says, "Look at that, I
| | 01:16 | have imported six markers."
| | 01:18 | So when I click OK, I look to see where
my markers are, but they are not there.
| | 01:23 | Well, this points out a really common
problem that we have got when people put
| | 01:27 | marker list together, and the time
code of the Asset and DVD Studio Pro does
| | 01:32 | not match the timecode of the Timeline.
Here is the deal, when Aspens.m2v was
| | 01:39 | created, it came out of Final Cut, and
Final Cut by default, sets all your time
| | 01:43 | code to one hour and zero seconds and
zero minutes of your frames, that's the
| | 01:48 | way it set inside Final Cut.
| | 01:51 | But inside DVD Studio Pro, it's set to
zero hours. If we look all the way to
| | 01:57 | the right, way over here, look at this,
here they are. There's our markers,
| | 02:03 | starting one hour in. The markers
were very nicely brought in, but set to a
| | 02:08 | timecode, which doesn't really match
the timecode that we have for our Asset.
| | 02:12 | So we have to compensate for the
differences between the timecode the DVD
| | 02:16 | Studio Pro uses, starting at hour zero,
and the timecode that most of our
| | 02:21 | video uses starting at hour one.
| | 02:23 | But first, let's delete these markers.
So we will go to Edit, Delete All
| | 02:28 | markers, pooh, gone. Next, let's get
ourselves back to the beginning here, and
| | 02:34 | put our playhead at the beginning. If
we Control click on here, notice that we
| | 02:37 | have two choices. We have zero based
timecode or Asset based timecode.
| | 02:43 | Because we won't be able to keep
track what the timecode is based upon the
| | 02:46 | video that's in it, because that's
going to reference all of our externally
| | 02:49 | connected marker lists, and ultimately
sub-title this. I'm going to set this to
| | 02:53 | Asset based timecode. So that keeps
track of what the timecode is, based on
| | 02:57 | the Asset. But now we have to
tell DVD Studio Pro what that is.
| | 03:01 | To do that, just select the track, and
notice that in the Inspector the track
| | 03:05 | lights up, and notice that it says,
under the other tab we have the ability to
| | 03:08 | dial in the track offset. This is where
we dial in the number of the timecode
| | 03:13 | that our Assets start at. Our track
offset now starts at one hour, and notice
| | 03:18 | that all of our timecode
has shifted to one hour.
| | 03:20 | This means that when I import these
markers, because the timecode matches in
| | 03:26 | the marker list, with the timecode
that's in the Asset, our markers are nicely
| | 03:30 | laid out here in our video just
exactly as you expect. So if you're ever
| | 03:34 | creating marker list, and the markers
don't come in where you are expecting,
| | 03:38 | keep it mind, DVD Studio Pro always
sets the hour to zero, and most video
| | 03:43 | Editors set the hour to one, and
you're going to need to compensate for the
| | 03:46 | difference, either by changing the
timecode in your marker list, if it's
| | 03:50 | short, or by dialing in an Asset based
timecode off set to the track, which is
| | 03:55 | what we just did. Once you have get
those markers in, now the next step is for
| | 04:00 | us to do some interesting things with
them, and one of the interesting things
| | 04:03 | that we can do, is to create still
frames, and that I want to show you next.
| | Collapse this transcript |
| Creating a still frame using a marker| 00:00 | Here is a new trick to keep in mind
when you want to create a still frame from
| | 00:04 | video and you don't have access to the
source. For instance, here in my Aspen
| | 00:08 | video, I like this picture and I
want to use it on the box to describe how
| | 00:12 | beautiful this sequence is. So how
do I get still frame out? Because
| | 00:17 | I don't have access to the source
medium, and have to do it from my
| | 00:20 | compressed video.
| | 00:21 | Well, still frames can be created at
the position of a marker. So I have put
| | 00:26 | playhead at some arbitrary point in
the Timeline, typed the letter M to set a
| | 00:30 | marker and with that marker selected,
I go over to the Inspector. Notice that
| | 00:35 | not only do I have a still frame here,
I have got a slider, and a Save Still
| | 00:39 | button. What the slider allows me to do
is to move the position of the marker.
| | 00:44 | So I can find exactly the shot that I
want to use. In this particular case, I
| | 00:49 | want to use that one. Once I find the
shot, which is actually notice over here
| | 00:53 | the marker is moving, as I do that.
See how the marker is shifting position.
| | 00:57 | Just another way of moving a marker. Now,
when I click to save still button, it
| | 01:02 | opens up a dialog, saying, what you
want to call it? We'll call it, Mountain
| | 01:05 | scenic, and we are going to save this
to the desktop. By definition, this is
| | 01:10 | will always create a TIFF image. When
I click save, there's my image saved to
| | 01:16 | the desktop. We will hide this, and
we will hide our directory, and we will
| | 01:21 | double click our TIFF image and there
it is. Look at our scenic image, all
| | 01:25 | loaded up.
| | 01:27 | Keep in mind that depending upon your
video format, you are probably going to
| | 01:30 | have to do some scaling inside
Photoshop, because very few video formats use
| | 01:34 | square pixels. But at least now you
have a still frame coming out of DVD Studio
| | 01:38 | Pro that you can use inside Photoshop,
or anywhere else you need a still, or
| | 01:42 | bring it back into DVD Studio Pro, and
use it to the background for one of your
| | 01:46 | menus. In all cases you can create a
still frame from a marker. Have to create
| | 01:50 | the marker first, then export it as a
still. A very cool little technique.
| | 01:55 | Well, there's still more to discover
about markers, but the markers need to be
| | 01:59 | used in context with something else,
which brings us to a whole another
| | 02:03 | chapter, and one of my favorites, a
chapter on stories. Telling stories and
| | 02:09 | creating stories, well, that's next.
| | Collapse this transcript |
|
|
11. Using StoriesIntroducing stories| 00:00 | A story is a subsection. Well, it's
like a Final Cut subclip of a track.
| | 00:06 | They don't require any additional
video storage. They are assigned to a
| | 00:10 | specific track and they start at a
chapter marker and they end at the next
| | 00:15 | chapter marker. Stories like playlist
in iTunes can be rearranged in any order
| | 00:21 | to provide an on-the-fly re-edit to
a track. The only difficulty is that
| | 00:25 | stories cannot jump between video on
different tracks, because each story is
| | 00:30 | assigned to a specific track. When I
first discovered stories, it was like a
| | 00:34 | whole new awakening of what we could
do interactively with the DVD. I was
| | 00:38 | really excited and remain excited to
this day. They are incredibly useful.
| | 00:43 | Let me show you how they work by building
a very simple story, and we'll do that next.
| | Collapse this transcript |
| Building a simple story| 00:01 | Okay, we've got two different tracks
here, one about a five minute piece on the
| | 00:05 | aspens and the mountains and second is
a one minute piece on Santa Barbara life
| | 00:08 | styles. I'm working with a
project called number 14 Stories.
| | 00:13 | Now, let's take a look at what a story
actually is. If we look at this Aspen
| | 00:17 | video, which I have loaded down here to
the track, it runs all of five minutes
| | 00:21 | and I have put markers in here to
indicate different portions of the clip.
| | 00:25 | One of the things that I'd like to do is I
would like to run just a highlight of how
| | 00:29 | beautiful this piece is and I like to
play from say, this marker here on the
| | 00:34 | mountain peaks.
| | 00:35 | (Music plays.)
| | 00:42 | So I'd like to just play this small
piece here. Well, there's a couple of
| | 00:46 | different ways I could do that. One is
I could go into Final Cut, I could edit
| | 00:49 | a whole separate trailer and just play
the trailer. But maybe I'm really tight
| | 00:53 | on disk space and I can't afford to put
lots of extra video on. Well, a story
| | 00:58 | allows me to take and start in the
middle of a clip and end in the middle of a
| | 01:02 | clip. It's defined by the
distance between two markers.
| | 01:06 | To create a story, let's go to the
graphical interface and go up to the toolbar
| | 01:09 | and say Add Story. The story is
automatically assigned to the track that's
| | 01:14 | selected at that time. Notice that
Story 1 is a part of the Aspens track, we'll
| | 01:19 | highlight the story go over the
inspector and we'll change this to Mountain
| | 01:23 | peaks. Now with the Mountain peaks
story selected, we haven't yet told what's
| | 01:30 | in it. We don't have any entries, so we
can either double click it, which opens
| | 01:34 | up the Story Editor down here or just
click from the track to the Story Editor
| | 01:38 | and notice that from this pop-up menu
this lists of all the different stories
| | 01:42 | we have access to.
| | 01:43 | On the left are all the markers that
are in the Aspens piece. This is our
| | 01:48 | source video, this is the name of the
story. I want to start with peaks so
| | 01:53 | let's click, hold and drag the story
over to here and now our story is going to
| | 02:00 | start on this marker and it has
continued to play until we get to that marker
| | 02:07 | to, which point it dumps out and it's
going to run 22.5 seconds, so let's just--
| | 02:13 | let's Control-click on this and say
Simulate Story Entry, let's see what
| | 02:17 | it looks like.
| | 02:18 | (Music plays.) There's the simulator, there's
our story. Notice that it started not at the
| | 02:22 | beginning with the shot of the trees,
it started with our mountain peak shot
| | 02:27 | and that's going to run 22.5 seconds,
so this will time us down to where our
| | 02:31 | story ends and we could use this story
as the background for a menu or as a tease
| | 02:38 | or whatever else we wanted. Just put a
button that says "Look at the mountains."
| | 02:42 | And look at that, it stopped. It
stopped not at the end of the track;
| | 02:47 | it stopped as soon as it hit that next marker.
| | 02:52 | It's like a virtual playlist. Imagine
if you are doing a corporate video and it
| | 02:56 | has five elements on it, it's got an
introduction to the new product, the sales
| | 03:01 | positioning for the product, the
marketing for the product, the engineering for
| | 03:04 | the product, the customer testimonials
and pricing. You can have a menu with
| | 03:08 | the top that says just play the sales
portion or just play the engineering portion.
| | 03:13 | When you jumped in into the marker, by
definition, jumping in a marker starts
| | 03:16 | at that marker and plays to the end of
the piece. What a story allows you to do
| | 03:22 | is to jump into the marker and play
till the next marker. Playing at a marker
| | 03:27 | goes to the end, playing at a story
just goes marker to marker. Well, here's
| | 03:32 | another cool thing we could do. Let's
play peaks first, so notice how it ends
| | 03:36 | with a mountain peak and then we
see our shot start with the trees.
| | 03:39 | Okay, this is the shot that it's
normally goes mountain peaks to yellow trees.
| | 03:44 | Instead, we are going to go mountain
peak to this kind of false sunshine,
| | 03:49 | orange leaves. All right, so let's go
back to stories up here at Graphical,
| | 03:53 | let's create a new story and we're
going to call it, we'll just call it Reedit.
| | 03:58 | We'll double click it to load to the
story tab or click on the story tab. We
| | 04:06 | can select between our stories here.
Notice that both of them are assigned to
| | 04:09 | the Aspen track. I want to start with
the peaks and then I want to go back to
| | 04:14 | the start. So we're going to
go first here and then there.
| | 04:18 | Now, let's just to make things faster
because I'm impatient, let's just have
| | 04:23 | our peaks things start later. I'm going
to just move the marker until we get to
| | 04:27 | that silhouette shot and that's just
simply to save us some time as we preview
| | 04:31 | this. Control-click, Simulate Story,
there's the simulator, it starts with
| | 04:35 | our shadowed peaks. Now it should
go to the orange leaves in just a few seconds.
| | 04:40 | (Music plays.)
| | 04:47 | And there's the orange leaves.
| | 04:52 | There's a problem though. Did you notice
that those yellow leaves sort of crept in?
| | 04:55 | Well, that's because a story always
goes from marker to marker. Let's zoom
| | 05:00 | in on this part of the track just a
bit more so we can see what's going on.
| | 05:04 | Now, I can navigate from peak to leaves,
but what I want to do is, I want to
| | 05:07 | jump out before the shot starts to
change and I want to put in and jump in
| | 05:12 | that's not this marker.
| | 05:14 | Stories always go from chapter marker
to chapter marker. So we'll type the
| | 05:18 | letter end, set a chapter marker
here and we'll call this chapter marker
| | 05:22 | end-leaves. I could have called it
George. It doesn't make any difference. The
| | 05:28 | end is just to remind me that this is
an end for a story, not a chapter marker
| | 05:33 | that I would want to build as part of
scene selection, which is also a note. If
| | 05:37 | you are going to do a chapter index,
do your chapter index before you start
| | 05:41 | building stories because you may end up
with markers that you don't want in the
| | 05:44 | chapter index.
| | 05:45 | Let's go back to our story and let's
Control-click here and Simulate the story
| | 05:50 | entry and see if it jumps out before
it hits the yellow leaves. It will be
| | 05:55 | around eight or nine seconds.
| | 05:57 | (Music plays.)
| | 06:02 | There we go, it jumped out
before it hit the yellow leaves.
| | 06:06 | So we could now re-edit this
whole piece. So maybe, and we are
| | 06:11 | using beautiful shots of aspen trees
and mountains, but again, of our corporate
| | 06:15 | video maybe we want to have the
introduction followed by engineering, followed
| | 06:19 | by pricing and then the second one
would be the introduction followed by sales,
| | 06:24 | followed by marketing, followed by
pricing. I could have a button on my menu
| | 06:27 | that says "Watch the engineering flow,"
another button says "Watch the sales flow,"
| | 06:31 | another button that says "Customer testimonials."
| | 06:34 | One piece of video. I can spice and
dice this with stories in a wide variety of
| | 06:38 | different ways. I can effectively
re-cut the entire piece, which makes almost
| | 06:42 | no sense for a narrative fiction, but
there's a tremendous amount of value in
| | 06:46 | say, wedding videos. You have the
wedding day, you can say follow the groom and
| | 06:49 | it's the shots of the groom. You say
follow shots of the bride. I have got a
| | 06:53 | corporate presentation that could just
be the engineering track. I have got any
| | 06:57 | kind of -- you know, anytime that you want
to re-cut something because it's not narrative
| | 07:02 | in nature. Maybe it's biographical or
something else. You have got multiple
| | 07:05 | stories, you can follow multiple
people through the story without taking any
| | 07:08 | more video space on your DVD.
| | 07:10 | I did a corporate training for a hair
color company and each model is getting
| | 07:15 | their hair cut, their hair colored and
their hair blown dry and we put stories
| | 07:18 | together so we could just see cutting,
stories that would just see hair drying,
| | 07:22 | it would just see coloring or you can
see one model through the entire process.
| | 07:25 | We could slice it and dice it in any way
or a number of different ways. Stories
| | 07:29 | are just magical.
| | 07:31 | Simple. Easy to do. You set a marker in
a track and then you create a story and
| | 07:36 | the story always starts in a marker and
always ends at the next marker. What I
| | 07:42 | want to show you next though is
another way that we can work, same idea.
| | 07:45 | Stories don't change, but I want to
be able to jump between stories on this
| | 07:49 | track and stories on this track and that
is a little tricky. I'll show that to you, next.
| | Collapse this transcript |
| Building a complex story| 00:00 | Well, let's have some fun with stories.
We have already got two tracks here and
| | 00:04 | we've created some stories. Let's do
something different. Let's-- remember stories
| | 00:08 | are assigned to a track, so if I have
Aspen selected and I add a story, notice the
| | 00:13 | story is automatically added to the
Aspen track. To delete a story, you just
| | 00:17 | highlight it and hit the Delete key
or if you have added the story, just
| | 00:20 | highlight it here in the Graphical area
and hit the Delete key, but I'd like to
| | 00:24 | add the story to Santa Barbara Life
Styles, so I make sure that Santa Barbara
| | 00:28 | is set, add a story and
we'll just drag it down here.
| | 00:31 | Remember, the Graphical tab can be
reset by typing Shift+Z. So I can either
| | 00:36 | click on the Story tab and toggle
between the stories that I want to work with.
| | 00:40 | Notice that this is set to Santa
Barbara Life Styles, so I set this to story
| | 00:46 | and we'll just rename this to be Flower
and we'll click on the story and we'll
| | 00:53 | drag the Flower icon over to here.
Let's Simulate this by Control-clicking on
| | 00:58 | it and say Simulate Story.
| | 00:59 | (Music plays.)
| | 01:04 | Oops! Stop, stop, stop. I want to have
this end sooner, so let's go over to our
| | 01:10 | Track, I just want to see the flower
shot and I don't want to see all the tilt
| | 01:14 | down here. So again, to end the story
early we had a marker that says a chapter
| | 01:20 | marker and we'll relabel this to be end
-flower, the end reminds me that it's
| | 01:25 | the end of the story so I don't use it
for navigation. You can call it anything.
| | 01:29 | If we Simulate this story again, we
should just have a four second flower story.
| | 01:34 | (Music plays.)
| | 01:38 | Perfect. Now we need to figure
out what where we've got to go next. We
| | 01:42 | need to wire it in. So I've created a
main menu here. This is a still frame
| | 01:46 | that we exported in the earlier chapter
and I grabbed some button, I grab them
| | 01:50 | out of the Styles tab Apple and
scroll down till I found something to look
| | 01:54 | interesting. These brush buttons were
kind of cool and I took the story called
| | 01:59 | Flower and I'll just drop
it right in here like this.
| | 02:03 | Set Asset means that we're going to see
the first frame of the Flower story and
| | 02:07 | it's going to automatically connect the
link to the story. So there's our Asset
| | 02:11 | and notice the buttons is called Play
Story so let's Simulate and there's our
| | 02:15 | moving flower in our little asset.
Click it and there's our story.
| | 02:20 | (Music plays.)
| | 02:22 | And it should automatically be end jumped back
and it does. And the reason is when we go to
| | 02:27 | the story, let's find it here. When
we go to the story and we select Flower,
| | 02:33 | notice that the end jump, the target, is,
it is going to go to the Flower story
| | 02:37 | and when it end jumps back, the End
Jump is set to Main Menu Flower, so it's
| | 02:43 | set to go back to the main menu.
| | 02:45 | Well, let's try connecting something
different. Let's say that we want to have
| | 02:48 | it go from the Flower to this story to
the Mountain peaks story, now what we'll
| | 02:52 | do here's we'll set the End Jump on the
Flower story to have it jump to the end
| | 02:58 | of the Mountain peak story. So notice
here the main menu calls Flower, Flower
| | 03:04 | calls over to the Mountain peak in
the different track and then we will set
| | 03:08 | Mountain peak instead of end jumping
the same places as the track, we will have
| | 03:12 | it Jump back to the Main menu.
| | 03:15 | Look at this, now we've got the Main
menu, the button connects it to Flower,
| | 03:20 | the End Jump Flower connects it to
Mountain peaks and Mountain peaks connects
| | 03:24 | it back to the Main menu. We are seeing
a piece of movie number two, a piece of
| | 03:28 | movie number one and going back to
the Main menu. Let's take a look.
| | 03:33 | Let's click our story. There's Flower.
It runs four seconds. And it jumps over to
| | 03:41 | Mountain peak, which runs about eight seconds.
| | 03:44 | (Music plays.)
| | 03:51 | And it jumps back to the main menu.
| | 03:54 | Now, a story will never be a
seamless edit. If it has to be absolutely,
| | 03:58 | flawlessly, perfect, the only way you
are going to be able to do that is to go
| | 04:01 | back and re-cut the video there will
always be a little bit of a hit. About a
| | 04:04 | quarter of a second or so, not quite
so much as in simulator because once the
| | 04:08 | videos are built, it'll be a little
bit smoother, but there will still be a
| | 04:11 | little bit of a pause and especially,
if you've got music playing continuously
| | 04:15 | through there, you'll definitely notice it.
| | 04:17 | So, if you know that stories are in
your feature and you want to switch stuff
| | 04:19 | around, try to have the story change
during a fade to black where you won't
| | 04:23 | notice the shift in the audio and
the video quite so much. If we want to
| | 04:27 | program the rest of these stories,
let's just open up our Main menu, go to the
| | 04:32 | Outline, grab Mountain peaks and drag
that in, set the asset and connect and I
| | 04:38 | reedited the piece so we'll Set Asset
and connect. Control-click, Simulate the
| | 04:43 | menu and let's play story number two.
| | 04:47 | (Music plays.)
| | 04:49 | And it starts right with our mountain peak.
| | 04:50 | and then it'll go back to the orange
aspens after about five more seconds
| | 04:56 | (Music plays.)
| | 04:59 | And so we started in the middle of the
video and went to the beginning of the video
| | 05:05 | and then after a few seconds it will
jump right back to the Main menu again.
| | 05:09 | Remember, stories go from one marker
to the next marker. If you needed to
| | 05:13 | continue across markers, let's quickly finish
this and then I'll show you how to do that.
| | 05:19 | (Music plays.)
| | 05:29 | It should be about another five seconds or so.
| | 05:33 | (Music plays.)
| | 05:52 | If I have a story, for instance here, in the track
and I want to play from Mountains to Density,
| | 05:59 | in other words, I want to play through
where it says Forest Aerial. So when I
| | 06:02 | click on Stories I go reedit here, and
get rid of these two. Just to get rid of them.
| | 06:06 | Highlight them and hit the Delete key.
| | 06:08 | So, I want to play Mountains and I
want to play through Forest Aerial.
| | 06:12 | By pulling both markers here, it's going
to start at the Mountains, it's going to
| | 06:17 | continue through the next marker and
that will be seamless because there's no
| | 06:20 | change here so that won't be any hitch
whatsoever. It'll go from Mountains to
| | 06:24 | Forest, from Forest to Density and
then it will dump out. So if you need to
| | 06:28 | have a story that continues across
multiple markers just drag them into your
| | 06:31 | playlist and build it that way.
| | 06:33 | Stories are a wonderful way of taking
lots of different looks at the same video
| | 06:37 | without taking any more storage space.
I use them all the time. I find them a
| | 06:41 | great deal of fun both to play with
and then helping me to cull out specific
| | 06:46 | sections on my video. And once you've
had the chance to play with them, it's
| | 06:49 | hard to go back to any other authoring
package that doesn't support stories.
| | 06:53 | But there are still more to go. We're
going to talk about something totally
| | 06:57 | different, next.
| | Collapse this transcript |
|
|
12. Working with SubtitlesIntroducing subtitles| 00:01 | Subtitles are optional video
overlays, which can display text or simple
| | 00:05 | graphics over your video stream. They
can be created manually or imported from
| | 00:10 | a file and there are unlimited
subtitles per stream and there's up to 32
| | 00:15 | subtitle streams per track.
| | 00:17 | Generally, each stream is flagged to a
particular language, but only one stream
| | 00:21 | can be active at a time and they are
also used for button highlights. Now, DVDs
| | 00:26 | support up to eight audio streams and
32 subtitles streams each of, which can
| | 00:31 | be assigned to a language. The reason
this is important is that, when you first
| | 00:35 | start a DVD player whether it's on the
computer or a set-top box, the player
| | 00:38 | will ask you what the primary
language is that you want to use.
| | 00:42 | If you flag your audio in your
subtitle streams by a language, then when your
| | 00:46 | disc is played, it will automatically
select the primary language for that
| | 00:49 | particular player, which is very cool.
Now what we are going to talk about in
| | 00:53 | this chapter on subtitles is how to
create subtitles manually, how to position
| | 00:57 | and format subtitles, how to
preview your subtitles and change subtitle
| | 01:01 | streams, how to import subtitles, which
is actually, surprisingly easy once you
| | 01:07 | understand the process, using a
graphic for a subtitle, which is weird but
| | 01:11 | cool, creating button highlights,
in other words, button over video and
| | 01:15 | finally, using scripts to control
subtitles will be discussed in the next
| | 01:19 | chapter. So everything up to
scripting, we will cover here. So let's get
| | 01:24 | ourselves started by creating a
subtitle by hand. That is next.
| | Collapse this transcript |
| Creating subtitles manually| 00:00 | Well, let's start by adding some
subtitles manually and whenever we are going
| | 00:03 | to start to do anything, the best place
to start is Preferences. So let's go up
| | 00:07 | to DVD Studio Pro, go down to
Preferences. Because subtitles are text, let's
| | 00:12 | click on the Text preference and
notice that Subtitle Text Settings default to
| | 00:17 | Helvetica at 36.0 points.
| | 00:20 | If we wanted to change this, let's make
it more interesting, let's make it say
| | 00:23 | Marker Felt, which is a kind of a fun,
non traditional sort of look, let's do
| | 00:29 | Marker Felt. See, isn't that kind of
cool? We can do Thin or we can do Wide.
| | 00:33 | Because we want to make sure this can
be read, well, let's make it the Wide
| | 00:37 | font, a little bit on the bolder side.
We will keep it at 36 points. We can
| | 00:41 | adjust it so that by default, all of
our subtitles are flush left or centered
| | 00:45 | or flush right and we can adjust
their horizontal position here.
| | 00:49 | We can also adjust their vertical
height, so that the top of the frame or the
| | 00:52 | center of the frame or the bottom of
the frame. Most of the time, center and at
| | 00:56 | the bottom is where we want to put them.
Now these Preference settings affect
| | 01:00 | all the subtitles that we have not yet
created. Once a subtitle is created, the
| | 01:04 | Preference has no affect. There's
other Text Settings that we could use here
| | 01:08 | by the way. We've got Menu Button
Default settings and Menu Text Defaults. But
| | 01:13 | the one that I use the most for is
Subtitle Text Settings and we will leave
| | 01:16 | this to set to Marker Felt. So we'll click OK.
| | 01:19 | Inside Studio Pro, we have 32 subtitle
tracks, so let's click down here on a
| | 01:24 | subtitle track and just look at them
for a minute. Shift+Spacebar if you are so
| | 01:28 | inclined, shows many of the subtitle
tracks. Notice that I have some video
| | 01:32 | tracks starting with the letter V, some
audio tracks actually, I have total of
| | 01:37 | eight that I could work with. We will
work with these more in multiple tracks
| | 01:41 | in a bit and I have all of my subtitle
tracks. Only one can be activate at a
| | 01:46 | time and that's what this light
indicates, which is our active subtitle track.
| | 01:50 | Let's start by doing Shift+Spacebar,
pull this back down. How do we create a
| | 01:54 | subtitle? Well, let's decide where we
want to put it. Do I want to put the
| | 01:59 | subtitle right at the beginning? No,
I think, let's try and put it a few
| | 02:02 | seconds in, just so we can and not
waste a lot of time watching video over and
| | 02:07 | over. So let's put in something that
says Fall colors and I want to put it four
| | 02:12 | seconds in to my video.
| | 02:14 | Well, I could grab the playhead and
drag it back and forth, but an easier way,
| | 02:18 | is to simply click here in the Timecode
box, type the timecode number you want
| | 02:22 | to jump to, in this case four seconds
in and my playhead jumps right to four seconds.
| | 02:29 | Now to create a subtitle, I Control-
click right here on the subtitle track and
| | 02:35 | it says, Add a Subtitle or -- and this,
I like a lot, Add Subtitle at Playhead.
| | 02:41 | Now I'm going to add the Subtitle at
the playhead, and notice a gold square
| | 02:46 | shows up by default. The subtitle runs
five seconds and if I want to move it,
| | 02:51 | you click, hold and drag it, wherever
you want it to go. Here is another cool
| | 02:54 | feature I wish the Final Cut had,
Control-click on it and say Move this
| | 02:58 | Subtitle to the Playhead. It's moved
to the playhead. Well, just as you would
| | 03:02 | make changes to other things in the
inspector, we also change subtitles in the
| | 03:06 | inspector and first, let's add in some
Text, These are fall colors, that's what
| | 03:14 | it says, even though the color is a little
bit hard to read, we'll fix that in a second.
| | 03:19 | This allows me to specify where it
Starts, how long it runs, where it Stops. We
| | 03:24 | can even do a Fade In or a Fade Out.
If we want to fad it in, we will just
| | 03:28 | click at and say do a 10 Frame Fade In,
do a 10 Frame Fade Out. By the way, do
| | 03:33 | it at a DVD does fade. It's actually
messing with the opacity and because of
| | 03:38 | the way the opacity settings are set,
you want to try to keep any subtitle
| | 03:42 | fades to 20 Frames or less. If it
starts to get longer than 20 Frames, it looks
| | 03:46 | kind of chunky and blocky. Subtitles
have enough problems as it is, let's not
| | 03:50 | make them worse by
stretching the Fade In and Fade Out.
| | 03:53 | Again, we could overwrite the
Formatting for this by saying, flush it left or
| | 03:58 | flush it right or set it to Vertical.
It would be helpful if we could change
| | 04:02 | the color. But this is not Text. This
is the same color scheme that we use for
| | 04:08 | overlay menus, which means that we
don't go to Format, Font, Show Colors
| | 04:13 | because this is not text any more.
Instead, we go to the Colors tab here and by
| | 04:17 | now you should be very familiar with
how to change these colors. I'll just
| | 04:21 | change them to be white or change them
to be brighter yellow or make them an
| | 04:26 | electronic green, we could do a pink to
mind reels and you already know how to
| | 04:33 | change. We've got these 16 colors,
but if you wanted to create something
| | 04:36 | different, we discussed this is in the
Overlay menus in terms of how to change
| | 04:40 | and edit this Color Palette.
| | 04:41 | We'll make this really an electronic
pink and just drive people nuts. We will
| | 04:46 | pull on the Opacity just a bit to
make it a little less on your face, right
| | 04:49 | about there. Remember, the purpose of a
subtitle is to give people a chance to
| | 04:53 | read it, so we will do that.
| | 04:54 | All right, let's put the playhead
right here and now that we have moved the
| | 04:57 | playhead here, here's another way
we can add a subtitle. Go to Project,
| | 05:01 | Timeline, Add Subtitle at Playhead,
another subtitle shows up. Here is a third
| | 05:07 | way to create a subtitle, double click
with the mouse. Instant subtitle. So we
| | 05:15 | could Add a subtitle from the menu
choice, we can double click it, grab the
| | 05:19 | right edge, we can make the
subtitle as long or as short as necessary.
| | 05:23 | We can Control-click on it and add it
wherever we want or at the playhead.
| | 05:28 | Certainly, we could be in subtitle
heaven. All right, maybe I'm getting carried
| | 05:32 | away. But the point is there's lots of
ways that we can create subtitles. The
| | 05:36 | problem is none of these are
particularly fast. A little bit later in this
| | 05:39 | training, I'll show you a much better
way to create subtitles by creating them
| | 05:43 | outside of DVD Studio Pro and importing
them. We will explain that more in just a bit.
| | 05:47 | But there's other stuff to talk about
with subtitles first. Let's do one other
| | 05:51 | thing, This is a second subtitle and
just click here and This is a third
| | 06:05 | subtitle, okay, cool. Now let's just
grab this guy and pull him a little bit
| | 06:10 | closer and let's grab this guy and
pull him a little bit closer and let's
| | 06:13 | double click this subtitle and I want
to change the color from pink to white.
| | 06:17 | But the problem is I've already got
three subtitles here. Imagine how hard it
| | 06:21 | would be to change each one of these
if I had 30 or 300 or 3 bigillion, which
| | 06:27 | is more than 300. Well, there's a
button here that's really cool, it's this one
| | 06:32 | Apply to Stream. When you click the
Apply to Stream, it says take all the
| | 06:36 | settings that are related to this
subtitle and make everybody else match it. So
| | 06:41 | I set once, I click Apply to Stream
and now all of my subtitles have exactly
| | 06:47 | the same look, the same feel, the same
placement, the same size, the same font,
| | 06:51 | the same everything, very cool.
| | 06:54 | By the way, this is an HD image. If
we look at this blown up a bit, our
| | 06:58 | subtitles don't look quite as bad when
they are blown up because they are quite
| | 07:03 | highly reduced. This is still not yet
full size, so don't panic that this looks
| | 07:07 | a little mouse-eaten, that's just
because we have zoomed so for back on the
| | 07:11 | track. So this is how we set a
subtitle whether we are creating it manually
| | 07:15 | from the menu or Control-clicking or
double clicking and how we set the colors,
| | 07:19 | because remember, it's an Overlay menu.
It's not actually a font and because we
| | 07:24 | can turn it on and off, it's easy to
have it appear and disappear. But how do
| | 07:28 | we view these subtitles? All
that I'm going to talk about next.
| | Collapse this transcript |
| Formatting subtitles| 00:00 | Let's take a look at how to preview
subtitles. There are several ways we can do it.
| | 00:03 | One, we can Simulate the whole disk
with a disk point. Let's just Simulate
| | 00:07 | from this particular track, the Aspen
track. Now before I do that, notice that
| | 00:12 | our first subtitle shows up
here starting around four seconds.
| | 00:15 | Our second one shows up around 12
seconds and the third one shows up somewhere
| | 00:19 | around 20 seconds. So let's Control-
click here and say Simulate Track.
| | 00:23 | Remember, when we Simulate from up
here, we are always simulating from the
| | 00:27 | beginning of the disk. When we
Simulate by Control-clicking, we always are
| | 00:32 | simulating from where we click.
(Music plays in video.)
| | 00:34 | So let's watch. Here it comes in two, one.
Wha? Why is there no subtitle showing up?
| | 00:44 | Well, remember, subtitles are optional.
That means that you have to turn them on.
| | 00:49 | So where do you turn on subtitles?
This View checkbox right here. When View
| | 00:55 | is off, your subtitles are not shown.
When View is on, your subtitles are shown.
| | 01:01 | (Music plays.)
| | 01:05 | Ta-da! And you thought I made a mistake.
| | 01:09 | Well, anyway, here's the deal. The
View menu turns our subtitles on and the
| | 01:15 | View menu turns our subtitles off. In
the next section, we will talk about
| | 01:19 | scripting. I will show you how we can
control our subtitles through using a
| | 01:23 | script. So we are going to ignore
that part for right now. Instead, we just
| | 01:27 | want to focus on how we preview and to
do that, the easiest way is to Simulate.
| | 01:31 | Another way where the subtitles are
always on is to go up to the Viewer and
| | 01:35 | here, you are able to preview your
subtitles just by looking at it inside the Viewer.
| | 01:40 | (Music plays.)
| | 01:42 | Here they are always on. Now,
which subtitle you are looking at,
| | 01:46 | remember, which stream, is based upon
where that orange light is. The other
| | 01:51 | thing that you want to do is you want
to assign a language and the language is
| | 01:54 | assigned from this pop-up menu.
There are dozens and dozens and dozens of
| | 01:58 | different languages to choose.
| | 01:59 | In this particular case, we are
working with English. So we are going to set
| | 02:02 | this to English and that means that if
there's a set-top box that's programmed
| | 02:07 | to use English as its primary
language, it's going to automatically find
| | 02:11 | subtitle track one and show that
without you having to do any special work.
| | 02:16 | This is actually a cool thing. In a
minute, we are going to be working with
| | 02:19 | Spanish and German subtitles. So how
do we preview? Again, Control-click.
| | 02:24 | (Music plays.
| | 02:25 | Be sure the View is turned on because it's
off by default and your subtitles show up.
| | 02:31 | But what happens if you want to have
the subtitles always on regardless of
| | 02:36 | whether that View box is checked or not?
Well, let's go back to the Inspector
| | 02:40 | again, because there's more stuff we
can do here. Notice with the subtitle
| | 02:44 | selected and loaded into the
inspector, when we click on General, we have
| | 02:48 | another choice right here. See where it
says Force Display. What Force Display
| | 02:54 | says is the subtitles are to be
displayed regardless of how that View box is
| | 03:00 | set. In other words, they are always on.
| | 03:02 | Now you can force the display of one
individual subtitle. Let's just do that.
| | 03:07 | We have forced the display here, but
we did not force the display of subtitle
| | 03:10 | number two. All right, so let's run
this for preview and see what happens.
| | 03:14 | Simulate from Track.
| | 03:16 | (Music plays.)
| | 03:18 | It should toggle on. Yup,
there it is. Even though the View
| | 03:22 | box was turned off, it still displays
that first subtitle because it was forced
| | 03:27 | to display.
| | 03:29 | Now we are in the second subtitle. It
is not even on, why? View menu is off.
| | 03:33 | Here comes the third one. It won't be
on either. We will turn it on and now you
| | 03:39 | can see -- see how the View menu
controls that? So if you want to force
| | 03:45 | subtitles on, then you make sure
Force Display is turned on. If you want to
| | 03:50 | force the entire subtitle track to
display, then you apply it to the stream.
| | 03:55 | Now all of these subtitles are forced
to display. But what happens if you have
| | 04:00 | hundreds and billions and billions of
subtitles? Well, we will talk about that,
| | 04:06 | next.
| | Collapse this transcript |
| Importing subtitles| 00:00 | The secret trick is if you have lots
and lots of subtitles, don't enter them
| | 00:04 | manually. It's way too time consuming.
Now DVD Studio Pro supports a variety of
| | 00:09 | subtitle formats, SON and STL and
others, where you can send your subtitles off
| | 00:14 | for translation and they will send
it back to you in a format that the
| | 00:18 | subtitle program can read and you can
just import your subtitles. But what I
| | 00:21 | found easiest for doing this
particular demo was even though I didn't have a
| | 00:25 | lot of subtitles, I had seven,
| | 00:27 | it was easier for me to keep track of
where I wanted the subtitles to start
| | 00:31 | in terms of timecode and then to create
the subtitle as a separate document and
| | 00:35 | then I will import the document.
Now whenever you import subtitles, any
| | 00:40 | existing subtitles on that track are
going to get deleted. So these three are
| | 00:44 | going to disappear and let's just
adjust our size here so we can see the entire
| | 00:49 | track, so we can see where our
subtitles go. The whole track runs about five
| | 00:53 | minutes and when I Control-click on
here and say, Import Subtitle File. Now
| | 00:59 | when I import the subtitle file, I'm
going to import our Aspen Subtitles in
| | 01:04 | English. When I click
Choose, watch what happens.
| | 01:07 | Boom! It pulled in seven subtitles,
all of my existing subtitles got deleted
| | 01:13 | and they were replaced by these
subtitles down here. Now when I play this...
| | 01:19 | (Musics plays.)
| | 01:21 | There we have got the first subtitle
and notice that it has changed the font.
| | 01:28 | It's in an Arial font. Click on the
right window, Shift+Spacebar. See? It's
| | 01:35 | not as bad as you first thought. It is
just that this is an HD image and the
| | 01:38 | text is really, really being scrunched
down here. That's why it looks so poor.
| | 01:44 | Now, let's see what this format is
because there's a lot going on with this
| | 01:47 | import. We pulled in seven files, but
exactly how was that done? Just as we
| | 01:52 | could create a text document for
markers, we can create a text document for
| | 01:58 | subtitles. Now don't panic. This
looks much scarier than it really is. For
| | 02:03 | instance here, we are going to import
this particular font. Notice, it says the
| | 02:07 | Font Name. I have used this one, this
marker Felt. This is the one we are going
| | 02:10 | to import next. This is an Arial font,
marker Felt is that fanciful one. You
| | 02:15 | can determine the size whether it is
aligned Center, Left or Right, Top, Bottom
| | 02:20 | or Center. Whether you want it Bold or
Underlined, whether you want it to be
| | 02:24 | Italic. Most of this stuff I just
leave alone. If you want it to Fade In, you
| | 02:28 | can set how many frames you want it to
fade in and how many frames you want it
| | 02:32 | to fade out.
| | 02:33 | This are the cuts of it right down
here. This indicates what's the timecode
| | 02:38 | that it starts, what's the timecode
that it stops and what's the timecode that
| | 02:42 | it starts, tab, tab. In other words,
this is part of the exercise files that
| | 02:47 | you are getting with this exercise.
Copy the document, keep the Header just as
| | 02:52 | it is, copy and paste into a new text
file. Understand your stuff down here.
| | 02:56 | Well, let's just see what happens. I'm
going to save this. We are going to make
| | 02:59 | it marker Felt, save it, close it.
Let's just delete all these subtitles here
| | 03:05 | by dragging across, hit the Delete key,
Ctrl and we will import the subtitle
| | 03:11 | file and we are going to pull it in
with the marker Felt version and it pulls
| | 03:17 | in. There it is. Seven imported
and notice it's set to marker Felt.
| | 03:21 | Everything is the right length.
Let's hit the Home key, Spacebar.
| | 03:25 | (Music plays.)
| | 03:27 | Aspen grove and we are all set because that's
exactly what that first marker is supposed to say.
| | 03:33 | Let's import another one. Control-
click, Import Subtitle File. You will
| | 03:38 | notice that all of your subtitle files
will be inside a Documents folder. Let's
| | 03:42 | click the Spanish and click Choose and
notice, it goes down here. We have got
| | 03:47 | Spanish versions and we will set this
language to-- I know you will never guess--
| | 03:52 | Spanish. Wow! Let's Control-click
down here. Let's import a third
| | 03:56 | subtitle file, let's import German and
it says Seven subtitles imported, click
| | 04:04 | OK, set the language to German and good.
| | 04:10 | Now, we hit the Home key and we hit the Spacebar.
| | 04:13 | (Music plays.)
| | 04:16 | Notice that we see the English go in right here.
Why? Because that's the one that's active. The
| | 04:21 | English, the Spanish and the German.
Sometimes you are going to have a problem
| | 04:24 | importing. Remember when we imported
the markers and they were shifted one hour
| | 04:29 | later than the actual program, you
have to make sure that your timecode in the
| | 04:34 | subtitle matches the timecode
that you are working with here.
| | 04:38 | Again, you most likely be wanting to
do Asset-Based Timecode, but if that
| | 04:42 | doesn't work, you can do Zero-Based
Timecode. You may need to toggle back and
| | 04:45 | forth a couple of times to fix that.
The other is, you may need to set the
| | 04:49 | timecode with that Timecode Offset
that's over here. See where we selected the
| | 04:54 | Track, we clicked on the Other tab and
we had to dial in the Offset. It is one
| | 04:58 | of those things where if it doesn't
work, that should set a red flag off. It
| | 05:01 | says, oops, I have got an Asset
Timecode problem, go to the other tab and dial
| | 05:06 | in what it's supposed to be. It took
me, I would say, about six months to
| | 05:09 | discover that. I would like to
save you six months of your own time.
| | 05:12 | So we can import our subtitles, we can
decide, which of the subtitles is active
| | 05:17 | by clicking on the Active button and
we can switch between the English, the
| | 05:21 | Spanish and the German and we can
now preview. Again, you preview by
| | 05:26 | Control-clicking on any of the
tracks and say Simulate from Track.
| | 05:30 | (Music plays.)
| | 05:31 | Now the View is off, but remember
that first one was forced on.
| | 05:36 | (Music plays.)
| | 05:44 | Wait a minute. They are all forced on.
Let's go back and we already know where
| | 05:49 | to check that. So we will just zoom in
here, find any subtitle, we have got to
| | 05:53 | zoom in some more, otherwise it just wants
to change to the hand to adjust the time.
| | 05:58 | Let's go to General. Up there's our
Force Display. That's got to get turned off
| | 06:04 | and apply that to the stream, turn this
off, apply it to the stream, turn this
| | 06:09 | off and apply it to the stream. Now
how did that get messed up? It got messed
| | 06:13 | up by having the text file that we
imported have Force set on. Now look here,
| | 06:19 | this is our subtitles document. See
where it says Force Display? Is set this to
| | 06:23 | True. If you don't want it to
Force Display, set it to False.
| | 06:28 | On our particular case, we will leave
it to True so you can practice turning it
| | 06:31 | off, but when Force Display is
turned on, then subtitles will always be
| | 06:36 | displayed and they will always be
displayed based upon which is the active
| | 06:39 | track. So we had to fix that. Now
Simulate from the Track, the View is turned
| | 06:45 | off, the first subtitle comes up
four seconds in and there's no subtitle.
| | 06:50 | There is when I turn it on
but there isn't when it is off.
| | 06:54 | (Music plays.)
| | 07:01 | How do we switch between subtitles?
Let's rewind to the beginning here. We will
| | 07:07 | leave View turned on and switch
between. Now we can see the Spanish or the
| | 07:12 | German, pause. This pop-up allows us
to switch between our different subtitle
| | 07:19 | tracks. These are called streams. We
have the streams for video in, which we
| | 07:24 | have one track right now, but we can
have as many as nine. We have streams for
| | 07:29 | audio, we can have as many as eight.
And we have streams for subtitles. We can
| | 07:33 | have as many as 32.
| | 07:35 | When you are in the Simulator, you
are able to change between streams by
| | 07:39 | selecting from the pop-up menu,
provided the View is on. If View is off,
| | 07:44 | it doesn't make any difference what you
do here because you have turned the
| | 07:46 | subtitles off.
| | 07:47 | Well, this is the manual approach. In
the next chapter, we will talk about
| | 07:53 | controlling that with scripts. It gets
a little tricky, but I think you will be
| | 07:57 | able to figure it out. What I want to
show you next is how we can import and
| | 08:01 | use a graphic as a subtitle.
| | Collapse this transcript |
| Using graphics as subtitles| 00:00 | Just as we can use text for our subtitles,
we can also use graphics. Now there's
| | 00:05 | two reasons you might want to do this.
One, is you want to create a special
| | 00:08 | subtitle that pops up, maybe a logo
or a special kind of text that can't be
| | 00:13 | designed easily inside Studio Pro.
But the second and more clever reason is
| | 00:18 | that we can use these as buttons over
video like the blue fairy in Moulin Rouge
| | 00:25 | or little pirates or whatever
that you have got floating through that
| | 00:29 | point to hidden Easter eggs inside your DVD.
| | 00:32 | Now if the subtitle track is turned
off, nobody would ever see these hidden
| | 00:36 | features, but if the subtitle track
is turned on, all kinds of interesting
| | 00:40 | possibilities exist. So we are going to
take this in two steps. Step one is how
| | 00:44 | do we import and display a graphic for
our subtitle. Step two is how do we turn
| | 00:48 | that into buttons over
video. Two separate movies.
| | 00:51 | Let's get started first by creating a
subtitle. We will just go down to the
| | 00:56 | subtitle track and we will say Add a
Subtitle at the Playhead. Now notice that
| | 01:00 | the subtitle is added at the playhead
and I go to the General tab over here and
| | 01:05 | I see about half way down I have got a
Graphic. So rather than filling Text for
| | 01:10 | my subtitle, let's go to a Graphic,
click Choose and I have created this cute,
| | 01:14 | little cloud inside Photoshop and
there's our cloud right there. Well, this is
| | 01:19 | Santa Barbara we are looking at.
Clouds don't live in the sky, they will tell
| | 01:22 | you the sky is always blue.
| | 01:24 | So let's position this by grabbing the
Offset here and dragging our cloud over
| | 01:28 | and dragging the cloud down, make it a
low cloud, like fog. So we can change
| | 01:35 | the color because remember, this
graphic is now a highlight and we can change
| | 01:39 | the color of this and let's make it a
blue cloud. That's a good cloud right there.
| | 01:44 | So we will put that blue cloud right there
and notice that when we play this back, Simulate.
| | 01:49 | (Music plays.)
| | 01:50 | It should happen right around
the shot change about five seconds in.
| | 01:54 | (Music plays.)
| | 01:56 | Well, it would if I turned the View on. There's our cloud.
| | 01:59 | (Music plays.)
| | 02:02 | Leaves tears in your eyes, doesn't it?
| | 02:04 | So all we needed to do is to create
a subtitle, so we added a subtitle,
| | 02:10 | selected the subtitle, went to the
General tab and selected what our graphic is,
| | 02:15 | in this case, we are using a cloud
and when we adjust its position, be sure
| | 02:20 | your playing this in the subtitle so
you can see what the heck is going on and
| | 02:24 | now adjust its horizontal position by
click, hold and dragging left and right
| | 02:27 | or using the arrows or
typing in a number that you want.
| | 02:30 | I tend to click, hold and drag because
it's quick and position the cloud where
| | 02:34 | you want. Now the next step is to
turn this into a button and that is next.
| | Collapse this transcript |
| Using buttons over video| 00:00 | Let's pretend that we want to watch
this video and when we reach a certain spot
| | 00:05 | we want to have a little blue cloud pop-up.
Any kind of graphic will work. I'm
| | 00:08 | just working with blue clouds. When we
click that blue cloud, it takes us to an
| | 00:13 | entirely separate piece of video, may
be something over here on mountain peaks.
| | 00:18 | The idea is, is that we are here
watching this video totally ignoring the fact
| | 00:23 | that hidden within it, I'll use these
magical buttons, that only show up when
| | 00:27 | subtitles are turned on. So let's see
how it works. We have already learned
| | 00:31 | that we can import a graphic. But
notice what I have done here I have set two
| | 00:35 | Chapter markers, okay, one of these
Chapter markers I'm going to select it, and
| | 00:39 | then when I go over to the Inspector,
notice that the second choice is Button
| | 00:43 | Highlight.
| | 00:44 | I can have something be both a
Chapter Marker and a Button Highlight. The
| | 00:48 | reason I put them so early here on the
video is simply, so we don't waste time
| | 00:51 | waiting for them to occur. And notice
the color of the button, orange on the
| | 00:56 | right, purple on the left. That means
that it's both a Chapter Button and a
| | 00:59 | Button Highlight. If I Control-click
between those two markers, Chapter one button
| | 01:04 | and People, if I Control-click and say
Add Subtitle. It automatically fills the
| | 01:09 | subtitle from the two Chapter markers,
which is where my Button Highlight is
| | 01:13 | going to be. A Button Highlight lasts
from one marker to the other and the
| | 01:18 | first marker needs to be
indicated as a Chapter Marker.
| | 01:21 | So what happens is there is going to
be a shot change right here, when we cut
| | 01:25 | to from the beach shot that we are
seeing here to a boat sailing by. And the
| | 01:30 | boat will sail by and then when the
people show up that's where this third
| | 01:33 | marker is. So we have just flagged the
difference of the boat sailing by. I'm
| | 01:38 | going to select the Marker, go to
General, set that to the Cloud graphic that
| | 01:42 | we have already learned how to do.
| | 01:45 | And I have set the colors for the
cloud graphic, so that it goes blue for
| | 01:49 | Normal, yellow for Selected and red --
let's make it red for Activated. So now
| | 01:55 | we've got our color state set for the button.
| | 01:57 | How do we set the button? Well, if
you are in the Viewer like we are here,
| | 02:02 | there is our little cloud, so let's
move it over, adjust the X right about
| | 02:07 | there, adjust the Y, make it drop like
a rock. Well this drove me nuts, because
| | 02:13 | here I'm trying to drag all over the place.
| | 02:15 | I'm clicking, I'm holding, I'm
dragging and nothing is happening. Here is the
| | 02:20 | secret. You have to double-click this
subtitle. When you double-click it, now
| | 02:26 | it opens up a button that we can
work with here and I'm going to just
| | 02:30 | auto-erase that one and drag out a new
one. And you draw a button around your
| | 02:34 | cloud, and now it acts just like a
button even though it's on video. Buttons
| | 02:38 | are just supposed to be on menus but
here it is, it's on video. Let's click on
| | 02:43 | the Button tab. We are going to call
this Jump to Peaks button and we are going
| | 02:50 | to set the Default to Button 1, we
are going to set the Target to Tracks,
| | 02:53 | Aspens, and we want it to jump not to
the beginning but right into the center
| | 02:57 | of it at peaks.
| | 02:58 | Now lets Control-click down here and Simulate. Watch.
| | 03:03 | There is our Santa Barbara seashore. Turn on the
buttons. There is our button and we click on it and
| | 03:13 | hootie kazootie! It's moved us over to
an entirely different piece of video and
| | 03:18 | the only way that we know it was
there is because we were showing the View.
| | 03:22 | Let's turn the View off and let's go
back and rewind. Control-click, Simulate,
| | 03:29 | the View is off.
| | 03:31 | (Music plays.)
| | 03:35 | There's our boat. I'm clicking
in wild frenzy. I'm in the button
| | 03:39 | area but because the button is
invisible, I can't click anywhere.
| | 03:43 | Isn't that cool? Coming up next, we
are going to take everything that we have
| | 03:48 | learned about subtitles and we are
going to make them even better to the uses
| | 03:52 | of scripting, and Scripting is next.
| | Collapse this transcript |
|
|
13. ScriptingIntroducing scripting| 00:00 | Scripting is used whenever you need
the DVD to make a decision, remember a
| | 00:05 | setting or switch between
video, audio or subtitle streams.
| | 00:09 | Remember, DVD scripting is simplistic
because it only has a TV for a brain.
| | 00:15 | This is isn't a programming language,
it's more like an automated playback
| | 00:19 | control. So what we are going to cover over
here's not an exhaustive discussion of scripting.
| | 00:25 | Instead we'll create a few simple
scripts, we'll discuss GPRM partitioning,
| | 00:30 | we'll discuss working with common
SPRMs and we'll create five scripts, how to
| | 00:34 | change an audio tracks; toggling
between audio tracks; turning subtitles on or
| | 00:39 | off; changing subtitles streams and
switching between multiple video angles.
| | 00:45 | Keep in mind that scripting can be
difficult, Apple's manual devotes an entire
| | 00:50 | chapter to it, starting on page 467.
I'm not going to walk you through all the
| | 00:55 | options, I'm just going to try to give
you an understanding and that way you
| | 00:59 | will be able to see it in action and
you can learn at your own pace specially
| | 01:03 | by looking at the manual.
| | 01:04 | So let's get ourselves started by
creating a simple script and that will be next.
| | Collapse this transcript |
| Building a simple script| 00:00 | Okay, let's create a simple script. Now
again keep in mind that this could be a
| | 00:04 | little tricky. Don't panic, we will get
through it together. Let me illustrate
| | 00:08 | what we are going to do. I have two
tracks here, our Aspens track and our Santa
| | 00:13 | Barbara lifestyles track. And I have a
menu, what I would like to do is when I
| | 00:18 | click the button on the menu, I wanted
to execute a script, which will randomly
| | 00:23 | play either one of these tracks. I
don't know, which track I'm going to play,
| | 00:27 | when I click the button, it's always a surprise.
| | 00:30 | Well, whenever a button is supposed to
do more than one thing, the only way we
| | 00:34 | can do that is with a script. Normally
a button is programmed to go to one and
| | 00:38 | only one place. Here I need to go to
two, one or the other, but not both. So
| | 00:45 | how do we create this script, well,
notice what I've got here's I've got a new
| | 00:48 | icon called Play random track.
| | 00:50 | I will show you how it works first, and
then we will it take apart and show you
| | 00:56 | how to play it. Notice that I have
created a simple little Script Selection menu.
| | 01:00 | I have added some graphics to it just because
what the heck? DVD Studio Pro makes it easy.
| | 01:04 | Click Play Random Track and it plays the Aspens track.
(Music plays when videos are loaded.)
| | 01:10 | So let's go back to the menu and click
Play Random Track again. It plays the
| | 01:14 | Aspens a second time.
It's like winning at Vegas.
| | 01:18 | Now it's playing Santa Barbara. Okay,
let's do it again. Nope, Santa Barbara again.
| | 01:24 | Okay, let's do it again, ah! It's
playing the Aspens track now. I'm clicking
| | 01:29 | the same button. What's happening
behind the scenes is that this script is
| | 01:34 | generating a random number and
depending upon what random number it generates,
| | 01:38 | it plays either the Santa Barbara
video or it plays the Aspens video.
| | 01:43 | Well, let's take a look at how it works.
First, let's make this disappear, so it
| | 01:47 | doesn't get too scary. I have an end
jump coming from each track to go back to
| | 01:52 | the Main menu. But I don't have
anything that connects down to the tracks.
| | 01:57 | Whenever you want to create a script,
we create a script the same way we create
| | 02:00 | anything else. Let's go up to the
toolbar, say Add Script and it creates a
| | 02:04 | brown script icon. Again,
Shift+Z to get this to work.
| | 02:09 | To create a script you either double-
click it or click on the Script tab down
| | 02:13 | here. Now this can be off-putting,
so we will go slowly. Our first friend
| | 02:20 | here's a Nop. It stands for No
Operation. Remember scripts were written by
| | 02:24 | programmers who like writing in code.
You'll see this more in just a minute. If
| | 02:29 | we click on this No Operation the
script command editor opens up in the
| | 02:34 | Inspector and we have all these
different script choices. The once you are
| | 02:39 | going to use the most are Jump, which
means to go from one place to another say
| | 02:43 | a script to a track.
| | 02:44 | Set a variable, they should have just
said variable, but instead they say GPRM.
| | 02:50 | A GPRM, a General Parameter Register
Memory, which nobody remembers. GPRM is a
| | 02:56 | variable, it's a bucket that stores
information and you get to determine what
| | 03:00 | gets put into each bucket.
Talk more about that in a minute.
| | 03:03 | System streams we will be working with
as well. Of three that you are working
| | 03:06 | with the most will in almost every
case be Jump, set a Variable, have the DVD
| | 03:11 | to tell you what it's doing.
| | 03:12 | So first we are going to set a Variable,
well let's see what the variables are
| | 03:17 | that we have to set. If we go back
up to our DVD here and we go over to
| | 03:24 | Advanced, remember we looked at this
at the very beginning. You see all these
| | 03:27 | GPRM variable names. Remember a GPRM is
just a bucket that holds whatever data
| | 03:33 | we want to put into it. And this data
can be quite big, it can hold lots and
| | 03:38 | lots of numbers or we can divide
it, it's called GPRM Partitioning.
| | 03:42 | If I say GPRM, I want to partition
this, so to partition, oh let's just see
| | 03:48 | here, hang on a second, I got to
delete that. There we go. Now I'm in the
| | 03:53 | Script Editor, I don't have any lines
or script associated and we are creating
| | 03:57 | Script 1. So we are going to call
Script 1, play random tracks, that's probably
| | 04:05 | should be play tracks randomly, but
let's not split hairs here. If I twirl down
| | 04:09 | GPRM, which shows up, when I don't
have any script lines down here. I can
| | 04:14 | divide this in the multiple partitions,
I'm going to divide it into four partitions.
| | 04:18 | You can divide it up into 16, but we
will divide it into four, and I'm going to
| | 04:23 | give each one of these a name and this
first one is a Random counter. Actually
| | 04:30 | we will call it a Random number that
will even be better. The rest of these we
| | 04:36 | are going to name as we go along.
| | 04:37 | So all I did is I'm able to take this
bucket. I've got a four gallon bucket, it
| | 04:43 | don't normally holds four gallons of
water, and I have divided it up into four
| | 04:47 | one-gallon buckets to make them
smaller. I could even divide it into even
| | 04:51 | smaller buckets, little cups here.
| | 04:54 | But our analogy is going to just fall
apart, so I could have it hold really big
| | 04:58 | amounts of information or smaller
amounts of information. I know your eyes are
| | 05:04 | glazing over and I'm just babbling,
but it will make sense in just a minute,
| | 05:06 | hold on. So first thing we want to do
is we want to create our script, we are
| | 05:10 | in the Script Editor, we have got
this script called play random tracks
| | 05:13 | selected, and we click the plus (+) key
to add a new script. And there's our No
| | 05:17 | Operation, this means
nothing is going to happen.
| | 05:20 | So the very first thing we want to do
is we want to set a variable, we want to
| | 05:24 | create a random number, remember these
guys like writing in code, this does not
| | 05:28 | mean to run quickly, it means ran as
in random number. Create a random number
| | 05:33 | and we want to do it immediately and we
want to have it be a random number that
| | 05:37 | has two values one or two. And we are
going to store it inside that variable
| | 05:43 | that we named Random number.
| | 05:46 | So what happens is the very first
thing, the very first script that we are
| | 05:48 | going to execute is it's going to
generate a random number immediately, it is
| | 05:52 | going to have two different values in
it. And we are going to store it in a
| | 05:55 | variable called Random number. Now that
we have got our random number, which is
| | 05:59 | either going to be one or two. We are
going to do something with it. Click the
| | 06:03 | plus key to add a new command, and here
we are going to jump. Jump means to go
| | 06:08 | from somewhere, we are going to go from
the script, we are going to jump to the
| | 06:13 | track Aspens at the beginning.
| | 06:15 | Remember these are all the different
markers that are inside, if we start with
| | 06:19 | the track it's going to jump to the
very beginning of the track. We are going
| | 06:23 | to jump to the tracks if random number
is equal to the immediate value of 1.
| | 06:31 | So first we generate a random number,
it's going to be either 1 or 2. If the
| | 06:35 | random number equals 1 we are going to
play Aspens. Let's click the plus key to
| | 06:40 | set another script. If on the other
hand we are going to jump to the beginning
| | 06:46 | of Santa Barbara lifestyles, if the
random number is equal to the immediate
| | 06:53 | value of 2.
| | 06:55 | So if our random number equals 1 play
Aspens, if our random number equals 2
| | 07:00 | play Santa Barbara lifestyles. It has
to be one or two because we have only
| | 07:04 | given it two values right here. So
notice that the script is now pointing to
| | 07:08 | Aspens and the script is now pointing
to Santa Barbara, all we have left is to
| | 07:12 | connect the script. To do that double
click over icon, select play random track
| | 07:17 | to make sure it's active and change
the target. We are not going to go to a
| | 07:21 | menu, we are not going to go to the
track we are going to go to the script and
| | 07:25 | we are going to play random tracks.
| | 07:28 | So now let's look at our graphical
connection, there's the Main menu going to
| | 07:31 | the script, there's the script going
to the two tracks and there's the two
| | 07:35 | tracks on the end jump coming
back, they all come together now.
| | 07:40 | Now this last part is the Log, now
the Log has generally given us way more
| | 07:47 | information than we need. But when we
play this back, the Log is going to tell
| | 07:51 | us what's happening and we can use
this to test and see how everything is
| | 07:55 | working. The Log is essential
for doing any kind of programming.
| | 08:00 | Okay so watch what happens when I
click the Play Random Track. OK, look what
| | 08:05 | happens here. Pause. Stop, just huse.
First it played Santa Barbara. Okay, so
| | 08:11 | it says here, Executing Script: Play
random tracks. That's the name of our script.
| | 08:15 | Line 1 says generate a random number
between 1 and 2. So it generates a random
| | 08:21 | number and the random number it generates is 2.
| | 08:24 | Then it says jump to Aspens to track
if the random number equals one, but it
| | 08:28 | doesn't; the number equals 2. So here
it jumps to Santa Barbara because it
| | 08:32 | equals two. So these lines here
inside the log tell us exactly what's being
| | 08:37 | executed as we play this script. Let's
go back to the menu. Play Random Track.
| | 08:42 | Back again. Okay, it says let's execute
the script, generate a number, generated 2.
| | 08:47 | Well the random number was stored
inside the random number variable.
| | 08:51 | It didn't go to Aspens because that requires
a random number of 1. It went to Santa
| | 08:54 | Barbara, let's try it again.
| | 08:57 | Now there's Aspens. Generate the random
number from 1 to 2, it generated a number
| | 09:02 | of 1 and it jumped to the Aspens of
random number equaled 1. One more time just
| | 09:07 | to prove that we can do this. And
there's Aspens again, generate a random
| | 09:12 | number, generated a number of 1
and it played the Aspens track.
| | 09:16 | This is a very simple script that
does a very interesting thing. It sort of
| | 09:20 | like surprised me with something I
haven't seen before. Every time you click it
| | 09:25 | something different happens and it only
took three lines of script to generate
| | 09:29 | the number and determine what to do with it.
| | 09:30 | Well, all the scripts that we created
are going to be less than four or five
| | 09:34 | lines, nothing is going to be really
complicated, but there's a lot more power
| | 09:39 | hidden here that you might have first
think. So I what I would like to do next
| | 09:42 | is I would like to start to look at a
different script and this is one, which
| | 09:46 | is inside, this is by the way the
exercise file is 16 scripting. We are going
| | 09:51 | to go to 17 scripting and start to
manipulate subtitles and audio tracks and
| | 09:58 | video tracks. We are going to look
at audio tracks first and that's next.
| | Collapse this transcript |
| GPRM vs. SPRM| 00:00 | There are two variable categories
inside DVD Studio Pro, GPRMs and SPRMs.
| | 00:07 | A GPRM, a General Parameter Register
Memory is a variable that you control, it's
| | 00:12 | this bucket we talked about into, which you store
data that you want the DVD Player to remember.
| | 00:17 | Now data is remembered until you eject
the disc or until the system is turned off.
| | 00:23 | An SPRM, a System Parameter Register
Memory is controlled by the DVD player
| | 00:28 | that can tell you the current state of playback.
| | 00:32 | Now there's 24 SPRMs, but these three
are the most popular. SPRM 1 gives you
| | 00:39 | the number of the current audio stream
because there are eight audio streams,
| | 00:44 | it will range from 0-7 for 8 in total.
| | 00:47 | SPRM 2 gives you the current subtitle
stream and whether it's on, that is to
| | 00:52 | say whether it's displayed. This number
will range from 0-95, divides in half.
| | 00:57 | The lower half of that range is the 32
streams indicating their display is off
| | 01:03 | and the higher end to that range is 32
streams indicating the display is on.
| | 01:06 | And, SPRM 3 gives you the current video
angle number. Now there are nine video
| | 01:12 | streams possible. So this range is from 1-9.
| | 01:14 | Let's see how all this works in just a
minute. What I'd like to do is to create
| | 01:20 | a simple menu working with SPRMs to
allow us to change the audio stream number,
| | 01:28 | and that's next.
| | Collapse this transcript |
| Changing the audio track with a script| 00:00 | Let's take a closer look at
scripting and here I've opened up project, 17
| | 00:05 | Scripting Start to give us something to
look at. I've created a menu that's got
| | 00:09 | about eight different buttons on it
and each of these buttons has scripts
| | 00:13 | associated with it. Let's take a look
at what we have here to work with.
| | 00:17 | Click on the Simulate button
and let's play our Aspen video.
| | 00:21 | (Slideshow music plays.)
| | 00:24 | Now this video has two tracks of audio,
we can see that by going down to our
| | 00:29 | Track Selector. The speaker indicates
audio tracks. This selects video tracks
| | 00:35 | and this is subtitle tracks. We'll be
working with all of these over time, but
| | 00:39 | for right now we are going
to work with audio tracks.
| | 00:41 | If I play the video with audio track 1,
| | 00:44 | (Synthesized-style music plays.)
| | 00:45 | we have our haunting music,
| | 00:47 | and if I play it with audio track 2, we've
got more of a country theme.
| | 00:51 | (Country music plays.)
| | 00:55 | Now we could select between these tracks
either by using this pop-up menu or the remote
| | 00:59 | control but most often it's much
better to give the Viewer control over this
| | 01:03 | through a button, and I just happened
to have a button here, so let's click on
| | 01:06 | the menu.
| | 01:08 | If I play the Aspen movie, notice it's playing track 1.
| | 01:11 | (Synthesized-style music plays.)
| | 01:12 | When I go back to the menu and I say Select Audio
Track 2, when I click the button and then play the movie,
| | 01:18 | (Country music plays.)
| | 01:19 | notice that it's automatically
set it to track 2. Well, the way that
| | 01:24 | change occurred is through a script.
| | 01:27 | Now scripting can be intimidating
and it took me a while to get my brain
| | 01:31 | wrapped around it, so I have created
subscripts that you can use as models. But
| | 01:35 | don't panic if this takes a little bit
of time to sink in, it took me a long
| | 01:39 | time to understand it.
| | 01:40 | If I go to our Graphical display,
there's our Main menu, there's our Aspen
| | 01:45 | video. There's our Santa Barbara
video and all these brown boxes represent
| | 01:50 | scripts. The first script is Select
Audio Track 2, if I click on it, it opens
| | 01:55 | up the script in the Script
Editor down here at the bottom.
| | 01:58 | You can also switch between scripts
by click and holding the pop-up and
| | 02:02 | selecting the script that you want. But
for right now we're going select Audio
| | 02:05 | Track 2. There are two kinds of
variables inside DVD Studio Pro, we've learned
| | 02:11 | about the GPRM and the SPRM. The GPRM
is the variable that we set or work with
| | 02:17 | them a lot in just a minute.
| | 02:19 | The SPRM is a system variable, and as
we've learned system variables control
| | 02:24 | the audio and the video and the
subtitle streams. So notice that I've got two
| | 02:30 | script lines down here, the first one
sets as System Stream, we'll talk about
| | 02:35 | that in a second, but let's go to
something we know, which is Jump.
| | 02:40 | Jump says when you hit this line, the
script is supposed to jump, connect with
| | 02:45 | something. In this case we've got a
jumping to the Main menu. So the end of the
| | 02:50 | script has it jump to the Main menu or
we could have a jump to a track or we
| | 02:55 | could have a jump to a slideshow. So
this script ends by jumping in some place.
| | 03:01 | Well, we already are comfortable with
what Jump does. We looked at that in the
| | 03:05 | last chapter.
| | 03:07 | But what's a System Stream? A System
Stream controls what audio track is
| | 03:11 | playing. For instance here I've set a
System Stream so that Audio Stream 2
| | 03:17 | plays whenever that script executes.
The very first thing that we do is we say,
| | 03:22 | regardless of what audio stream you
are playing switch it to Audio Stream 2,
| | 03:27 | and then jump to the Main menu. That's
relatively straightforward. In fact we
| | 03:32 | can change this jump just to save
ourselves some time. Let's switch the jump to
| | 03:36 | have a jump and play the beginning
of the track. We'll have it play the
| | 03:40 | beginning of the Aspens movie. Now
watch what happens, we'll go back to our
| | 03:44 | Main menu, we'll Simulate and we'll play Aspen.
| | 03:48 | (Synthesized-style music plays.)
| | 03:49 | Notice it's track 1. Go back to the menu,
select Audio Track 2. (Country music plays.)
| | 03:55 | and look at that, it automatically changed
our audio to play the second track.
| | 04:01 | Now that's nice except that script
doesn't give us any way to go back to track
| | 04:07 | 1 unless we do it manually, and
manually is so last century. Let's try
| | 04:12 | something different. Let's instead look
at our second button, which is Toggling
| | 04:17 | audio tracks. Now here to toggle the
audio track, we'll go down to the script
| | 04:21 | and we'll do the pop-up and say Toggle
audio track. We could just as easily go
| | 04:26 | to the graphical interface and double-
click the script to load it down here.
| | 04:31 | Now this is four lines of script. Well,
we already understand what the Jump
| | 04:35 | does and we understand what the Set
System Stream does. But look at this
| | 04:41 | weirdness, GPRM 5. Now we have to get
into programming variables. A variable is
| | 04:49 | just a bucket that contains whatever
information you want to put into it. In
| | 04:55 | this case it contains a number, and
the number that we are going to put in is
| | 04:59 | tell us the number of the
audio track that's playing now.
| | 05:03 | Now just to confuse things, because
of the way the computer works if Audio
| | 05:08 | Track 1 is playing, it's given a value
of 0. If Audio Track 2 is playing, it's
| | 05:16 | given a value of 1, it would make all
of our heads spin less if the numbers and
| | 05:22 | the tracks agreed, but they are off by 1.
Audio Track 1 is given a number of 0,
| | 05:27 | Audio Track 2 is given a number of 1,
Audio Track 3 is given a number of 2. The
| | 05:33 | number's 1 number less than the actual
number of the audio track. Why should
| | 05:39 | life be easy?
| | 05:41 | So what we want to do first in this
first line of the script is we want to
| | 05:45 | remember what track is playing so we're
going to take the track that's playing
| | 05:50 | SPRM 1 because remember SPRM 1 contains
the number of the track that's playing
| | 05:55 | and store it somewhere and a general
registered program will be in a GPRM, it's
| | 06:01 | easier to say anyway, but GPRM 5 is
not what I would consider user-friendly.
| | 06:06 | It'd be nice if we could rename this,
and we can if we select a script, just
| | 06:12 | click on the button and there's all of
our GPM variables. We have the total of
| | 06:16 | eight, they are given the numbers 0-7,
and each of these is a single partition.
| | 06:24 | That, which is black, does not have
any script assigned to it; that, which is
| | 06:28 | gray, does have the script assigned to
it. We are going to move all of these in
| | 06:31 | just a minute, but I had to put them
somewhere, so I have assigned them here.
| | 06:36 | We can even rename this partition, if
we twirl this down, notice we twirl it
| | 06:40 | down. I double-click on the name, I
could call this Audio stream, I could call
| | 06:47 | it that but what I type is entirely
different. Come on! There's a T in there
| | 06:51 | somewhere, here we go, fast but not
accurate. So we've just named that
| | 06:56 | partition, the name is whatever name I
want to give to it. GPRM 0 is the actual
| | 07:02 | partition, but I can name it.
| | 07:04 | Now I talk about Partitions. This is
a new feature that showed up with DVD
| | 07:08 | Studio Pro 4, and let's just digress
for a minute because our brains aren't yet
| | 07:13 | spinning. Let's just digress for a
minute and talk a little bit about
| | 07:16 | Partitions because we are going to be
working with them for the next several
| | 07:19 | exercises.
| | 07:20 | Partitioning GPRMs allows us to create
more variables, which we can use in our
| | 07:26 | scripts. However, when we partition a
GPRM, it decreases the maximum value that
| | 07:32 | each partition can store. If I have a
single GPRM and a single partition, it
| | 07:38 | can hold any number from 0-65,535. If
I divide it into two partitions, it can
| | 07:47 | hold any number from only 0-255. If I
create four partitions it can hold the
| | 07:54 | minimum number of 0 but a maximum
value of 15. If I make eight partitions,
| | 07:59 | which gives me eight different
variables to work with each variable can only
| | 08:04 | hold a number from 0-3, and if I
create 16 partitions, which gives me a huge
| | 08:10 | number of variables to work with. Each
variable can only have 0 or 1. The more
| | 08:15 | I partition, the smaller
the maximum value can be.
| | 08:19 | Now if all you want to do is to keep
track of whether something is on or off,
| | 08:23 | then 16 partitions is great, on or off
could be represented by 0 or 1. However,
| | 08:28 | with Subtitles as you'll see,
Subtitles require numbers that go up to over a
| | 08:34 | hundred, well, I can't use 16
partitions because they can only have an maximum
| | 08:39 | value of 1; I can't use 8 because that
has a maximum value of 3; I can't use 4
| | 08:44 | that has a maximum value of 15, that
means that if I'm going to start to switch
| | 08:48 | Subtitles streams, I can only
partition my GPRM into either one or two
| | 08:54 | partitions. Anything else won't have
the ability to hold the maximum value high enough.
| | 08:59 | Also keep in mind, look at the last line.
It says, Partitions that are used in
| | 09:03 | scripts can't be changed, GPRMs, which
are used in scripts or partitions, once
| | 09:08 | you use them you can't change them.
This is why I assigned my variables to
| | 09:13 | higher partitions, because I want to
work with some of the lower ones in this example.
| | 09:17 | If all you are doing is creating a
single script with a single variable, don't
| | 09:21 | worry about partitioning. But if you
are creating lots and lots of scripts, and
| | 09:25 | you want to keep track of lots of
different variables, partitioning can make
| | 09:28 | your life a lot easier. Just to keep
in mind that when you partition, you
| | 09:32 | decrease the maximum value
that, that partition can hold.
| | 09:35 | Now let's take a look at this in real
life. Just to keep our life simple, I'm
| | 09:40 | going to keep track of our Audio
stream by creating a single partition, we're
| | 09:44 | just going to call it Audio stream.
Now although this can handle up to 65,000
| | 09:50 | numbers, In our case we just have a few
to work with. So let's just take a look
| | 09:55 | here, and let's go to toggle the audio track.
| | 09:59 | Let's select this first line and go
over to the Inspector, it says Set GPRM.
| | 10:03 | Set means that we are going to
establish a value for it. It's a Move command,
| | 10:07 | which means we are going to replace
whatever value is there with the new value.
| | 10:12 | It's an SPRM value, which means it's
come off our DVD Player, it's an Audio
| | 10:17 | stream, which means it's SPRM 1. We
wanted to store that-- notice I click on
| | 10:22 | this downward pointing arrow-- store
it in a variable called Audio stream.
| | 10:26 | I could store it anywhere, but I put
it in a variable called Audio stream
| | 10:30 | because it makes more sense.
Replace the value inside Audio stream with
| | 10:34 | whatever audio track is playing is
tracked by SPRM 1. That's what that first
| | 10:38 | line says. Then set the System Stream,
that is to say switch the audio, so it's
| | 10:43 | playing stream 1 if the audio stream
value is equal to the immediate value of 1.
| | 10:54 | Now remember, if Stream 1 is playing
it has a value of 0, if Stream 2 is
| | 11:00 | playing it has a value of 1. So what
this says is, if the audio stream that's
| | 11:05 | currently playing has the value of 1,
meaning it's Stream 2, then play Stream
| | 11:10 | 1. Okay, let's go to the third line.
Set the System Stream to Stream 2 if our
| | 11:19 | Audio stream is equal to
the Immediate value of 0.
| | 11:24 | Now if Stream 1 is playing, it has a
value of 0, which means switch it to
| | 11:29 | Stream 2, and then just to keep our
things moving quickly, jump and play the movie.
| | 11:34 | Now I could just as easily jump to the
Main menu or jump to any other menu, all
| | 11:38 | we've done is we've toggled between
say the main sound track of the movie and
| | 11:42 | the director's commentary or back and
forth, if one is on switch to the other,
| | 11:46 | it's a toggle, it goes back and forth.
Let's just Simulate this double-click on
| | 11:50 | the menu, click Simulate and let's
play our movie. Stream 1 is playing, let's
| | 11:56 | click Toggle the audio tracks,
there's Stream 2, let's go back to the menu,
| | 12:01 | Toggle again, there's Stream 1.
| | 12:03 | Well, how are we suppose to track
what's going on? Well, this allows us to
| | 12:10 | explore a new tab that we haven't
looked at before and that's called the Log tab.
| | 12:15 | The Log tracks everything that's
going on behind the scenes, so we can see
| | 12:20 | exactly what's going on and track what
we are doing. So let's Simulate this and
| | 12:23 | this time we'll watch the Log. Okay,
we're going to click and toggle audio tracks.
| | 12:30 | (Synthesized music plays.)
| | 12:31 | Now look at what's happened. First it
says that the user activated the script
| | 12:35 | called Toggle Audio, so it jumps to
the script then it executes the script.
| | 12:40 | Line 1 of the script, move into the
variable called audio stream, the value of
| | 12:45 | SPRM 1. Well, it's just changed that
audio stream to 15. 15 means it's not sure
| | 12:51 | what's going on, let's just plug it in
here and so it goes and plays the movie
| | 12:56 | and sets it to track 1.
| | 12:58 | Now let's play it again. Let's go
back to menu, toggle the audio track.
| | 13:02 | (Country music plays.)
| | 13:04 | Pause. Okay, we're executing the script
Toggle audio track. It sets the variable,
| | 13:09 | Audio stream = SPRM 1. It takes a look
to see what it is. It says it's playing
| | 13:15 | track 1, so it stores 0. Remember the
numbers one less than the track being
| | 13:20 | played. So set the system to Stream 1
if it equals 1. It isn't, it equals 0. So
| | 13:26 | set the system to Stream 2 if it
equals 0, and now it's set to Stream 2.
| | 13:30 | The Log gives you a step-by-step
breakdown of exactly what's happening in the
| | 13:35 | script. So I use this for debugging all
the time to figure out what's going on
| | 13:39 | and watch it and just pause playbacks
so I can see what's happening. Let's try
| | 13:44 | it again. We'll click audio tracks.
(Synthesized music starts to play.)
| | 13:47 | it executes the script, it finds out what
| | 13:49 | stream is playing. It's Stream 1, which
means it has a value of 1. It says set
| | 13:55 | it to Stream 1, if it's equal to Stream
2 playing, it's exactly what's happened,
| | 14:00 | and then it plays the movie.
| | 14:03 | Very cool! A single button that
allows us to toggle between different audio
| | 14:09 | tracks. If I had more audio streams, I
just add more lines of script so I'd be
| | 14:14 | able to toggle between all the
different ones, or you could have a button that
| | 14:17 | says, Turn on Director Commentary or
Turn on Cast Commentary or Turn on Spanish
| | 14:22 | Language or whatever you need it to do.
All you are going to do is to run a
| | 14:26 | script that sets the audio stream
equal to the track that you want to hear.
| | 14:30 | But there's a lot more we can do with
scripts, we'll be talking about that
| | 14:34 | next, looking closer at subtitles.
| | Collapse this transcript |
| Controlling subtitles with scripts| 00:00 | In this lesson I'd like to show you
how we can use scripting to control
| | 00:04 | subtitles. Let's take a look at what
we've got to work with. There are four
| | 00:07 | buttons on this menu, one that turns
subtitles on and off and one that selects
| | 00:11 | a language, English, Spanish and German.
If we Simulate this title, let's turn subtitles on
| | 00:18 | (Music plays when slideshow starts.)
| | 00:21 | and there's our English subtitle.
| | 00:27 | And we can see the View menu is checked and it selected
subtitle on track number 1. Let's go back to the menu
| | 00:34 | and turn subtitles off, plays the movie,
the View menu is not checked, so it
| | 00:39 | does not display subtitles.
| | 00:41 | Let's go back and let's select English.
Just to make things faster I have got
| | 00:46 | the Jump selected so it doesn't jump
back to the menu. It jumps directly to the
| | 00:50 | movie. So it selects English, turns on
subtitles and selects track 1, and we
| | 00:56 | get English subtitles.
| | 00:57 | Let's do Spanish, View is turned on,
selects track 2 and we see Spanish
| | 01:05 | subtitles or, click here. View is
turned on, it selects track 3 and we see
| | 01:13 | German subtitles or we can go back. Or
turn our subtitles back off. The View is
| | 01:20 | turned off, it resets back to
English and there are no subtitles.
| | 01:25 | So that's the way that our four
buttons work and all of them are driven by
| | 01:30 | scripts. So let's take a look at what
those scripts are and we'll start with
| | 01:34 | the turning subtitles on or off. Now
to get to the Script we could go to the
| | 01:39 | graphical interface and toggle the
subtitle, just double-click that or we could
| | 01:44 | go down to the Script tab and hold
the pop-up menu down and take a look at,
| | 01:49 | which script we want to work with.
| | 01:52 | Toggling Subtitles on and off is four
lines of code. The first is SPRM 2 keeps
| | 01:58 | track of what subtitle stream is
playing and whether it's turned on or turned
| | 02:03 | off. So I'm going to store that to a
variable. Well I've got it temporarily
| | 02:08 | store to GPRM 3, but let's twirl
down GPRM 1, and let's rename that by
| | 02:14 | double-clicking on it and typing
subtitles stream. We don't have to rename it,
| | 02:23 | we could have called it GPRM 1 but I
found that typing this in words that makes
| | 02:28 | sense to me, makes my
scripting a whole lot easier.
| | 02:32 | We have a single partition, which
means it can store up to a maximum value of
| | 02:36 | 65,535. If we partition the maximum
value that could be stored is little less,
| | 02:43 | we'll do some partitioning in the next movie.
| | 02:46 | So the first thing that we want to do
is to select this first script line and
| | 02:50 | we want to set the GPRM that's to say
set the variable. Totally replace what's
| | 02:55 | there with the new value that's what
the Move command does. By the way swap
| | 02:59 | trades values, add adds a value to
what's already there. Subtract, subtracts a
| | 03:05 | value from what's already there,
multiply, divide, modulus division, which
| | 03:09 | means it keeps track of the remainder.
Generate a random number, and then
| | 03:13 | logical and/or or exclusive/or.
Those are what those choices are.
| | 03:18 | We want to totally replace the value
inside the GPRM. With an SPRM value of the
| | 03:24 | contents the number of SPRM 2 and we
want to store it inside the target called
| | 03:31 | subtitle stream. Now the way that
subtitles work is they are stored on a
| | 03:36 | numeric range, so what we are doing is
we want to say, set the subtitle stream
| | 03:41 | to stream 1 if the variable subtitle
stream is less than the immediate value of
| | 03:48 | 64. That's going to turn it on, notice
the View is checked, and it's going to
| | 03:53 | set it to subtitle stream 1.
| | 03:56 | Let's go down to line 3 and change that,
currently I've got it pointing to GPRM
| | 04:00 | 3. So we're going to change it because
we want it to turn this subtitle stream
| | 04:05 | off, if the value that we stored at
the beginning on line 1, if the subtitle
| | 04:09 | stream value is greater
than the immediate value of 63.
| | 04:12 | We will just grab this here and drag
it wider so we can see what's going on.
| | 04:18 | Come on, there you go. We're going
to adjust the width of the column by
| | 04:21 | clicking on the column
header divider and dragging it.
| | 04:24 | Here's the way this works. When you ask
it to tell you the value inside SPRM 2,
| | 04:30 | it returns a number. If that number is
greater than 63 it means subtitles are
| | 04:37 | turned on and the specific number
indicates, which subtitle stream is playing.
| | 04:43 | If on the other hand the number is less
than 64, it means the subtitles are not
| | 04:49 | turned on. So what we are doing is
we're finding out if the number is less than
| | 04:54 | 64 as it is in line 2, it means
subtitles are off, so please turn them on, the
| | 04:59 | View menu is checked. If the number is
greater than 63, it means the subtitles
| | 05:04 | are visible so we want
to turn the View menu off.
| | 05:08 | Turning this on or off is all that's
necessary to change the display of your
| | 05:12 | subtitles. We don't have to change the
track, all we have to do is, if View is
| | 05:16 | off turn it on and if it's on turn it
off and we determine that by the value of
| | 05:20 | the subtitle stream 64 or greater,
means that it's on, 63 or less means that
| | 05:26 | it's off. That's what these
two lines of code are doing.
| | 05:30 | Then at the end we have to go
somewhere. You can't just have a script stop,
| | 05:33 | otherwise the DVD just waits forever
because it doesn't know what to do next. I
| | 05:38 | would normally come back to a menu
saying the subtitles have been adjusted but
| | 05:43 | just to save time I'm jumping the movie
so we can quickly test how this works.
| | 05:48 | As we look at the different languages
selecting English, Spanish and German,
| | 05:52 | then we are going to have to determine
exactly what the number is because that
| | 05:55 | determines what the track is for us.
All we are doing right now is saying if
| | 05:59 | it's 64 or greater it means it's on,
turn it off, and if it's 63 or less, it's
| | 06:05 | off, turn it on. So let's execute this.
Let's go and Simulate, and let's watch
| | 06:10 | what happens in the Log.
| | 06:12 | Turn subtitles on. Pause. Okay, it's
jumping to the script 'toggling subtitles.'
| | 06:19 | It's executing the script toggling
subtitles. It says, "Store the value SPRM 2
| | 06:24 | in subtitle stream." So it does. It
stores the value of 62. Is 62 less than 64?
| | 06:33 | Yes it is. So therefore we're going to
change that, we're going to turn it on,
| | 06:38 | the View menu is now on, and then it
jumps to Aspens. So let's play this.
| | 06:43 | Go back to the menu, turn it off. And
it goes through the same thing again, executes
| | 06:49 | the script. Stores the value of SPRM 2,
that's our subtitles stream, stores the
| | 06:54 | value of 64. Is it less than 64? No, it
isn't. That means subtitles are on. So
| | 07:00 | in this case, go to line 3. Is it
greater than 63? Yes, it's 64, in, which case
| | 07:05 | turn it off, and that's exactly what it
does. And then jump and play the movie.
| | 07:10 | If subtitle stream 1 is selected but
not displayed, it returns a value of 0.
| | 07:17 | If subtitle stream 1 is displayed and
selected, it returns a value of 64. Subtitle
| | 07:24 | stream 2, value of 1 if it's off, and
65 if it's on. Subtitle stream 3, a value
| | 07:32 | of 2 if it's off, 66 if it's on. There
are 32 subtitle streams, if they are off
| | 07:39 | they go from 0 to 31, if they
are on they go from 64 to 95.
| | 07:48 | It's enough to make your head spin.
Let's take a look at it again, let's go
| | 07:52 | back to the menu, toggle subtitles, okay,
notice it's stream 1 and it's on, it
| | 07:59 | executes the script, finds out the
value, finds out if it's turned off or
| | 08:03 | turned on and then sets the value the
opposite way. The Log is really useful in
| | 08:07 | stepping through this one step at a time.
| | 08:09 | Let's now start to set languages,
let's see what this looks like, let's go to
| | 08:13 | the Graphical Connection, display
English. If we wanted to be English, that's
| | 08:18 | subtitle stream 1. Set the System Stream,
Immediately. That is, don't wait. To
| | 08:24 | subtitle stream 1 and turn it on, and
then play the movie. If we want it to
| | 08:30 | display Spanish, let's take a look here.
Notice that English is on track 1, I
| | 08:35 | just clicked on the Track tab, Spanish
is on track 2, click our Down Arrow here
| | 08:41 | and German is on track 3.
| | 08:43 | So I get to determine, which language I
want to see simply by turning on 1 for
| | 08:49 | English, 2 for Spanish or 3 for German.
| | 08:53 | Let's take a look at our script. So we
want to select English, turn on subtitle
| | 09:00 | steam 1, we want to display German,
turn on subtitle stream 3; we want to
| | 09:05 | display Spanish, turn on subtitle
stream 2 and then go to the movie. So the
| | 09:11 | Toggle Subtitles determines whether the
subtitle is on or off and selecting the
| | 09:16 | language in this case allows us to say,
turn on the subtitles and play the
| | 09:22 | track associated with the
language, simple! Let's take a look.
| | 09:28 | Select English, track 1 is selected,
the View is turned on, there's our
| | 09:32 | English. Select Spanish, track 2 is
selected, View is turned on. There's
| | 09:39 | Spanish. Let's try German. Track
3 is selected, View is turned on and
| | 09:46 | there is German.
| | 09:48 | Let's turn them off, turn subtitles on
or off, goes back to track 1, View is
| | 09:54 | turned off, no subtitles. Some very,
very interesting things can be done with
| | 10:00 | very, very simple scripts. Take a look
for yourself and you'll start to see,
| | 10:06 | that you don't have to spend a lot time
writing complex scripts yet still have
| | 10:10 | plenty of control over what audio
track you hear or what subtitles you see.
| | 10:15 | But there's one more thing I want to
cover and that's multiple-track video and
| | 10:20 | we'll do that next.
| | Collapse this transcript |
| Playing multiple angles with scripts| 00:00 | Now we are confronted by classic
chicken and egg situation. I'd like to talk
| | 00:04 | about how we can use scripts to talk
about multiple video angles, but we
| | 00:08 | haven't described how to create multiple
video angles. We do that in the next chapter.
| | 00:13 | But we really should talk about
scripts in the Scripting chapter. So if you
| | 00:17 | need to know how to create multiple
angles then do that one first and then come
| | 00:20 | back and look at scripts.
| | 00:22 | A multiple angle allows us to have four
video tracks rolling simultaneously or
| | 00:28 | in a mixed angle we can have sort of
have them run throughout, but I start to
| | 00:32 | digress, that's the next chapter we
will talk about that in just a minute. What
| | 00:36 | I'd like to show you now is how we
can create a script to control, which of
| | 00:39 | these video angles we are going to look at.
| | 00:42 | Notice that we have four angles. If we
Simulate this, we have four different tracks.
| | 00:48 | (Polka music from video starts to play.)
There is track 1; track 2, close-up center;
| | 00:52 | track 3, jib arm off to the right side;
track 4, close-up on the far right side.
| | 01:00 | (Music stops.) So what I have done is I have
created a script, which allows us to randomly
| | 01:04 | jump between these different four angles. Let's see
how it works. So when we click on Randomly Select Video,
| | 01:11 | (Music plays, stopping and
starting as Larry switches tracks.)
| | 01:12 | we're at the low center,
that's track 2. Let's go to
| | 01:16 | Menu, click Random. We are on track 2.
It likes track 2. There we go. There's
| | 01:25 | track 1. One of the problems with
randomly generated numbers is sometimes the
| | 01:30 | number repeats. Now we're track 4,
| | 01:35 | now we're on track 3,
| | 01:39 | track 1.
| | 01:40 | You can always read your video angle
here. Notice that we have four angles to
| | 01:43 | choose from, but what we're doing is we
are using this script to randomly decide
| | 01:48 | which track we want to play. There's
a couple of new script commands we are
| | 01:52 | using as well.
| | 01:53 | Let me show you how this works. We'll
go to our Graphical tab, double-click the
| | 01:57 | Random angle generator and now we've
got six lines of code. Now when we first
| | 02:02 | began talking about scripting we
talked about partitioning, but I have never
| | 02:05 | shown how that works. So
let me illustrate that here.
| | 02:08 | GPRM 3 is not the world's most friendly
phrase. Let's change this into a random
| | 02:16 | number. Well, that, which is gray, I
can't change, because it's assigned to a
| | 02:21 | script, I can only change that, which
is black. Under GPRM 0 I have already
| | 02:26 | named that audio stream GPRM 1,
this has been named subtitle stream.
| | 02:31 | So let's go to GPRM 2. Now when there
is a single partition, I can have up to
| | 02:36 | 65,000 as my largest number. As I
increase the number of partitions, I decrease
| | 02:43 | the maximum value. Well, I only need
to store four values here, which means I
| | 02:47 | could partition this a lot.
| | 02:49 | If I say, give me two partitions, there
are my two partitions, and they act as
| | 02:53 | two separate unrelated variables. Each
of them could hold up to 255 would be
| | 03:01 | the maximum number. If I set this to
four partitions, there are my 4 separate
| | 03:06 | variables or 8 partitions or 16
partitions. If all you needed is a simply flag
| | 03:14 | of whether something is on or off, you
can store two values in 16 partitions.
| | 03:19 | You can store four values in eight
partitions and we talked about the different
| | 03:24 | partition values a couple of movies ago.
| | 03:27 | In our particular case just because
we can, I'm going to set this to 4
| | 03:30 | Partitions and you double-click on
the name and we will call this a Random
| | 03:36 | number. These are the three
partitions I'm not going to use.
| | 03:41 | Now in our particular example I could
have partitioned this into just a couple
| | 03:46 | of variables. This is going to require
at least one or two anymore than that, I
| | 03:51 | don't hold all the numbers so they need
to hold for a subtitle, but the rest of
| | 03:54 | these are very, very small. I
could have partitioned a lot.
| | 03:57 | You create partitions when you need
more variables. If you don't need them,
| | 04:00 | there is no reason to partition. I
didn't really need it here, but I wanted to
| | 04:04 | show how it works.
| | 04:06 | So now let's just reassign this. The
first line, we have a new command and that
| | 04:11 | command is RAN. RAN means Random.
Generate a random number is what we are
| | 04:18 | telling it, and immediately store it
into a random number partition that we
| | 04:25 | just created.
| | 04:27 | That random number needs to be any
value between the number 1 and the maximum
| | 04:32 | value that we have to hear. So I want
it to be any number between 1 and 4, and
| | 04:37 | the reason is I have only got four
different angles. So I want to generate a
| | 04:40 | random number that will randomly
select one of those four angles.
| | 04:44 | So the 1 is assumed the 4 is the
maximum we wanted to generate. So that's our
| | 04:50 | random command. I use that a lot
whenever I wanted to arbitrarily select just
| | 04:54 | some sort of -- just an interesting
number. I just type-in the maximum value here.
| | 04:59 | Now we have already learned that
system streams are how we control audio and
| | 05:03 | video and subtitles well. The system
stream here is set the system stream
| | 05:08 | immediately to video angle 1. Remember
we've got four angles here, 1, 2, 3, 4.
| | 05:15 | So immediately set it to Video Angle 1
if our random number -- we just need to
| | 05:20 | change that here. Random
range number is equal to 1.
| | 05:24 | We generate the number here. If it
equals 1, then play Angle 1. Let's just
| | 05:29 | change that. Change this to random
number instead of GPRM 3, which only a
| | 05:35 | mother could love. Let's just set this
to something that mere mortals can read.
| | 05:40 | I'm just changing all of
these to the Random number.
| | 05:43 | Now let's take a look at what this
script says. Generate a number that's
| | 05:47 | randomly generated between 1 and 4.
That would include 2, 3 for those of you
| | 05:51 | that are mathematically challenged.
Then set to system stream to Angle 1, if
| | 05:56 | the random number equals 1. The system
stream to Angle 2, if the number equals
| | 06:00 | 2. To 3, if it's 3 and 4, if it's 4.
| | 06:04 | Now Resume is another neat command.
What that does is wherever you were when
| | 06:08 | you left off pick up with
that spot. So let's test this.
| | 06:12 | We go to Simulate, pull this out of the
way and let's play our multiple angles.
| | 06:18 | Notice that's it's at Angle 1.
| | 06:20 | Now I'm going to click the Menu command, notice
| | 06:22 | the girl is in the middle
skating here, right there.
| | 06:25 | When I click Randomly Select Video,
look at what it does.
| | 06:28 | One, it picks up my video right where
I left off. It resumed where it was, and
| | 06:33 | look at the command, it says,
"Executing the script, generate a random number
| | 06:38 | between 1 and 4." It did; it generated
the number 4. Is it equal to 1? Nope.
| | 06:43 | Is it equal to 2? Nope. Is it equal to 3?
Nope. Is it equal to 4? Yup! So then
| | 06:47 | change the angle to Angle 4 and
then play it. And it did.
| | 06:51 | Let's go back and do it again. Click
Random. Okay, we are on Angle 2, but it
| | 06:57 | picked up where we left off. So it's
like giving us control over how we want to
| | 07:01 | switch our cameras to take
a look at different shots.
| | 07:03 | Let's try it again. Randomly
generate again, pause, we are at Angle 4. It
| | 07:09 | generates the number, generated a
number 4. Remember a random number by
| | 07:13 | definition means numbers can repeat.
It's not equal to 1, or 2, or 3.
| | 07:18 | It is equal to 4, change the angle to
four and pick up from where you left off.
| | 07:22 | Let's try it again.
| | 07:25 | (Music plays with video.)
| | 07:31 | We are back to Angle 4. Again
controlling system streams are how we are able to
| | 07:37 | control what the audio tack is that's
playing and what the subtitle track is
| | 07:40 | that's playing and what the video
stream is that's playing. I got to keep
| | 07:44 | remembering. It's not really a track;
it's really a stream, because an audio
| | 07:48 | stream could be a stereo stream or 5.1
surround mix, but you can only have one
| | 07:53 | video stream playing. You can't
dissolve between them, you can't cross-fade
| | 07:57 | between audio streams, you can't have
two or three subtitle streams all playing
| | 08:01 | at the same time. It's one and only
one stream in each of those three
| | 08:04 | categories.
| | 08:06 | So this is how you can use scripts to
control the way your DVDs play. So let's
| | 08:11 | shift out of scripting and into
something that's even more technically
| | 08:15 | challenging. That's the ability to
play multiple video angles. Like this is a
| | 08:20 | multiple angle or as a series
of mixed tracks. That is next.
| | Collapse this transcript |
|
|
14. Working with Multiple TracksWorking with multiple audio and video streams| 00:00 | DVD Studio Pro supports up to 8 audio
streams. Each stream is the same length
| | 00:06 | and format as every other and all of
them must be compressed identically. DVD
| | 00:10 | Studio Pro also supports up to 9 video
streams and here there's two formats.
| | 00:14 | One is a multiple angles where every
angle is the same length but this also
| | 00:19 | requires the most storage space. And
mixed angles have one master track and
| | 00:23 | shorter subsidiary tracks, which
means it requires less storage space. In
| | 00:28 | either case, all tracks, audio and
video, must be compressed exactly the same
| | 00:34 | and accessing multiple streams
generally requires scripting.
| | 00:37 | Let me show you how this works.
| | 00:41 | I'm working on an exercise called 18
Multiple tracks. We take a look at what
| | 00:46 | we've got, we've got one track, which
is Aspens, one video track, which is
| | 00:51 | mixed angle and one video track, which
is called multiple angle. I also have a
| | 00:55 | Script, which doesn't look like it's
tied anywhere at the moment called Random
| | 00:59 | angle generator. We will talk
about that more in just a minute.
| | 01:02 | Let's look first at our audio track.
Double click it to load it onto the Track
| | 01:06 | menu. We can support up to 8 audio
tracks. Now this is not the same. They are
| | 01:13 | actually called Audio streams and the
reason for the difference is when you
| | 01:17 | think of a track, you think of mixing
between them and Dissolves and Panning
| | 01:21 | from one to the other. None of that is
possible. We can listen to stream 1 or
| | 01:25 | we can listen to stream 2 but we can't
blend them in any way. It's an On or an
| | 01:30 | Off. It's there or it isn't. It
depends upon, which of these lights is lit as
| | 01:34 | to, which one is active.
| | 01:35 | There are two ways to we can control
Audio streams. One way is that when we are
| | 01:40 | simulating and let's go up to
our Graphical menu and Simulate.
| | 01:49 | One way when you play the track, you can change
between the audio tracks by selecting the pop-up.
| | 01:54 | (Slideshow music plays in the background.)
| | 01:55 | And this can be programmed as
part of the remote control.
| | 02:00 | Or you can build a Script. Now for an example
of how to control the audio with a script, go back
| | 02:06 | one chapter because we talked about
building an audio script in the Scripting section.
| | 02:11 | Let's take a look at how we can add
multiple audio tracks. So here I double
| | 02:16 | click this. There's our track, if I do
Shift+Spacebar and open this up, notice
| | 02:20 | that we have access to up to 8 tracks
at a time. Now each of these tracks is
| | 02:25 | independent, it could be Mono, it could
be Stereo, it could be Surround but all
| | 02:29 | the tracks must match in terms of
Sample rate and Bit Depth and Compression and
| | 02:34 | Format. They will all have to be
identical structurally. Content can be
| | 02:38 | different and we can only listen to one
at a time and, whichever one we listen
| | 02:42 | to depends upon, which is the active track.
| | 02:46 | Now we can change this active track a
couple of different ways. Close this and
| | 02:52 | lost the Viewer, let's go and get the
Viewer back by opening it up and just
| | 02:56 | docking it back up here. Here we go,
now we can go to this menu and Simulate it.
| | 03:04 | When we play the track,
(Slideshow music starts.)
| | 03:06 | this pop-up on the simulator allows us to select
| | 03:09 | between audio tracks. We can also
select between audio tracks by programming
| | 03:14 | the Remote control to select between
tracks and there we would click here.
| | 03:19 | This is where the remote control is
programmed and that would be covered inside a
| | 03:23 | script and the script here notice,
on the Track command under General,
| | 03:30 | see where its says Audio? This allows you
to program how you want to control the
| | 03:34 | audio track ad generally you would
control that through a Script. We are going
| | 03:37 | to do this with a script with a video
track that I will show in just a minute.
| | 03:40 | A good example of this would be you
have got the Soundtrack of the movie in
| | 03:45 | here, you have got the Director's
commentary. Remember we are not mixing the
| | 03:48 | Director with the Soundtrack. This is
the Soundtrack in totality, this is the
| | 03:52 | Director mixed with the Soundtrack
in totality. If the other tracks were
| | 03:56 | missing, you would still be able to
hear everything you expect to hear in each
| | 03:59 | track. Each track is stand alone. But
there's another thing that we can do
| | 04:04 | inside Studio Pro and that's video
tracks and this is a little bit trickier to
| | 04:08 | explain because there's two types,
there's multiple angles and there's mixed angles.
| | 04:12 | Let's take a look at what a multiple
angle is, by going down to the Track menu,
| | 04:16 | holding the pump up down and doing
Shift+Spacebar to zoom up. Pull this down
| | 04:22 | to get ourselves some room here. A
multiple angle has as many as 9 video
| | 04:28 | tracks, all rolling at the same time.
Now these tracks have to be exactly to
| | 04:33 | the frame the same length. They have
to be compressed exactly the same way.
| | 04:38 | They have to be in exactly the same
format. In another words, they are in every
| | 04:42 | way identical except for the content.
If that's the case, then what I had to do
| | 04:48 | here's I had to re-export these from
Final cut, this track 1 was one frame
| | 04:52 | longer than the rest and everything
broke. So I had to go back and redo all
| | 04:55 | this stuff.
| | 04:56 | Okay now what we are able to do is
when I have run this to Simulate so let's
| | 05:01 | Simulate the track.
(Polka music from video starts to play.)
| | 05:04 | I can switch between angles
by clicking here, say show me
| | 05:08 | Angle 2. It continues running and I'm
able to switch between the angles like
| | 05:14 | I'm a director in the remote truck looking
at what's going on and picking the best shot.
| | 05:19 | (Music from video plays.)
| | 05:23 | Well that's all well and good but
wouldn't it be nice to be able to
| | 05:26 | program this so the Viewer
had some control over switching?
| | 05:29 | Well what I have done is I have created
a script and what this script allows me
| | 05:33 | to do, let's make this disappear,
Shift+ Spacebar and let's go to the Graphical
| | 05:38 | tab and go to the Random Angle
Generator. This is why we are talking about
| | 05:43 | random angles because we really need
script control to make this thing work.
| | 05:47 | What I have decided to do is to program
a script that will randomly generate an
| | 05:52 | angle to switch to. So I have a script
line that says 'Generate a random number
| | 05:57 | between 1 and 4' because I have so many
angles that I have got. If the random
| | 06:01 | number equals 1, switch to Angle 1, if
the random number equals 2, switch to
| | 06:06 | Aangle 2, if the random number equals 3,
switch to Angle 3, and if the random number
| | 06:10 | equals 4, switch to 4 and because the
script wants to stop everything, then I
| | 06:15 | should have a Resume command so
the script would continue playing.
| | 06:18 | Now let's watch how this works. How did
I apply the script? Well I applied the
| | 06:23 | script, in this case, I applied the
script to the DVD. I click on the DVD, I go
| | 06:30 | to the Inspector, I go to the
Advanced tab and I set the angle so that the
| | 06:35 | angle is looking at the Random Angle
Generator. What this means is, this is not
| | 06:40 | being called from any single track; it
applies globally to all the tracks that
| | 06:44 | we have got. So let's see how this works.
| | 06:47 | This is not necessarily the best way
to do this but if I have got multiple
| | 06:50 | video tracks, it works. Otherwise I will
assign this to the Angle button for a
| | 06:54 | specific track. How do I get there?
Select the track and there's the Angle
| | 06:58 | button. That is probably a better idea
to do that, so let's just change that.
| | 07:03 | Click on the DVD, turn the Angle to
not set, click on this track and set the
| | 07:09 | Angle to be the Script and the reason
is that way if I click the Angle button
| | 07:17 | on that, I don't have different video
angles, I don't get strange results.
| | 07:21 | Okay let's take a look. Control, Simulate Track.
| | 07:26 | (Music from video starts playing.)
| | 07:27 | And let's click this switches our Angle button and it
generates a random number, which allows us to look at
| | 07:34 | different angles just as fast we click.
| | 07:41 | Very cool.
| | 07:43 | The problem with this is that all of my
video has to be the same length, which
| | 07:47 | means it's taking up 4 times the space
of a single track. What a mixed angle
| | 07:53 | allows me to do is something a bit
more interesting. Select track, Spacebar
| | 08:00 | and Shift and drag these guys down.
This builds on everything we have learned.
| | 08:06 | First I lay down a master track,
this runs the entire length of my video.
| | 08:11 | Imagine if this was a talking head and
this was a talking head but this was a
| | 08:15 | dance scene. I don't want to have
multiple angles of the talking head portion
| | 08:19 | so I just want to have multiple
angles of the dance scene. Now in order for
| | 08:23 | this to work, these all need to be
compressed exactly the same and all of these
| | 08:28 | mixed angles up here, everything
except the master track must be exactly the
| | 08:33 | same length to the frame.
So let's just zoom in here.
| | 08:37 | What I did is I set a marker where I
want the shots to start and I aligned them
| | 08:42 | all up so they start exactly at the
marker. Then and this is important, you
| | 08:47 | have to have a marker at the start of
the mixed angle and you have to have a
| | 08:50 | marker at the end of the mixed angle.
But you set this in a very special way.
| | 08:55 | You Ctrl Click on one of your short
clips and you say Add marker to Clip End
| | 09:00 | and then you make sure that all the
clips are exactly lined up. So you set that
| | 09:05 | end marker by Ctrl clicking on the
clip and say Add marker to Clip End.
| | 09:10 | Now I have got 4 angles here. But how
do I indicate what those angles are. Well
| | 09:15 | let's take advantage of something we
learned earlier, which is a button on
| | 09:18 | video, so what I did is just as we saw
earlier, I created a subtitles and the I
| | 09:25 | set that sub title to our friend, the
cloud. And I positioned in such a fashion
| | 09:32 | that if we look at this here, say
here's our little cloud, so I set the cloud,
| | 09:37 | so it's mostly transparent and
whenever that red cloud appears, we are
| | 09:41 | going to be able to change between
angles, because the red cloud runs at
| | 09:45 | exactly the same time for exactly
the same length as our multiple angles.
| | 09:50 | What I didn't do though, is I didn't
put a button on it. I'm just using this as
| | 09:55 | an indicator. What that says is when
you see this red cloud, quick click away
| | 10:00 | on the Angle generator and watch what
happens. So what did we do? We programmed
| | 10:05 | the Angle generator on the track, hang
on let's get the Graphical, select the
| | 10:10 | track, we program the Angle generator
so when that red flag is there, you are
| | 10:15 | going to be able to click on the Angle
generator and jump between the different
| | 10:18 | angles for as long as the red flag is there.
| | 10:21 | Well, this requires us understanding
how to do buttons on video, we talked
| | 10:25 | about in the subtitles and it requires
an understanding of scripts, which we
| | 10:28 | just finished talking about. So once
you learn how to build this mixed angle,
| | 10:34 | you can combine what you know about
buttons on video and combine what you know
| | 10:37 | about sub titles and now we can
get some very interesting effects.
| | 10:41 | Okay so let's Simulate this and see
what happens. So we will click on Simulate
| | 10:47 | and let's play the mixed angles and let's watch what happens.
(Music in video starts to play in background.)
| | 10:51 | We're going to wait for the red cloud to appear,
which is going to be about 13 seconds in.
| | 10:56 | Once it appears, we are going to click
the Angle button and we will watch how
| | 10:59 | the random number gets generated and
it switches from one angle to the other.
| | 11:04 | There's our red flag, start clicking.
Let's try again. We're at another
| | 11:09 | angle. Let's try again, another angle.
| | 11:16 |
Isn't that cool? And then the red flag
| | 11:18 | goes away, telling us that we are
done with our clicking back and forth.
| | 11:24 | So what we have done is we have created
a track where only a portion of it has
| | 11:30 | multiple angles, which saves me a
tremendous amount of disk space, and we have
| | 11:34 | created a flag, that little red cloud,
which could be anything, a flag to
| | 11:38 | indicate when you can start to click
the Angle generator and then we created a
| | 11:41 | script, which allows us to
randomly switch between angles.
| | 11:46 | Some very, very interesting stuff. Now
you are going to use the multiple audio
| | 11:50 | tracks a lot because that's a great
way of supporting multiple languages and
| | 11:53 | the director commentary. The video
stuff takes a lot of space but it might be
| | 11:58 | worth playing with on a couple of
occasions just to see what happens and how it
| | 12:02 | works and what the reaction of your audience is.
| | 12:05 | Multiple tracks and mixed angles and
multiple audio streams, all inside DVD
| | 12:11 | Studio Pro. Well there's till more to
talk about. Not a lo, but a few things
| | 12:17 | and the next one is putting a DVD ROM
section together. We will talk about that
| | 12:22 | next.
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15. DVD-ROM and DVD@CCESSIntroducing DVD-ROM and DVD@CCESS| 00:00 | This section is about DVD-ROM and
DVD@ccess. DVD-ROM material is data that can
| | 00:06 | be displayed on your computer but not
played on a TV set. An Excel file is a
| | 00:10 | classic example.
| | 00:12 | DVD Studio Pro requires that all DVD-
ROM material be stored in a single folder
| | 00:17 | so that DVD Studio Pro can track space
requirements. However, I recommend that
| | 00:21 | you burn your DVD using Toast really
for two reasons. One, to control burn
| | 00:25 | speed, and two, burning using Toast
allows us more flexibility on where we
| | 00:29 | store our DVD-ROM material, but if we
are using it outside that single folder,
| | 00:34 | DVD Studio Pro can't track space
requirements, which means we are responsible
| | 00:38 | for all of our bit-budgeting.
| | 00:39 | I will show you how DVD Studio Pro
works with this in just a second. But I want
| | 00:42 | to digress on one more subject, which
is DVD@ccess. DVD@ccess is the ability of
| | 00:48 | your DVD to access the web. The
benefits are that you can attach web links to
| | 00:53 | menus, to markers or to slides. However,
it has some substantial limitations.
| | 00:59 | First, you cannot attach a link to a
button, the button has to call a menu and
| | 01:03 | the menu has to link.
| | 01:04 | Second, PCs require a separate
installer and not all PCs are supported. Apple's
| | 01:09 | website gives the details. But imagine
you are replicating 100,000 discs and
| | 01:13 | suddenly you've got tech support
on all these discs. Very not good!
| | 01:17 | Most TVs are not connected to the
Internet and discs need to be burned before
| | 01:21 | they can be tested, both Simulator
and DVD player are not sufficient for
| | 01:24 | testing DVD@ccess. If I want to
create a title that can access the web then
| | 01:30 | DVD@ccess is the wrong way to go.
That's not why I want to create a DVD, I want
| | 01:34 | to create a DVD so I can play video. If
I want to create something for the web,
| | 01:38 | well then do it in Flash or do it in
an HTML program and put it up to the web
| | 01:42 | and take full advantage
of what the web gives us.
| | 01:44 | DVD@ccess is nice but the
limitations for me don't begin to outweigh the
| | 01:49 | benefits. Consequently, I want
to focus for right now on DVD-ROM.
| | 01:54 | I have opened up lesson 04 Color DVD
Final and the only reason is just to give
| | 01:59 | me a DVD to look at here. If I click on
the DVD and go over to the General tab,
| | 02:03 | notice at the bottom we have got the
ability to specify that we want to have a
| | 02:07 | DVD-ROM material, so when I check it,
it turns on DVD-ROM and I click Choose
| | 02:12 | and I can determine what I want to
install for my ROM material. In this case I
| | 02:16 | want to use the Documents folder, so
when I click Choose, it now says all of
| | 02:20 | your DVD-ROM material is going to be
stored in that Documents folder. If you
| | 02:25 | check Joliet Extension Support, what
that's going to do is make sure that all
| | 02:29 | of your file names conform to a
Windows filename of 8.3; 8 for the filename,
| | 02:35 | 0.3 for the extension.
| | 02:37 | The problem is what happens if I want
to have multiple folders and I want to
| | 02:40 | have say Excel documents in one
folder and Word documents in another and
| | 02:45 | numbers files and whatever I want to
put together and I don't want to have them
| | 02:48 | all consolidated into a single folder,
well, DVD Studio Pro doesn't support
| | 02:53 | that. This is really a philosophy of
organization, there's nothing wrong with
| | 02:57 | putting it all in one folder and
there's nothing wrong with having DVD Studio
| | 03:00 | Pro, track it, but from my point of
view because I'm using Toast to be able to
| | 03:03 | control the burn speed anyway using
this is just a little bit too limited for
| | 03:07 | me. This is a Larry-ism. I mean, you
can decide whether you like this or not.
| | 03:11 | For me, I don't use it this way. I
track my own file sizes separately. I put my
| | 03:16 | DVD-ROM material, however, it seems to
make the most sense for the title. This
| | 03:20 | is not a bug, it's not bad, it works
perfectly fine and if you work with a
| | 03:23 | single folder then for heaven's sake
take advantage of it. If you work with
| | 03:26 | multiple folders, then burn stuff
with Toast and you are responsible for
| | 03:30 | tracking, exactly how much space
your DVD-ROM material takes. The final
| | 03:34 | decision is up to you and now that you
know how it works, you can make your own
| | 03:38 | decision based upon your own needs.
| | 03:40 | But there's still more I want to talk
about, it's the last big section and it
| | 03:43 | isn't that big because it's becoming
increasingly easy, how do we work with
| | 03:47 | 16x9 material and how do
we work with HD. That is next.
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16. Working with 16x9 and HD MediaWorking with 16x9 media| 00:00 | In this section I want to talk about
working with both 16x9 and the High
| | 00:04 | Definition media. Keep in mind when
you are working with 16x9 media the
| | 00:08 | QuickTime may not show it accurately.
By that I mean it doesn't show the right
| | 00:11 | Aspect Ratio many times. Don't worry,
your video is still okay, use QuickTime
| | 00:16 | as the final judge.
| | 00:17 | The key thing to keep in mind is that
you want to set your Preferences for 16x9
| | 00:21 | media before you create your project
and there are three different preferences
| | 00:25 | that need to be set.
| | 00:26 | Also remember that Graphics need to be
created at different sizes in 4x3 aspect
| | 00:31 | ratio, and if you go back earlier in
our training, I will give you the specific
| | 00:34 | sizes you need depending upon
whether you are working with NTSC or PAL.
| | 00:38 | Once you set the preferences and once
you've imported your video using 16x9 is
| | 00:43 | no different than using 4x3 video.
Let me show you how to change it.
| | 00:47 | Okay, so what I'm going to do here,
let's just close this project, we won't
| | 00:51 | save any changes. So I have opened
DVD Studio Pro, I have closed all of my
| | 00:55 | projects, at this point I go and
change my Preferences because I don't have a
| | 00:58 | project open.
| | 01:00 | The first place to look is go to and
set your DVD for 16x9 to be Standard
| | 01:05 | Definition. Then you set it to NTSC or
PAL, whichever is appropriate and set
| | 01:09 | your default language. This is the
same thing we worked with when we did
| | 01:12 | Subtitles and the same thing we
worked with when we were working with audio
| | 01:15 | tracks. So this is preference setting
number one and notice that changes only
| | 01:19 | affect new projects.
| | 01:21 | Second thing to check is your General
tab, you want to make sure that your
| | 01:25 | menus are set to 16x9 Letterbox. You
can ignore the HD section because we are
| | 01:31 | working with 16x9 SD.
| | 01:33 | The third place that we want to look
is all the way over on encoding and you
| | 01:37 | want to make sure that you click on
the SD tab, change your Aspect Ratio to
| | 01:41 | 16x9 so anything that gets brought in
is encoded in the correct ratio. Make
| | 01:45 | sure this is set to Two Pass VBR, and I
like these numbers, this gives us about
| | 01:50 | 90 minutes of video on a DVD, if you're
wanting to squeeze more on, you'll need
| | 01:54 | to slow down the Bit Rate. The lower
the Bit Rate, the poorer the quality but
| | 01:58 | the smaller the file size.
| | 02:00 | Also you want to check the Simulator
and make sure that the Simulator is set to
| | 02:05 | 16x9 and it's set for SD.
| | 02:08 | So there are four different things
you need to check, Project, General,
| | 02:12 | Simulator and Encoding and make sure
they are all set to 16x9. Then, once you
| | 02:17 | click OK, then when you create your
new project, everything is set to 16x9
| | 02:24 | display. Notice Standard Def, NTSC,
let's just click on the track 16x9
| | 02:30 | Letterbox; 16x9 Letterbox, everything
is set and good to go. Now you can import
| | 02:36 | your assets and now you can get stuff encoded.
| | 02:39 | So 16x9 as long as you set your
Preferences first is trivial. HD is little bit
| | 02:45 | more complex, we'll talk about that next.
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| Working with HD media| 00:00 | When it comes to working with HD
Media just as there's no such thing as a
| | 00:04 | single HD format. We've got a lot of stuff
to consider as we are working in DVD Studio Pro.
| | 00:09 | First DVD Studio Pro supports three
different HD image sizes, 720p, HDV and
| | 00:15 | 1080i. DVD Studio Pro can create HD
material for both Red Laser and Blue Laser
| | 00:21 | Media provided you have the right DVD
burner. Currently DVD Studio Pro does not
| | 00:26 | support the creation of Blu-ray discs,
supports HD-DVD only. Red laser discs.
| | 00:32 | That's the kind that we burn on a
regular basis today for our standard
| | 00:35 | definition. Red laser discs with High
Definition media burned on them can be
| | 00:40 | played on spec-compliant players such
as the Toshiba HD-A2, Microsoft Xbox and
| | 00:45 | Macintoshs. So you can encode your
files either as H.264 or as HD MPEG-2 and
| | 00:52 | HDV is already HD MPEG-2.
| | 00:56 | As if we don't have enough
confusion about this burning and replicating
| | 00:59 | business, there are two kinds of
discs, double-layer discs are burned,
| | 01:03 | dual-layer discs are replicated.
When you are burning a red laser disc,
| | 01:08 | remember that's the standard
definition form, you want to decrease your Bit
| | 01:11 | Rate because red lasers are not as fast
as blue lasers and they may choke, also
| | 01:16 | by keeping your Bit Rate
smaller could also save space.
| | 01:19 | I was talking to Apple about this and
they are suggesting that when you are in
| | 01:22 | doubt about the Compression settings
just use the defaults. They have tested
| | 01:25 | those and they feel comfortable with
them. Also with layer breaks, you want to
| | 01:29 | put your layer breaks between tracks,
if at all possible rather than in the
| | 01:33 | middle of a track. When you create a
Standard Def DVD you are creating a video
| | 01:38 | TS folder; when you are creating a
High Def DVD, you are creating an HVDVD_TS
| | 01:45 | folder. Similar in concept is just that
the HVDVD folder has got more stuff in it.
| | 01:51 | Also DVD Studio Pro creates DDP 3.0
and CMF 2.0 files to send a replication.
| | 01:57 | These are HD-DVD compliant disc
protocols that replicators use. You don't want
| | 02:02 | to use a DLT for HD-DVD, they are not
accepted for replication. So just to be
| | 02:07 | safe, the ideal delivery format is a
hard drive whenever you want to deliver
| | 02:12 | something for HD-DVD replication. Well
that's a whole lot of notes. Let's take
| | 02:17 | a look at how this works
practically inside DVD Studio Pro.
| | 02:21 | Okay, we are inside DVD Studio Pro,
but I don't have a project open because I
| | 02:25 | want to change my Preference settings
before I create the project. And there
| | 02:30 | are several places that we need to
change them. First, I go to the Project tab
| | 02:33 | and change this to HD-DVD. Second place
you want to go is the General menu, and
| | 02:39 | here you want to make sure that you
are setting this for menus and for tracks
| | 02:43 | and for slideshows. If you are
shooting 720p, you want to select this; if you
| | 02:47 | are shooting 1080i, you want to select that.
| | 02:49 | If I'm shooting HDV on the JVC camera,
I'll set it to 720p. If I'm shooting HDV
| | 02:55 | on a Canon or Sony camera, I'll set it
to 1080i. Then you make sure that your
| | 02:59 | Display mode is set to 16x9 Letterbox.
So first we went to Project, then we
| | 03:04 | went to General. menu, track and all
these are fine, you go to the Simulator,
| | 03:08 | you want to make sure that the
Simulator is set to HD and make sure you pick
| | 03:12 | the right resolution. We will do 1080
for right now, and the Display mode by
| | 03:16 | definition for HD is always 16X9.
| | 03:19 | Then we click Encoding, this is the
fourth place we have to go. Now we are
| | 03:23 | going to be encoding for HD so click
the HD tab. The factory defaults are One
| | 03:28 | Pass VBR. This is okay, I prefer Two
Pass VBR, it's just going to take longer
| | 03:34 | and I leave the Bit Rate settings alone,
and that's it. I make sure that I'm
| | 03:38 | set for Two Pass VBR, make sure the
Simulator is set for the size I'm going to
| | 03:42 | bringing in and now I click OK.
| | 03:45 | Now that I have set my Preferences, I
go back to File and now I create the new
| | 03:49 | project. Everything is set, notice that
I'm already set for an HD-DVD project,
| | 03:54 | once you've set a project by the way to
HD, you can't go back to SD you've got
| | 03:58 | to just trash the project. In an SD
project, you can convert an SD project to
| | 04:03 | HD you can move up. You can't move back.
| | 04:05 | Now I just happened to have a clip of
HDV because I have been wondering about
| | 04:09 | that for a while. So let's click on
HDV here. Katie, the ever-beautiful Katie
| | 04:13 | comes in. Notice that when I bring in
Katie and she gets imported, I don't have
| | 04:17 | to do anything. The video is already
-- let's just make this wider here if I
| | 04:24 | can, here we go. It didn't require any
compression whatsoever, it's ready to go.
| | 04:28 | So that's because HDV is already
compressed in an HD MPEG-2 format, which
| | 04:35 | an HD-DVD supports. I drop this into
the track, double-click the track and play it.
| | 04:42 | And there's an HDV clip. In fact,
if we hit this, Shift+Spacebar, Spacebar
| | 04:47 | to play, perfect! So we'll do Shift+
Spacebar and bring it back. I didn't even
| | 04:53 | have to compress the HDV, just bring
it in, it's dropped into a track. I can
| | 04:56 | now start to add buttons and everything else.
| | 04:58 | Well, let's try something different.
Let's close this and now I'm going to
| | 05:03 | change my Preference setting for 720p,
still HD, but I want to change this to
| | 05:10 | 1280X720p; Simulator needs to set to
720, click OK, create a new project.
| | 05:20 | Okie-dokie! Click here, High Definition,
click on a track and the track is set
| | 05:27 | to 1280x720, let's import the Aspen
footage, there it is. Bring in the AIFF too.
| | 05:33 | Okay, this was compressed already
using the on-board compressor within DVD
| | 05:42 | Studio Pro, drag it into the track,
double-click the track and Spacebar to play.
| | 05:48 | (Music plays.)
| | 05:49 | There it is.
| | 05:53 | And once it's inside DVD Studio Pro,
we'll work with it exactly the same as if
| | 05:56 | it was Standard Def, the key is to
set your Preferences first and make sure
| | 06:01 | there are four of them; there's Project,
there's General, there's Simulator and
| | 06:04 | there's Encoding. And you want to make
sure that they are all checked in the
| | 06:07 | right orders because once you start
to add stuff, changing in is just not
| | 06:11 | possible. DVD Studio Pro is designed
to have your Preferences set first, then
| | 06:16 | after you are done with your Preferences,
then you create the project, then you
| | 06:19 | import and encode your assets. Cool!
| | 06:23 | Well, we just have one more thing to
talk about and that's sort of wrapping it
| | 06:27 | altogether, and that wrap up is next.
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ConclusionGoodbye| 00:00 | Well my, my, my, my, my... we have
reached the end. Seemed like it was never
| | 00:04 | going to get here for a while.
| | 00:06 | And look at this, we've got 22
different chapters of material, all covering DVD
| | 00:10 | Studio Pro, there's a tremendous amount
of information here. And you should be
| | 00:14 | very proud that you made it
all the way through to the end.
| | 00:17 | There are still lots more to learn,
but a lot of it you are going to learn by
| | 00:20 | building your own titles and you are going to
discover just how easy DVD Studio Pro makes it.
| | 00:24 | I want to thank you for your
time and for your attention.
| | 00:28 | My name is Larry Jordan.
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