IntroductionWelcome| 00:04 |
Hi, I'm Steve Grisetti, and welcome to
Sony Vegas Pro, Essential Training.
| | 00:08 |
In this course, we'll take a deep look at
this program from the basics of setting up
| | 00:12 |
a project and adding media, to outputting
your finished piece.
| | 00:15 |
I'll start by showing you how to open a
project, and how to get your video files
| | 00:19 |
from your camcorder or other recording
device to your computer.
| | 00:21 |
We'll also look at how to add video and
audio effects, and we'll focus on effects
| | 00:25 |
like color correction and chroma key.
And we'll look at how to customize these
| | 00:28 |
effects for your specific needs.
And I'll show you how to use the Pan and
| | 00:32 |
Crop Motion tool to create motion pans
over your photos.
| | 00:35 |
I'll also show you how to add and
customize transitions, titles, and how to
| | 00:39 |
create animated special effects to really
make your videos look great.
| | 00:43 |
Then finally, I'll show you how to output
your video and how to optimize your output
| | 00:48 |
for whatever device or platform you're
distributing your video to.
| | 00:51 |
We'll be covering all of these features
plus plenty of other tools and techniques.
| | 00:55 |
And now, let's get started with Sony Vegas
Pro Essential Training.
| | 00:58 |
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| Using the exercise files| 00:00 |
If you're a premium member of the
lynda.com library, you have access to the
| | 00:04 |
exercise files we'll use throughout the
course.
| | 00:06 |
You can find these files on the Exercise
Files tab on the main course page.
| | 00:11 |
Once you've downloaded, you can put them
any place on your computer you'd like.
| | 00:14 |
I keep them here on my desktop, and when
you open them up, you see you have both
| | 00:18 |
the exercise files.
These are the project files we'll be
| | 00:21 |
working with along with the project
assets, these are the media files.
| | 00:24 |
And when you first open one of the
exercise project files, you will likely
| | 00:29 |
get a warning that says it's lost its link
to the media files, like that.
| | 00:33 |
When that happens, very simple to
reconnect the link.
| | 00:37 |
Just select the option to specify the new
location or replacement file and click OK,
| | 00:43 |
and browse to the project assets folder.
At the top of the screen, you'll see which
| | 00:49 |
file it wants to link to.
In this case Beach1, select that, you can
| | 00:52 |
double-click on it if you'd like, or click
the Open button at the bottom of the panel.
| | 00:58 |
And when you do, it'll say you want to
link to all of the media files that are
| | 01:01 |
there in that folder and we say yes we do.
And when we do, the links have been setup.
| | 01:06 |
Now, if you don't have access to these
exercise files, you can follow along from
| | 01:11 |
scratch or use our own assets.
But now let's get started.
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1. Getting to Know Sony Vegas ProTouring the workspace| 00:00 |
The Vegas work space is designed to be as
efficient as possible.
| | 00:03 |
Even it's default settings, it displays as
many of the program's work spaces as
| | 00:07 |
possible in a single view.
And yet these spaces, or this entire
| | 00:12 |
interface, is also easily customizable.
Let's take a quick tour of the program and
| | 00:16 |
look at some of these work spaces.
And then we'll take a look at how to
| | 00:20 |
adjust their sizes or their positions to
your unique needs.
| | 00:23 |
In the upper left we have our Project
Media panel.
| | 00:26 |
This is where we have imported our media
files, and these would be our video files,
| | 00:30 |
our audio files, our music and our still
photos into our video project.
| | 00:35 |
If we click on the second tab here, in
that panel.
| | 00:37 |
We see the explorer.
This is very similar to Windows Explorer.
| | 00:40 |
Right?
This is where you can go to explore and
| | 00:43 |
find other media files that are on your
computer and then import them into your project.
| | 00:48 |
The next tab panel in that window is the
Transitions panel and here we have a lot
| | 00:53 |
of preset transitions for your video.
The next tab panel is our video effects.
| | 00:58 |
These are pre-settings of the video
effects.
| | 01:02 |
That we're going to use in our movie.
And then our media generators.
| | 01:05 |
And our media generators will create
specialty clips.
| | 01:08 |
For instance, a checkerboard or some of
the other specialty media clips you might
| | 01:11 |
need like a test pattern.
they will also be where we will go when we
| | 01:15 |
will create titles for our movie.
And they are four different titling tools
| | 01:19 |
built into Vegas that we'll demonstrate in
greater detail later.
| | 01:22 |
To the right of the Project Media panel is
our Trimmer Window.
| | 01:26 |
Our Trimmer is where we can preview our
clips that are in our project.
| | 01:30 |
Or we can use the Trimmer Window to
prepare, or to pre-trim or pre-cut our
| | 01:35 |
clips before we add them to our timeline.
To the right of them all is a window.
| | 01:39 |
This is the one you'll probably be looking
at the most.
| | 01:41 |
This is called your Preview Window.
And let me just move the play head in our
| | 01:45 |
movie so that's it's over a part of the
movie.
| | 01:47 |
This is where we will actually watch a
preview of our movie as we're assembling it.
| | 01:53 |
You'll notice that we have a pretty low
quality video in that preview window right now.
| | 01:58 |
It says Sunset of Our Lives, it's very
very pixelated, low quality.
| | 02:02 |
Don't worry about the quality of what you
see in that window right now.
| | 02:07 |
See I have it set to preview Auto, which I
recommend you do this will allow the
| | 02:12 |
program to set the level of quality in
this window so that it's using its
| | 02:16 |
resources, using the computer's resources
for other things other than the preview
| | 02:20 |
right now.
If you want to see what the final will
| | 02:23 |
look like.
You can always set it up to Best Best.
| | 02:25 |
Now we're seeing crystal clear what our
finished video will look like.
| | 02:29 |
But in the meantime I recommend that you
keep it in Preview Auto and let the
| | 02:33 |
program decide where it's going to put its
resources.
| | 02:36 |
At the bottom of our interface is our
timeline.
| | 02:38 |
This is where the magic happens.
This is the arena where we gather all of
| | 02:42 |
our media clips and we assemble them into
our movie.
| | 02:45 |
You can have an unlimited, virtually
unlimited number, of video and audio
| | 02:51 |
tracks stacked up on top of each other, as
much as your computer can handle, Vegas
| | 02:56 |
will allow you to do.
I rarely had a need for more that 20 of
| | 03:00 |
them, but the program will allow you to
stack just as many as you want here.
| | 03:04 |
And some of these are going to be videos
that are interacting with other videos,
| | 03:08 |
and some of them are going to be titles on
top of videos.
| | 03:11 |
And some of these are going to be audio
tacks and music that you're going to mix
| | 03:14 |
with each other.
This is really the focus of the program.
| | 03:17 |
This is where most of it happens.
Now let me show you a couple of things
| | 03:20 |
about navigating the timeline here
quickly.
| | 03:22 |
On the lower right corner of the interface
you'll see a couple of buttons.
| | 03:26 |
There's a plus and minus button, can you
see it over there on that scroller.
| | 03:29 |
If you want to make your tracks wider or
narrower.
| | 03:33 |
You can do that either by hovering at the
bottom of individual tracks or, as I've
| | 03:37 |
done, hold down the Shift key, select the
top and the bottom track and then use
| | 03:42 |
these buttons to make those tracks
narrower, if you want.
| | 03:46 |
That way you can squeeze more into your
view here.
| | 03:48 |
Isn't that nice?
To zoom in on your video track, in other
| | 03:51 |
words to get a closer look at your video
track, you can use these buttons in the
| | 03:55 |
lower right corner at the bottom of the
timeline.
| | 03:59 |
We can zoom in by pressing the plus.
We can zoom out by pressing the minus.
| | 04:03 |
I prefer to use the keyboard shortcuts,
your up and down arrows.
| | 04:07 |
On your keyboard.
We'll zoom in and out.
| | 04:09 |
If you have a roller mouse as most of us
do you can just scroll in and out and get
| | 04:14 |
a very close view frame by frame if you
want to for editing or you can widen out
| | 04:19 |
and see your entire project at once.
As I say, this work space is customizable.
| | 04:23 |
You can hover your mouse over the seams
between any two windows and make them
| | 04:28 |
larger or smaller.
You can also, if you have a need for it.
| | 04:32 |
So I'm going to jump over here to project
media, I can't see very many of my media clips.
| | 04:36 |
I can click on this little arrow button in
the upper left of any panel.
| | 04:40 |
And it expands the panel.
Maximizes it so that I can see much more
| | 04:44 |
of my options inside the panel.
When I click that arrow again.
| | 04:48 |
You can see it toggles back to where it
was.
| | 04:50 |
Any one of these panels can be made into a
floating panel, simply by grabbing what's
| | 04:55 |
called the gripper, that's that set of
vertical dots that run along side the left
| | 04:59 |
side of any panel.
By dragging it out, you can make it float,
| | 05:02 |
you can drop it into any space that you'd
like.
| | 05:07 |
Including its default space, where I
kind of like it myself.
| | 05:10 |
In addition, there are a couple of windows
that will float over your project.
| | 05:14 |
So for instance, if I add video effects to
one of my clips on the timeline, these are
| | 05:20 |
called events, the clips that are on your
timeline.
| | 05:22 |
When I drag my video effect to it.
It opens up an Option panel, but one thing
| | 05:28 |
to note important about the Option panels
in Vegas because it's kind of unique to
| | 05:31 |
Vegas is there is not a Cancel and OK
button any place on here.
| | 05:36 |
As you can see in the Preview window there
on the right whatever changes I make are
| | 05:39 |
happening in real time.
They're accepted automatically.
| | 05:42 |
I don't have to press an OK to accept it.
In fact I don't even have to close this window.
| | 05:46 |
I can leave this window floating if I
want.
| | 05:48 |
This is true also of our audio effects,
which are lost by pressing the plug in
| | 05:52 |
chooser on any one of our event clips on
the time line.
| | 05:55 |
And when I select that I would select from
the plug in chooser whatever effect I'm
| | 05:59 |
going to apply.
And when I click OK you see that I get an
| | 06:02 |
Option panel for it too.
And again, whatever changes I make here
| | 06:06 |
happen in real time.
In other words, I don't have to click okay afterwards.
| | 06:10 |
The changes that I make are happening
immediately when I make them in one of
| | 06:14 |
these Option panels.
Finally, there is the Crop and Pan panel
| | 06:20 |
and that will open up when you click on
the Pan Crop button on any event on your
| | 06:24 |
time line or if you click on the track
motion button on any of the tracks.
| | 06:29 |
It's essentially the same tool, and that
is the tool we'll use to create a pan and
| | 06:32 |
zoom over your clip, usually used over a
still photo, right?
| | 06:35 |
To get that kind of motion-path Ken Burns
look.
| | 06:39 |
And with this we can zoom in or zoom out
and many of these panels include the
| | 06:44 |
option to create animations, in other
words we could set a close up for the
| | 06:49 |
beginning here, move the play head down
the timeline, and set a closing key frame
| | 06:54 |
and now we will create an animation here
of that pan and crop event.
| | 07:00 |
As with the other panels, you don't have
to click OK to confirm it.
| | 07:05 |
Any changes you make happen in real time.
By the way, when you're working with these
| | 07:09 |
floating panels, you'll notice that they
have a tendency if you move them around to
| | 07:12 |
want to jump into one of these windows.
If that drives you crazy, hold down the
| | 07:16 |
Ctrl key, great shortcut here and it will
keep it from locking into one of the panel spaces.
| | 07:22 |
So most of the panels and windows you need
to work with in Vegas are either
| | 07:25 |
immediately available or they're only a
click or two away.
| | 07:28 |
It's a very efficient work space and yet
it also has options for customizing that
| | 07:32 |
work space for whatever tasks you have at
hand.
| | 07:35 |
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| Saving and restoring window layouts| 00:00 |
The basic workspace for Vegas is great for
basic video editing.
| | 00:04 |
However, sometimes you're working on a
specific task and you'd prefer a different
| | 00:08 |
arrangement for the programs, windows and
panels.
| | 00:10 |
Well, the program not only includes ways
for you to customize your workspace.
| | 00:15 |
But it includes ways for you to save these
customs workspaces, so that you can
| | 00:19 |
quickly recall them, with just a click or
two of your mouse and toggle between a
| | 00:24 |
variety of spaces.
These options for saving your workspace
| | 00:28 |
are under the View menu.
You will find a sub-menu called Windows
| | 00:32 |
Layouts and as you can see, in this
sub-menu, you have the option to save as
| | 00:37 |
many as ten different custom layouts.
They also include a couple of default
| | 00:42 |
layouts for you here too, very nicely.
I have my Steve's Default, there, this is
| | 00:46 |
the layout that I prefer.
It gives a kind of equal weight to each
| | 00:50 |
one of the window spaces.
There is the default for the program, only
| | 00:57 |
a little bit different than mine.
And then say, for instance you're working
| | 01:00 |
on your audio, you want to focus on your
audio levels.
| | 01:03 |
Very nicely enough, under here they have a
windows layout, there for Audio Mixing.
| | 01:08 |
And you can see the emphasis is on each
one of the audio tracks.
| | 01:11 |
You have individual controls and
individual (INAUDIBLE) meters for each one
| | 01:15 |
of the tracks.
There's also, a Windows workspace for
| | 01:20 |
color correction, where we get our next
vector scope here for being able to work
| | 01:24 |
and focus on correcting the color, in your
video.
| | 01:28 |
If you ever, customize your workspace say
for instance, you want to widen this a
| | 01:32 |
bit, narrow this a bit, maybe you don't
even want your trimmer in there at all.
| | 01:38 |
Maybe it's just bothering you, and you'd
like to have more opportunity here to see
| | 01:41 |
the mini-clips that are inside your
Project Media panel.
| | 01:44 |
Then you can customize your workspace, and
saving your workspace is very easy.
| | 01:49 |
Just go to the View menu, select Windows
Layouts > Save Layout As, and call it
| | 01:55 |
whatever you want.
And whenever you want to recall that
| | 02:02 |
particular workspace, it's as simple as
going back to that menu and choosing it
| | 02:08 |
from one of the ten custom workspaces you
create there.
| | 02:10 |
That's a very nice tool there, so if
you're like me and there's sometimes when
| | 02:14 |
you want to focus on video, sometimes you
want to focus on audio, sometimes you
| | 02:17 |
want to focus on color correction.
Or sometimes you want to focus on one of
| | 02:21 |
the other tasks here, maybe key framing or
animation.
| | 02:23 |
Whatever it is you want to work on, you
can create a custom workspace for it, and
| | 02:28 |
with just a click of a mouse you're there,
you're in that custom space.
| | 02:31 |
This is really a great system, it's very
useful for those times when you just need
| | 02:35 |
a customized workspace to work on a
specific task.
| | 02:38 |
And you don't want to waste a lot of time
setting up your Windows and then resetting
| | 02:41 |
them to the standard workspace.
Thanks to the Vegas Window Layout Library,
| | 02:45 |
up to ten custom layouts are only a click
away.
| | 02:49 |
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| Looking at the tools and views on the Preview window| 00:00 |
Normally, we don't pay much attention to
the Preview window in the upper right of
| | 00:03 |
the program.
We treat it like a passive work space.
| | 00:06 |
It just shows us a playback of our video
projects.
| | 00:09 |
But it, too, includes important settings
that can affect the program's performance,
| | 00:13 |
as well as overlays, like safe margins,
that are important tools as you compose
| | 00:17 |
your videos and place your titles.
So let's take a look at the Preview panel.
| | 00:21 |
Right above and center, is the preview
quality setting.
| | 00:25 |
Now, right now, my preview quality setting
is not very good.
| | 00:29 |
That doesn't mean my movie is not crystal
clear, it just means that you can see a
| | 00:33 |
fairly low resolution image here in the
preview window.
| | 00:37 |
This is not an indicator of what your
video looks like now, or an indicator of
| | 00:41 |
what the final output will look like know
that going in here.
| | 00:45 |
The Preview control simply tells the
program to either take a lot of the
| | 00:49 |
resources and put them toward giving me a
nice, clean image.
| | 00:53 |
Or divert the resources to other things
that the program is doing.
| | 00:57 |
And let's go ahead and look at a low
resolution image.
| | 00:59 |
Now, right now, I have the preview quality
set to automatic preview.
| | 01:04 |
That's a pretty low grade quality level.
But generally, when I'm editing, this is
| | 01:09 |
what I keep it set at.
The program will automatically degrade the
| | 01:12 |
image as needed in order to make maximum
usage of your computer's power.
| | 01:16 |
If this particular computer that I was
working on, had a real high end graphics card.
| | 01:20 |
I would see a much cleaner image in here.
If I had a lot more RAM.
| | 01:24 |
If there was not so much going on in my
timeline, I would see a cleaner image.
| | 01:27 |
And the more your timeline is lagging your
computer.
| | 01:30 |
In other words, the more resources the
rest of the program is taking, the lower
| | 01:35 |
the program is going to automatically
degrade your image.
| | 01:38 |
This is what I normally keep it set at.
It's up to you.
| | 01:42 |
Generally, I don't use Best Full.
If you use Best Full here, you'll see a
| | 01:47 |
real nice clean version of what your
timeline will play back as.
| | 01:50 |
But a lot of resources for your computer
are being sent up here to make your
| | 01:55 |
preview look good.
So I rarely use it.
| | 01:57 |
I use it sometimes to get a good look when
I'm really concerned about what the
| | 02:01 |
quality of my image will look like or if
I'm working in Chroma Key.
| | 02:04 |
Or if I'm doing something where I need to
see great detail I'll set this to best
| | 02:08 |
full, but normally while I'm working I let
the computer automatically set it.
| | 02:12 |
You can set it to good, auto, that's a
nice setting but even there you can see it
| | 02:18 |
degrades the image.
On my particular computer that I'm working
| | 02:21 |
on right now because it's sending the
resources elsewhere in the program.
| | 02:25 |
So it's fairly automatic.
And occasionally you want to set it to
| | 02:28 |
high quality.
But, generally I recommend that you just
| | 02:31 |
keep it at, at some sort of automatic
quality.
| | 02:34 |
Depending on your computer resources, if
you're getting a lot of lugging in your system.
| | 02:38 |
In other words, if your computer is just
slowing way down as it plays your timeline.
| | 02:42 |
You may want to set it all the way back
here to Draft quality.
| | 02:45 |
That looks pretty awful.
But you can work at that level if you need to.
| | 02:49 |
And it just simply sends more resources
into things like interpreting your Timeline.
| | 02:54 |
We'll set it to Good Auto and that gives
us kind of a medium grade image here.
| | 02:59 |
There are a couple other things worth
noting on the Preview panel, or on the
| | 03:03 |
Preview window.
One is your video project properties.
| | 03:06 |
There they are.
And when I click on that, I get a number
| | 03:09 |
of options.
And, of course, if in the midst of working
| | 03:13 |
in my project I want to change my project
properties to be more closely match the
| | 03:18 |
media I'm working on.
I can set that by selecting that from the
| | 03:22 |
set of templates or I can use this Match
Media Settings tool and click on it.
| | 03:27 |
And browse to one of my files and say set
my program or set my project up so it
| | 03:34 |
perfectly matches the media files that I'm
using in my project.
| | 03:38 |
Again, the closer your project properties
match what the bulk of your media is the
| | 03:44 |
better the program is going to perform and
the better results you're going to get overall.
| | 03:48 |
Other controls that are worth noting on
here right down here, at the bottom, full
| | 03:52 |
resolution rendering quality; I recommend
that you set that to Best.
| | 03:55 |
And the Deinterlace method, I always
recommend you set that to Interpolate fields.
| | 04:01 |
You'll get the best results if you do
that, particularly if you're mixing media.
| | 04:06 |
Say for instance, you have some things
you've shot on mini DV, something's been
| | 04:11 |
shot with a camera phone or smart phone
and some things that have been shot on an
| | 04:15 |
AV CHD camcorder.
And you're mixing them all together
| | 04:18 |
setting your Deinterlace method to
interpolate fields will give you the best results.
| | 04:23 |
It will interpolate each of these source
so that when they mix together you'll get
| | 04:28 |
the absolute best results.
I also recommend you check this box,
| | 04:31 |
adjust source material to better match the
Projects or Render settings, because there
| | 04:35 |
is a slight difference in the frame size
of HDV or high definition camcorder video...
| | 04:41 |
And mini DV camcorder set to widescreen.
There is just a slight difference and if
| | 04:46 |
you don't want to get little bars around
the outside of your video setting this the
| | 04:50 |
program will automatically expand your
video so that it fills your frame.
| | 04:53 |
Very, very nice tool here.
Finally, something worth noting are the
| | 04:58 |
overlays on your preview monitor.
And you don't have to keep these on all
| | 05:01 |
the time but is worth turning them on
occasionally so that you can spot check
| | 05:05 |
your video and make sure.
Everything is in order ,these are turned
| | 05:08 |
on right here and you can set your
preferences under this arrow.
| | 05:12 |
Safe areas is really the one you're most
concerned with or the one you're most
| | 05:16 |
likely to want to turn on.
Once that's set you can click on the grid
| | 05:20 |
button here, the overlay button and now we
see two kind of concentric rectangles laid
| | 05:25 |
over our video.
These concentric rectangles are called
| | 05:28 |
safe areas, and you want to keep the
important parts of your video in these rectangles.
| | 05:35 |
Now, the outer rectangle is called your
content safe area.
| | 05:38 |
That means everything that is important in
your vide, you want to keep within that area.
| | 05:42 |
It doesn't mean you want to shrink your
whole video so that it fits inside there...
| | 05:46 |
But if you've got, for instance, a family
portrait, and Uncle Joe is way on the
| | 05:50 |
right, outside of that frame?
He may not show on every TV.
| | 05:54 |
There's something called over scan.
Which means that every TV cuts off a
| | 05:59 |
little bit around the edge of your video.
Sometimes that can be as much as ten
| | 06:03 |
percent, so in order to ensure that the
important content of your video appears in
| | 06:08 |
your video on every television.
You want to make sure that the important
| | 06:12 |
content stays within that outer rectangle.
The inner rectangle is called the title
| | 06:16 |
safe area.
Anytime you put text on your screen,
| | 06:19 |
whether it is a subtitle or rather, it is
a title for your movie.
| | 06:22 |
Any text at all, make sure that it stays
within that inner rectangle.
| | 06:27 |
That inner rectangle tells you that no
matter what television somebody is
| | 06:32 |
watching your video on.
The edge of your title will not be cut off.
| | 06:37 |
This happens a lot, so make sure you stay
within your safe margin if you really care
| | 06:43 |
about having your entire title or your
entire subtitle on screen.
| | 06:46 |
Now, like I say, you don't have to operate
with those turned on, but turning those on
| | 06:51 |
occasionally to spot-check your movie can
be very, very important.
| | 06:54 |
Finally, at the bottom of the screen, you
see a couple of numbers there.
| | 06:56 |
The project list of numbers is telling you
about the specs of your video project.
| | 07:02 |
I'm working in Mini DV widescreen.
That's why it's set to 720 by 480.
| | 07:06 |
That's 32 bit color.
That means 8 bit.
| | 07:10 |
Red, 8-bit green, 8-bit blue, and 8-bit
alpha, which is transparency.
| | 07:15 |
So, it is working with 32-bit color at
29.97 interlaced frames per second.
| | 07:22 |
My preview, you can see, is greatly
reduced from that.
| | 07:25 |
That's because I have it set to good auto
quality, and again, whatever quality I
| | 07:29 |
set, it's going to affect what we see
here.
| | 07:31 |
So if I want to see What is the actual
full quality of my video?
| | 07:36 |
I can set it to best full and you can see
that now the preview quality matches my
| | 07:41 |
project property.
Those are some of the settings that you
| | 07:44 |
have in the Preview window.
And whether you choose to work
| | 07:47 |
continuously with your safe margins turned
on as a personal preference or you only
| | 07:51 |
turn them on strategic focus times like
when you are adding titles, is up to you,
| | 07:54 |
the same thing you are setting the quality
of your preview.
| | 07:58 |
You can set it occasionally to spot check
your movie, or you can run it
| | 08:02 |
continuously, and most of your resources
will go toward creating that preview.
| | 08:06 |
It's entirely up to you, but it is
important to understand what each of these
| | 08:09 |
settings do, and to be aware of what
things like the safe margins represent.
| | 08:14 |
| | Collapse this transcript |
|
|
2. Starting a New ProjectSetting up a new Vegas project| 00:00 |
Alright, welcome to the beginning of a
project.
| | 00:03 |
Now, technically you don't need to set up
a project in Vegas.
| | 00:06 |
You just open a blank screen, just start
pulling your media in.
| | 00:10 |
But there are a number of reasons for
thinking through your project before you
| | 00:13 |
get started, and for setting up your
project for a most effective and efficient workflow.
| | 00:18 |
The program will work much more
efficiently, your results will look much better.
| | 00:21 |
So, I do encourage you to think a little
bit about your project settings.
| | 00:25 |
I encourage you to set up your project
based on what the bulk of your media is
| | 00:31 |
going to be.
So, in my particular case, I'm going to
| | 00:33 |
start up a new project.
I'm going to be working with standard
| | 00:36 |
definition DV video widescreen.
So, it's fairly simple to set up a new project.
| | 00:42 |
And like I say, a lot of people just go
with starting a new project, just by
| | 00:46 |
clicking the Empty Project button here.
I encourage you to go to the File menu and
| | 00:50 |
select New instead.
This will give you an option screen for
| | 00:54 |
setting up and choosing your project.
If you don't do it this way, there are
| | 00:57 |
other ways to do it too, and I'll show you
those in just a moment.
| | 01:00 |
So, our new project.
In my particular case I want to go with DV
| | 01:04 |
widescreen, very, very simple.
There's a pre-set for it.
| | 01:07 |
As there are for most of these standard
video formats you'll be working with, all
| | 01:11 |
the way up from things like mini DV all
the way up to some professional formats here.
| | 01:15 |
But in my particular case, I want to go
with widescreen DV.
| | 01:20 |
It will automatically set a lot of these.
By the way, while we're on this screen,
| | 01:23 |
there are a couple of preferences that are
worth knowing about, and worth setting.
| | 01:27 |
If you look about 2 3rds of the way down,
you see one when resolution rendering
| | 01:31 |
quality, I recommend you set that to best.
Deinterlacing method.
| | 01:35 |
Interlacing has to do with the way Frames
are created in your video.
| | 01:40 |
Some camcorders use interlacing with the
lower field first, some use it with the
| | 01:45 |
upper field first, some use no interlacing
at all.
| | 01:49 |
Some of the newer camcorders and same with
televisions.
| | 01:52 |
Some old televisions used interlacing,
some of the newer televisions do not.
| | 01:56 |
Because of all that mixture, and because
you may be mixing media, I encourage you
| | 02:00 |
to set your deinterlace method for
interpolate fields.
| | 02:03 |
That way the program will take whatever
interlaced media you put into your project
| | 02:08 |
and it will make it all the same, as close
to the same as possible.
| | 02:11 |
You'll get much better results
particularly if you are mixing, say high
| | 02:16 |
definition standard resolution ABCHD and
HDV.
| | 02:22 |
At the same time, this will kind of
homogenize them, make them all very, very similar.
| | 02:26 |
Alright.
Now, we have our project set up, and when
| | 02:28 |
I bring in my media, which I'll grab from
the exercise files here, just randomly
| | 02:34 |
grab a couple of media clips.
And add them to my project, my project is
| | 02:40 |
good to go.
By the way, you often see this when you
| | 02:44 |
add a clip to your timeline.
This is one of the helper features the
| | 02:48 |
program has.
What it's essentially asking me is, do you
| | 02:52 |
want me to reset your project specs to
match the clips you have just added to the timeline?
| | 02:59 |
And if that media clip represents a
typical clip that you're adding to the
| | 03:03 |
program, or that you're going to be using
in your project, I recommend you do click
| | 03:07 |
Yes for this.
Now, I set up this project correctly for
| | 03:10 |
widescreen video.
I'm not sure what I didn't set correctly,
| | 03:14 |
or if the program is just being redundant,
it doesn't matter.
| | 03:18 |
Nicely enough, I'll say, you got it right,
program, I trust you on this, so, I click yes.
| | 03:22 |
And now it will change my project
settings.
| | 03:24 |
If I want to see what my project settings
are by the way, I can go over here to this
| | 03:29 |
button, project video properties, I can
click on that and I can see my project settings.
| | 03:33 |
And you can see these NDSC DV widescreen
just as I set it up before.
| | 03:37 |
By now I know for sure that the program
has set up my project properties to match
| | 03:42 |
my media.
There is one more trick I want to show
| | 03:44 |
you, and that is, when you're not quite
sure what your media is and what your
| | 03:48 |
media properties are, you can trust the
program to do it.
| | 03:51 |
Here's a way to do it.
I'm just going to remove this here from my timeline.
| | 03:53 |
When I start my new project, on this
options screen, I can set it up manually
| | 03:59 |
or there's a very nice tool over here
called Match Media Video settings.
| | 04:03 |
That match media video settings will take
a look at whatever clip I choose, and I'll
| | 04:08 |
just choose one, like I'm going to use
notice right now and set up for HD 1080,
| | 04:13 |
that must be the default.
Let's go out here to my media files, I'm
| | 04:17 |
go, just going to select one at random.
This is a typical representation of the
| | 04:21 |
media I'm going to be using in my project.
And I'll click Open.
| | 04:24 |
Look, it automatically matched it to that
clip.
| | 04:27 |
I mean isn't that nice?
That's a real nice feature in the program.
| | 04:29 |
So, now, I'm going to click OK.
I can start building my project based on
| | 04:33 |
the media clip that I chose.
It's very, very nice that the program does that.
| | 04:37 |
When you match your project properties to
your media, you'll get the most efficient
| | 04:40 |
workflow in the program, and you'll get
the highest quality output.
| | 04:44 |
So, think about selecting your project
properties as an important step in a long journey.
| | 04:48 |
And choosing the right first step can take
you a long way toward a successful trouble
| | 04:52 |
free journey.
| | 04:53 |
| | Collapse this transcript |
| Changing project properties midproject| 00:00 |
As we discussed in our previous movie,
matching your project settings to your
| | 00:04 |
media makes your project go more smoothly,
and it gives you better results all around.
| | 00:08 |
But, in case you change your mind midway
through, Vegas also includes a feature for
| | 00:13 |
changing your project settings at any
point in your project.
| | 00:17 |
We have a project here right now, that is
set up for NTSC DV widescreen.
| | 00:20 |
Because at the beginning of my project, I
was working with MiniDV and I kind of
| | 00:27 |
presumed that was what my movie was going
to be about.
| | 00:30 |
But shortly into my movie, I got my hands
on some AVCHD, some high definition video.
| | 00:35 |
I want to change my movie's properties.
Now, as you know, I can simply add that as
| | 00:42 |
the first clip on my Timeline, as we
showed you in the last movie.
| | 00:45 |
And we'll get this automatic option here
for switching our projects properties.
| | 00:50 |
But in this particular case, I want to
work around that.
| | 00:53 |
I just want to show you that even though
I've started with a different media
| | 00:57 |
format, if I'd like part way through, I
can change it to AVCHD.
| | 01:04 |
So, here's my ABCHD clip and I want to
change my project properties for ABCHD.
| | 01:09 |
I can do that by going up here to my
project Video Properties button on the
| | 01:13 |
preview screen.
When I click on that, there is a wonderful
| | 01:17 |
match media video settings tool located on
this screen also.
| | 01:21 |
Remember we used that when we first set up
our project.
| | 01:24 |
You can use it at any point in your
project.
| | 01:26 |
So, I can simply select it, go out to my
media files, and I can choose AVCHD.
| | 01:33 |
And now, I'm automatically set up for high
definition AVCHD video format, those are
| | 01:38 |
now my new project properties.
That simple program did it for me, all I
| | 01:43 |
have to do is just sort of point it at the
clip, and I'm there.
| | 01:45 |
By the way, if you do mix media in your
project, I recommend that you can see
| | 01:50 |
about three quarters of the way down this
panel.
| | 01:52 |
There is a check box, adjust source media
to better match project or render settings.
| | 01:57 |
Check that if you are mixing media.
This is particularly true, if you happen
| | 02:01 |
to be mixing high definition and standard
definition video.
| | 02:05 |
If you're going to be mixing them
together, make sure that box is checked,
| | 02:08 |
and you will see that it will
automatically reshape your project here.
| | 02:12 |
So that no matter which kind of media
you've added to your project, your, is
| | 02:15 |
automatically filling the frame and the
program is automatically adjusting or
| | 02:20 |
homogenizing everything you put into your
project.
| | 02:23 |
So that now your media, particularly your
video, all appears to be of the same
| | 02:28 |
format, you'll get excellent results.
Now, remember, your video project is a
| | 02:32 |
combination of your project's properties
and the media you add to it.
| | 02:36 |
And the more inline these elements are,
the more efficiently the program is
| | 02:40 |
going to function, and the better your
results.
| | 02:42 |
| | Collapse this transcript |
|
|
3. Add and Organize MediaCapturing video from miniDV and HDV camcorders| 00:00 |
Capturing video means getting your video
from a tape based device to your computer.
| | 00:05 |
Usually this tape base device is a mini DV
camcorder or an HDV High Definition
| | 00:10 |
camcorder that records to tape.
This capture is done in real time which
| | 00:15 |
means that as you play the tape in the
camcorder, you select which scenes or
| | 00:19 |
segments are recorded to your computer,
and they are recorded as digital files on
| | 00:24 |
to your computer.
The connection is usually made by a
| | 00:26 |
FireWire connection, IEE1394 connection
rather than USB, and you select the scenes
| | 00:34 |
that you want to record.
In other words, you can start recording at
| | 00:38 |
any point in the tape, and you can stop
recording at any point.
| | 00:42 |
It's just one of three ways that we're
going to use to get video from our device
| | 00:46 |
onto our computer and into our project,
but it's probably the oldest and the most
| | 00:51 |
tried and true way to do it.
So if you are shooting on mini DV or HDV
| | 00:55 |
tape based video this is how you're
getting your video into your computer.
| | 01:00 |
The best way to do it and using the
programs capture tool to do it.
| | 01:05 |
So we have our camcorder here, it's a mini
DV camcorder connected by our fire wire,
| | 01:10 |
IEE1394 connection.
And all I need to do now is launch the
| | 01:15 |
capture space.
And that's launched up here at the top of
| | 01:17 |
the Project Media panel clicking on the
little camcorder icon, Capture Video.
| | 01:22 |
You do have the option here of selecting
whether you're capturing from a DV, DV is
| | 01:26 |
of course standard definition, mini DV, or
an HDV, or SDI connection.
| | 01:31 |
An HDV is of course high definition tape
based video.
| | 01:34 |
So we're going to be capturing from our
mini DV we click OK.
| | 01:37 |
The capture space opens and we have the
opportunity to name our tape.
| | 01:42 |
I do recommend you name your tape because
the name that you give here is going to be
| | 01:46 |
the name that each of your video segments
is named as it's captured.
| | 01:50 |
Also, if you are capturing from many
different camcorders or many different
| | 01:54 |
cassettes, this will help you identify
which cassette it's coming from.
| | 01:57 |
We're going to call this one.
Beach.
| | 02:00 |
And generally, I will, and you probably
will too, select the option to Don't
| | 02:04 |
capture any clips right now.
You can set it to start capturing
| | 02:07 |
immediately, but you have much more
control if you select this option.
| | 02:11 |
Click OK.
And now we're in our capture workspace.
| | 02:13 |
You'll look down at the lower left and you
will see the options here for playing the tape.
| | 02:18 |
We're connected to our camcorder via
firewire.
| | 02:21 |
So we now have control over the camcorder,
and as you can tell by the playback
| | 02:25 |
buttons, we can go fast-forward, we can go
reverse, and we can play and pause, and
| | 02:30 |
eventually, when we're ready, capture the
tape.
| | 02:32 |
Before we do I want to show you a couple
of options if for some reason your device
| | 02:36 |
isn't recognized despite the fact that you
have a good firewire connection.
| | 02:39 |
Go up here to the Options panel and select
Reconnect to Current Device.
| | 02:46 |
If that doesn't work go over here to Video
and make sure that Microsoft DV Camera and
| | 02:50 |
VCR are selected.
That's a nice universal way to connect via firewire.
| | 02:55 |
Make sure that's selected and you should
be able to now drive your camcorder, and
| | 02:59 |
we do that simply by, like I say, using
these playback controls down here on the
| | 03:03 |
lower left.
So I'm just going to play.
| | 03:05 |
(SOUND) And at the point I'm ready to
start capturing all I need to do is pause
| | 03:15 |
my tape, as I've done here, clicking the
Pause button, and then click Capture.
| | 03:21 |
And now I will capture my video to my
computer.
| | 03:24 |
It will be recorded from the camcorder to
my computer.
| | 03:27 |
(SOUND) And I press Stop when I'm ready to
stop the capture here.
| | 03:39 |
And it will give me some statistics
telling me that the capture was successful.
| | 03:43 |
And that there were no frames dropped.
It was a good successful capture.
| | 03:46 |
And I can click Done.
Now there are a couple of options for
| | 03:49 |
controlling your capture here that are
worth knowing.
| | 03:51 |
And those can be found under the Options
menu at the top of the screen.
| | 03:55 |
If we select the Options, we can go to
Preferences.
| | 03:59 |
You'll notice that the top option here is
Enable DV Device Control.
| | 04:03 |
This will usually be selected.
The rare occasion when it isn't selected
| | 04:07 |
is when you're recording through a DV
bridge.
| | 04:10 |
And these would be devices that would
digitize analog video.
| | 04:14 |
So they're coming through another device.
You don't have a direct connection to the
| | 04:18 |
device that's playing the video, so you
would uncheck this, otherwise the computer
| | 04:22 |
gets a little confused.
The program is looking to connect to the device.
| | 04:26 |
But generally, if you're connecting to a
mini-DV camcorder, you'll want that connected.
| | 04:31 |
Also, if we go over here to the Capture
tab we have some capture preferences.
| | 04:36 |
Notice the top one here Enabled DVC and
detection.
| | 04:39 |
What the program will do if this is
selected, is that it will watch for
| | 04:43 |
changes in time code.
This is whenever you paused or turned off
| | 04:46 |
the camcorder.
And it will break these into shorter scenes.
| | 04:49 |
Generally, you want this also checked.
And, that is because you don't want,
| | 04:53 |
generally, an hour long capture.
Right?
| | 04:56 |
You want a bunch of short scenes, as
individual clips, saved here to your
| | 05:00 |
Project Media panel.
The exception to this would of course, be
| | 05:02 |
if you're connecting through, again, a DV
Bridge, or some kind of digitizing device.
| | 05:06 |
Because, again, the program is going to
look for time code, in order to make this
| | 05:11 |
scene detection.
And if there's no time code, which you
| | 05:14 |
wouldn't have if you were capturing
through a DV bridge, again the program
| | 05:17 |
gets confused, but generally when you're
capturing from a mini DV camcorder you'll
| | 05:21 |
want this selected.
One other preference I want to show you,
| | 05:24 |
and that is here in Disc Management, this
preference sets where your video is
| | 05:28 |
captured too, and you can see by default
it goes into your documents library into
| | 05:33 |
your captured video area you can of course
click on this, and you can browse to
| | 05:38 |
wherever you would like your video
captured to.
| | 05:41 |
So those are some just important settings
to know.
| | 05:45 |
Beyond that, it's pretty simple.
You go to the point in the tape that you
| | 05:50 |
want to start capture, you click the
Capture button, and then you turn it off
| | 05:54 |
when it's done.
Now you see you have also a couple of
| | 05:56 |
other controls here.
The Shuttle control can be used to fast
| | 06:00 |
forward or reverse through the tape at
various speeds, depending on how far to
| | 06:04 |
the left or right you push it.
You can also capture an image, that is
| | 06:07 |
just take one frame from your video.
And you can also set it to capture your
| | 06:12 |
entire tape at once.
You just click that button and walk away.
| | 06:17 |
We'll close this.
There is a very similar work space if
| | 06:20 |
you're capturing from HDV.
That's high definition video that is
| | 06:24 |
recorded to a tape based camcorder.
We would open the same tool here, the
| | 06:29 |
Capture Video tool.
But instead select the option for HDV or SDI.
| | 06:35 |
Now I don't have HDV camcorder connected.
Otherwise these buttons here, the playback
| | 06:39 |
buttons, would be activated.
But you can see they're very, very similar.
| | 06:42 |
We have the ability to fast forward and
reverse, and play and pause.
| | 06:46 |
And go one frame at a time, which is what
these are, step forward and step backwards.
| | 06:51 |
And of course, this would be your Start
Capture button.
| | 06:53 |
To select where your video is recorded to,
you just click on the Browse button over
| | 06:57 |
here on the right.
And you can send it wherever you want.
| | 07:01 |
And to identify your clips, you can give
them any name you want here.
| | 07:06 |
And it will take that basic name and it
will add one, two, three onto the end of it.
| | 07:12 |
With each clip so that that way you can
very easily select or identify your clips
| | 07:17 |
when you're ready to start editing.
But the principle of capturing from HDV is
| | 07:21 |
virtually identical to capturing from mini
DV.
| | 07:25 |
Just one thing to note up here in the
preferences in the upper left hand corner,
| | 07:27 |
and that is if you're capturing from a
device other than an HDV camcorder, this
| | 07:32 |
is your HDV camcorder option to right
here.
| | 07:34 |
You see that you have a couple of other
options here, make sure that they are
| | 07:37 |
selected so that the program knows what
device it's talking to.
| | 07:42 |
Other than that, pretty basic, pretty
simple, it's recorded, like I say, in real
| | 07:46 |
time to your computer.
Tape-based video is, by and large, not
| | 07:50 |
nearly as common as it once was 10, 15
years ago but video captured from
| | 07:54 |
tape-based camcorders like MiniDV and HDV
camcorders and their professional
| | 07:58 |
counterparts, these were some of the first
digital media.
| | 08:01 |
And they were designed to interface
perfectly with computer based video
| | 08:04 |
editing programs like Vegas.
It's still in use and it is still some of
| | 08:08 |
the most efficient media to work with.
| | 08:10 |
| | Collapse this transcript |
| Batch capturing from tape-based camcorders| 00:00 |
Take base camcorders like the mini DV or
the HDV camcorders, they're very
| | 00:05 |
affordable and they store their video very
efficiently.
| | 00:08 |
The downside is, when you capture their
video, you have to capture it in real time.
| | 00:12 |
That means that if you have a 30 minute
video segment, you have to play it and
| | 00:17 |
then record it to your computer, and it
takes 30 minutes to do it.
| | 00:20 |
Fortunately, Vegas has a batch capture
tool that allows you to capture your video
| | 00:24 |
without actually having to sit at your
desk and manage it the whole time, and
| | 00:28 |
I'll show you where that is.
To launch our capture workspace, we will
| | 00:32 |
click on Capture Video button here at the
top of the Project Media panel.
| | 00:37 |
We have a mini DV camcorder right now
connected by firewire, that is the IEEE
| | 00:42 |
1394 connection, and we click OK with DV,
that's our mini DV camcorder.
| | 00:48 |
And rather than capture in this capture
space, so, we can go ahead and name our
| | 00:52 |
tape beach again, that's fine.
Rather than capture in our capture space,
| | 00:56 |
we're going to go to the advance capture
tab.
| | 00:58 |
Here on advanced capture, we can set up
our device for batch capture.
| | 01:02 |
Now, batch capture essentially means that
we set up start points and end points, and
| | 01:07 |
then we walk away and let the computer do
the capture for us.
| | 01:10 |
Now, you can set up multiple start points
and end points along the way, and you can
| | 01:15 |
essentially set up an entire tape to
record and then go away, have lunch, have
| | 01:20 |
a cup of coffee or something.
And the computer will go ahead and do the
| | 01:23 |
batch capture for you.
I'll show you how that works.
| | 01:25 |
Let's go ahead and cue up our camcorder to
the place we'd like our capture to begin (SOUND).
| | 01:30 |
Realign the tape a bit here, and this is
fine right here.
| | 01:37 |
This is where we're going to begin our
Batch Capture.
| | 01:39 |
Now, to do that, I set up my preset
points.
| | 01:43 |
Here's where I'd like my capture to begin,
so, I click on this mark in flag here.
| | 01:47 |
And as you can see, it will set the
camcorder up for this point, we're 9
| | 01:51 |
seconds and 15 frames into the tape.
And now, I set up and end point.
| | 01:55 |
I'm just going to use the shuttle here to
fast forward to an end point.
| | 02:02 |
(SOUND) Right here's a good endpoint, and
normally you wouldn't just do such a brief
| | 02:05 |
capture, but just to demonstrate we're
going to do that, and we select Time Code Out.
| | 02:09 |
Now, if you're just doing one batch
capture, one segment, this is all you need
| | 02:13 |
to do.
But you can do multiple segments, and you
| | 02:16 |
can log them in by clicking on the Log
In/Out button.
| | 02:19 |
And when I click on that, this batch
capture segment is now recorded here in my
| | 02:25 |
Batch Capture log.
I can set up another one, I'm going to
| | 02:29 |
fast forward a bit for another queue
point, (SOUND) there's a good queue point.
| | 02:34 |
I'll set up R start and fast forward to an
end point, (SOUND) right here.
| | 02:41 |
Now, again, you're not going to do such
short segments, but we'll click on our endpoint.
| | 02:45 |
It shows us, we now have an 18 and 22
frame long capture point set up.
| | 02:50 |
Normally, you would set this up for like a
large segment of a tape.
| | 02:53 |
You could take a one hour tape and maybe
batch capture the first 15 minutes, skip a
| | 02:57 |
little section in the middle, because I
don't know, your camcorder was running and
| | 03:00 |
there was nothing special on there.
Then maybe set up another batch capture
| | 03:04 |
point later on.
We'll log this in and now we have, and you
| | 03:07 |
can have multiple points on here where
you're setting up beginning and end points.
| | 03:10 |
Then it's as simple as clicking the
Capture In/Out button.
| | 03:14 |
And once we do, the camcorder will
automatically rewind to the point of our
| | 03:18 |
very first batch capture end point, and it
will record that section.
| | 03:23 |
Breaking at scenes of course, and then it
will jump ahead to the next endpoint, and
| | 03:29 |
it will batch capture record that.
And as you can see, you will have controls
| | 03:33 |
on here for stopping the batch capture if
you decide to, or even skipping one scene
| | 03:39 |
in your batch capture if you'd like.
So, let's go ahead and click it and see
| | 03:42 |
what happens.
(SOUND) It's queuing up here to the
| | 03:46 |
beginning of the tape.
(SOUND) And you can see that by canceling,
| | 03:59 |
I just stopped the batch capture at this
point.
| | 04:02 |
And it recorded just a small section here,
you can see it down in the Batch Capture log.
| | 04:06 |
But like I said, it would go on and record
just as much of a batch capture as you've
| | 04:12 |
set in and out points for.
And you can again have multiples set up on
| | 04:16 |
your tape, and you just walk away and when
you come back Your tape is captured.
| | 04:19 |
There is a similar batch capture control
in your HDV camcorder capture workspace.
| | 04:24 |
So, let's close this.
I don't have an HDV camcorder connected to
| | 04:28 |
my computer at this time, but at least you
can see the workspace.
| | 04:31 |
Go to the same tool here, the Capture
Video tool.
| | 04:36 |
And this time, we select the option for
HDV or SDI.
| | 04:38 |
And it's a very similar capture space.
Our batch capture controls are over here
| | 04:43 |
on the right.
We simply would cue up our camcorder to a
| | 04:47 |
particular spot on the tape, click the In
point, then cue it up for an end point,
| | 04:52 |
and click the OUT point here.
And then, it's as simple as just clicking
| | 04:57 |
the Batch Capture button right here.
Go have lunch and let the program do the
| | 05:01 |
capture for you.
With batch capture, you're freed of having
| | 05:04 |
to sit at your desk and micro manage your
real time capture.
| | 05:07 |
You set the parameters and then you let
the program do the capture while you go
| | 05:11 |
out and grab a cup of coffee or something.
It's a very nice way for you to benefit
| | 05:14 |
from the advantages of tape based capture,
but without the liabilities of having to
| | 05:18 |
sit and watch it happen.
| | 05:20 |
| | Collapse this transcript |
| Importing video from a storage drive camcorder| 00:00 |
Now, whether you're working with consumer
video from AVCHD camcorders or
| | 00:04 |
professional video formats like Sony Red
One, Panasonic P2 or even video from a
| | 00:09 |
DSLR like the Canon 5D series.
Your video is being stored as media files
| | 00:14 |
on a hard drive, or on some sort of data
or storage card inside the camcorder or camera.
| | 00:20 |
So, rather than being captured in
real-time the way taped based video is,
| | 00:23 |
these video files are essentially
downloaded, as whole media files from the
| | 00:28 |
camcorder to your computer and into your
project.
| | 00:31 |
Let's take a look at the process, of how
that's done here in Vegas Pro.
| | 00:34 |
Now a lot of people will take these cards
like an SD card, out of their camcorder
| | 00:39 |
and stick them in their computer and use
Windows Explorer to just kind of drag the files.
| | 00:44 |
You can do that, that's one way of course
to get the files copied over from the
| | 00:47 |
storage into your computer, but I
recommend using the device explorer in Vegas.
| | 00:52 |
That way, you can be sure that the entire
work flow is speaking the same language,
| | 00:56 |
it's all speaking the Vegas language.
And it also simplifies the process,
| | 01:00 |
because it brings all the video not just
onto your computer but into your project
| | 01:04 |
in a single move.
Now I'll show you where that's at, if you
| | 01:06 |
just go into the View menu here in Vegas
and select Device Explorer.
| | 01:10 |
Now I have a camcorder plugged into my
computer now, I've got an AVCHD camcorder.
| | 01:15 |
It's plugged in via USB, and I've set up
the camcorder so that it will interface
| | 01:21 |
with the computer.
Now it's as simple as just telling the
| | 01:23 |
program, to find the video that's on there
and for me to select that video and copy
| | 01:28 |
it to my computer.
So, if I select my Device Explorer, and
| | 01:31 |
you can see that it will list all of the
devices that are hooked by USB, in this
| | 01:35 |
case I only had the one device.
If you're not seeing anything in there,
| | 01:39 |
just go ahead and click on that device.
And you see that it shows me all of the
| | 01:43 |
clips, all of the video files that are on
my camcorder's storage media.
| | 01:49 |
In this particular case, I have an SD card
in there, you may be using, if you're
| | 01:52 |
using a professional format, say Panasonic
PT or Red One, you may be using a card or
| | 01:58 |
some other form of storage media.
But this will show you what's actually on
| | 02:02 |
the camcorder.
So, the program now is talking to the camcorder.
| | 02:06 |
I can preview any one of these clips and
see what they look like and decide whether
| | 02:10 |
or not I actually want to bring them into
the programs.
| | 02:12 |
So, for instance, if I can select this
clip and I press this Play button up here,
| | 02:16 |
I can actually play the clip and preview
it and see if it's a kepper or not.
| | 02:26 |
(SOUND) I can select as many or as few of
the clips as I want here.
| | 02:30 |
So, for instance I can hold down the Shift
key and select one and then the last in
| | 02:34 |
the series, and it will select all of
them.
| | 02:36 |
Or of course I can use the Ctrl key, if I
hold that down I can select one at a time,
| | 02:41 |
and only select the clips that I want to
bring in.
| | 02:44 |
Now, before I bring them in, I can choose
where on my computer they're stored.
| | 02:48 |
If I select the Device Properties button,
you'll see that there's a default area
| | 02:54 |
where it goes in.
It goes automatically into your documents
| | 02:57 |
folder in Windows 7 or 8, and it goes into
your imported media folder.
| | 03:01 |
You can browse and of course select any
place on your computer you'd like where
| | 03:05 |
files to go.
So, for instance, you got a second hard
| | 03:08 |
drive where your project files are on your
second hard drive, you'll want to of
| | 03:12 |
course direct all your media files over to
that particular project folder too.
| | 03:15 |
The option to do that is as simple as
clicking the Browse button.
| | 03:19 |
So, I'm just going to let it go to its
default area here on my C Drive, and I'm
| | 03:23 |
going to select these two clips and then I
simply click on the Import Selected Clips button.
| | 03:30 |
There they go, there they are.
Not only are they added to my computer,
| | 03:33 |
they're also simultaneously added to my
project.
| | 03:35 |
And you can see them there, in the upper
left-hand corner in my Project Media panel.
| | 03:40 |
So, I'll close my Device Explorer now.
And of course when I add the first clip to
| | 03:45 |
the timeline, the program is going to ask
me do you want me, to change the project
| | 03:49 |
properties to match that clip?
And of course the answer is yes, I'll just
| | 03:52 |
drag that down there.
Here's my automatic setup, and we are good
| | 03:56 |
to go.
We have our video files off of our AVCHD
| | 03:58 |
or off of our storage camcorder.
Our project is setup now automatically to
| | 04:04 |
match those media properties, and we can
start editing our video.
| | 04:08 |
So, when you're working with a camcorder
in which the video files are stored on the
| | 04:11 |
device rather than on a tape or a disk
medium, you download or import the video
| | 04:16 |
from the camcorder over USB connection to
your computer.
| | 04:19 |
We'll import them then as whole files and
a complete scene comes in as a block of
| | 04:25 |
video data rather than selecting portions
of it and having them record in real time
| | 04:30 |
the way you would take base media
| | 04:32 |
| | Collapse this transcript |
| Importing media already on your computer| 00:00 |
Many times as you're building your
project, the media files, that would be
| | 00:04 |
the video, the audio files, the music and
the still photos of the graphics you're
| | 00:08 |
using to build your project are already on
your computer.
| | 00:11 |
You just need to get the media into your
project.
| | 00:14 |
It's called importing it into your
project.
| | 00:16 |
And there are actually a number of ways to
do this.
| | 00:19 |
The simplest and most basic is to use the
tools that's built right in to Vegas, and
| | 00:22 |
that is in our Project Media panel.
If we go up to the top, it is the Import
| | 00:27 |
Media button.
I'm going to click on that.
| | 00:29 |
It's what's essentially a Windows browse
screen.
| | 00:32 |
I can go to my media files here.
In this case we'll go to our ProjectAssets.
| | 00:38 |
And I can select one or if I hold down the
Shift key or the Ctrl key, I can select
| | 00:42 |
more than one media clip.
And when I click Open, they are added to
| | 00:47 |
my project.
But that's not the only way to get the
| | 00:50 |
media into your project.
You can also use Windows Explorer and just
| | 00:54 |
drag directly from them.
And I do have Windows Explorer open here.
| | 00:59 |
I can go into my ProjectAssets.
By the way, don't worry about these little
| | 01:02 |
clips that don't have any thumbnails on
them, those are just back-up files,
| | 01:06 |
they're work files that the computer or
the computer creates as you're working on
| | 01:10 |
some of your video editing.
So I can just select a couple of media files.
| | 01:14 |
I just hold down the Ctrl key when I
select one and select a second one.
| | 01:18 |
And now, I can drag them directly into the
project.
| | 01:20 |
I can drag them directly into the Project
Media panel.
| | 01:24 |
And if I let go, they'll come in here or I
can drag them right to the timeline.
| | 01:28 |
And when I drag them to the timeline, you
see they're also added to the media panel
| | 01:32 |
automatically here.
You can also use the explorer that's built
| | 01:36 |
right into Vegas and that is the second
tab down here next to Project Media and
| | 01:40 |
when I click on that.
You'll notice this looks an awful lot like
| | 01:43 |
the Windows Explorer, and in fact, that's
essentially what it is.
| | 01:46 |
It's looking at files that are on your
computer.
| | 01:50 |
And so, if I go here to my Exercise Files
and I go into ProjectAssets, I can select
| | 01:54 |
any number of these files, again, holding
down the Shift or the Ctrl key.
| | 01:58 |
And I can drag them either directly into
Project Media like this or I can drag them
| | 02:03 |
just right down to the timeline.
And when I let go of them, they're added
| | 02:07 |
in automatically to my Project Media
collection here.
| | 02:11 |
Word of warning, though, about using this
panel, the Explorer panel.
| | 02:14 |
The media files you see in Project Media
are not actually the media files.
| | 02:19 |
These are actually links to the actual
files.
| | 02:22 |
And I'll tell you, in a minute, why that's
important to understand.
| | 02:25 |
When you're in the Explorer panel, though,
you're looking at the real deal.
| | 02:28 |
You're looking at the real files.
So be careful with these, because if
| | 02:32 |
you're back here and you remove one of
these media files, say if I were to select
| | 02:36 |
this one and press Delete.
It just removes it from the project.
| | 02:40 |
The file's still out there on my hard
drive.
| | 02:42 |
If I'm on Explorer though, it's just like
being in Windows Explorer.
| | 02:45 |
If I were to delete one of these files,
I'm removing it completely from my hard
| | 02:51 |
drive, so be careful out there's a little
distinction.
| | 02:54 |
Understanding that these are just links to
the media files and not the actual media
| | 02:58 |
files is really important, because it's
important to understand that whatever
| | 03:02 |
location they're in, needs to remain
connected to your computer as you're
| | 03:06 |
working on your project.
In other words, if these media files are
| | 03:10 |
on an external hard drive and you unplug
the USB connection, the program will lose
| | 03:14 |
the connection to them and it won't know
what to do with them.
| | 03:16 |
And I'm, I want to purposely, I'm actually
going to break the connection for you just
| | 03:20 |
to show you an example of what it looks
like and how to fix it.
| | 03:24 |
So I'm going to go ahead and save this
project with these media files in it.
| | 03:29 |
And then, I'm going over here to where the
files are located and I'm going to change
| | 03:35 |
the name of the folder they're in from
ProjectAssets to ProjectMedia.
| | 03:39 |
This would be the same thing that would
happen if you move the files someplace
| | 03:43 |
else or if you disconnected the connection
to them, so let's change that to ProjectMedia.
| | 03:49 |
Now, watch what happens when we go back to
Vegas.
| | 03:52 |
We get this warning screen, The following
files can't be found in that location.
| | 03:56 |
I'm going to close this and you see what
happens.
| | 04:00 |
When there is no connection to the files,
they don't show up in ProjectMedia, and
| | 04:04 |
instead, you get these sort of generic AVI
little icons, and also, if you look down
| | 04:10 |
here at the timeline, all these show is
Media Offline.
| | 04:13 |
That's not good, we can't edit a movie
this way.
| | 04:17 |
Now, I'll show you how to reconnect those
links to the original Media files.
| | 04:20 |
To do that, I'm going to temporarily close
this project, and then, we'll reopen it.
| | 04:26 |
When you first open up a project in which
the media files have lost their link, you
| | 04:30 |
will see this screen.
And you do have the option of letting the
| | 04:33 |
program search your hard drive for them.
I think it's simpler to search it yourself.
| | 04:38 |
You only need to locate one file, if you
locate the one file and the rest are in
| | 04:43 |
the same folder the program will
automatically make the connection to them.
| | 04:46 |
So let's show you how to do that.
I'm going to select Specify a new location
| | 04:49 |
or replacement file.
I'll click OK.
| | 04:52 |
And now, I'm going over here to my
Exercise Files, go into Project Media.
| | 04:56 |
And now, I just need to locate Beach5avi.
There it is right there.
| | 05:01 |
And I click Open.
And when I do, like I say, the program's
| | 05:06 |
going to see that the rest of the files
are here and it's going to automatically
| | 05:09 |
reconnect to all of them.
See, it says, there are other files in
| | 05:14 |
there, do you want to permanently use this
location for all files?
| | 05:16 |
I say Yes.
They're all reconnected, and now, I can go
| | 05:20 |
ahead and finish editing my program.
So if you ever have a disconnect, if you
| | 05:23 |
ever see that little screen, it means
something has gone wrong and the files
| | 05:26 |
have been moved.
A name has been changed somewhere in your
| | 05:29 |
hierarchy or you left the files on an
external hard drive or even on the
| | 05:34 |
original camcorder and you disconnected
them from the program.
| | 05:37 |
So you need to have them on your hard
drive and then you can reconnect them.
| | 05:40 |
Now, one of the most important things to
remember when you're importing media into
| | 05:43 |
your project is you need to keep that
device connected.
| | 05:46 |
Otherwise, when you connect your
camcorder, when you connect your hard
| | 05:49 |
drive, you're going to loose the
connection to your media files.
| | 05:51 |
But as long as the hard drive or whatever
device you're importing your media from is
| | 05:55 |
connected to your computer throughout your
project you should be all set.
| | 05:58 |
| | Collapse this transcript |
| Creating titles and specialized media with media generators| 00:00 |
Now much of the media you'll be using to
create your projects will come from
| | 00:03 |
external sources.
Those are camcorders or CDs or other media
| | 00:08 |
that's already on you hard drive, but
Vegas also includes tools for creating
| | 00:12 |
your own media files within the program.
This is what you do for instance when you
| | 00:17 |
create titles or texts, or when you create
different colors or patterns for your
| | 00:20 |
video backgrounds.
You are creating the media clips and
| | 00:24 |
events right in the tool called the Media
Generator.
| | 00:26 |
Now the Media Generators are located here
in this tabbed interface in the upper left
| | 00:30 |
of the program, if we just click on this
arrow if you don't see it and it will move
| | 00:34 |
its way down here to the Media Generators
tab.
| | 00:36 |
Click on that.
And you can see that we have a number of
| | 00:40 |
media files that could be generated right
in the program.
| | 00:42 |
Now several of these are titles and we'll
take a look at some of these title
| | 00:47 |
generators in depth a little bit later in
our course.
| | 00:50 |
So, first let's just take a look at how a
basic title works.
| | 00:52 |
If I select Titles and Text you see that I
have a number of presets.
| | 00:56 |
Here they are, and these pre-sets mostly
represent animation for the titles
| | 01:02 |
although they also represent colors and
styles of text.
| | 01:05 |
And if I hover my mouse over any one of
them you can what the animation looks like
| | 01:10 |
when it comes in.
And I can drag one of these down to the
| | 01:14 |
timeline and it becomes an event and at
the same time it becomes an event, the
| | 01:17 |
Video Media Generators option panel opens
up.
| | 01:20 |
I'm going to hold down the Ctrl key
because otherwise this window when I move
| | 01:23 |
it around is going to try to jump inside
one of the windows on the interface.
| | 01:27 |
So, I'm going to hold down the Ctrl key,
move it off to the side.
| | 01:29 |
You can see that the event is on the
timeline here and that right up here we
| | 01:33 |
have the title that we're working on.
And I'm just want to move the play hit
| | 01:37 |
into the middle of the title so that that
way it will show up on our preview monitor.
| | 01:41 |
Hold down the Ctrl key again and just
slide this panel off to the side.
| | 01:44 |
And you can see that we have options at
the very top of the screen for presets.
| | 01:48 |
This list of presets is exactly the same
as those listed under titles and texts in
| | 01:52 |
the media generators there in that panel
that we were looking at.
| | 01:56 |
Once I've selected a preset I can go ahead
and modify it just by dragging across it
| | 02:00 |
here and call it whatever I want.
I can select it and change the font.
| | 02:05 |
Select whatever font I want.
I can select tiles and size for the font
| | 02:09 |
and I can change the text color.
So, a lot of characteristics that I have
| | 02:14 |
control over in the Media Generator is
because we're generating, we're creating
| | 02:17 |
the media right in the program.
In addition to titles, we also have a
| | 02:22 |
number of options or tools here for
creating different colored backgrounds.
| | 02:26 |
For instance, we can create a solid color
and if I just drag this to the timeline,
| | 02:30 |
you can see here that it creates a yellow
clip.
| | 02:34 |
Hold down the Ctrl key so it doesn't drop
into those windows.
| | 02:36 |
It creates a yellow clip for my timeline
which I can, by opening this up and using
| | 02:42 |
the color picker I can change it to
whatever color I want.
| | 02:47 |
We also have test patterns.
These come in handy if you're going to be
| | 02:50 |
delivering your video to a broadcaster who
will need to set up their equipment to
| | 02:54 |
match your color space.
They can use your color bars here to set
| | 02:57 |
up their equipment.
There are noise textures and these noise
| | 03:01 |
textures here come in a variety of
flavors.
| | 03:04 |
And you can customize the colors and
shapes of them.
| | 03:08 |
There is a checkerboard pattern.
And the checkerboard pattern is not just
| | 03:12 |
sizes and shapes of checkers or squares
there, checkerboards, but also, you can
| | 03:16 |
create Horizontal and Vertical Blinds.
And then the Color Gradient, which
| | 03:21 |
includes not just a basic color gradient
but also a number of patterns here that
| | 03:27 |
have transparency in them.
Any time you can see a grey checkerboard
| | 03:30 |
behind a pattern or clip that means that
it's transparent.
| | 03:33 |
So, these can be used as windows or to
mask certain events on your timeline.
| | 03:39 |
And the coolest thing about any event that
you create here in our Media Generators
| | 03:43 |
panel, is that you have the option of
customizing it anyway you want.
| | 03:47 |
And you have the option of creating
animation for it.
| | 03:50 |
So, for instance if I drag this
Rectangular Transparent to Black, down to
| | 03:54 |
my timeline, it opens up the Media
Generators option panel, you see that I
| | 04:00 |
have options of changing the color.
If I don't want black around the outside,
| | 04:04 |
I can that to any color I want.
I can change how crisp the edge is between
| | 04:09 |
the window and the color pattern by
bringing these nearer together or farther apart.
| | 04:16 |
I can change the shape from Square to
Elliptical.
| | 04:20 |
I have a lot of control, and like I say I
can also, with a number of these I can
| | 04:24 |
create animations too.
Now down here at the bottom there's an
| | 04:28 |
animation bottom that I can click and that
button opens up the keyframe control
| | 04:32 |
workspace where we can create our
animations.
| | 04:35 |
A number of the Media Generators will have
instead a little clock here that you can
| | 04:40 |
use to animate.
So, I can take this colored square, for
| | 04:43 |
instance and I can create animation using
keyframes to have it shift from one color
| | 04:48 |
to another.
And I can do that by clicking on the
| | 04:50 |
Animation button.
This keyframe, this little dot here on the
| | 04:53 |
timeline represents the color of teal that
it is right down.
| | 04:58 |
If I move the playhead down here and I
change that color now to say yellow, I've
| | 05:02 |
now created an animation where it's going
to shift from that teal to the yellow.
| | 05:08 |
And you can see that happening on the
timeline if I just go ahead and click play.
| | 05:15 |
It starts out and it shifts over to the
yellow.
| | 05:17 |
Very, very cool so, although titles are
going to be your main use for your
| | 05:22 |
generated media, there are a number of
media templates and tools available here.
| | 05:26 |
The important thing to note is that these
are generated media files.
| | 05:31 |
But you essentially create them from
scratch and because of that you have a
| | 05:34 |
tremendous amount of flexibility when it
comes to designing and even animating your
| | 05:38 |
titles and other generated media clips, in
your project.
| | 05:42 |
| | Collapse this transcript |
| Managing files in the Project Media panel| 00:00 |
Once you've captured downloaded or
imported your assets into your biggest
| | 00:04 |
project and this one includes your video
files, your audio files, your music files,
| | 00:07 |
you still photo's, and your graphics.
These media files will appear in the
| | 00:10 |
Project Media panel in the upper left of
the programs interface.
| | 00:14 |
However, if you got a lot of media files,
sorting through them here, in the Project
| | 00:18 |
Media panel can be a real chore and be a
real challenge.
| | 00:21 |
Now, a lot of times when I'm shooting or
I'm putting together a movie I may have
| | 00:25 |
dozens of media files there in my Project
Media panel.
| | 00:28 |
I did a wedding recently I had over a
hundred in there, and to locate a specific
| | 00:33 |
one can be a bit of challenge.
Fortunately, there are tools built right
| | 00:37 |
in to Vegas' Project Media panel for
helping you manage a large number of
| | 00:41 |
files, be able to filter or to isolate or
to search and locate quickly.
| | 00:46 |
Exactly the clip or exactly the media file
that you want.
| | 00:50 |
Now, the simplest way to do that is by
type in here, the program does it
| | 00:54 |
automatically, it's fairly simple way
here, to filter your media files.
| | 00:59 |
If I click on this, you can see it will
show us only the audio files if we like,
| | 01:03 |
only the video and only the stills.
It's a fairly basic way to filter through
| | 01:09 |
all the media files.
But with a little housekeeping, you can
| | 01:13 |
manage the files, even more so.
And specifically, create boxes or folders,
| | 01:18 |
in which you can put a group of media
files that you're going to work on at a
| | 01:22 |
specific time.
So, for instance, here, in our media bins,
| | 01:26 |
which work the same as folders or
directories on a hard drive.
| | 01:30 |
We can create little folders where we
isolate or where we have just certain
| | 01:35 |
video files or media files.
I have one here called Archie and Joseph.
| | 01:40 |
And his includes all of my video files
that have Archie and Joseph in them.
| | 01:45 |
Creating a Media Bin is fairly simple.
You just right click.
| | 01:49 |
And select the option to create a new bin.
And you can not only create a bin, you can
| | 01:53 |
create a bin within a bin.
So, here I've got Archie & Joseph and here
| | 01:58 |
I've got B rolls, to add your files to a
media bin you simply go to all media here
| | 02:02 |
and just sort of drag them over, and drop
them in the folder there.
| | 02:06 |
And they're added then to that media bin.
So, I can take all of the files, for
| | 02:11 |
instance, that have to do with the cutting
of the cake at a wedding.
| | 02:14 |
Or all the files that have to do with the
taking of the vows.
| | 02:17 |
Put them all into one media bin under one
folder, and when I only want to see those
| | 02:22 |
media files, I simply click on or select
that folder.
| | 02:26 |
And you can see I've created a couple of
them here, and a couple of sub bins also.
| | 02:31 |
So that's one real easy way to isolate
your files.
| | 02:34 |
You can also tag your files, and tagging
your files means adding little keywords to
| | 02:40 |
help you search them, and I'll open up my
tags, here.
| | 02:42 |
You see I've created a number of tags.
So, for instance, these are files I tagged
| | 02:47 |
with the word Beach.
I've got some that I tagged with the word
| | 02:50 |
Close up, so I'm seeing files in, which
there are Closeups of individuals.
| | 02:54 |
And here's my Non actor footage.
Well, there's an actor in my Non actor footage.
| | 02:59 |
But to create these media tags, very, very
simple.
| | 03:02 |
If your Media Tag Option panel isn't
showing just go up here to the top of the
| | 03:06 |
Project Media panel and click on this
Views button here on the right hand side.
| | 03:11 |
And select Media Tags, and they'll appear
down here at the bottom.
| | 03:14 |
So, all I need to do is go into my all
media area and I can select Archie's
| | 03:19 |
pictures here, and I can tag it with his
name.
| | 03:21 |
I can put Archie in here.
And when I press the return, or the enter
| | 03:26 |
key, it tags that file, now any time I use
that file on this project or on another
| | 03:31 |
project that media tag is going to be in
there.
| | 03:34 |
There's nice little shortcuts built into
the media taggers, so you can see we have
| | 03:38 |
control one, we have a short in here for
sand castle.
| | 03:40 |
To create a shortcut you just right click
on that area and select Edit Quick Tags.
| | 03:44 |
And you create one here called the Sam
,for instance and now when I look at a
| | 03:51 |
media file for Sam.
There he is.
| | 03:54 |
All I need to do is either click on this
or simply press Ctrl+2.
| | 03:59 |
Boom.
And he's tagged.
| | 04:01 |
Just like that.
So, we have tags for helping us search
| | 04:03 |
through our media.
And now I can locate all of my Non actor footage.
| | 04:07 |
All the things that I've tagged with Non
actor footage.
| | 04:09 |
And again, you're doing a lot of this on
your own but this is good housekeeping.
| | 04:12 |
This will make it much easier to sort
through your media later on in your
| | 04:16 |
production or later on in your editing
process.
| | 04:19 |
Finally, there are Smart Bins, and Smart
Bins are created automatically as you
| | 04:23 |
search your media files.
And let's go to All Media here.
| | 04:26 |
If I right click, I can select the option
to search through my Media Bins.
| | 04:31 |
And you can see there's a lot of criteria
you can use for your search.
| | 04:34 |
All the way down to things like the Time
Date Stamp on the video, the Pixel Aspect
| | 04:39 |
Ration, whether or not it has alpha.
A lot of things you can search the most
| | 04:41 |
basic of course is by name.
So, I can search for everything that has
| | 04:44 |
the word beach in its name and when I
click search it not only locates all of
| | 04:50 |
the files here in my Project Media panel
that have beach.
| | 04:52 |
It automatically creates a little smart
bin here.
| | 04:55 |
I'm going to hover, and just drag that
over here.
| | 04:58 |
Here it is.
Now, any time I want to recall all of the
| | 05:02 |
media files I've found in that search,
it's as simple going to a smart bin and
| | 05:05 |
clicking on that.
Finally one of the tools you are looking
| | 05:08 |
at here in our Project Media panel for
managing our files.
| | 05:12 |
A lot of times when you are done editing ,
you've got a lot of junk in your project
| | 05:16 |
media bin.
Take a look here.
| | 05:18 |
I can click on the Maximize button in the
upper left corner and we can see we've got
| | 05:22 |
a lot of files in here.
I'll close the Media Tags.
| | 05:26 |
There we go.
Got a lot of files in here.
| | 05:27 |
Now, after I'm done editing my video I've
got a lot of extra files in here that I
| | 05:33 |
didn't use in my movie.
It's a real nice tool in the upper left
| | 05:35 |
hand corner.
It's a lightening bolt.
| | 05:37 |
If you click on that it will automatically
remove all the files you didn't use in
| | 05:41 |
your movie.
Now, I don't have anything on my timeline.
| | 05:43 |
Now, if I click on this, it's going to
remove all the files out of my Project
| | 05:47 |
Media bin.
But this is very nice when you are ready
| | 05:49 |
to archive your project and you only want
to keep the media files here that you, you
| | 05:54 |
actually used in your movie, then this
will isolate and show you only the files
| | 05:59 |
used in your media.
This doesn't delete them from your hard
| | 06:01 |
drive, but it is going to take them out of
your project so that only the relevant
| | 06:05 |
files are in there.
Very, very nice.
| | 06:07 |
When you're working on a major project,
I'm telling you the number of files in
| | 06:10 |
your Project Media panel can get a bit
overwhelming.
| | 06:13 |
But Vegas includes a number of great tools
here, making it more manageable for doing
| | 06:17 |
good housekeeping, for controlloing and
searchign and helping you to quickly
| | 06:21 |
locate exactly the media file or group of
files that you want to use for a specific sequence.
| | 06:27 |
| | Collapse this transcript |
| Pre-applying stabilization to a video| 00:00 |
One of the nice features in Vegas is that
you don't need to put your video on the
| | 00:04 |
timeline, in order to apply an effect to
it.
| | 00:07 |
In fact, there are advantages to
pre-applying an effect to a media clip,
| | 00:11 |
before you add it to your timeline.
Once you apply stabilization to a shaky
| | 00:14 |
video clip, for instance that video clip
will have stabilization applied to it
| | 00:18 |
whenever and where ever you use it in your
project, it's pre-applied.
| | 00:23 |
It's become part of the video file.
Now, instead of having a shaky clip, you
| | 00:27 |
now will have a stabilized clip to use in
your video project, any time you want to
| | 00:31 |
use it.
You can do this with stabilization, you
| | 00:33 |
can pre-apply virtually any video effect
to a clip.
| | 00:36 |
But let me demonstrate with stabilization
here.
| | 00:38 |
We've got a video called Shaky drive, and
I'm going to open it up in our trimmer so
| | 00:42 |
you can have a look at what Shaky drive
looks like.
| | 00:44 |
This is video shot out the front of a car
and as you can see, it is just a little
| | 00:49 |
wobbly as video shout out the front of a
car tends to be.
| | 00:52 |
And so, what we want to do, is take some
of the shake out of that and we'd like to
| | 00:57 |
do it to the original clip.
We want to apply it to the clip that's in
| | 01:00 |
our Project Media panel so that any time
we use this clip or any portion of this
| | 01:04 |
clip, it will be pre stabilized.
So, to do that, I'm going to right click
| | 01:08 |
on the clip in our Project Media panel and
select Media Effects.
| | 01:14 |
And when, I do I have the option panel
here for applying the stabilization effect.
| | 01:20 |
And, I generally use the Presets and I
generally use Medium Stabilization, this
| | 01:24 |
doesn't have a lot of wobble to it.
I recommend that you use as little
| | 01:27 |
stabilization as possible, the reason why
is because this is how stabilization works
| | 01:32 |
it looks for a horizon line.
The program looks for a center point in
| | 01:36 |
your video, and then it adds panning and
cropping movements to your video, to try
| | 01:42 |
and compensate for it, to keep that center
point in the center of your video.
| | 01:47 |
It will look great, but the only problem
is, because of all that movement, a lot of
| | 01:50 |
times the edge of your video frame will
show.
| | 01:53 |
So, in order to get rid of that, the
program then has to crop off some of the
| | 01:56 |
edge and zoom in on your video.
The more it zooms in, in other words the
| | 02:00 |
more stabilization that you've applied,
the worse your video is going to look.
| | 02:04 |
Medium Stabilization, usually it just
cleans it up nicely and your result looks terrific.
| | 02:09 |
So, I'm going to start with Medium
Stabilization in this particular case, and
| | 02:12 |
once I've selected I'll click the Apply
button.
| | 02:15 |
And then I'll close this screen.
Now, I'm not going to be able to see the
| | 02:19 |
stabilization in the trimmer.
So, I can't really see it on the original
| | 02:23 |
clip, but if I drag it to the timeline
like this, I should be able to play it on
| | 02:27 |
the timeline.
And even though I have not added the
| | 02:29 |
effect to the event, or to the clip that's
on the timeline, I had pre-added it to the
| | 02:34 |
clip prior to adding it to the timeline.
Let's see the result.
| | 02:38 |
We'll press the Play button.
Now that is a smooth picture.
| | 02:43 |
Look how smooth that is.
Let's take a look at where we came from.
| | 02:46 |
Go over to the Trimmer window.
Here's where we started.
| | 02:49 |
A lot of jiggling, a lot of movement.
Here's where we ended up, looking at the
| | 02:55 |
Preview window, very nice and smooth.
That's exactly what stabilization is
| | 03:00 |
supposed to do.
Like I say the cool thing is, it's added
| | 03:04 |
now to the clip in the Media panel.
So, any time I use this clip, no matter
| | 03:08 |
how many times I drag it to the timeline,
and even if I just use a portion of it, it
| | 03:12 |
will always have that stabilization
pre-applied to it.
| | 03:15 |
Now this comes in handy no matter what
effect you're pre-applying.
| | 03:18 |
You may want to color correct a video clip
before you add it to your timeline.
| | 03:22 |
You may want to add an effect to a clip,
to give a certain mood to a whole series
| | 03:27 |
of clips.
You can pre-add them in the Project Media panel.
| | 03:30 |
And then anytime you use the clip and drag
it down to your timeline, when it becomes
| | 03:35 |
an event it will have those effects
pre-applied to it.
| | 03:37 |
This works with virtually any video clip,
and virtually any video effect.
| | 03:41 |
If you've got a video clip you need to
correct before using your movie project,
| | 03:45 |
because it's too dark or the color
settings are wrong, or it's too shaky.
| | 03:48 |
Pre-applying an effect to correct, it can
turn it into a usable clip, because you
| | 03:52 |
don't have to worry about cleaning up
every time you use it on your timeline.
| | 03:55 |
It'll just be there, cleaned up and ready
to use.
| | 03:58 |
| | Collapse this transcript |
|
|
4. Preparing and Editing Your MediaPretrimming and saving subclips with the Trimmer| 00:00 |
The trimmer located in the center top of
the interface just to the left of the main
| | 00:04 |
video preview window is a window for
previewing the video and audio files in
| | 00:08 |
your project Media panel.
But it's also a dynamic workspace.
| | 00:12 |
In it you can pretrim your video or audio
files and with it you can create shorter
| | 00:17 |
subclips from a larger video file and I'll
show you how that's done.
| | 00:20 |
Before we do though I want to show you
something about this panel.
| | 00:23 |
By default in Vegas, when you double click
on a clip that's in your Project Media
| | 00:28 |
panel, it's added to your Timeline.
Like that.
| | 00:32 |
I don't like that.
And it's very non-standard.
| | 00:35 |
It's up to you as a personal preference
entirely but I recommend that you change
| | 00:39 |
the preferences.
And I'll show you how to do that to make
| | 00:42 |
it much more the way most standard video
editing programs work.
| | 00:46 |
Go to the Options menu.
Select preferences and here on the general
| | 00:50 |
page, if you scroll way down to almost the
bottom.
| | 00:53 |
It's the third from the bottom,
double-click on media file loads into
| | 00:57 |
tremor instead of tracks.
Let's go ahead and check that.
| | 01:00 |
And click OK.
Now when I double click on any file that's
| | 01:04 |
in my Project Media panel.
It opens up in my trimmer.
| | 01:07 |
That's much more standard behavior for a
video editor and again it's a personal
| | 01:11 |
preference, but that's how you do it if,
if you feel the same way.
| | 01:14 |
Okay, so we've got here a pretty long
clip.
| | 01:17 |
And as you can see form the little
Timeline at the bottom of the trimmer this
| | 01:20 |
clip runs almost two minutes.
You're never going to use a two minute
| | 01:23 |
long clip in your video.
And in fact, we have an issue here where
| | 01:27 |
we actually have a lot of things going on.
We have for instance a long shot of the
| | 01:32 |
man working at his desk.
We have a close up of the man working at
| | 01:35 |
his desk and later on here, we have the
man walking down, between the cubicles and
| | 01:39 |
the wall to leave.
I think I actually see at least three
| | 01:43 |
smaller clips to come out of this larger
clip, and that's where the trimmer comes
| | 01:47 |
in handy.
So what I'm going to do is I'm going to go
| | 01:49 |
to the beginning of where I see this man
sitting in his desk as a long shot.
| | 01:54 |
And I can move the play head either
manually by dragging on it.
| | 01:58 |
I can play it and pause at a certain spot.
Or I can just click here on the Timeline
| | 02:03 |
until I find the exact spot.
There it is, there's the spot where I want
| | 02:06 |
to start.
And now, I want to put an end point.
| | 02:09 |
To do that, I can select that option from
the More Buttons menu here, set end point.
| | 02:15 |
But you see, I also have a couple of
shortcuts.
| | 02:17 |
I could also just press the letter I on my
keyboard.
| | 02:21 |
Or the open bracket, which is pretty
standard.
| | 02:23 |
But that creates the beginning of my
endpoint.
| | 02:26 |
Let's go to the end here of the long shot
and I could select them from the option
| | 02:32 |
set out point or I could just press O or
the close bracket key.
| | 02:37 |
Now, I have a trim area of my video and
you can see that it's this a little blue
| | 02:42 |
area in here.
This is the highlighted area.
| | 02:45 |
And those little yellow flags at the top
indicate the beginning and end of my
| | 02:49 |
trimmed area.
I can drag this to my timeline, right from
| | 02:52 |
here, and I get only the trimmed portion
of my movie.
| | 02:57 |
I only get that small section that is the
long shot of the man sitting in the desk.
| | 03:02 |
So that's how you can prepare a file
before you use it on your Timeline.
| | 03:06 |
You can pre-trim it.
But, how about if I'm not ready to start
| | 03:08 |
building my movie, yet?
How about if I just want to gather all of
| | 03:11 |
my small clips, from my larger clips?
Gather them up, in my Project Media panel,
| | 03:16 |
so I can grab them whenever I need them,
and start assembling my movie.
| | 03:19 |
I can save the shorter clip as a Sub Clip.
So this highlighted area, this little blue spot.
| | 03:26 |
This spot between the two yellow flags, in
my trimmer.
| | 03:28 |
I want to send it back to my Project Media
panel as a sub clip.
| | 03:31 |
To do that, I just click on this little
button here in the lower right of my
| | 03:35 |
trimmer, Create Subclip.
And when I do, I can rename it, I'll call
| | 03:39 |
this Longshot.
And you can see it now appears in my
| | 03:44 |
Project Media panel as a much shorter
clip.
| | 03:46 |
Let's do another sub-clip.
We'll take the close-up of the man and
| | 03:51 |
I'll just press I for my end point.
Take the end of that clip, we'll press O
| | 03:55 |
for my out point.
There's our trimmed area.
| | 03:57 |
And we'll again select the option to
create sub-clip, we'll call this Closeup.
| | 04:04 |
That too goes back to my Project Media
panel.
| | 04:06 |
And then finally we'll go to the end here
where the man is walking down the isle,
| | 04:09 |
and we'll press I or the open bracket here
for the in point.
| | 04:14 |
And then at the end of his walk we'll
press our close bracket or the O for our outpoint.
| | 04:19 |
And now we have a trimmed area, and I will
send that back as a sub-clip, and we'll
| | 04:22 |
call that walking out.
And now I have three sub-clips, and if I
| | 04:27 |
were to open any of the sub-clips in the
tremor say this long shot clip by
| | 04:31 |
double-clicking on it.
You can see that I only have that portion
| | 04:35 |
of the clip.
It's very nice.
| | 04:36 |
Now instead of having to deal with the
long two minute clip.
| | 04:39 |
I only have a very short 20 second clip
exactly what I need.
| | 04:43 |
So you can pre trim down your clips, and
you can actually create a bunch of sub
| | 04:47 |
clips from your longer clip there.
So our trimmer serves two functions.
| | 04:51 |
It's a place where we can preview our
media before we add it to our movie.
| | 04:55 |
And it's a place where we can create
smaller clips from larger clips so that
| | 04:59 |
regardless of the length of our source
media file, we can always find the exact
| | 05:03 |
pre-trimmed media clip whenever we need
it.
| | 05:06 |
| | Collapse this transcript |
| Preparing media files in the Trimmer| 00:00 |
In our previous movie, we looked at the
primary functions of the trimmer, to
| | 00:04 |
preview our media clips before we add them
to our movie and to create pre-trimmed
| | 00:09 |
sub-clips for our Project Media panel.
But the trimmer can also serve as a
| | 00:13 |
workspace for preparing your media files
just before you add them to your timeline.
| | 00:17 |
We've got a small mini movie here on our
timeline with some gaps in it, that maybe
| | 00:22 |
will fill in.
And we've got a clip here opened in our
| | 00:25 |
trimmer, and of course we do that just by
right-clicking on the clip here in our
| | 00:29 |
Project Media panel and selecting Open in
Trimmer.
| | 00:31 |
I can create a trim region simply by
positioning the playhead at one point, and
| | 00:36 |
I can choose from this menu here in the
lower right hand corner of the panel.
| | 00:39 |
Of course, I can use my keyboard shortcuts
which are either I, or open bracket to
| | 00:44 |
start the trimmed area, and O, or close
brackets to end the trimmed area.
| | 00:49 |
And now, as you know, I can just drag this
trimmed area directly to my timeline and
| | 00:53 |
use it in my movie.
But there's some other tools in here that
| | 00:55 |
will add it automatically for you.
I've got my trimmed area here.
| | 00:59 |
And if you look down here in the lower
right hand corner, you'll see two keys,
| | 01:03 |
one, Add to Timeline from Cursor, cursor
is the play head, and we have one Add up
| | 01:09 |
to the Position of the Cursor.
So if I take the cursor and I add it out
| | 01:12 |
here past the end of my movie.
And I add up to the cursor, and you notice
| | 01:17 |
that it adds our file there to the left of
the playhead.
| | 01:20 |
If I leave the playhead right where it is
and I select the other option, it's going
| | 01:24 |
to add the media or the trimmed area to
the right of the cursor and then the
| | 01:29 |
cursor is going to move down to the end of
it.
| | 01:31 |
So you see, look at the present position
of the cursor and when I click on this
| | 01:34 |
button, Add to Timeline from Cursor, it
adds it to the right of the cursor's old
| | 01:39 |
position, and now the cursor is at the end
of those clips.
| | 01:42 |
Which of the video tracks will it add you
file to?
| | 01:45 |
Well, that to do with which one is armed,
and if you want to look which one is
| | 01:48 |
armed, look over on the left hand side of
the interface there.
| | 01:51 |
These are the track headers.
And you notice that one of the track
| | 01:54 |
headers has a little white dot on it, that
little white dot means that that track is armed.
| | 01:58 |
And you can see the number three video
track was armed and that's exactly where
| | 02:02 |
the trimmer added the clip.
So, whenever you have it added
| | 02:06 |
automatically, it's going to go to the
track that happens to be armed at that
| | 02:10 |
particular time.
Going to just delete these from my movie.
| | 02:14 |
Occasionally you're going to have a reason
to insert in between two clips another sub-clip.
| | 02:20 |
For instance, here on video track one,
I've got two clips and I've got a gap in
| | 02:24 |
between them.
I can select that gap simply by
| | 02:27 |
double-clicking between them and you see
that now I have a selected region there.
| | 02:31 |
When I have a selected region, you notice
that this button up here on my trimmer
| | 02:35 |
gets highlighted.
That is the Fit to Fill button.
| | 02:38 |
And when I click that, my selected region
is going to be dicely dropped right into
| | 02:43 |
that selected region on the timelines.
When I click on that, once again it's
| | 02:47 |
going to go to the armed track, which
happens to be track number one in this
| | 02:50 |
case, and when I click it, it adds it
right in to that gap.
| | 02:53 |
Very, very nice, some very, very nice
tools there.
| | 02:55 |
One other trick you can do from the
trimmer, and that is that you can add only
| | 02:59 |
the audio, or only the video portion of a
clip, if you'd like.
| | 03:03 |
And you do that by toggling on a
preference.
| | 03:07 |
So if I right-click on this trimmed area
here, and I select Select Video Only, now
| | 03:13 |
when I drag this clip to my timeline, you
notice that I only get the video portion
| | 03:18 |
of the original media clip in my trimmer.
That's very nice but it is a toggle, and
| | 03:23 |
remember that it's a toggle which means
that it remains on until you turn it off.
| | 03:27 |
So, go up here right-click when you're
done and select the option to Select Video
| | 03:31 |
and Audio together again.
Otherwise you'll be using the tremor in
| | 03:34 |
the future and you'll keep dragging and
dragging and you'll just get the video
| | 03:36 |
portion and not the audio portion of the
clip.
| | 03:39 |
So, there are a number of great options
that are available, there in the trimmer.
| | 03:42 |
For once you've trimmed your media to add
them to your timeline.
| | 03:46 |
Think of the trimmer as a place where you
can work on your media files before
| | 03:50 |
they're actually added to your movie.
You can pre-trim your files, you can save
| | 03:53 |
those pre-trimmed files as sub-clips or
you can pre-trim your video or audio files
| | 03:57 |
and then send them directly to your
timeline.
| | 04:00 |
It's sort of a preview area, place to view
and prepare your files before they
| | 04:04 |
actually become a part of your movie.
| | 04:06 |
| | Collapse this transcript |
| Adding and trimming events on your timeline| 00:00 |
Once you add your media files to your
timeline, they become events.
| | 00:03 |
That's the official Sony name for the
media clips that are added to your
| | 00:07 |
Timeline, they're events.
Any changes you make to an event, are
| | 00:11 |
unique to that particular event, in other
words, they're unique to the clip at that
| | 00:15 |
particular time.
And at that particular place on your
| | 00:18 |
timeline, they do not universally affect
the original media file.
| | 00:21 |
So in this lesson, let's take a look at
some of the basic moves you're going to
| | 00:24 |
use as you assemble your Vegas movie
project.
| | 00:27 |
Much of which will consist of simple
assembling, splitting, and trimming of the
| | 00:32 |
events on your Timeline.
So here we are in a new project.
| | 00:35 |
I've added some media to my Project Media
panel, but my timeline is not only blank
| | 00:40 |
but it has no tracks on it.
It has no video or audio tracks on it.
| | 00:44 |
Don't let that panic you, you'll see that
a lot of times when you open a new project
| | 00:48 |
here in Vegas.
You can right click on the track header
| | 00:51 |
area and manually insert audio or video
tracks if you'd like.
| | 00:54 |
But they'll be created automatically as
needed when we simply drag a media clip
| | 00:59 |
down from our Media panel here to the
Timeline.
| | 01:02 |
There, it automatically created it for us.
And I'm going to add one more clip here to
| | 01:05 |
the end of it.
The most basic edit you can do to a media
| | 01:10 |
clip or to an event on your timeline is to
trim it.
| | 01:12 |
To trim it means to remove media or to
remove.
| | 01:16 |
Some of the video or audio from either the
beginning or the end of the clip.
| | 01:20 |
And you can do that simply by hovering
your mouse over the beginning of the clip
| | 01:23 |
til you see that little indicator.
Then click and drag and you'll trim.
| | 01:27 |
And you'll see that up in the Preview
panel you can actually see the new end point.
| | 01:31 |
This is the new point and so we can get to
the exact spot we want our clip to begin
| | 01:36 |
or where we want our event to begin.
And you notice that when I'd let go it
| | 01:39 |
snapped shut.
Notice that it moved left to fill in that gap.
| | 01:43 |
It has to do with something called Auto
Ripple.
| | 01:45 |
Now, Auto Ripple is a little complicated
and I do talk about it in depth a little
| | 01:49 |
later in this course.
But, the basics of Auto Ripple, which is
| | 01:52 |
controlled by this little toggle at the
top of the interface.
| | 01:56 |
Is that either that your media clips stay
in place, or they move to fill in the gap.
| | 02:00 |
That's kind of the basics of it.
So, if I take Auto Ripple here and I turn
| | 02:03 |
it off, and I trim, the clip stays in
place on the Timeline.
| | 02:10 |
When Auto Ripple is turned on and I trim,
the gap fills in.
| | 02:13 |
So, it'd be true also if I inserted a clip
before this clip on my Timeline, or insert
| | 02:19 |
an event before this event.
The width, Auto Ripple turned on,
| | 02:22 |
everything shifts off to the right.
If I try to insert a clip it just
| | 02:27 |
overwrites what's there on the Timeline.
So, as you work, you're going to be
| | 02:30 |
turning Auto Ripple on and off a lot, it's
kind of complicated and I'll go into it,
| | 02:34 |
like I say, in depth a little later in the
course here.
| | 02:37 |
The important thing to remember here is
that we're going to be doing splitting,
| | 02:41 |
and we're going to be doing trimming.
Which are the primary ways to edit, or to
| | 02:45 |
cut off what you don't want, out of your
media clips, or out of your events on your Timeline.
| | 02:51 |
So we've got a clip here on our Timeline,
we've got the intersection of two clips on
| | 02:54 |
our Timeline.
When I hover the mouse over this way, you
| | 02:57 |
notice that I can trim the end of the
previous event.
| | 03:01 |
When I hover it over a little to the
right, that it will trim from the
| | 03:04 |
beginning of the upcoming media event.
Another kind of cut you may want to make
| | 03:08 |
is splitting.
And splitting will take you out of the
| | 03:11 |
middle of our file so if I position the
play head just by clicking on it right
| | 03:16 |
over this section of our clip.
And I want to remove this section of our
| | 03:19 |
clip I can do that just by positioning the
play head there pressing S.
| | 03:23 |
It puts a slice in there I can make
another slice if I want and just remove
| | 03:28 |
that section.
I'm going to Ctrl + Z a couple of times
| | 03:30 |
here to undo that and let's talk about
what happens when you have media files or
| | 03:35 |
events on more that one track at once.
I'm going to add one to the track right
| | 03:40 |
above it so.
There I've added a media clip directly
| | 03:43 |
above my existing media clip, now I have
two tracks or actually four tracks, if I
| | 03:48 |
count the audio too.
We'll place the play-head over one of our
| | 03:52 |
media clips.
It's actually over all of our media clips
| | 03:54 |
here on our Timeline.
I'm going to click below everything so
| | 03:57 |
that deselected everything on the
Timeline, I have nothing selected on the Timeline.
| | 04:01 |
When I press the S key to split, it splits
every video and every audio on every track.
| | 04:08 |
Control + Z that.
When I have a event selected, say this
| | 04:11 |
event right up here, and I press S notice
that it only slices through the selected event.
| | 04:17 |
It's a very important distinction there
and that's how the split tool works.
| | 04:21 |
Now a lot of times when you're adding, you
want to add only the audio or only the
| | 04:25 |
video portion of a clip.
To do that, that's real simple.
| | 04:28 |
When you do that, just select your clip,
right-click on it, and drag it, rather
| | 04:32 |
than left-click.
Drag it down to your Timeline and when you
| | 04:35 |
let go, you'll have the option to add,
say, video only or the audio only.
| | 04:39 |
And you'll only get the top portion of a
clip, very, very nice.
| | 04:43 |
Just one word of warning here as you trim
and un-trim your clips.
| | 04:47 |
This as I un-trim here when I get to a
certain point I get this little divot this
| | 04:51 |
little carat up at the top of my clip.
That's a warning that I've come to the end
| | 04:56 |
of my clip its very important to know that
when I'm extending an event.
| | 05:01 |
Reason why is, once I get to the end of a
clip, one of two things is going to happen
| | 05:05 |
depending on what preferences you have set
up in the file.
| | 05:08 |
Either it's going to then go back to the
beginning of the clip and repeat it on
| | 05:13 |
your Timeline, probably not something you
want.
| | 05:15 |
Or it's going to give you a freeze frame.
Watch when I play this clip.
| | 05:22 |
Did you see that jump?
That was it jumping back then to the
| | 05:25 |
beginning of the clip.
Now it wasn't real obvious, there's not a
| | 05:27 |
lot of motion in this clip, but if you've
got a clip with a lot of action in it you
| | 05:32 |
would find out when it repeated.
It would be very abrupt and it's probably
| | 05:35 |
not what you want to do.
So make sure you're watching your Timeline
| | 05:38 |
and watch that you never extend past that
little carat/g, you should be all set.
| | 05:43 |
Now, these are the basic moves for
assembling your movie, add your video and
| | 05:47 |
audio files to a track.
You trim off the beginning or end of a
| | 05:50 |
clip, you split an event and remove a
segment from the middle.
| | 05:54 |
And creating ways for these various video
and audio files to interact, that's the
| | 05:58 |
vast majority of what video editing is.
Affecting how these clips behave when they
| | 06:02 |
interact with each other though is the
real movie making magic.
| | 06:06 |
| | Collapse this transcript |
| Understanding Auto Ripple settings| 00:00 |
In our last movie we looked at the basics
of adding and removing video and other
| | 00:04 |
media files from your timeline.
We also discussed briefly the auto ripple
| | 00:09 |
feature, that's the feature that controls
how your events behave on the timeline as
| | 00:14 |
you add and remove media files.
Understanding what this feature does and
| | 00:18 |
why it does it could be very helpful in
understanding why the program behaves as
| | 00:23 |
it does sometimes.
In fact, if you don't understand how this
| | 00:26 |
feature works it can drive you absolutely
crazy.
| | 00:28 |
We have a little movie here on our
timeline and I have the auto ripple turned off.
| | 00:35 |
That's this little button here at the top
of the screen.
| | 00:37 |
I'm going to turn it on.
And I'm going to add a clip now to my
| | 00:41 |
timeline at this particular point right
here amidst these clips.
| | 00:46 |
And you notice with Auto Ripple turned on
when I add a new event to the timeline.
| | 00:51 |
All of the other events that are past that
start point move off to the right to
| | 00:56 |
accommodate it.
In other words, Auto Ripple is letting me
| | 00:59 |
insert an event.
In other words, things are rippling down
| | 01:02 |
the line.
Like ripples in a pond, the movement of
| | 01:04 |
one effects all of the others here.
Likewise, if, I'm just going to Ctrl+Z to
| | 01:09 |
remove this.
If I were to remove a clip from the middle
| | 01:14 |
of my, or an event from the middle of my
timeline, this one here, with Auto Ripple
| | 01:18 |
turned on, when I delete that, the gap
closes shut.
| | 01:21 |
We'll Ctrl+z that.
What happens when we have Auto Ripple
| | 01:24 |
turned off?
Well, with Auto Ripple turned off, when I
| | 01:27 |
try to add a media clip to my Timeline, or
to create an event on my Timeline, notice
| | 01:32 |
that what happens is it just overlays.
Or actually underlays, it goes right
| | 01:36 |
behind the clips that are already there.
Probably not what you want in most cases.
| | 01:41 |
Ctrl Z that if I were to remove an event
from my timeline.
| | 01:46 |
Say this one here.
Select it, and press Delete.
| | 01:50 |
With Auto Ripple turned off, everything
stays in place.
| | 01:52 |
Now there's going to be sometimes when you
want your movie to expand and contract as
| | 01:57 |
you add and remove events from it.
But there are other times where you're
| | 02:02 |
going to want everything to stay in its
place.
| | 02:04 |
You don't want everything to get kind of
pushed on down the line.
| | 02:07 |
So you're probably going to have to turn
auto ripple on and off several times as
| | 02:11 |
you're working.
So, for instance, you can get sometimes a
| | 02:14 |
very strange behavior.
Let's just go ahead and put that clip back
| | 02:17 |
in there.
I do not have these clips over here on the
| | 02:20 |
right grouped.
However, when I have auto ripple turned on
| | 02:24 |
And I try to move one of them they all
move as a group because their start
| | 02:28 |
points, their end points are all at the
same place on the timeline so they are all
| | 02:32 |
rippling together.
I don't want that to happen.
| | 02:35 |
If I select one clip and delete it it
deletes several clips, so in this
| | 02:41 |
particular case in order to work with one
individual event on my timeline I have to
| | 02:46 |
turn Auto Ripple off.
So, it's really important to understand
| | 02:49 |
auto ripple because every once in awhile
the program is going to baffle you and
| | 02:53 |
nine times out of ten it's going to be
related to your auto ripple setting.
| | 02:57 |
Finally, there are times when you remove a
clip and you have auto ripple turned off
| | 03:02 |
and your gap didn't close or you removed
it and you meant for auto ripple to be
| | 03:08 |
turned on.
Well you can do a couple of things here.
| | 03:11 |
You can of course press Ctrl+Z to put that
clip back in there.
| | 03:14 |
And then you can turn Auto Ripple on, and
then you can delete it again, and now it's
| | 03:18 |
going to close the gap.
But, there is a tool built into Vegas that
| | 03:21 |
allows you to skip that step, so, assuming
we've deleted this, with Auto Ripple
| | 03:25 |
turned off.
Notice that after we made the deletion,
| | 03:27 |
look at the top of the timeline, you see a
little blue arrow there pointing to the
| | 03:31 |
left that is keeping track of the last
edit we made to our timeline.
| | 03:35 |
So we can still take advantage of the fact
that that edit still exists in the
| | 03:39 |
programs memory, we can go to the edit
menu here At the top of the program and
| | 03:44 |
select post-edit ripple.
And when we select it it will now fill in
| | 03:49 |
that gap or it will close that gap for us.
It's kind of a post-edit way to add the
| | 03:54 |
ripple effect.
Rippling then has to do with the way the
| | 03:56 |
other events on your timeline behave
whenever you add a new event in the midst
| | 04:00 |
of an existing assembly, move an event or
remove an event from the assembly,
| | 04:05 |
sometimes you want those events to move
and sometimes you want 'em to stay right
| | 04:09 |
where they are.
But whatever your specific needs are, the
| | 04:11 |
Auto Ripple tool has a setting that will
accomodate your needs for those specific circumstances.
| | 04:18 |
| | Collapse this transcript |
| Playing and arranging your timeline| 00:00 |
As you work on your timeline, there are
times when you want to look at individual
| | 00:04 |
frames, get in real, real close and there
are times when you want to back off and
| | 00:07 |
take a look at the whole movie at once.
And you can zoom in and out of your
| | 00:11 |
timeline using a couple of controls,
rather you prefer working with the
| | 00:14 |
interface, or whether you prefer working
with your keyboard.
| | 00:17 |
To zoom in or out on your timeline, you'd
use the little controls in the lower right
| | 00:20 |
hand corner of the program.
If I press the plus button, I zoom in.
| | 00:25 |
I get a closer look, and go all the way
down like I said, to individual frames if
| | 00:28 |
I want.
Or, I can click back here and zoom out, or
| | 00:32 |
go all the way back out to see my entire
movie.
| | 00:34 |
There are some nice keyboard shortcuts
that will save you having to click way
| | 00:38 |
down here in the lower right hand corner.
And these are the up and down key on your keyboard.
| | 00:43 |
Up getcha in closer, now I can getcha
farther away.
| | 00:46 |
My personal favorite, if you've got a
roller mouse, as most of us do, is you can
| | 00:50 |
just roll across the top of the mouse.
And that will, zoom in and zoom out.
| | 00:54 |
On your timeline.
Very very nice, I like that tool a lot.
| | 00:57 |
Now when it comes to playing your
timeline, there are player controls down
| | 01:01 |
at the bottom of the timeline and you'll
notice there are also playback controls at
| | 01:05 |
the bottom of the preview panel.
These are identical, they function exactly
| | 01:09 |
the same way.
And as you can see, those playback
| | 01:11 |
controls will play or pause or stop.
To the left is a button here that will
| | 01:16 |
take it all the way back to the beginning
of your timeline and play back from start,
| | 01:20 |
and then over here on the right, we can
actually go just one frame at a time.
| | 01:23 |
There are keyboard shortcuts for these.
You can use the space bar to play your timeline.
| | 01:29 |
If you press the space bar again to stop,
the playhead will jump back to where you
| | 01:34 |
began playback.
Watch this.
| | 01:36 |
>>This is the Vel contract you asked for.
>>And when I click the space bar the
| | 01:39 |
second time, the playhead jumped back to
where it began.
| | 01:42 |
That's not usually what I want to happen.
And the way you pause, rather than stop,
| | 01:47 |
it to press the Return key.
So in other words we're going to start
| | 01:51 |
playback and then press the Enter or the
Return key, and it will stop in, in the
| | 01:56 |
midst of its playback watch.
>> This is the Vel contract you.
| | 01:59 |
>> That's two different keys and that
kind of confuses me.
| | 02:02 |
And I want to show you the playback
buttons that I prefer to use and that is
| | 02:05 |
J, K, L on your keyboard.
And I just hover my fingers right over those.
| | 02:10 |
Because L will play my movie, K will pause
it right where the play head is and J will
| | 02:17 |
play it in reverse.
And if you double click on one of these
| | 02:20 |
keys, it will play it faster.
So I'm going to press L and then I'm
| | 02:23 |
going to double click on L and you'll see
that it plays it faster.
| | 02:26 |
And then I'll press K to.
Deposit.
| | 02:28 |
>> You asked for and I grab (NOISE)
>>There.
| | 02:32 |
So the more often you click on the L key
or the J key, the faster it's going to go
| | 02:36 |
forward or backward.
And there's also something called a
| | 02:39 |
scrubber, built into the timeline.
And that is in the lower left-hand corner.
| | 02:43 |
And I can move the playhead back and
forth.
| | 02:46 |
By dragging it, and the farther I drag it
to the right the faster it will go and the
| | 02:49 |
farther I drag it to the left, the faster
it will go in reverse.
| | 02:56 |
>> (SOUND).
>> A more common way to place the play
| | 02:58 |
head is simply to click on your timeline
where you'd like the play head to jump to.
| | 03:01 |
You can also drag on the play head, you
will hear audio as I drag on the play head.
| | 03:08 |
(SOUND) If you don't want to hear audio,
you simply hold down the Ctrl and the Alt
| | 03:14 |
key and then when you drag your playhead,
you can position it without having to hear
| | 03:18 |
the audio.
Now, if you want to put the playhead at a
| | 03:20 |
specific spot on your timeline, here's a
little shortcut from me.
| | 03:24 |
Down at the lower right hand corner,
you'll see something that looks like a
| | 03:27 |
little parking meter.
That is actually the playhead and if I
| | 03:29 |
double-click on those numbers, I can set
the play head to jump to an exact position.
| | 03:34 |
So if I want it to go to exactly the ten
second spot in my movie, I would type in
| | 03:39 |
10 and zero frames, and when I press
enter, the play head jumps to that exact position.
| | 03:44 |
That's a very cool shortcut there, too.
Now your audio and video tracks, your
| | 03:48 |
track headers are here on the left.
I've got them pretty highly compressed,
| | 03:52 |
very very small so they can see my whole
movie.
| | 03:54 |
You can expand them out, and I'm just
going to hold down the Shift key and
| | 03:58 |
select the first and the last so I've got
them all.
| | 04:00 |
And over here on the right hand side,
there's a plus and minus for raising and
| | 04:04 |
lowering the track header sizes.
So if I want my video or audio tracks to
| | 04:09 |
get bigger.
If I gotta lot of room on my monitor, I
| | 04:11 |
can make them bigger, and I get more
access here to the controls, that are on
| | 04:15 |
each of these track headers now.
In fact if I go far enough out here, I get
| | 04:19 |
a little block, where I can actually name
my track header, and I can do that, name
| | 04:24 |
this track for instance.
Double click on it, just type in main
| | 04:27 |
video, and so I can name each one of my
tracks if I wanted here to.
| | 04:33 |
If, while I'm previewing my movie I
want to concentrate on just a short
| | 04:37 |
segment of my move, I can create a loop
section.
| | 04:40 |
Say I just wanted to look at this cut
right here.
| | 04:43 |
I can drag over this to create a loop
area, and loop areas serve a number of
| | 04:48 |
purposes but as far as playback goes, you
can play back your loop area by selecting
| | 04:52 |
this little round-about loop play back
here.
| | 04:54 |
It will play that loop area again and
again and again so that you can preview it
| | 04:59 |
and make sure it's exactly the cut you
want.
| | 05:01 |
So you select that and then you press the
play button, or the L button on your keyboard.
| | 05:06 |
>>Oh, and you forgot this in the bullpen
/g.
| | 05:10 |
I'm going to get back to work.
>> Oh.
| | 05:13 |
>> Oh.
And you forgot.
| | 05:15 |
>>So there you go.
You can loop it, play it again and again.
| | 05:17 |
And a lotta times, when you have a lot of
video and audio tracks stacked up on each
| | 05:21 |
other on your timeline, you want to focus
on just one.
| | 05:24 |
So say for instance, I want to only hear
the dialogue that's on this particular
| | 05:29 |
audio track, I don't want to hear the
music.
| | 05:31 |
I can solo the track.
That means I can set the program up to
| | 05:35 |
only play that audio track.
And I do that by clicking on this little
| | 05:38 |
exclamation point.
Now when I play this track, I won't here
| | 05:42 |
anything else except this track, and I'll
do that by pressing the L and then
| | 05:46 |
pressing the K to pause.
It's so very nice, that's the difference
| | 05:49 |
between that, and if I turn off solo, I
would here this.
| | 05:54 |
(MUSIC).
So, a lotta times you do want to focus on
| | 05:58 |
one individual track of audio and it works
with video also.
| | 06:02 |
If you've got several layers of video or
several layers of video effects and
| | 06:05 |
stacked up picture and picture and want to
focus just on one, you can solo the video
| | 06:09 |
track also.
You can also mute a track and that's what
| | 06:14 |
this little button is for, and you can
mute your video as well as your audio, in
| | 06:17 |
other words, we'll, we can turn off that
track, so if I don't want to hear the
| | 06:20 |
music right now.
I can mute that and now we will hear all
| | 06:24 |
of the other audio tracks except for that
one.
| | 06:26 |
Press L to play and K to pause.
And finally as we're working, you may have
| | 06:31 |
the need to add and remove tracks, So I've
got tracks with video on them here.
| | 06:37 |
If I want to add an additional track, I
simply would click to select one of the
| | 06:41 |
track headers.
Usually at the top.
| | 06:43 |
Right-click, and select the option to
insert a video track.
| | 06:47 |
Or if I selected an audio track I would
have the option here to insert an audio track.
| | 06:53 |
And if I were to click on a section of my
timeline that doesn't have either, I can
| | 06:58 |
have both options available to me, to
insert an audio track or insert a video track.
| | 07:01 |
But if you don't want to take the time to
do the right click and everything the
| | 07:04 |
program will do it for you.
If I happen to drag say this video clip
| | 07:08 |
here, to a spot above my timeline, so I'm
on the top track of my timeline, where
| | 07:12 |
there is no track yet.
I can just hover it above there and when I
| | 07:16 |
let go, it automatically creates a track
for me.
| | 07:19 |
So, as you build your timeline there are
going to be times when you want to
| | 07:21 |
micro-study it, you want to get in real,
real close and focus on a brief segment
| | 07:25 |
only, or only a frame or two or only one
track at a time.
| | 07:29 |
And there are other times you'll want to
step back, get a wider look, play your
| | 07:32 |
home movie at once, and see how it looks
over all.
| | 07:34 |
The various playback controls in Vegas are
designed to allow you to do either, and to
| | 07:38 |
zoom in as close, or to zoom back out as
far as you want to do, to look at the big
| | 07:42 |
picture or to focus on your movie's very
precise details just as closely as you
| | 07:47 |
need to.
| | 07:47 |
| | Collapse this transcript |
| Using the Time Stretch tool| 00:00 |
There are times when you'll want a video
clip or an audio clip on your timeline to
| | 00:04 |
zip by a double or even triple speed, and
there are other times when you'll want to
| | 00:08 |
slow it down to a crawl or even have it
playing reverse.
| | 00:12 |
Controlling the speed your event clip
plays in a Vegas movie.
| | 00:17 |
Very simple and very intuitive.
And we have a media clip here of a clock
| | 00:20 |
face, it's real nice because we can use it
to very easily see the changes in it's
| | 00:25 |
playback speed.
And I'll drag it down to my timeline here,
| | 00:28 |
and you can see the clock face plays at
normal speed, right.
| | 00:33 |
To speed up a clip, all you need to do is
hold down the CTRL key on your keyboard.
| | 00:39 |
Hover your mouse over one end.
You'll notice that when you do, instead of
| | 00:43 |
getting the trim indicator, like you'd get
if you normally hovered your mouse over
| | 00:47 |
the end of a clip, when you hold the CTRL
key down, you you get the time stretch indicator.
| | 00:52 |
Very very intuitive and very simple.
To stretch the time or to change the
| | 00:57 |
playback speed, you simply drag in or out.
So in other words, if I take this clip,
| | 01:02 |
which is about 30 seconds long.
And I drag it in until its about 15
| | 01:07 |
seconds long.
Its now playing at about twice speed.
| | 01:10 |
You can tell the time has been shifted on
a clip because it has that little zig
| | 01:14 |
zaggy line of course through it.
Lets go ahead and play that, as you can
| | 01:18 |
see our clock now moves at double speed.
If we'd like it to play slower, we can
| | 01:23 |
simply hold down the Control key, drag
over the end, and drag it out, now, to 50 seconds.
| | 01:30 |
And now, we're seeing it move at slow
speed.
| | 01:33 |
Very, very slow.
If we'd like to precisely set the time, I
| | 01:38 |
can hold down the Control key.
I'm just going to set this back to where
| | 01:41 |
it was.
That's the reason I'm doing this.
| | 01:43 |
There it is.
Now, you'll notice the zig zaggy line is gone.
| | 01:45 |
Now it's set at regular one times speed.
I can also precisely set the playback speed.
| | 01:51 |
And I can do that by right-clicking, and
selecting Properties from the bottom of
| | 01:55 |
the right click menu.
When I do that, I can set whatever
| | 01:58 |
playback speed I want.
So, if I want it to be precisely two and a
| | 02:01 |
half times normal speed, I pin two and a
half as it's playback rate.
| | 02:06 |
You see, I still get that zig zaggy line,
and the clip plays back at two and a half
| | 02:10 |
times the speed.
But, notice something, it didn't change
| | 02:15 |
the length of the event on our timeline.
And one thing we have to watch out for, is
| | 02:20 |
that the event on our timeline is not
longer than the media file itself.
| | 02:24 |
If so, you will see these little divots,
these little carats, along the top of the clip.
| | 02:29 |
There they are.
So if we were to play this, you see that
| | 02:32 |
once we get to that little dibbit the clip
is going to repeat or freeze frame.
| | 02:36 |
Let's see in this particular case, the
preferences are set up for repeat and you
| | 02:40 |
can see it's now set.
Watch the clock.
| | 02:42 |
There did you see it jump back to the
beginning of the clip?
| | 02:46 |
Because, we've extended the event to
almost three times the length of the clip itself.
| | 02:51 |
So, let's go ahead and drag this down, and
have and right on that dibbit right on
| | 02:56 |
that carrot.
And now the clip plays it two and a half
| | 02:59 |
times and it ends at the right spot.
Likewise, if you select Properties here,
| | 03:03 |
and you set this for Playback speed of
0.5, so it's only half times, you notice
| | 03:10 |
the length of the clip again does not
chained so we can extend it all the way
| | 03:15 |
until we get to that devet.
There we go.
| | 03:18 |
And now we have that much clip to work
with as an event on our timeline.
| | 03:22 |
So, you have two ways to do it, you can
either do it by holding down the control
| | 03:27 |
key and changing the length of the event
itself, or by right-clicking and selecting properties.
| | 03:34 |
You could also make your clips play in
reverse.
| | 03:37 |
To do that, you Right click and simply
select the reverse option from the Right
| | 03:40 |
click menu.
Notice when you do, you get this little
| | 03:43 |
arrow on the left side of the clip or the
left side of the event on your timeline.
| | 03:47 |
That's an indicator that this clip is now
moving in reverse.
| | 03:50 |
You can, of course, combine the two, and
have it move in fast, or slow motion, in reverse.
| | 03:54 |
And if we take a look, I think it's going
in fast motion, backwards.
| | 03:57 |
Take a look at that clock, when I click
the play button.
| | 03:59 |
(NOISE) Yep, now it's going just a little
faster than normal, in reverse.
| | 04:06 |
So, controlling the speed at which your
event plays, on your timeline, is really
| | 04:10 |
just a matter of deciding how much space
you want to fill on your timeline.
| | 04:13 |
Or, how fast, or how slow, you want your
clip to play.
| | 04:17 |
| | Collapse this transcript |
| Editing a multicamera video scene| 00:00 |
One of the most powerful features
available in Vegas Pro is it's ability to
| | 00:04 |
edit multi-camera video.
Multi-camera video is when you have two or
| | 00:09 |
more video clips of the same scene and you
want to cut between those two.
| | 00:14 |
And to do that, you need to be able to see
all of your video options at once, and
| | 00:18 |
then, on the fly, be able to switch
between one and another.
| | 00:22 |
Now, this works best when all the video
has been shot simultaneously.
| | 00:26 |
So, if you've got a single camera scene
where you've shot, for instance, a
| | 00:30 |
sequence and then moved the camera and
shot another sequence.
| | 00:33 |
That may not work so well because actors
don't always perform at exactly the same
| | 00:37 |
speed every time.
But in this particular case, we have three
| | 00:41 |
videos that were shot simultaneously of
the same scene.
| | 00:44 |
So it also works great for other things
like weddings, sporting events, any place
| | 00:48 |
where you have several cameras recording
the same situation, or the same incident.
| | 00:53 |
So our first step here is to synchronize
these three clips so that we can edit
| | 00:57 |
between them.
And fortunately, at the beginning of each
| | 01:00 |
clip you can see that we have what's
called a Clapper.
| | 01:03 |
And the Clapper is commonly used to
synchronize clips that were shot simultaneously.
| | 01:08 |
Because it gives you both a visual and and
audio cue.
| | 01:12 |
So I'm going to put multi camera one here
down on my video one track.
| | 01:18 |
And then we're going to take multi camera
two and drag it right above that, then it
| | 01:21 |
will create a track for me.
I'll line those up.
| | 01:25 |
And multi camera 3, I just want to show
you how I will synchronize each of these videos.
| | 01:30 |
Notice the clapper, like I say, gives us
both an audio and video cue.
| | 01:34 |
I'm going to move the play head to just
before that blip.
| | 01:37 |
Do you see that blip there, on the audio
track in my trimmer?
| | 01:40 |
That is the sound of the clapper closing.
I'm going to use the right and left arrow
| | 01:44 |
keys to move the play head to that precise
spot.
| | 01:47 |
So there you can see, and clap.
There it is.
| | 01:50 |
So that's the point that I want to use as
my sync point for all three videos.
| | 01:54 |
And I can mark that by going to this
little menu here on the lower right of the
| | 01:59 |
trimmer and selecting insert marker.
And that will give me just a little brown
| | 02:03 |
flag you can see right there on the clip
and you see I've done that with the other
| | 02:07 |
two clips.
They're already on the time line.
| | 02:09 |
So when I drag this clip now to the time
line and I'll drag it right above clip
| | 02:13 |
number 2 you see that I can sync them up
pretty easy.
| | 02:16 |
I'm going to zoom in by using the roller
on my mouse or you can use the up and down keys.
| | 02:20 |
And as long as I get that fairly close,
and you can see, there it is, the clapper
| | 02:25 |
in that blip mark on the audio wave form
on all three is lined up perfectly.
| | 02:29 |
And when I zoom back out, you can see
that, indeed, all three audio tracks are
| | 02:34 |
synchronized here.
Now we can take these three and combine
| | 02:38 |
them as takes on a single track.
That's our next step, so what I'm going to
| | 02:43 |
do, is I'm going to select the three video
tracks, that is track number 1, hold down
| | 02:47 |
the Ctrl key.
I'm clicking on the track header for
| | 02:50 |
number three.
And we'll just scroll down here.
| | 02:53 |
And the track header for number five.
Now we've got the three video tracks.
| | 02:57 |
Now, you're not limited to three, you're
not limited to four, you can have 27, you
| | 03:00 |
can have 30 of them if you want to work
with that many different angles.
| | 03:04 |
But in this case, we're just cutting
between the three.
| | 03:06 |
And now I go to the Tools menu, and I
select to the option to Create
| | 03:11 |
Multi-Camera Track.
It's going to combine these three.
| | 03:15 |
As takes on a single track.
So we'll create our multi-camera track and
| | 03:19 |
you see now all three videos have been
combined to one track.
| | 03:22 |
And if I right click on that track you can
see that if I select take there are all
| | 03:26 |
three of them there on the right.
Multi-camera one two and three all
| | 03:30 |
combined as takes.
And these other two audio tracks, they're
| | 03:35 |
exactly the same, so I can get rid of two
of those just for convenience sake.
| | 03:39 |
That way we'll make sure we don't get any
echoing or anything just a little bit off.
| | 03:43 |
We can work from a single audio track, and
on our three takes here on our video track
| | 03:47 |
and now we are set.
And now we can begin the process of multi
| | 03:50 |
camera editing.
Very cool thing.
| | 03:52 |
I'm going to set the play head now
clicking just before the actor steps on
| | 03:56 |
stage or on camera.
And then I go back to the Tools menu and I
| | 04:00 |
select Multi-Camera > Enable Multi-Camera
Editing.
| | 04:03 |
Watch the preview screen when I do this.
There are all three of my options.
| | 04:07 |
Isn't that cool?
So now we could cut between the three.
| | 04:10 |
I'm going to start with multi-camera one
as my option.
| | 04:13 |
And then as I play, I can either do this
on the fly.
| | 04:16 |
Which means immediately I can just be
clicking back and forth between the two.
| | 04:19 |
Or I'm actually going to pause my play at
each point when I cut.
| | 04:23 |
So I'm going to use the J, K, and L keys
as my shortcut.
| | 04:26 |
I press L to play.
>> We all enjoy the sun for light, warmth
| | 04:33 |
and even bringing cheer on a dreary day.
>> And I'm going to pause right there.
| | 04:36 |
That's a place where I'd like to cut.
I'm going to cut to the longer shot here,
| | 04:40 |
on camera two.
It's as simple as just selecting whatever
| | 04:43 |
is highlighted there in your preview
monitor is the clip that is going to be
| | 04:47 |
the selected take.
Now press L again.
| | 04:49 |
>> And the wind brings those gentle
breezes that keep us cool in the heat of summer.
| | 04:54 |
And help pollinate the Earth's vegetation.
>> Again, pause it, we'll cut to angle three.
| | 04:59 |
Press L.
>> But did you know that the sun and wind
| | 05:02 |
are key to our energized future?
It's true.
| | 05:05 |
>> And we'll pause it again, we can cut
back to camera one.
| | 05:08 |
>> As fossil fuel reserves become depleted
and we continue to embrace greener practices.
| | 05:14 |
These powerful forces of nature will
become paramount energy sources.
| | 05:18 |
>> And we'll pause one more time by
clicking the K key and I'll select camera
| | 05:23 |
angle two and that will just wrap up the
scene here.
| | 05:25 |
>> Maybe you can't imagine harnessing the
wind because you don't live somewhere that
| | 05:30 |
has large impressive wind mills...
But you do have the ability to wield the
| | 05:35 |
sun's energy.
>> Okay, there's our cut.
| | 05:38 |
Now we're looking right now at our various
options in the screen, and you can go
| | 05:42 |
ahead if you want to change any of those.
It's very, very simple to do.
| | 05:45 |
But I'm going to turn off the multi-camera
editing mode now, by going to the tools
| | 05:50 |
menu, select Multi-camera.
And then turn off Enable Multi-camera Editing.
| | 05:55 |
Now we'll see our final cut.
There we go.
| | 05:58 |
Move the play ahead by clicking on the
timeline here right back to where we begin
| | 06:03 |
the scene.
And now when I play it, you'll see the
| | 06:05 |
cuts happen.
So I'll press L to play.
| | 06:10 |
>> We all enjoy the sun for light,
warmth, and even bringing cheer on a
| | 06:13 |
dreary day.
And the wind brings those gentle breezes
| | 06:17 |
that keep us cool in the heat of summer.
And help pollinate the Earth's vegetation.
| | 06:21 |
>> Isn't that nice?
That is very, very nice to have those options.
| | 06:25 |
If you change your mind on any one of
these, remember that they're takes.
| | 06:28 |
So if I go back here to this particular
scene, or this particular cut, I can swap
| | 06:33 |
in a different take for it by just
right-clicking.
| | 06:35 |
And selecting from the take menu, say
(UNKNOWN) camera three, and it swaps in
| | 06:40 |
that cut.
So you have those options.
| | 06:43 |
In addition you have the option to tweak
your cuts just a little bit by what's
| | 06:47 |
called sliding.
And sliding a cut means just adjusting its
| | 06:51 |
position a little bit, so we've got for
instance this cut right here, I'll move
| | 06:55 |
the playhead there...
And when I press L to play.
| | 06:58 |
>> As far.
>> You can see we have a nice clean cut
| | 07:01 |
there but if I need to adjust that, I just
hold down the Ctrl key and the Alt key.
| | 07:06 |
Notice that little icon that I get here,
trim adjacent.
| | 07:10 |
That is called sliding and when I drag my
mouse across that see what it does, is it
| | 07:15 |
just moves where the cut happens.
That's called sliding a cut.
| | 07:20 |
So, I can adjust it's position here and
tweak my edit.
| | 07:24 |
The Multi-Camera Editing tool in Vegas
makes it very easy to look over your
| | 07:27 |
options and then, to select your camera
angles, particularly if your video clips
| | 07:31 |
are different angles of a live event, or
your videos were shot of the same scene at
| | 07:35 |
the same time.
It makes selecting the best angles of a
| | 07:38 |
given scene just about as simple A
selecting from the option is displayed in
| | 07:42 |
the preview panel.
| | 07:43 |
| | Collapse this transcript |
| Prerendering your video timeline| 00:00 |
Sometimes as you're working on your video,
especially if you have multiple tracks of
| | 00:04 |
video, or if you have some pretty
intensive special effects, your timeline
| | 00:08 |
will start to lag.
These are the quality the playback will
| | 00:10 |
degrade horribly in your Preview window,
or your timeline will just play very
| | 00:14 |
slowly or erratically.
And when that happens, you can greatly
| | 00:18 |
improve your projects playback, or the
performance of the program, by
| | 00:22 |
pre-rendering part or all of your
timeline.
| | 00:24 |
And I just want to emphasize,
pre-rendering is something you do for your
| | 00:27 |
own preview.
It's to help the program work more efficiently.
| | 00:30 |
It has nothing to do with your output, it
has nothing to do with the render you'll
| | 00:34 |
use at the end of your project to output
your video.
| | 00:37 |
So whatever you do in terms of
pre-rendering is simply for your preview
| | 00:41 |
and your playback.
I've created a project on my timeline here
| | 00:44 |
that I've intentionally junked up.
It's sort of an art film now, I've dumped
| | 00:48 |
a whole bunch of special effects into it.
And I tried to slow down the program, I
| | 00:52 |
couldn't do it.
As many effects as I added to it, I
| | 00:54 |
couldn't slow it down.
But, just for demonstration purposes we've
| | 00:57 |
got a video here with a lot of effects
added to it.
| | 01:00 |
So, in order to make the program work more
efficiently, we're going to pre-render all
| | 01:04 |
or part of our timeline.
And when we do that the program will no
| | 01:07 |
longer have to create these special
effects on the fly, it won't have to
| | 01:11 |
recreate them as it's playing the
timeline.
| | 01:14 |
Instead it will be able to use a temporary
video that we're going to create and play
| | 01:19 |
that temporary video instead.
And there are actually three ways to do that.
| | 01:22 |
The first is a Dynamic RAM Preview, and
Dynamic RAM means that it's really going
| | 01:26 |
to hold the preview in your RAM area.
So, it's limited, you can't do your entire
| | 01:31 |
timeline this way, but up to the size of
your RAM, it can hold a temporary video file.
| | 01:36 |
So, how much space you use in your RAM is
determined by what you have set in your
| | 01:41 |
preferences, so let's go to the Options
menu and select our Preferences.
| | 01:44 |
And on the Video tab, we can set our
Dynamic RAM Preview.
| | 01:49 |
Now I have it set for the maximum right
here.
| | 01:51 |
There are disadvantages to using the
maximum which means that if you've got
| | 01:55 |
this much allocated for your dynamic RAM,
it means that you haven't got RAM for some
| | 02:00 |
other things going on in the program.
You'll have to look for the balance.
| | 02:02 |
I'm going to set this for 3,000.
So, now I have set it so that 3 GB of my 6
| | 02:08 |
GB of RAM, is going to be allotted for
Dynamic RAM Preview.
| | 02:11 |
And we click OK.
And we get a little warning telling us the
| | 02:14 |
more RAM we use for this, the less we'll
have for other things.
| | 02:18 |
Now I select a section of my video,
dyanmic RAM is basically for testing out a
| | 02:22 |
special effect in a small segment of your
video.
| | 02:26 |
So I'm going to just drag across here to
create a loop region.
| | 02:29 |
This is going to be the area we're going
to create in our Dynamic RAM.
| | 02:32 |
So I go to the Tools menu, select Dynamic
RAM Preview.
| | 02:36 |
And there it is, it created it already.
Now sitting out in my RAM is a temporary
| | 02:41 |
video file and I can play that now instead
of the program having to recreate a
| | 02:45 |
special effect, its just going to play
that temporary video track.
| | 02:48 |
>> (UNKNOWN) contract you asked for and I
grabbed you a copy.
| | 02:51 |
>> There it is, that's all there is to
that.
| | 02:53 |
Now there's another way to render, if
you've got a lot of stuff going on on your
| | 02:57 |
video and your video project is
essentially done, you can render it to a
| | 03:03 |
new track.
In other words, we're going to take all of
| | 03:05 |
our video and we're going to create a
temporary video track along the top of our
| | 03:09 |
timeline, where it's going to render a
temporary preview for us.
| | 03:13 |
And again, this will not effect your
output.
| | 03:16 |
This is simply for your preview, so the
program can use it and read from it
| | 03:20 |
instead of having to create all these
special effects on the fly.
| | 03:23 |
To do that, we go to the Tools menu and
select the option to Render to New Track.
| | 03:28 |
We get our render as screen and we get all
the options on the render as screen.
| | 03:32 |
Usually you will choose a low quality like
for instance MainConcept MPEG-1, that
| | 03:38 |
would be a low quality one.
The lower quality you choose, the worse
| | 03:41 |
it's going to look, but it's also going to
render faster.
| | 03:44 |
It's entirely up to you, there's a balance
in there and you'll eventually learn which
| | 03:47 |
one works best for you.
So, you would select that option and then
| | 03:50 |
click Render and when you do that, then
the program would create a new video track
| | 03:55 |
above all the rest.
And it would render your timeline in that
| | 03:58 |
low quality preview and it would lay it
across the top of our timeline and play
| | 04:02 |
that rather than each of these individual
events.
| | 04:05 |
The most common way, though to pre-render
your video tracks, or to pre-render your
| | 04:10 |
timeline, is to use the Selective
Prerender tool.
| | 04:13 |
Now it's selective because if you have a
loop area, it's only going to render the
| | 04:17 |
loop area.
And we do have a loop area here identified
| | 04:20 |
by these two yellow flags in that gray
area.
| | 04:22 |
I'm going to move the loop area off to the
side.
| | 04:24 |
Drag this completely over there, so we
don't have any loop area at all.
| | 04:27 |
Now it's going to render my entire
timeline.
| | 04:29 |
And so I go to the Tools menu, I select
Selectively Prerender Video.
| | 04:34 |
Obviously if I wanted to only pre-render a
section of my video I would've set my loop area.
| | 04:39 |
And once again we're here on our render as
screen.
| | 04:42 |
And we have a lot of options.
Now I'm working in DV Widescreen.
| | 04:46 |
I'm going to go ahead and select this
option, because I know the computer can
| | 04:49 |
work with it very quickly.
And when I click on the Render button, now
| | 04:53 |
it is rendering and it will render in
little 300 frame segments.
| | 04:57 |
Each 300 frame segment is about 10 seconds
long and we should see indicators for each
| | 05:02 |
of those along the top of the timeline as
it works.
| | 05:04 |
In just a moment that one will pop up.
Now the advantage of having it work in
| | 05:08 |
little 300 frame segments, you can see
that black line at the top of the
| | 05:12 |
timeline, that is the indicator that that
has been pre-rendered.
| | 05:15 |
Is that if we make any changes to our
video, only the ten second segment that we
| | 05:20 |
changed will need to be pre-rendered.
So there it is, it just pre-rendered our
| | 05:24 |
entire movie.
And now if I play this, I'll get a nice
| | 05:26 |
smooth playback, it it using a temp file
or actually four little temp files that it
| | 05:31 |
created on our hard drive.
And rather than play the individual events
| | 05:35 |
on our timeline, it's going to use that
temp file, and give us a nice smooth
| | 05:38 |
playback, and we'll see that.
(MUSIC).
| | 05:46 |
Once again this pre-rendering has no
effect on your final video output.
| | 05:50 |
This is for your preview only and to make
your timeline play more smoothly.
| | 05:53 |
But, especially if you're working with a
lot of visual effects, or layers of video,
| | 05:58 |
or photos, it's a great way to keep the
program working efficiently, and stably.
| | 06:03 |
| | Collapse this transcript |
| Adding fade-ins, fade-outs, and cross-fades| 00:00 |
Fade ins and Fade outs and cross fades are
the most basic ways to transition into and
| | 00:06 |
out of a scene.
Fade ins and Fade outs are like lowering
| | 00:09 |
or raising the curtains between scenes.
While cross fades give you a gentle
| | 00:13 |
dissolve from one scene to another.
And all these simple fades and cross fades
| | 00:17 |
can be created right on your timeline
using the tools built into Vegas.
| | 00:22 |
We have two scenes here on our timeline,
two events on our timeline and I would
| | 00:26 |
like to create a fade in for the very
first event.
| | 00:30 |
Very simple to do, I just hover my mouse
over the upper left hand corner of the event.
| | 00:34 |
And when I do I get this little indicator
here, it's my fade in indicator and I
| | 00:37 |
click and drag.
Fades in are generally about a second
| | 00:42 |
long, sometimes to give a more gradual
opening to a scene you may extend them a
| | 00:46 |
little bit.
But you don't want to mix in much more
| | 00:48 |
than a couple of seconds, and Fade ins and
Fade outs are opacity settings on video,
| | 00:53 |
and I'll explain why that's relevant in
just a moment.
| | 00:56 |
But generally when we set them up we'll
see a Fade in from block, and let's play
| | 01:01 |
the timeline.
We're going to press the L button on my
| | 01:02 |
keyboard and you'll see the fade in very
nice Fade in there, right?
| | 01:08 |
We'll go to the end of the timeline, or
the last event on my timeline and I'll
| | 01:11 |
create a Fade out.
And you can see it's very similar.
| | 01:13 |
When I hover my mouse over the upper
right-hand corner of that event, I get the
| | 01:17 |
indicator that tells me it's going to set
the Fade out.
| | 01:19 |
And I click and drag to create my fade
out.
| | 01:22 |
This works exactly the same way with audio
as it does with video.
| | 01:25 |
On our audio track, we just hover our
mouse over the upper left-hand corner.
| | 01:29 |
And create a Fade in, and over the right
hand corner to create a Fade out.
| | 01:33 |
So, Fade out is a level of volume control
and so we ease out a scene with our audio
| | 01:40 |
by using the Fade out.
Now, Fade in and Fade out in video,
| | 01:45 |
generally we see it coming in and out of
black, but do note that it it is an
| | 01:49 |
opacity setting.
Why is that relevant.
| | 01:51 |
Opacity is transparency, so you're not
literally fading in from black, the reason
| | 01:56 |
why you look like you're fading into black
or fading out to black, is because there's
| | 02:00 |
nothing on a video track below.
But if I were to take a clip here from my
| | 02:04 |
Project Media panel, and I were to drag it
down above another clip, or in another
| | 02:09 |
existing event on my timeline.
And then I were to drag to create a Fade
| | 02:14 |
in on this clip, take a look at what
happens when I move my play head over it.
| | 02:20 |
It actually looks a little more like a
dissolve.
| | 02:26 |
(SOUND) And the reason why is because I'm
not literally fading in from black, I'm
| | 02:30 |
fading in from transparency.
So, if there's anything on a video track
| | 02:34 |
below when you're adding a Fade in or Fade
out you will see what's on the track below
| | 02:39 |
rather than black.
Sort of, Fade ins and Fade outs on your
| | 02:42 |
video are only going to work when they're
on the first track or when they're on the
| | 02:45 |
bottom most track and there's nothing
below them.
| | 02:47 |
Creating a cross dissolve or a cross fade
is very, very simple.
| | 02:51 |
You can do this also right on your
timeline.
| | 02:54 |
What you want to do is make sure that the
Cross Fade control is turned on on your
| | 02:58 |
Control panel.
And that's up at the top of the screen.
| | 03:00 |
That's our Cross Fade control.
If you don't have automatic cross fade
| | 03:04 |
setup, when you try to drag two clips
together, one just overwrites the others.
| | 03:09 |
So, Ctrl+Z to undo that and we'll turn on
our Automatic Cross Fades.
| | 03:13 |
The Automatic Cross Fade, like I say, is a
dissolve from audio or from video between
| | 03:19 |
two scenes.
And you create them simply by dragging and overlap.
| | 03:23 |
Between the two scenes and generally a
dissolve is about one second also.
| | 03:27 |
So, there you can see there's even an
indicator on here to tell you how long the
| | 03:31 |
cross dissolve is.
This particular case it's showing one
| | 03:33 |
second and zero frames.
You can feel it kind of lock to that as
| | 03:38 |
you're creating your cross fade, and now
we have an automatic cross fade.
| | 03:42 |
If after you've created the cross fade by
the way, you decide to change it into a transition.
| | 03:47 |
You can do that simply by right clicking
on the crossfade.
| | 03:50 |
Going up here to the very top and
selecting from the library of transitions.
| | 03:54 |
Select Insert Other.
And now we get our entire library of transitions.
| | 03:59 |
These are exactly the same as the list of
transitions you'll see on the Transitions
| | 04:03 |
panel in the tabbed interface.
So, I can change this from a Cross
| | 04:07 |
Dissolve to a Sony Barn Door.
Click OK and I have options here for
| | 04:14 |
controlling how that barn door looks.
Barn doors of course, as you can see if
| | 04:18 |
you look over in the Preview panel, are
going to slide open to introduce one scene
| | 04:22 |
after another.
And I could choose from a list of presets
| | 04:25 |
here to any kind of look I want.
There's one and we'll close this and now
| | 04:30 |
you see we no have a transition from our
cross fade between two scenes and I'm
| | 04:35 |
going to play that.
Pressing L to play through the transition.
| | 04:39 |
Very nice.
Although fades and cross fades are the
| | 04:45 |
most basic transitions they're also very
valuable story telling tools.
| | 04:48 |
In fact these are probably the best
transitions to use when you don't want
| | 04:52 |
your transitions to call attention to
themselves.
| | 04:55 |
And since you can convert a cross fade
into any other transition using the
| | 04:59 |
Automatic Cross Fade tool makes for an
excellent way to prepare your transitional
| | 05:03 |
sequence before you actually add a
transition to it.
| | 05:06 |
| | Collapse this transcript |
| Adding and customizing a transition| 00:00 |
When you apply a transition in Vegas, a
special video effects option screen will
| | 00:04 |
open in which you can set the parameters
for your video transition.
| | 00:08 |
An important thing to understand about
transitions is that they need transitional material.
| | 00:12 |
It's called head and tail footage that
will come from each event on your
| | 00:16 |
timeline, and they need this to create the
segment of the transition.
| | 00:20 |
In which both events are onscreen at the
same time and I'll talk about that in more
| | 00:24 |
detail in just a moment but first let's
look at basically how to add a transition
| | 00:28 |
between two events on your timeline.
As you might guess you simply go to the
| | 00:32 |
Transitions menu here on the tabbed
interface.
| | 00:35 |
And we select a transition.
So for instance I can choose 3D fly in and
| | 00:39 |
out and I can see previews of each one of
my transitions simply by hovering the
| | 00:43 |
mouse over.
That's a pretty cool transition and I
| | 00:45 |
could drag it to my timeline here where
there's an intersection of two events.
| | 00:50 |
And it creates by default a one second
transition.
| | 00:53 |
Now, I can do a lot of modification of
that transition.
| | 00:56 |
Let's move the play head here over the
transition so we can see what's going on.
| | 00:59 |
You can see the one scene flipping over to
create the next.
| | 01:02 |
Right?
From the Preset menu I can select a couple
| | 01:06 |
of different options.
These are exactly the same presets by the
| | 01:10 |
way as you will see over here in the
Transitions panel.
| | 01:13 |
So whatever transition you pick, whatever
category of transition you pick you will
| | 01:18 |
always have the same options here for
presets and then of course you can change
| | 01:23 |
by using the sliders pretty much any of
the characteristics of that transition
| | 01:29 |
simply by moving the sliders.
You can see.
| | 01:31 |
All of these transitions have ways for you
to modify them.
| | 01:34 |
In any way you want, a specular by the
way, sometimes you see that word show up,
| | 01:38 |
specular means a light source.
So what we have is a 3D transition here,
| | 01:43 |
as if these clips were moving in
three-dimensional space.
| | 01:46 |
A specular means that you will see like a
light source on it, as if in the midst of
| | 01:51 |
turning in three-dimensional space, the
light kind of hits it.
| | 01:54 |
For a second.
So that's called a specular and you can
| | 01:56 |
control how much that specular hits this
particular transition and that's basically
| | 02:01 |
all there is to adding a transition but
now we have a challenge here.
| | 02:05 |
I'm going to zoom in on my timeline a
little bit.
| | 02:07 |
I'm going to remove that transition simply
by right clicking on it and turning the
| | 02:12 |
transition back into a cut.
So there I've removed my transition.
| | 02:16 |
When I do you'll notice something.
Look on the timeline there.
| | 02:19 |
You notice that one of the scenes has a
little notch on it.
| | 02:23 |
And as we know from some of our previous
movies here that notch indicates the end
| | 02:29 |
of the clip.
So our event is longer than the clip.
| | 02:33 |
And we know what happens when that
happens.
| | 02:35 |
And depending on how you have your
preferences set up it may create a freeze frame.
| | 02:39 |
But more often what it's going to do is
repeat the clip.
| | 02:43 |
So it gets to the end and then it goes
back to the beginning again that can cause
| | 02:48 |
some unexpected and probably unwanted
effects here to our movie.
| | 02:52 |
So if I play this, you can actually see it
jump back to the beginning of the clip.
| | 02:56 |
Well, you didn't see it so well there.
I'm going to expand it even more to make
| | 03:01 |
it more obvious.
Delete that clip for now.
| | 03:03 |
And if I expand this one you can see,
let's see.
| | 03:08 |
Well, in this particular case, my
preferences must be set to freeze frame.
| | 03:11 |
You do have the option of setting it to
freeze frame or you have the option of
| | 03:14 |
setting it to repeat back to the beginning
of the clip.
| | 03:16 |
Either way, you're getting something you
didn't want.
| | 03:19 |
Your scene goes on longer than the actual
clip.
| | 03:22 |
Now, why is that a danger and why is that
relevant?
| | 03:24 |
To adding a transition.
Let's grab my other clip and put it back
| | 03:27 |
on the timeline.
I'm going to move this back to that notch,
| | 03:30 |
so I'm at the end of my clip.
And we'll drag the other clip down here.
| | 03:34 |
So, now we have our events right next to
each other on their timeline.
| | 03:38 |
This is a very important principle.
And if you understand this, you'll
| | 03:42 |
understand why sometimes transitions drive
you crazy.
| | 03:45 |
Both of these events on the timeline are
at either the beginning or the end of the clip.
| | 03:51 |
If I extend this, you see I get a notch.
If I extend this, you see I get a notch.
| | 03:55 |
There's no head or tail material.
In other words, when I add my transition.
| | 04:00 |
If my transition is a second long, there's
going to be half a second on either side
| | 04:05 |
of it in which both clips are on at the
same time.
| | 04:09 |
Does that make sense?
So, in other words, we need an extra half
| | 04:13 |
second added on to the previous clip, and
we need another half second added on to
| | 04:18 |
the oncoming clip, or to the, to the new
clip.
| | 04:22 |
If we don't, what we get is a freeze-frame
while the transition is happening.
| | 04:27 |
And I'm going to put a spin away
transition back on the timeline here, so
| | 04:31 |
you can see, add it between these two
clips or between these two events.
| | 04:34 |
We'll close it and watch and you will see
that the scene, you can see those little
| | 04:39 |
notches on there, there indicating it,
that both scenes will actually freeze
| | 04:43 |
during the transition.
So press my L to play it that was very,
| | 04:49 |
very bad.
We don't want that.
| | 04:51 |
That will drive you crazy.
So before you add a transition I'm
| | 04:54 |
going to Ctrl+Z to remove that I recommend
that you peel back about a second.
| | 05:00 |
Or trim back about a second between your
clips.
| | 05:04 |
Trim back here.
Trim back here.
| | 05:06 |
Just about a second.
You can do half a second, even.
| | 05:09 |
But a second will give you some safety
room.
| | 05:11 |
Now when I add my transition between the
two clips, and play it, you see that I'm
| | 05:17 |
not going to go after the end or before
the beginning of the two clips that on the timeline.
| | 05:22 |
There will be motion.
There will be live activity amidst the
| | 05:25 |
transition so I'm going to press L to play
it.
| | 05:30 |
See that, that was a much more natural
transition.
| | 05:32 |
Well what if you don't want to do that,
what if you don't want to always be having
| | 05:36 |
to trim back your videos in order to allow
for head and tail material.
| | 05:40 |
I'll show you another way to do it, we'll
Ctrl+Z.
| | 05:42 |
To remove the transition again, and I'll
Ctrl+Z here so that I have both clips on
| | 05:47 |
the timeline at once.
The best way to do it, is to use the
| | 05:51 |
Automatic Cross Fade feature, and we've
shown you this in a previous movie.
| | 05:55 |
Make sure Automatic Cross Fade is toggled
on here on your Control panel.
| | 05:59 |
And then drag the two clips to create the
segment of the transition.
| | 06:04 |
Like I said, by nature or by default,
transitions are a second long.
| | 06:08 |
Now what I've done is I've overlapped the
two.
| | 06:10 |
I'm essentially doing the same thing I
would have done if I'd have trimmed back.
| | 06:14 |
Half a second on each clip.
I now have the necessary head and tail material.
| | 06:18 |
I can now add a transition to this one of
two ways, and that is either by right
| | 06:23 |
clicking on it and selection Transition,
Other, and selecting here from my plugin
| | 06:28 |
directory here for my list of transitions.
Or I can simply drag the transition from
| | 06:33 |
the Transition panel onto this overlap.
And when I let go I now have a good, clean
| | 06:39 |
transition on my timeline.
So transitions can be a fun way to take
| | 06:43 |
your audience from one scene to another.
And some transitions are very showy, and
| | 06:47 |
very obvious.
And others are so subtle that your
| | 06:50 |
audience will hardly even notice them.
Just remember that the transitions you
| | 06:53 |
select are going to kind of determine the
style and tone of your movie.
| | 06:57 |
There are 25 sets of catagories of
transitions here that come bundled with
| | 07:01 |
the program in addition to the new blue
plugins that are included with Vegas.
| | 07:06 |
And with this set you will have the option
of choosing whether your transition is
| | 07:10 |
very, very showy or very, very subtle.
| | 07:12 |
| | Collapse this transcript |
|
|
5. Advanced Timeline ToolsSelecting and grouping events| 00:00 |
Most of the time as you're adding and
editing the video and audio events in your
| | 00:04 |
timeline you'll be working with your
cursor in its default mode.
| | 00:08 |
It's called Normal Edit Mode.
That's what I'm working in right now and
| | 00:12 |
it is activated by, look at the very top
of the interface, this little eye symbol
| | 00:17 |
there, that is normal edit mode and this
is normally what you're going to be
| | 00:21 |
working in.
However, there are sometimes challenges,
| | 00:24 |
it's not your only option and as you
select events on your timeline you may
| | 00:27 |
want to switch back and forth between a
couple of cursor modes.
| | 00:30 |
One of the challenges with this is if I
want to grab several of the events on the
| | 00:35 |
timeline in normal Edit mode.
If I try to do that, I drag across and I
| | 00:39 |
get a loop region.
So my only option here for selecting
| | 00:43 |
things on the timeline is to maybe hold
down my Ctrl key and click and click and click.
| | 00:48 |
There is another mode here for your
Selection tool or for your cursor and that
| | 00:54 |
is this one right here.
It is called Selection Edit tool.
| | 00:58 |
And when I click on that, now my cursor
becomes something a little bit different,
| | 01:01 |
and if I want to grab several events on
the timeline, I can just swoop across and
| | 01:06 |
just drag and lasso them.
And now I can grab several events at once.
| | 01:11 |
And this is very nice when I'm going to be
cutting and pasting between projects, or
| | 01:15 |
if I'm going to group.
Which I am indeed going to do right now.
| | 01:18 |
Now, grouping means to take a bunch of
events or several events that I've
| | 01:22 |
selected on the timeline and to combine
them or actually lock them together.
| | 01:26 |
They move as one.
So, I'm going to right click on this group
| | 01:31 |
of selected events and I'm going to select
the option to group and create a new group.
| | 01:36 |
You could see there's a shortcut.
I could just press the g key on my keyboard.
| | 01:40 |
And now, if I try to move any one event,
I'm going to unselect them and then reselect.
| | 01:45 |
If I try to move any one event, I get the
entire group moving at once.
| | 01:49 |
So, this is very nice if, for instance,
I've edited a scene, and I want to keep
| | 01:54 |
that scene together no matter what else
happens on my timeline.
| | 01:57 |
Maybe I'm inserting video before it.
Or maybe I'm just moving it to another
| | 02:01 |
place on my timeline.
Or maybe I'm even cutting and pasting to a
| | 02:04 |
new project.
This keeps it all together.
| | 02:06 |
It groups it all together.
Now you have the option of breaking that
| | 02:09 |
group, either one clip at a time or just
dissolving the group completely.
| | 02:14 |
To select just one clip and break it out
of the group.
| | 02:17 |
I'm going to select this clip here.
In order to work with this clip
| | 02:20 |
separately, I want to make sure that up
here in the upper part on my control panel
| | 02:24 |
at the top of the interface, that I have
the Auto Ripple turned off by the way.
| | 02:29 |
Otherwise, sometimes you get some behavior
you're not going to expect.
| | 02:31 |
So I selected an individual event.
In my group, and you notice there's a blue
| | 02:35 |
highlight around the entire group.
But there's sort of this yellow green
| | 02:38 |
highlight around my selected clip.
I'll right click on that, and I'll say
| | 02:42 |
group, remove from group.
And it's only going to take that one clip
| | 02:46 |
outta there, you can see that one event.
And now I can drag it out of there, and
| | 02:50 |
the rest stay in place.
Notice what happened though.
| | 02:53 |
I lost my audio track for that particular
clip.
| | 02:55 |
And that's what happens when you ungroup,
because you can break your audio and video
| | 02:59 |
separately, and if that's not your
intention, you'll have to regroup them, or
| | 03:04 |
you'll have to break this one free and
regroup it.
| | 03:06 |
Now I'm going to undo that.
Put this back into the group.
| | 03:09 |
Alright now it's all regrouped again.
I can also just break up the entire group
| | 03:13 |
here by right clicking and selecting the
option Group, Clear or Ctrl+U.
| | 03:19 |
And now these are all individual events
again.
| | 03:21 |
But again what I've done is in the process
of ungrouping it ungroups everything.
| | 03:26 |
You can't have a group within a group so
when I ungrouped everything you can see I
| | 03:30 |
also broke.
>>The connection here between audio and
| | 03:34 |
video so if I want to regroup them, I'll
need to hold down my control key and
| | 03:39 |
select the audio and video, right click,
and then, group it again.
| | 03:43 |
Or press the G key and now they'll move as
one.
| | 03:46 |
>>A lot of times, though, you do want to
break your audio and video because, maybe,
| | 03:51 |
you don't want the audio on your timeline.
So, if I were to say, add this brief clip
| | 03:56 |
here to my timeline and I'll just scroll
across the timeline here a little bit.
| | 04:01 |
Suppose I only wanted the video portion of
this clip.
| | 04:03 |
Let's go back to Normal Edit mode.
I can right-click on it and select the
| | 04:07 |
option to Ungroup or Clear and then select
the audio and delete the audio.
| | 04:13 |
Now that's a lot of clicking.
There is a shortcut for only bringing you
| | 04:17 |
the audio or only bringing the video down
to the timeline.
| | 04:20 |
To do that.
Just delete that.
| | 04:22 |
If I right click on this file, and drag it
down, rather than left click, so if I
| | 04:27 |
right-click on that, drag it down to my
timeline, when I let go, I have the option
| | 04:32 |
of taking only the video portion.
There we go.
| | 04:35 |
So if I only need the video portion of the
clip I'm using it as b roll.
| | 04:38 |
I'm using it as a cutaway, or somethjing,
and I don't need the audio portion of it,
| | 04:43 |
I can do that, that way, with a single
clip.
| | 04:46 |
Finally, whnen you're in normal edit mode,
a lot of time you do want to grab a loop area.
| | 04:50 |
And again, you can set up a loop area in
one of two ways.
| | 04:53 |
Either by just clicking and dragging
across your time line or by manipulating
| | 04:58 |
these two little yellow flags at the top
and even if that blue area isn't
| | 05:03 |
highlighted you still have a loop area
here that you can resize and you can turn
| | 05:07 |
it back on simply by clicking on that dark
grey area.
| | 05:09 |
There you go double clicking on that.
The advantages of a loop area, and of
| | 05:14 |
course you could just delete a loop area
in case you wanted to hack a big piece out
| | 05:18 |
of your timeline.
Now I'm going to put that back in by
| | 05:22 |
control Zing.
Most often what you're using a loop area
| | 05:25 |
for is either rendering or outputting, and
if I go to the Render As screen here under File.
| | 05:32 |
You see that I always have the option, on
no matter what out put I'm using, to
| | 05:36 |
render or to out put only the loop areas.
So I've got a two hour movie, and I just
| | 05:40 |
want to put out a little three minute
teaser.
| | 05:42 |
I can create a loop area, and just out put
just that little three minutes there from
| | 05:46 |
the middle of the movie.
Finally, notice that if I do create a loop
| | 05:50 |
area here and I delete it, it behaves
differently if I have auto ripple turned on.
| | 05:54 |
So, if I turned on auto ripple up there at
the top of my screen now when I delete it
| | 05:58 |
I don't get a gap in my timeline but the
gap closes shut.
| | 06:01 |
That's how ripple works when you insert or
remove a section of the timeline
| | 06:05 |
everything to the right of it shifts to
either fill in the gap or expands to allow
| | 06:10 |
you to insert the clip.
For most of your work dragging one event
| | 06:13 |
to a new position and you're selecting a
segment or a loop region on your timeline.
| | 06:17 |
Your normal edit cursor mode will work
just fine, but if you want to quickly
| | 06:20 |
select several individual event clips,
ones on your timeline or you want to cut
| | 06:24 |
and paste to another position on your
timeline or to another project.
| | 06:27 |
You may find that switching to the
Selection Edit tool right up here makes
| | 06:31 |
the process just a little bit simpler.
| | 06:33 |
| | Collapse this transcript |
| Nesting projects within other projects| 00:00 |
When you embed a project into the timeline
of another project, you essentially take
| | 00:05 |
an entirely fully edit project, or
entirely full edited movie, and tell
| | 00:10 |
another project to treat that project file
as if it were a single event.
| | 00:14 |
As if it were an actual media file or a
finished media file.
| | 00:18 |
The advantage to this is that it allows
you to create individual scenes or
| | 00:22 |
complicated special effects sequences as
separate projects, and then add them to
| | 00:26 |
another project as if they were a single
media clip.
| | 00:29 |
And I'll show you how to do that.
We have here on our timeline, just a
| | 00:31 |
little brief movie that I made, and I'm
going to open another instance of the program.
| | 00:36 |
You can have several instances of Vegas
open at the same time.
| | 00:40 |
And to do that, I will relaunch Vegas even
though it's already open, and launch it
| | 00:44 |
the second time here.
So that I have two instances where I have
| | 00:48 |
Vegas open twice on my computer.
And I'm going to open up a file I have in
| | 00:52 |
the works here, 502a.
And to this project, I'm going to add,
| | 01:00 |
I'll move my play-head to the very end
here.
| | 01:01 |
I'm going to add not a media file, but I'm
going to add the project file for my other
| | 01:08 |
instance of Vegas.
Now, you don't necessarily have to have
| | 01:10 |
these open at the same time.
I'm just doing it to demonstrate something
| | 01:14 |
to you.
We'll go my other Vegas project, make sure
| | 01:17 |
that it's saved.
Now, we'll come back to the second Vegas project.
| | 01:21 |
And I'm going to use the Import Media
option or the input Media tool, and I'm
| | 01:26 |
going to go to 502.
So, again, I'm not selecting a media file,
| | 01:31 |
I'm actually selecting the 0502 project
file.
| | 01:35 |
And when I open it, you'll notice the
program will interpret it, it will conform
| | 01:41 |
it, and there it appears in my Project
Media panel as if it were a media file.
| | 01:46 |
But if I were to open it, say in my
trimmer, and I were to play it, you'd see
| | 01:50 |
that it is my edited file.
It is my edited project, complete with
| | 01:54 |
titles and cuts, and whatever I did to mix
music in there also.
| | 01:58 |
And when I add it to my timeline, I'll
just drag it right down here, I can treat
| | 02:02 |
it like a single media file.
Isn't that cool?
| | 02:05 |
Now, if I were to go back here to my
original file.
| | 02:09 |
And I were to make a change to it, say I
were to add another scene to it, add
| | 02:13 |
another clip to it like that.
And I'm just going to trim this down so
| | 02:16 |
that it's the same length as before, and
I'll save it again.
| | 02:20 |
And we go back to our second movie.
It will update automatically, or it will refresh.
| | 02:26 |
And the project that I saved over there,
the edited project, the new edits to my
| | 02:31 |
project, will now appear on my timeline.
Now, if this doesn't happen, sometimes it
| | 02:36 |
doesn't, here's a little trick.
Just go up here and minimize this instance
| | 02:40 |
of Vegas and then open it back up again.
There, did you see it?
| | 02:44 |
It refreshed that time, you could see just
that little conforming screen show up for
| | 02:48 |
a second.
And now, the edit that I made to this one
| | 02:51 |
has been updated.
So, this is very cool.
| | 02:53 |
You don't have to output a finished scene
and then use those outputs and mix them in
| | 02:58 |
together into a final mix, you can
actually use project files as media.
| | 03:04 |
So, you can create a lot of scenes
separately, and then you can combine them
| | 03:08 |
together in sort of a master mix.
Now, one thing I want to warn you about.
| | 03:13 |
If when you edit one project.
So, for instance if I come back here to my
| | 03:17 |
first project, if editing this project
changes the length of the project, be
| | 03:23 |
aware when you go back to your second
project and I refresh it, notice that I
| | 03:28 |
get that little notch in there.
This is because the project file is not as
| | 03:33 |
long as the event on the timeline.
Okay, we changed the length of the project file.
| | 03:38 |
If that happens, you just want to make
sure that you never beyond that little notch.
| | 03:43 |
So, you might have to re-size it.
But, any updates you make to your project
| | 03:47 |
when you save them, they will refresh in
the project where you're using that
| | 03:51 |
original project file as your media file.
Now, there are a number of advantages to
| | 03:54 |
working on a project like this.
In fact, it's the way professionals edit
| | 03:58 |
commercial and Hollywood movies.
Instead of trying to do every single
| | 04:01 |
effect, every single graphic, every single
composition shot in the same movie on the
| | 04:05 |
same timeline.
You work on it in small pieces, and then
| | 04:08 |
you assemble all these completed segments
as timelines imbedded within timelines in
| | 04:13 |
a final mix down of your big project.
| | 04:15 |
| | Collapse this transcript |
| Blurring or censoring something in your video| 00:00 |
It's pretty common as you work on your
video that you'll come across something
| | 00:03 |
you'll feel you need to censor.
Maybe there's someone who doesn't want to
| | 00:06 |
be in your video, or something
inappropriate that you don't want your
| | 00:09 |
audience to have to see.
Here's a simple trick, that combines
| | 00:12 |
effects on two seperate tracks of video
that allows you to, say, blur someone's
| | 00:16 |
face or to blur some specific area of your
video frame.
| | 00:19 |
Now we have the video on our timeline
here, you can see it in the preview window.
| | 00:22 |
We have two people sitting on the beach,
the only problem is the man in the light
| | 00:26 |
blue shirt doesn't want to be in my video.
He wouldn't sign the consent form so I
| | 00:29 |
have to blur out his face.
Now in order for you to see better, what
| | 00:33 |
I've done is I've set my preview monitor
up here to best full quality.
| | 00:37 |
And we'll be able to see the pixelation or
we'll be able to see the distortion much
| | 00:40 |
more clearly.
And the first thing I want to do is to add
| | 00:43 |
a second copy of this clip to my timeline.
And I can do that most easily simply by
| | 00:49 |
going to my Project Media panel and
dragging it down to the timeline again.
| | 00:53 |
There's the same clip right above the
other clip.
| | 00:56 |
By the way, if you had a problem.
If when you dragged it there, you're
| | 01:00 |
bottom clip moved off to the side.
It's because Auto Ripple is turned on, so
| | 01:03 |
turn off Auto Ripple and try again.
You do want these to be exactly one above
| | 01:08 |
the other.
And what we're going to do now is to blur
| | 01:11 |
the top video, and there are a number of
options we could choose but Pixelate works
| | 01:16 |
just great.
This is the most common way to do it.
| | 01:18 |
We'll just drag the Pixelate effect from
the Video Effects window onto our clip or
| | 01:23 |
onto our event on the top of our timeline.
And from the Preset menu, I'm just
| | 01:27 |
going to select Large.
You can see that looks like pixelation
| | 01:30 |
here like you've seen on a lot of TV shows
where they pixelate out some area of the video.
| | 01:35 |
And now all we have to do is isolate that
pixelation so that it's only over the
| | 01:39 |
man's face.
And I'm going to do that by using an
| | 01:42 |
effect called the cookie cutter.
Here's the cookie cutter up here on our
| | 01:46 |
video effects window.
And you can see what the cookie cutter
| | 01:49 |
essentially does, is it creates a section
of the video that we will see, a little
| | 01:53 |
circle in the center, and then everything
around it will become transparent.
| | 01:57 |
Let me show you how that works exactly.
Drag it down onto this event here on our
| | 02:02 |
timeline, the upper event again.
In order to see this, I'm going to hold
| | 02:05 |
down the control key when I move this
panel so it doesn't try to drop into
| | 02:08 |
another panel.
I'm going to solo the track.
| | 02:10 |
Soloing the track means that I will only
see what's on this upper video track.
| | 02:15 |
And I can do that by clicking on this
little exclamation point.
| | 02:18 |
And you can see, now I can see how the
cookie cutter is working, right?
| | 02:22 |
Everything around it, this black is
transparent right now.
| | 02:25 |
We would be seeing what's on the lower
track otherwise.
| | 02:28 |
But since we have soloed the track, we're
only seeing our track.
| | 02:32 |
And anything that's transparent is black
around it.
| | 02:34 |
So the first thing I want to do is I want
to resize that circle and I could do that
| | 02:39 |
by using this little slider here on the
option panel.
| | 02:43 |
We'll make it right about the size of that
guy's head and then I'm going to rather
| | 02:47 |
than use the position controls here in the
option panel, I'm just going to go right
| | 02:52 |
to the preview panel and grab those little
cross hairs there, and when I drag I can
| | 02:57 |
set it right over the man's face.
And that would be it except for the fact
| | 03:00 |
that the man moves around in this video,
right?
| | 03:04 |
He enters from one side and he moves
around.
| | 03:06 |
So we have to make sure that that blur
stays over his face the whole time.
| | 03:09 |
And I'm going to widen this panel a bit,
because our position which is the center
| | 03:14 |
mark here, our position is going to change
we're going to key frame it we're going to
| | 03:18 |
create an animated position so it follows
the man around.
| | 03:21 |
In order to do that I'm going to click on
the little stop watch here at the center
| | 03:25 |
listing and that opens up my key frame
control.
| | 03:29 |
Let's move this off to the side just a
little bit.
| | 03:33 |
And I'm going to click on Sync Cursor to
the Media Timeline.
| | 03:37 |
That option down here at the very bottom,
I'm going to click on that.
| | 03:40 |
Now, when I move this playhead or this
cursor, it's also going to move the one on
| | 03:45 |
my timeline.
I'm going to move it back here to the beginning.
| | 03:49 |
And we gotta find where that man first
appears.
| | 03:51 |
And we'll drag this, there he is right up
there in the corner- to when he first appears.
| | 03:56 |
Then, I'm going to position a play head to
when he's sitting down.
| | 04:00 |
To make this easier, I'm going to un-solo
the track, so I can see where he's at there.
| | 04:04 |
So, I'm going to click on my exclamation
point again, and now I can see his face
| | 04:07 |
down there.
I can grab these cross hairs and just drag
| | 04:10 |
it onto his face, and pixelate his face.
Now, I just have to make sure that those
| | 04:13 |
cross hairs stay over his face the whole
time.
| | 04:16 |
And we'll see, as he's sitting there.
Does a pretty good job, he's shifted off a
| | 04:20 |
little bit, let's move those cross hairs
onto him.
| | 04:22 |
And you notice, each time I do, down here
on the key frame controller at the bottom
| | 04:26 |
of my video event option screen, I am
seeing new positions created, new key
| | 04:31 |
frames created to indicate the position of
those cross hairs.
| | 04:36 |
And that does pretty good for the end.
As he's moving into the frame though,
| | 04:39 |
we're going to have to be just following
him.
| | 04:41 |
So, every time he moves off those
cross-hairs, we'll need to move the
| | 04:45 |
cross-hairs up to make adjustments, and
you see it's automatically creating new
| | 04:49 |
key-frames here, on our key-frame
controller, to follow his face.
| | 04:53 |
And that should do pretty well here.
And now I'm going to solo the track again
| | 04:57 |
and I should be able to watch the cookie
cutter at work here.
| | 05:00 |
And watch my key framing to make sure it
stays on his face the whole time.
| | 05:03 |
You can see as I scrub through, we are on
his face pretty much the whole time there.
| | 05:07 |
So he is pixelated.
When I unsolo it, I can close this window
| | 05:11 |
now, you can see that we have exactly what
we went for here, right?
| | 05:15 |
We have pixelation only over the area we
want to censor.
| | 05:19 |
And we have also created an animation, so
that it follows him the whole way through
| | 05:24 |
as the video plays.
(NOISE) Very cool.
| | 05:25 |
A critical element in more advanced video
editing in particular creating special
| | 05:31 |
effects is understanding.
How to combine more than one track of video.
| | 05:34 |
As you combine these layers of video
tracks, each with its own pan and crop, or
| | 05:39 |
each with its own video effects applied,
you can create virtually any effect.
| | 05:43 |
It's all about figuring out how each video
track reveals or interacts with the video
| | 05:48 |
and the track or tracks below it.
Once you know that, then you can create
| | 05:51 |
the magic.
| | 05:51 |
| | Collapse this transcript |
| Editing stereoscopic 3D video| 00:00 |
A popular new format to record and
distribute your video in is stereoscopic 3D.
| | 00:05 |
Now, this is 3D footage that requires
special glasses to view and sometimes it
| | 00:09 |
requires a special disk player and a
special TV too.
| | 00:12 |
And Vegas can work with video shot in 3D
and the results can be pretty dazzling.
| | 00:16 |
We have a 3D shot here that we shot in MVC
that is, Multi-view Camera Codec, or
| | 00:22 |
Multi-view Video Codec, shot in a 3D
camcorder.
| | 00:26 |
And I will drag it now to my timeline.
Now when I add it to my timeline, you see
| | 00:31 |
that the video comes in on two separate
tracks.
| | 00:34 |
That is the left eye and the right eye, on
two separate video tracks.
| | 00:39 |
So, we're going to want to combine those.
We're also going to want to put the
| | 00:42 |
program into 3D editing mode.
So, to put the program into 3D editing
| | 00:47 |
mode, we'll go up here to our video
properties on our preview screen and here
| | 00:52 |
about a third of the way down stereoscopic
3D mode.
| | 00:55 |
You can put it in whichever you'd like.
I like to work in Anaglyphic red cyan and
| | 01:00 |
the reason why is because I could wear my
3D red blue glasses, and on any computer
| | 01:05 |
monitor, I can actually see the 3D.
And that allows me to focus it and make
| | 01:10 |
sure that it looks right.
So, I'm actually working in 3D.
| | 01:14 |
You can use whichever mode you want.
A lot of these will actually hide the 3D,
| | 01:18 |
so you can concentrate on editing the
movie.
| | 01:20 |
But I like to work in the 3D, in this
particular case so I can actually see the 3D.
| | 01:25 |
So, we will click OK, and we're now in 3D
mode, all we have to do is combine these
| | 01:30 |
two video tracks.
And to do that, I simply select one track,
| | 01:34 |
hold down the Shift key and select the
other, right-click and select the option
| | 01:38 |
to Pair a Stereoscopic 3D Subclip.
And you notice, that it's going to create
| | 01:43 |
a subclip in our Project Media panel.
There it is, our 3D subclip.
| | 01:47 |
And if you look in the Preview panel, you
will see the 3D movie of our train passing.
| | 01:52 |
I'm going to move the play head back to
the beginning here.
| | 01:54 |
If you're wearing your red and blue
glasses, you're seeing 3D too.
| | 01:58 |
It is kind of amazing, I can see a real
depth here even on my computer monitor.
| | 02:03 |
So, I didn't need any special equipment
other than the glasses to see this 3D.
| | 02:07 |
Now, some forms of 3D, you need a special
viewer, a special television or a special
| | 02:13 |
monitor of some sort and a special player
to see it.
| | 02:16 |
The nice thing about Anaglyphic which is
the red and blue, is that you can show it
| | 02:20 |
on virtually any equipment.
You can put it up on YouTube, and somebody
| | 02:24 |
wearing 3D glasses can view it.
Once you've edited your 3D movie here and
| | 02:30 |
again, you can put it into a mode where
you're not actually seeing 3D if you want
| | 02:34 |
so you can concentrate on editing.
And you can do that by selecting one of
| | 02:37 |
these blend modes.
But once you've finished editing it, it's
| | 02:41 |
time to outputting, and outputting your 3D
it's real important to choose the right
| | 02:46 |
output for it.
Like I say, Anaglyphic is very nice,
| | 02:49 |
because you don't need special equipment
to see Anaglyphic.
| | 02:52 |
You'll need to create a template to output
your Anaglyphic, and to do that you go to
| | 02:56 |
the File menu and select Render As.
And if you look under main concept AVC,
| | 03:01 |
there is an option here for Internet,
there they are, a whole bunch of internet
| | 03:06 |
options, and we can select one of these.
And output in Anaglyphic 3D and here's how
| | 03:12 |
you select an option for Anaglyphic or how
you create a custom template.
| | 03:15 |
You select an output and click on the
Customize Template button.
| | 03:20 |
Once you do that go to the Project tab,
and on the Project tab select Anaglyphic
| | 03:26 |
red cyan and click OK.
And you can see that now we have, sort of
| | 03:32 |
and altered customized template that will
output our Anagliphic red blue version,
| | 03:38 |
what you're seeing, exactly how you see it
in the Preview panel right now.
| | 03:41 |
Now there are other views to send your
video out as, and if you're using more
| | 03:45 |
sophisticated equipment, say a 3D TV, a 3D
disc player, you can use this option, down
| | 03:51 |
here, in Sony's AVC MVC.
The MVC stands for Multi-view Video Codec.
| | 03:57 |
And, it is designed to carry 3D
information.
| | 04:00 |
And there it is, you can see down at the
bottom, we have options for sending out
| | 04:04 |
1280 by 720 or 1920 by 1080 3D video in
the MVC codec.
| | 04:11 |
There are other ways to output 3D video,
and you can add plug-ins to the program to
| | 04:15 |
do that.
These are the most basic ways to do it,
| | 04:18 |
and certainly Anaglyphic is far and away
the most common and easiest way, because
| | 04:22 |
you don't need special equipment other
than the glasses to see it.
| | 04:25 |
3D is a lot of fun, and Vegas makes it
pretty easy to work with.
| | 04:29 |
In fact, most of the work flow isn't all
that different than working with regular
| | 04:33 |
2D video.
Outputting can be a bit more challenging
| | 04:35 |
and there's full support for Anaglyphic
and multi-view video both in Vegas and DVD architect.
| | 04:40 |
And although there are more advanced
outputs that require some additional
| | 04:42 |
plugins, at the very least Anaglyphic
video is probably fairly simple to produce
| | 04:46 |
and easy to distribute.
If you'll forgive the pun, 3D can bring a
| | 04:50 |
whole new dimension to your movie making.
| | 04:52 |
| | Collapse this transcript |
| Grabbing a freeze frame from your movie| 00:00 |
Often as you're working on your video,
you'll have the need to create a still
| | 00:03 |
photo or grab a freeze-frame from your
movie.
| | 00:06 |
It may be because you want to use that
still image as a freeze frame in your
| | 00:09 |
movie or in another movie.
On the preview window of Vegas, in the
| | 00:13 |
upper right of the interface, you will
find two tools for taking a snapshot or
| | 00:18 |
creating a still photo of your movie.
These are in the upper right corner of the
| | 00:21 |
preview monitor.
One of them is copy snapshot to clipboard,
| | 00:25 |
the other is save snapshot to file.
Now, snapshot is going to be a snapshot of
| | 00:30 |
what you see in the preview monitor.
So, it's not going to be a freeze frame of
| | 00:33 |
any individual event or any individual
clips that's on your timeline, it's going
| | 00:38 |
to be exactly what you see in your
monitor.
| | 00:39 |
That's why I have a clip on my timeline
and I have a title above it, because what
| | 00:44 |
we're going to grab a freeze frame of is
both of those together.
| | 00:47 |
Exactly what you see in the preview
monitor.
| | 00:49 |
Also note that if you're going to take a
freeze frame, before you do anything else,
| | 00:53 |
you'll want to set your monitor level or
your preview monitor level, this window up
| | 00:58 |
here in the upper right hand corner, to
its highest quality.
| | 01:00 |
Normally, when you're editing, you'll
probably be in preview quality.
| | 01:04 |
To take a snapshot, you want it to be in
best full quality.
| | 01:08 |
Then you that will give you the highest
quality possible from your freeze frame.
| | 01:12 |
You take a look there in the lower left of
my preview monitor, you see that I'm
| | 01:16 |
editing standard definition widescreen
video that's 720 by 480 pixels.
| | 01:21 |
That's the quality of picture I'm going to
get when I take my snapshot.
| | 01:25 |
If you're in high definition it's 1920 by
1080 pixels.
| | 01:28 |
If I click on the first button, my snap
shot now has been saved to my clip board.
| | 01:33 |
So, in other words, I can now paste it
into a word document, I can paste it into
| | 01:36 |
a Photoshop document.
I can do editing in another program with it.
| | 01:40 |
If I want to use this freeze frame right
now or if I going to save it to my hard
| | 01:44 |
drive, what I wanted to choose is the
second option here, to save the snapshot
| | 01:48 |
to a file.
I going to click on that.
| | 01:51 |
You see that it gives me the option of
saving the snapshot.
| | 01:54 |
Let's call this our Movie Picture and save
it.
| | 01:58 |
And you notice that simultaneous to saving
it, it saves a copy there in our project
| | 02:03 |
media window.
So, I can use it right now in my movie.
| | 02:06 |
If I wanted, I can drag it down to my
movie.
| | 02:07 |
Or, it has been saved to my hard drive
also, and I can use it, or I can open it
| | 02:12 |
in another program and use it just as if
it were a picture file.
| | 02:15 |
There are a number of reasons for wanting
to grab a freeze frame or a snapshot from
| | 02:19 |
your timeline.
Sometimes it's to use it in your movie.
| | 02:22 |
Sometimes it's to use it to represent your
movie.
| | 02:24 |
But just remember that the key to getting
the best possible quality from any freeze
| | 02:28 |
frame is to make sure your preview monitor
is set to it's highest viewing quality
| | 02:32 |
before you take the snapshot.
Do that and these simple tools should give
| | 02:36 |
you excellent results.
| | 02:37 |
| | Collapse this transcript |
| Working with multiple tracks of video| 00:00 |
A lot of times, when you're just throwing
together a movie, you only use one track
| | 00:03 |
of video, you just kind of assembling
clips.
| | 00:05 |
But particularly, if you're trying to tell
an interesting story or create video
| | 00:09 |
effects, you may use multiple tracks of
video.
| | 00:12 |
And I just want to show you two very
common ways to use more than one track of
| | 00:16 |
video, and why you should take advantage
of the fact that the program can hold
| | 00:20 |
several, several tracks of video and
audio.
| | 00:23 |
Now, we have two guys here on my timeline
who are just talking on the beach.
| | 00:27 |
They're sitting on the beach and they're
talking about their childhood.
| | 00:30 |
But rather than have this just be a
dialogue heavy scene without a lot of
| | 00:34 |
action in it, we're going to use the fact
that video shows to cut away.
| | 00:39 |
so that as they're telling the story,
we'll cut away to video of one of them as
| | 00:43 |
a child.
And so, as they're telling the story, in
| | 00:45 |
other words, as their audio continues,
we'll cut away to what's called B roll.
| | 00:49 |
And that is our cutaway to our action
scene.
| | 00:53 |
So, here we have in our Project Media
panel, we have something called sandcastle one.
| | 00:58 |
And that is our video of the little boy
playing in the sands.
| | 01:01 |
That's our flashback video, and we're
going to create what's called an L cut.
| | 01:05 |
So, an L cut means that, although we begin
with a video of these two guys on the
| | 01:09 |
beach, as their audio continues, we're
going to cut away to different video.
| | 01:13 |
Now, I could drag sandcastle down to my
timeline.
| | 01:16 |
I don't want the audio from sandcastle
one.
| | 01:19 |
So, I could drag it down to my timeline,
break it apart, and delete the audio, and
| | 01:23 |
do that in several clicks.
But there is an easier way to do it, if I
| | 01:26 |
just right click and drag with a right
click down to my timeline and let go.
| | 01:30 |
I have the option of grabbing the video
only portion.
| | 01:34 |
There we go.
So, now we have the video.
| | 01:35 |
This is our flashback sequence.
This is the little boy playing in the sand.
| | 01:40 |
So, we've begun with these two guys
talking, and then we cut away to what
| | 01:45 |
they're talking about, and you'll see this
often used on the news.
| | 01:47 |
Right?
The news reporter will be talking about a
| | 01:49 |
fire and we cut away as he continues to
talk to the video of the actual fire.
| | 01:54 |
Right?
So, this is a very powerful technique for storytelling.
| | 01:59 |
And you will use this lot when we
interview for videos, or when your documentaries.
| | 02:02 |
You have someone telling the story and we
cut away using an L cut, you can see the
| | 02:07 |
shape of an L, using an L cut to cut away
to action.
| | 02:12 |
Now, the opposite of an L cut is a J cut,
and you will see that technique used
| | 02:15 |
sometimes to.
A J cut is when we begin with a B role and
| | 02:18 |
audio that's coming from another source,
in other words, we're beginning with the
| | 02:23 |
narrator off screen.
And at the end, we cut again from the B
| | 02:28 |
roll back to the narrator.
So, we're not identifying the narrator or
| | 02:33 |
the person speaking until after our B roll
clip.
| | 02:36 |
Those are two very cool techniques.
So, you can see the J shape there, right J.
| | 02:39 |
So, a J cut and an L cut, which are two
very powerful ways to add visuals to use
| | 02:45 |
story telling.
Video is about showing visuals, movies
| | 02:48 |
moves is what you learn in film school.
So, you want to show as much as you tell.
| | 02:53 |
People don't listen to dialogue, they
don't listen to you talking as much as
| | 02:56 |
they respond to whats visually on screen.
Now, there are other things that you can
| | 03:00 |
do with video on other tracks.
And one of them is that you can composite.
| | 03:05 |
In other words, you can have your video
interact with video on lower tracks.
| | 03:10 |
And one of the ways to do that is a simple
picture in picture.
| | 03:13 |
And to create a picture in picture, I'm
going to take.
| | 03:15 |
We've still got our video here on the
upper track, but we can't see the video in
| | 03:19 |
the lower track, can we?
Because this video is filling the screen.
| | 03:23 |
If I go over here and I select the option
to pan and crop, I can now make this video
| | 03:28 |
much smaller like this by expanding my
frame.
| | 03:31 |
And you can see now that my video is
getting smaller and smaller in the preview screen.
| | 03:37 |
I can position it in the frame by dragging
the frame over.
| | 03:40 |
I'm going to widen this panel, so, you can
see what I'm doing here.
| | 03:42 |
See?
There it is.
| | 03:43 |
This f with the dotted lines around it is
representing the video frame.
| | 03:47 |
So if I want it to be in the lower left
corner I just do that.
| | 03:51 |
And now it is about 20% of the screen size
in the lower left corner.
| | 03:56 |
And now I have a picture in picture.
That's another way to use multiple tracks
| | 04:00 |
of video.
And if you've ever seen, it's like a TV
| | 04:03 |
show in which you have maybe like a
tic-tac-toe board where you've got nine
| | 04:07 |
different faces on there, looking out in
the opening credits of the show.
| | 04:11 |
You can do that, also with nine different
tracks of video, each one of them a
| | 04:15 |
picture in picture using the Pan and Crop
tool to position it on your screen.
| | 04:20 |
Vegas allows you to include as many video
tracks and as many audio tracks as you need.
| | 04:25 |
Now, officially it is an unlimited amount.
More you put in there of course, the more
| | 04:31 |
stress it's going to put on your system.
But, you can certainly put a dozen in
| | 04:35 |
there, if you want with, without any
problems at all.
| | 04:38 |
How they interact with what's on the
tracks beneath them, is what makes for
| | 04:42 |
very cool storytelling, and very cool
video frame composition.
| | 04:46 |
So, don't be shy about using as many video
and audio tracks as you need to tell your
| | 04:51 |
story well.
| | 04:51 |
| | Collapse this transcript |
|
|
6. Editing Audio on the TimelineEditing audio on the timeline| 00:00 |
Audio is a very important part of your
movie project.
| | 00:04 |
Making sure your audio is full, clear and
properly mixed is as vital as having good
| | 00:10 |
clean video footage.
Let's take a look at some of the basic
| | 00:12 |
tools here at working with audio and your
audio levels on your timeline.
| | 00:16 |
Now there are a number of places you can
adjust your audio levels.
| | 00:20 |
In Vegas, you can adjust your audio level
on the individual event, that is the clip
| | 00:25 |
that's on your timeline.
You can adjust your audio level for your
| | 00:29 |
entire track at once.
Or you can adjust the audio level for your
| | 00:33 |
entire movie at once.
As you're adjusting your audio, one thing
| | 00:38 |
to watch, though, is your audio level.
And don't trust this coming out of your
| | 00:42 |
computer speakers.
You may have those set loud or quite.
| | 00:45 |
The only way you can really judge if your
audio level is correct is by looking at
| | 00:49 |
the VU meters or the Audio Level meters.
You look over in the upper right-hand side
| | 00:54 |
there of the interface, you'll see the
master.
| | 00:57 |
This is the simplest way to see your audio
level.
| | 00:59 |
And I'm just going to play a section of my
movie, and you'll see that I have the
| | 01:02 |
audio level set here so that they're full,
and yet they don't over modulate.
| | 01:08 |
I'll tell you what means in just a second.
So I'm going to just press the L key to
| | 01:13 |
play (MUSIC).
And you see that those are nice and full,
| | 01:18 |
the lines are green and they go most of
the way up the meter, okay?
| | 01:23 |
They go most of the way up those lines but
they don't hit a point where they become red.
| | 01:28 |
Your audio is too high if it's to loud and
it gets red or if sometimes you'll even
| | 01:33 |
see a little warning in the top of each
meter.
| | 01:35 |
To tell you that it's peaking beyond the
levels.
| | 01:38 |
When you're way up there, you get what's
called overmodulation.
| | 01:41 |
You won't hear it out of your computer
speakers, but when you finally output your
| | 01:46 |
video, your output your DVD or your
Blue-Ray, it's going to sound distorted.
| | 01:50 |
It's going to sound really bad so you want
it to be full, but not overly modulated.
| | 01:55 |
Here is how you adjust the audio levels
for an individual event, on your timeline.
| | 02:00 |
The easiest way to do that, I'm going to
widen some of these, I have my tracks here
| | 02:04 |
set very, very narrow.
I'm going to just widen this track, by
| | 02:07 |
just grabbing on that seam and stretching
it down.
| | 02:11 |
And we'll just take a look at that.
You notice on my audio track, I'm going to
| | 02:15 |
zoom in a little by using the roller on
the mouse.
| | 02:17 |
I could also use the up key on the
keyboard to zoom in.
| | 02:20 |
And you can see that my audio level is set
to a certain gain.
| | 02:26 |
And that gain is represented by a wave
form on my timeline.
| | 02:29 |
You can see the little wave form there
underneath the clip of the man talking on
| | 02:33 |
the phone.
I can raise and lower that gain level just
| | 02:36 |
by clicking and grabbing on that little
gain controller at the top of the clip.
| | 02:42 |
When I drag that down, you see the gain
gets lower or higher.
| | 02:46 |
The music that is on the track below it is
set to the perfect gain level.
| | 02:54 |
That is full but not over modulated.
And you can see that I have actually
| | 02:58 |
reduced the gain level by 2.2 decibels to
make it so that it was at an acceptable range.
| | 03:04 |
As you're adjusting your audio, most often
you're going to be adjusting for the
| | 03:08 |
individual events on the timeline or
you're going to be adjusting the audio
| | 03:12 |
levels specifically for your events.
If you want to adjust them for your entire
| | 03:17 |
track at once, you can do that also.
So say, for instance, we look at Audio
| | 03:22 |
Track 6.
That's the red one there that's right
| | 03:24 |
above the music.
Suppose this is all people talking,
| | 03:28 |
conversations happening in the room, and I
want to take that volume down or remove it completely.
| | 03:33 |
I can do that for the entire track at
once.
| | 03:35 |
Now, you can see over on the left on the
track header, you can see we have a little
| | 03:39 |
slider for adjusting the level.
It's kind of compressed right now because
| | 03:43 |
the track header is compassed, so I'm just
going to select the track and drag down to
| | 03:47 |
make it a little wider.
And you can see when I do.
| | 03:54 |
I have a little more access to it.
It's got its own little VU meter.
| | 03:57 |
See it to the right of the track header?
And when I play my audio, you can watch
| | 04:02 |
the VU levels or the audio levels for that
particular track and you'll see they're
| | 04:07 |
very different than the audio levels for
the music on the track below it.
| | 04:10 |
So let's just play that little segment and
you'll see.
| | 04:12 |
I'll press L.
(MUSIC) And you can see than I'm hearing
| | 04:19 |
both the audio level of the person on the
phone.
| | 04:22 |
And I'm hearing the music's audio level.
If I were to say, want to remove the audio
| | 04:28 |
from that entire track, I can do that by
just taking the volume slider here that's
| | 04:34 |
on my track header and dragging it down.
And that will adjust it for the entire contract.
| | 04:40 |
So you know what's happening?
Because I have all of my track headers
| | 04:43 |
selected, it's making the adjustment
happen for all tracks.
| | 04:46 |
I don't want that to happen, right?
So I'm going to deselect my tracks here
| | 04:50 |
and make sure I'm only selecting this
track and now I can make the individual
| | 04:54 |
adjustment for the track.
And here I'll bring this down and now if
| | 04:58 |
you watch the VU meter that's on the right
hand side of that audio track you'll see
| | 05:02 |
that I've greatly reduced the audio level
of the track that's on the upper track.
| | 05:11 |
So that's one way to do it.
You can make adjustments to individual
| | 05:15 |
events on the timeline or you can make
adjustments to the track itself.
| | 05:19 |
I'm going to reset that to zero.
Because there's a third way to do it.
| | 05:23 |
And that is the master control for your
audio.
| | 05:26 |
And that is over here on the right-hand
side.
| | 05:28 |
You can see there's a slider next to those
meters.
| | 05:30 |
So if for some reason my entire movie was
too loud, I could reduce its level by
| | 05:36 |
dragging down that slider.
And what I'm going to do is I'm just
| | 05:38 |
going to play a part of my movie and I'm
going to drag down the slider.
| | 05:41 |
This is called riding the gain.
We're going to drag down that slider as
| | 05:44 |
I'm playing it.
And you'll see how it will reduce the
| | 05:46 |
volume, for the entire movie.
So let's just reset my play head back
| | 05:50 |
here, and I'll press l to play.
And watch me ride that game down (MUSIC) .
| | 06:02 |
So you can make those adjustments.
And those will be over all adjustments for
| | 06:05 |
the entire movie, that means all audio for
the entire movie will be adjusted at the
| | 06:10 |
same time.
As you adjust the game level on the master controller.
| | 06:14 |
Now, we have been looking at individual
meters there some on the track headers to
| | 06:19 |
the right hand side and we have a master
control.
| | 06:22 |
There is a better way when your
concentrating on your audio there is a
| | 06:26 |
better way to be able to look at.
Every single track and make sure that all
| | 06:30 |
of your tracks are mixed as you prefer.
And to see that you just go to your view
| | 06:34 |
menu and select audio mixer or mixing
console.
| | 06:40 |
In here if I expand this you'll see that
every track that has audio on it is
| | 06:44 |
represented here.
And if I were to play this, I can see what
| | 06:48 |
the levels are for all audio tracks.
Sometimes you're mixing your audio tracks
| | 06:52 |
but generally, you want one to dominate.
Maybe it's the narration, maybe it's the
| | 06:56 |
music, maybe it's the dialogue and the
music is in the bed in the background.
| | 07:00 |
In this particular movie, I want to start
out with my music dominating and then I
| | 07:04 |
want my dialogue to come in.
So, watch the meters as I just play this
| | 07:08 |
short segment of my movie.
(MUSIC).
| | 07:19 |
>> Here are the copies of the bell
contract you asked for, and.
| | 07:21 |
>> I see what happened, I started out with
my music kind of dominating the scene and
| | 07:25 |
then I fade out my music, and once I fade
out my music the dialogue comes in, and
| | 07:29 |
that comes in at a nice full level.
It fills the VU meter but it does not peak
| | 07:37 |
beyond, it does not peak out into the red
where it would cause distortion from overmodulation.
| | 07:41 |
So I can see the mixing console.
By the way, there's another way to see the
| | 07:45 |
mixing console.
If you want, you can even just put the
| | 07:48 |
program into Audio Mixing mode.
And we can do that by selecting the View
| | 07:52 |
menu, go to Windows Layout and select
Audio Mixing.
| | 07:55 |
That will toggle it into Audio Mixing
mode.
| | 07:58 |
You will see each of the audio tracks
represented by their own VU meter, as well
| | 08:03 |
as a master control and a master meter
also.
| | 08:05 |
Again, don't trust your computer speakers.
But use the mixing console.
| | 08:10 |
It's the best way to know what your audio
levels are.
| | 08:12 |
So it's important to monitor and control
your levels of your audio of your
| | 08:16 |
individual events, for your audio tracks
and for your overall project.
| | 08:19 |
At various times when you work, you'll
want to monitor and possibly adjust each.
| | 08:23 |
Remember that a good, full and well mixed
audio.
| | 08:26 |
Is a vital part of a good, well-made movie
project.
| | 08:30 |
| | Collapse this transcript |
| Recording narration into your movie| 00:00 |
Narration can be a powerful story telling
tool.
| | 00:03 |
It can be used to direct your audience to
something on the screen or it can be used
| | 00:06 |
to fill in details and backrgound.
And Vegas includes a tool for recording
| | 00:11 |
this narration right into your project.
Right to your project's timeline.
| | 00:15 |
Doing so is fairly simple.
I've selected the track header here for
| | 00:19 |
the track I'm going to record my narration
onto and you see now that it has the
| | 00:23 |
little blinking light on it, which
indicates that this is the armed track.
| | 00:27 |
And I can arm the track for recording by
clicking on the little bulls-eye button
| | 00:31 |
here, arm it for recording.
This is where my narration track is going
| | 00:34 |
to go.
Once I click that, you notice I get a
| | 00:36 |
little VU meter.
It's a good time to make sure that you're
| | 00:39 |
microphone is working and properly
configured.
| | 00:42 |
You can see it is.
You can see it's registering as I speak,
| | 00:45 |
If it's not registering for you, and this
is especially true.
| | 00:48 |
If you are using a USB microphone you'll
need to go into your Control Panel there
| | 00:51 |
in Windows to the Sound.
And you're going to need to configure it
| | 00:55 |
to make sure that it is using your present
microphone as its default microphone.
| | 01:00 |
Once you've done that, all you need to do
is position the play head where you'd like
| | 01:03 |
your recording to appear.
I'm going to do that by setting it right here.
| | 01:08 |
Right where our actor first appears in my
movie.
| | 01:11 |
That's where I'm going to record my
narration.
| | 01:13 |
And then I start my narration by clicking
on the little bullseye along the Playback
| | 01:18 |
controls that are either at the bottom of
the Timeline or at the bottom of the
| | 01:21 |
Preview window.
It doesn't matter which one.
| | 01:23 |
They do exactly the same thing.
And once I do that I can record my narration.
| | 01:26 |
When I'm done recording my narration, I'm
going to press the Stop button.
| | 01:30 |
I recommend that you press the Stop
button.
| | 01:32 |
Button rather than the Pause button
because this will reset the playhead back
| | 01:36 |
to the beginning of your narration.
There's a reason for that, and I'll tell
| | 01:39 |
you that in just a moment.
Let's go ahead.
| | 01:41 |
We're going to record our narration.
I'm going to click on that little bull's
| | 01:43 |
eye and record.
When I'm alone, I like to go to the beach.
| | 01:48 |
When I go to the beach, I like to be
alone.
| | 01:54 |
And it prompts me to save the recorded
file which I'll do.
| | 01:57 |
And you notice the play head has jumped
back to the beginning of the narration.
| | 02:02 |
The reason why it does that is because it
allows you to record as many takes as you
| | 02:07 |
want until you get it exactly the way
you'd like it to sound.
| | 02:10 |
So I'm going to record a second take now.
Just click on the Record button.
| | 02:16 |
When I'm alone I like to go to the beach;
when I go to the beach, I like to be alone.
| | 02:21 |
Press it again and save it.
And you can see that although we have a
| | 02:26 |
single event there on my timeline, when I
right click on it and select Take, I have
| | 02:31 |
two different takes to choose from.
I can create as many audio Clips as I need.
| | 02:37 |
And they'll all be under the same event.
And then I can test drive each one and
| | 02:41 |
select the one that I like best.
I think that's a cool feature.
| | 02:44 |
Record as many takes as you want.
Then once you're one, let's go ahead and
| | 02:49 |
reset this little master control to about
half way.
| | 02:52 |
And let's give a listen.
I'm going to go over here to the View menu
| | 02:56 |
and I'm going to select the Windows Layout
for Audio Mixing.
| | 03:00 |
I just simply want to make sure that my
narration, I'm going to disarm my arm for
| | 03:05 |
record, I'm not going to record it
anymore.
| | 03:06 |
Click on that bullseye on the track
header.
| | 03:09 |
And now I'm going to play back my take.
What I'm most interested in, and I can
| | 03:13 |
even solo this track if I want by clicking
the !
| | 03:17 |
I'm most interested in making sure that my
narration is loud and clear, but not
| | 03:22 |
overly so.
Not too loud, or not over modulating.
| | 03:26 |
So let's give a listen to my playback.
I just press the l button.
| | 03:29 |
>> When I'm alone I like to go to the
beach, when I go to the beach I like to be alone.
| | 03:35 |
and I could have chosen any one of my
takes for that.
| | 03:37 |
But you can see that's nice and full, not
too much not too high, but it's a good,
| | 03:42 |
full narration.
Now by incorporating the narration tool
| | 03:45 |
right into the program Sony has made it
possible for you to record the narration
| | 03:49 |
for your movie without actually leaving
the post-production workspace.
| | 03:53 |
Yet they haven't skimped on the narration
tool either, it allows you to record
| | 03:56 |
several takes of every narration track and
then you can select the best reading for
| | 04:00 |
each narration event on your timeline with
just the click of a mouse.
| | 04:03 |
An easily accessed and yet somewhat
powerful tool for adding supplemental
| | 04:07 |
audio to your movie.
| | 04:09 |
| | Collapse this transcript |
| Mixing audio with keyframed audio envelopes| 00:00 |
We have looked at audio levels and how to
monitor and adjust them for a single audio
| | 00:05 |
event on your timeline, an audio track, or
for an entire movie at once.
| | 00:09 |
But what happens if you get several tracks
of audio.
| | 00:13 |
Say the audio track from your movie, a
musical soundtrack and narration.
| | 00:18 |
And you want to mix and even vary the
levels of these audio tracks so that one
| | 00:22 |
track dominates.
And for instance, the music will dominate
| | 00:25 |
except when the narration comes in, then
the music gets quiet while the narration
| | 00:29 |
is playing.
And when the narration ends we want our
| | 00:31 |
music to come back up again.
To do this kind of a mix we're going to
| | 00:35 |
use something called audio envelopes.
Audio envelopes are applied to an entire
| | 00:40 |
track at once.
And to demonstrate those, I'm going to
| | 00:42 |
select track number two.
This is the audio track that goes with the
| | 00:47 |
video that was shot.
This is the live audio and now that I've
| | 00:50 |
selected the track header, I will go to
Insert > Audio envelopes and Volume
| | 00:55 |
because that's the characteristic that I
want to control.
| | 00:57 |
You see when I've selected it, I now get a
horizontal blue line that runs through the
| | 01:01 |
entire track.
And I can raise and lower the audio levels
| | 01:05 |
for that entire track by raising and
lowering that blue line.
| | 01:08 |
So if I drag that down, all the way to the
bottom.
| | 01:10 |
I have now silenced that audio track.
But what about track number four?
| | 01:16 |
That's my music track.
Again I want to be able to vary it.
| | 01:19 |
I want to be able to put it in an envelope
so that I can have it go quiet when my
| | 01:24 |
narration comes in and then come back up
again.
| | 01:26 |
Let's select that track header.
And then we'll go to Insert > Audio
| | 01:30 |
Envelopes > Volume.
Again we get that heavy blue line.
| | 01:33 |
But instead of raising or lowering the
entire blue line, I'm going to create key frames.
| | 01:38 |
Key frames are easily created simply by
double clicking on that heavy blue line.
| | 01:42 |
Double click, there's a key frame, double
click, there's a key frame and I can use
| | 01:47 |
that to lower the volume for this segment.
Put another key frame at the end of my
| | 01:52 |
narration, another key frame so I can
bring the audio back up to its regular level.
| | 01:58 |
With the second narration I'm just going
to put down four key frames.
| | 02:01 |
Two at the beginning, two at the end and
then all I need to do is just grab that
| | 02:06 |
line in the middle.
I can drag that down.
| | 02:09 |
Now rather than judge how this is going to
mix by listening to the sound coming out
| | 02:14 |
of my speaker, I want it to be more
precise.
| | 02:16 |
So I recommend that you use your audio
meters if you too want to be very precise.
| | 02:21 |
And you can do that by going to the View
menu and selecting the Mixing Console.
| | 02:27 |
Now we can look at the individual audio
tracks.
| | 02:31 |
And I'm most interested in audio track
four; I'm interested in watching how it plays.
| | 02:36 |
In order for the duration to dominate, I'm
going to have to reduce the level to about
| | 02:40 |
negative 18 to negative 27 decibels on
that meter.
| | 02:45 |
How much difference there is between the
music in the background and the narration
| | 02:50 |
is one of personal preferences.
Older people sometimes have more trouble
| | 02:54 |
distinguishing between sounds that are at
similar levels.
| | 02:57 |
So if you're creating something for a
wider audience you may want to bring down
| | 03:00 |
that music more.
For a younger audience, the music and
| | 03:04 |
innovation can be a little closer.
But let's go ahead and play and let's take
| | 03:07 |
a look at those VU meters and see how much
we've reduced the audio on the music track
| | 03:13 |
which is again track number 4.
And see how it mixes together.
| | 03:17 |
So I press L to play, watch the meters.
(MUSIC).
| | 03:23 |
>> I don't know why I'm so drawn to this
beach when I need time to think.
| | 03:27 |
(MUSIC).
I guess it's because it's the perfect
| | 03:33 |
place for those times when solitude is
both healing and toxic.
| | 03:38 |
>> So there you can see that when we have
used these envelopes.
| | 03:42 |
We have reduced the audio whenever the
narration appears down to about negative
| | 03:46 |
27 decibels.
That's a good mix, and you can hear it.
| | 03:50 |
It was subtle, it wasn't enough that we
actually noticed the volume was dropping
| | 03:53 |
down in the music and it allowed the
narration to dominate.
| | 03:57 |
So very very cool.
Now again, I encourage you to do it with
| | 04:00 |
the mixing console rather than just
trusting your ears out of the computer speakers.
| | 04:03 |
You'll always get a much more precise read
and you know exactly what you're doing.
| | 04:06 |
When you've properly mixed your audio,
your audience won't even hear the movie as
| | 04:10 |
a mixture of different audio sources.
They'll only hear one audio and that's the
| | 04:14 |
final mixed audio that you create.
Using these key frames and audio envelopes
| | 04:19 |
to set the levels for this mix.
As well as using a precise tool like the
| | 04:22 |
audio mixer to monitor your results.
This will ensure you have a smooth,
| | 04:26 |
natural mix of dialogue, ambient sound,
music, and narration.
| | 04:31 |
| | Collapse this transcript |
|
|
7. Adding and Adjusting Audio FXWays to apply audio FX to your movie| 00:00 |
As with video affects, there are a number
of ways to apply audio effects to your
| | 00:03 |
Vegas movie project.
You can apply an effect to an audio clip,
| | 00:07 |
an event on your timeline, or you can
apply it to an entire audio track at once.
| | 00:12 |
At, which point it will affect every audio
event on the timeline.
| | 00:16 |
Or you can apply it to your movie overall.
Let's take a look at how to do that.
| | 00:19 |
I'm going to select this clip, or this
event, on my timeline, and you notice that
| | 00:24 |
it has a green indicator on its event FX
button.
| | 00:27 |
That's right there.
Some of these are white.
| | 00:30 |
This green indicator implies that at least
one audio effect has already been applied
| | 00:34 |
to this event.
And if i click on it, you can see on the
| | 00:37 |
waveform it's very, very quiet.
So, I've added a couple volumes to
| | 00:40 |
increase it's audio level so I can hear it
better.
| | 00:43 |
If I had selected an event on the timeline
that didn't have any effect on it yet,
| | 00:49 |
when I click on that, it opens up the
Plug-In Chooser from, which I can select
| | 00:53 |
an audio effect.
But even if I select when he already has
| | 00:58 |
an effect to apply to it I can go into the
chooser by clicking on the action for the
| | 01:02 |
plugin chain and the chain is along the
top of the audio event effects FX panel,
| | 01:07 |
can you see it?
Its got a volume and volume listed and now
| | 01:10 |
we're going to add to that chain.
So, when I click on this I go into my
| | 01:14 |
Option panel, my Plugin Chooser for
selecting one of my audio effects and I'm
| | 01:18 |
going to select the Reverb effect because
it's an easy one to hear.
| | 01:21 |
Reverb is the echo chamber.
Right?
| | 01:23 |
And before I click OK, I'm going to click
Add.
| | 01:25 |
And if I look in the upper left hand
corner of this panel you can see Now
| | 01:29 |
reverberation, Reverb has been added to my
chain.
| | 01:33 |
Its been added to my audio effects chain.
So, we'll click OK and now that I'm back
| | 01:37 |
in here I could click on any one of these
effects to make fine tuning adjustments on it.
| | 01:43 |
We'll click on the Reverb effect and I'm
going to hold down on the Ctrl key as I
| | 01:47 |
move this panel.
So, that it doesn't drop into any of the
| | 01:50 |
drop zones in the program.
And we can play some of this with some of
| | 01:56 |
our effects applied to it.
Now, the Reverb is going to give us an
| | 01:59 |
echo chamber feel.
And you see under the presets we have a
| | 02:02 |
number of rooms that are presettings for
this reverberation.
| | 02:06 |
You can hear very well in the sewer mode
here.
| | 02:09 |
And let's listen to the dialogue in sewer
mode.
| | 02:12 |
>> Oh, and you forgot this in the
(INAUDIBLE).
| | 02:15 |
>> OK, so obviously, there are a number of
these you can select but this particular
| | 02:21 |
effect has been applied only to this clip,
only to this event in your timeline.
| | 02:27 |
Any other event on your timeline, it's not
going to have any effect on, so I'm going
| | 02:31 |
to remove Reverb from here by selecting it
and then clicking on the remove selected
| | 02:36 |
plug in.
So, now it's just down to volume and
| | 02:39 |
volume added to it.
And I can add an effect also to my audio track.
| | 02:44 |
So, I'm going to hover my mouse over the
bottom of the audio track here and expand it.
| | 02:49 |
And you can see I do have the button right
here.
| | 02:51 |
It's very similar to the Plug-in Chooser
or the effects button that was actually on
| | 02:56 |
the event on our timeline.
I'll click on this, and it opens.
| | 03:00 |
When you work with audio on your timeline.
And you're working on a track there are
| | 03:06 |
three effects that are added by default to
the track.
| | 03:10 |
Don't worry about these right now, but
let's add to the plug in chain.
| | 03:14 |
And again we're going to choose Reverb,
make sure we add it to the chain and you
| | 03:18 |
can see it in the upper left hand corner
it has been added now to our plug in chain.
| | 03:23 |
Now, this is going to be an effect that
affects the entire track.
| | 03:28 |
So, in other words, every audio that is on
this track, is going to sound like it was
| | 03:33 |
recorded in a sewer.
And so, if I play this event, (SOUND) I
| | 03:42 |
get that.
I'm going to solo the track by clicking on
| | 03:45 |
this little exclamation point.
That's going to let me hear this track
| | 03:48 |
without any other track playing.
And you can see even at the beginning when
| | 03:51 |
I play it, by pressing the L button and K
to pause.
| | 04:01 |
(SOUND) And you can see that every single
audio event on this particular track now
| | 04:05 |
has that effect applied to it.
So, there's some times when you're
| | 04:08 |
going to want to apply your audio effect
only to one event or one clip on your
| | 04:13 |
timeline, there are times when you're
going to apply it to your entire track at once.
| | 04:17 |
Let's remove it from their.
So, I'll again open up the Audio Track
| | 04:22 |
Effects Option panel.
I'll select Reverb, and I'll select the
| | 04:25 |
option to remove it.
Finally you can apply an audio effect to
| | 04:31 |
your entire movie.
So, I can come over here to my Master
| | 04:34 |
control in the upper right corner and if I
click on this button, I can again choose
| | 04:39 |
the Reverb effect.
I don't have to add it to my chain, I can
| | 04:43 |
just click OK, but let's go ahead, just as
a good habit, add it to my chain.
| | 04:46 |
Click OK.
Very similar Option panel, the only
| | 04:50 |
difference is, that again, what I'm
setting, it's going to affect all audio on
| | 04:55 |
all tracks in my entire movie.
So, now when I play with L and pause it
| | 05:01 |
with K, I can hear this echo through my
entire movie.
| | 05:05 |
>> (SOUND) I'm going to get back to work.
As with video effects most often you're
| | 05:12 |
going to be applying in the audio effects
to the individual effects on your time line.
| | 05:15 |
But when specific situations call for an
effect to be added to an entire track or
| | 05:20 |
to your entire movie at once these options
are available to you also.
| | 05:25 |
| | Collapse this transcript |
| Understanding default audio FX| 00:00 |
As we've already discussed, you can apply
an audio effect to an individual event,
| | 00:05 |
that is an individual clip, on your
timeline.
| | 00:07 |
You can apply it to an audio track, an
entire track at once or you can apply an
| | 00:12 |
audio effect to the master control, which
would apply that effect to every single
| | 00:16 |
clip on your entire movie, it applies to
your movie overall.
| | 00:20 |
If you happen to launch the audio effects
chooser here, or the track effects chooser
| | 00:25 |
for a track, you might noticed that there
are three effects, that are applied
| | 00:30 |
already by default.
And those are the Track Noise Gate, the
| | 00:34 |
Track Equalizer or EQ, and the Track
Compressor.
| | 00:38 |
These are tools that are used to sweeten
or to clean up the sound of your audio track.
| | 00:44 |
Understanding how they work can really
help you fine tune the quality of your
| | 00:47 |
movie's sound, they're pretty high level
tools, but they're worth getting to know anyway.
| | 00:52 |
The purpose of a noise gate is, as the
name would imply, to eliminate background
| | 00:57 |
noise in a scene.
So if, for instance, if you got a narrator
| | 01:01 |
speaking, in the moments when he's not
speaking, there are pauses.
| | 01:04 |
If you've got an air conditioner running,
if you got any kind of ambient noise in
| | 01:09 |
the background in between him talking, you
will hear those sounds, you will hear
| | 01:13 |
those background sounds.
The noise gate shuts the audio down, in
| | 01:17 |
between his speaking.
And so, the various settings for the noise
| | 01:21 |
gate, are about setting what level it
allows through the gate, and what level it
| | 01:26 |
cuts off.
And, the other setting is, release time,
| | 01:30 |
which is how abruptly it cuts that level
off.
| | 01:33 |
And it's best to use the preset, with a
lot of these high level settings and a lot
| | 01:37 |
of these high level effects.
And if you just set for instance, noise
| | 01:41 |
gate one it's set to 10 milliseconds for
the attack time and the release time is
| | 01:46 |
set to 500 milliseconds.
Now the attack time is how quickly the
| | 01:51 |
gate closes.
So, after the narrator is done speaking,
| | 01:55 |
you want it to be natural.
You don't want it to immediately go quiet.
| | 01:58 |
This will softly over a period of about
ten milliseconds, it will softly close the
| | 02:03 |
gate and it will go to complete silence.
The release time, is how quickly it comes
| | 02:08 |
back up again when the narrator is
speaking.
| | 02:10 |
So, that's the purpose of a noise gate, to
kind of eliminate sort of ambient noises
| | 02:14 |
in the background, so that you only hear
the dominant sound.
| | 02:17 |
The equalizer you may recognize if you
work with high fidelity audio, the
| | 02:22 |
equalizer will set the levels of the
audios bass, its mid-range, its treble.
| | 02:28 |
And you can set it pretty precisely, so
you can set and it's usually best again to
| | 02:33 |
use the presets with these.
You can set this to put more emphasis on
| | 02:38 |
the bass, if you want to have much more
bass boost, heavy bass boost.
| | 02:42 |
To cut out hiss at the end so, it's
cutting off some of the top end of those sounds.
| | 02:47 |
And you can see that some of these will
make your sound a more powerful sound or
| | 02:52 |
it can make your sound much lighter, or
sweeter.
| | 02:55 |
And using the presets, you can see that
you bet some very, very nice options in
| | 03:00 |
here, for controlling your audio levels at
specific frequencies.
| | 03:04 |
And again, if you've used a stereo and
you've fine-tuned your bass and your
| | 03:08 |
treble and your mid range, you're probably
familiar with a lot of how the equalizer works.
| | 03:13 |
Finally the track compressor.
The level you set your compression,
| | 03:16 |
determines how closely the level of your
quietest sound and your loudest sound is.
| | 03:22 |
Notice a lot of the time if you're
watching television for instance,
| | 03:24 |
commercials may seem louder than the
television show.
| | 03:28 |
That's because they're very highly
compressed and they seem much louder,
| | 03:31 |
because they don't have moments of quiet
and moments of loud.
| | 03:34 |
Everything is at the same level of
loudness.
| | 03:36 |
So, it can be unnatural, it can be very
powerful.
| | 03:40 |
You want to set it based on whatever your
specific needs are.
| | 03:44 |
So, you can set whatever limiter or
compressor you want there.
| | 03:47 |
So, those are three effects that are
applied by default to every track, and you
| | 03:52 |
can decide what settings to set them at or
just leave them completely turned off.
| | 03:57 |
The audio gate, the equalizer, and the
compressor.
| | 04:00 |
These are track effects that fall into the
category of effects that work best, when
| | 04:04 |
your audience doesn't even know you've
applied them.
| | 04:06 |
Their effects are subtle, yet they can be
very effective.
| | 04:08 |
So, if you're just making a simple home
movie, you may not even want to mess with
| | 04:11 |
them, but with them you can create a movie
with a very strong audio presence.
| | 04:16 |
| | Collapse this transcript |
| Customizing your audio FX| 00:00 |
When you apply an audio effect in Vegas
whether you apply it to an event on your
| | 00:04 |
timeline, to an audio track or to your
entire movie, an Audio Effects option
| | 00:10 |
screen will open.
As with the similar Video Effects option
| | 00:14 |
screen this screen allows you to customize
your effect using sliders or other settings.
| | 00:18 |
Or by selecting from a library or presets.
In addition on this panel several audio
| | 00:22 |
effects can be applied at once in a chain.
Let's see how it works.
| | 00:26 |
We have placed simple clip.
A simple audio only clip on our Timeline
| | 00:31 |
and it is simply media reading from a tale
of two cities.
| | 00:34 |
It was the age of foolishness.
Was the epoch of belief.
| | 00:39 |
It was the epoch of incredulity.
And we're going to apply some effects to it.
| | 00:43 |
To launch the plug in chooser we'll select
our audio effect for this particular clip
| | 00:49 |
or this particular event on our Timeline.
I'm just going to click on our little
| | 00:53 |
Event Effects button right there in the
lower right hand corner, of any event on
| | 00:57 |
your Timeline.
And I can select from the list of plug ins
| | 01:02 |
or front he list of effects for my audio.
In this particular case let's start off
| | 01:06 |
with reverb.
Reverb is sort of an echo sound, and we'll
| | 01:10 |
apply it, and when we do we get the audio
event effect screen.
| | 01:13 |
We're going to just hold the control key
so it doesn't drop into any of these windows.
| | 01:17 |
Let's just move it off to the side here...
And we can play a little bit of my timeline.
| | 01:21 |
The effect has been applied to the clip
but it's at its default mode.
| | 01:25 |
And we can change these settings by moving
these sliders here for dry out, reverb
| | 01:30 |
out, and early out.
Or it's usually most simple to just select
| | 01:34 |
the Preset menu.
And I'm going to select from the present
| | 01:36 |
menu and we're going to select, for
instance.
| | 01:39 |
Very long hall, and you'll be able to hear
the very long hall settings for
| | 01:44 |
reverberation applied to this clip.
Let's press L to play.
| | 01:47 |
>> It was the age of foolishness.
It was the epoch of belief.
| | 01:55 |
It was the epoch of incredulity.
>> So we can choose from there either Long
| | 01:59 |
Hall, Dense Room, Bright Room, Cathedral.
And sometimes using the presets is the
| | 02:06 |
easiest way to use a number of these
effects.
| | 02:09 |
>>It was the season of light.
It was the season of darkness.
| | 02:15 |
You have the option of applying as many
effects as you want to an individual clip,
| | 02:20 |
to an individual track or to your master
control.
| | 02:23 |
To add to your effects you create what's
called a chain and you can see up in the
| | 02:28 |
upper left hand corner the Audio Event
option screen.
| | 02:31 |
You see Reverb is listed there and we can
add to that chain if we'd like.
| | 02:36 |
So let's go back here to our plugin
chooser and we'll add our plugin chain plugins.
| | 02:41 |
Or another word that Sony uses to describe
their effects because they could be
| | 02:44 |
plugged into the program.
You can buy third party plugins Add them
| | 02:48 |
to the program and they become part of the
programs default special effects sets so
| | 02:54 |
we can add for instance time stretch.
Now time stretch is not going to change
| | 02:58 |
the speed of the playback its just going
to change the sound of the playback.
| | 03:03 |
And to add it to the chain, we simply
click the Add button, and you could see
| | 03:08 |
the chain building in the upper left hand
corner of the screen.
| | 03:10 |
We will also choose the Parametric
Equalizer, add that, and then we click OK.
| | 03:16 |
Once we build our chain, and you can see
now we have several effects applied to
| | 03:21 |
what's on our Timeline here.
Now, we can listen to these effects one at
| | 03:25 |
a time or we can listen to how they are
applied when they're all mixed together.
| | 03:29 |
If I want to disable effects, I can un
check the box here.
| | 03:33 |
They're still applied but we won't hear
them applied to our clip on the Timeline
| | 03:38 |
or our event.
I just want to focus on time stretch now
| | 03:41 |
and you can hear that time stretch like I
say does not literally speed up the clip
| | 03:46 |
as you would with the time stretch
controls.
| | 03:48 |
If you expand or collapse an event on your
Timeline, but it does effect the sound of
| | 03:54 |
it so that it sounds faster or it sounds
slower.
| | 03:57 |
So, here's one that makes it sound a
little bit faster.
| | 04:00 |
>>It was the epic of incredulity.
It was the season of light, it was the
| | 04:09 |
season of darkness.
>>And this one should make it sound a
| | 04:12 |
little bit slower.
>>It was the epic of incredulity.
| | 04:16 |
It was the season of light.
It was the season of darkness.
| | 04:22 |
>> Now a lot of times with, say, the
Parametric effect you may be interested in
| | 04:26 |
getting certain sounds.
For instance you can cut off certain
| | 04:30 |
levels, we can cut off for instance the
base sound.
| | 04:34 |
And we can get a sound that sounds a
little bit like someone speaking telephone
| | 04:37 |
it's called the Phone line effect.
>> It was the epic of incredulity.
| | 04:46 |
It was the season of light.
It was the season of darkness.
| | 04:48 |
>> Now we can play like I say our effects
one at a time or we can enable them all
| | 04:53 |
and see how they mix together.
This is kind of a strange mix here.
| | 04:57 |
I don't know if I'd actually use Reverb ,
Time stretch and Parametric equalizer at
| | 05:02 |
the same time.
But sometimes, whether you're working in
| | 05:04 |
video or audio, not only does it matter
which effects you have applied, but the
| | 05:09 |
order they're applied can also change how
the mix works.
| | 05:13 |
So if I drag Reverb here to the end, it
may sound completely different than when I
| | 05:18 |
dragged Reverb here to the beginning.
You can remove any effect from the chain
| | 05:23 |
simply by selecting it as I did here with
Reverb.
| | 05:26 |
And clicking on this little button here,
Remove Selected Plug-In.
| | 05:29 |
You can see now, our chain has gotten a
little smaller.
| | 05:32 |
Remove Time Stretch, now we only have the
Parametric Equalizer added to it.
| | 05:37 |
So you can add and build your chain, this
is true for video effects as well as audio
| | 05:40 |
effects and you can reorder it.
How the effects affect each other is very,
| | 05:46 |
very dependent on the order they appear in
your chain.
| | 05:49 |
You can add several audio effects to the
same event.
| | 05:52 |
You can add several audio effects to the
same track.
| | 05:56 |
Several audio effects to the same movie.
And the order you arrange them in can
| | 05:59 |
actually change how they sound together.
You can add, remove, or disable any number
| | 06:03 |
of effects on your clip, and with Vegas's
collection of audio plug-ins.
| | 06:07 |
You can simply fine tune your movie's
audio, or you can create an unusual audio
| | 06:12 |
special effect.
| | 06:13 |
| | Collapse this transcript |
|
|
8. Adding and Adjusting Video FXWays to apply video FX to your movie| 00:00 |
There is more than one way to apply video
effects to your media files in Vegas.
| | 00:04 |
You can apply the effect to a video clip
before you even add it to your timeline.
| | 00:09 |
You can apply it to a clip or an event on
your timeline.
| | 00:14 |
You can apply it to an entire video track
at once or you can apply it to your entire
| | 00:19 |
movie overall and each one of these
applications effects your video files just
| | 00:23 |
a little bit differently.
As I said you can apply an effect to a
| | 00:27 |
media file before it's even added to your
movie.
| | 00:29 |
Now a most common reason for doing this is
to correct something in your media file.
| | 00:35 |
So, for instance if I had a shaky video, a
hand held video and I wanted to stabilize
| | 00:39 |
it, I wanted to take some of the shake out
of that video.
| | 00:42 |
I could right-click and select the option
for Media Fx.
| | 00:46 |
This is going to be the original media
file itself that is going to be effected
| | 00:50 |
in our Project Media panel.
And I can apply, for instance, the
| | 00:54 |
stabilizer to it, I can also do color
correction.
| | 00:59 |
I can also sometimes add a special effect
or I can use color match to create a mood
| | 01:04 |
on this file and I may have a whole series
of files I want to give the same tint to
| | 01:08 |
that are in my Project Media panel.
And I would apply it and once I apply it
| | 01:13 |
to my media file here in my Project Media
panel, It becomes permanently attached to
| | 01:19 |
it in this project.
So, whenever I use this project media
| | 01:23 |
file, it's already going to have stabilize
applied to it.
| | 01:27 |
It's already going to have color
corrections or color adaptations made to it.
| | 01:32 |
And this is nice because the file is done.
I don't have to put it on my timeline and
| | 01:36 |
then correct it once it's on my timeline.
I can pre-apply it to the clip before I
| | 01:41 |
even add it to my timeline.
More often your probably going to be
| | 01:44 |
adding a media effect to a file when it's
on your timeline or an event and on your timeline.
| | 01:49 |
And to do that you'll simply click on this
button right here.
| | 01:53 |
This is your Event Fx button and when I
click on that, we open up our Plug-In
| | 01:57 |
Chooser, which gives us a list of the
various effects available in the program.
| | 02:03 |
By the way, this list of effects is
exactly the same as the list right here.
| | 02:08 |
Now the difference is, these can be a
little more intuitive.
| | 02:12 |
In other words, if I select, for instance
Black and White, I can see what the effect
| | 02:18 |
is going to look like on each of the
presets before I apply it.
| | 02:22 |
Alright, so in other words if I go down
here to say Wave, and I select this, I can
| | 02:27 |
see what it's going to look like when I
apply it to my movie.
| | 02:30 |
So, the effects are exactly the same
whether you drag them from here onto a
| | 02:35 |
clip on your timeline or onto an event on
your timeline.
| | 02:38 |
Or whether you select the option from the
Plug-In chooser.
| | 02:42 |
I'm going to remove Wave here by selecting
it and then clicking Remove Plug-In.
| | 02:49 |
You can also apply an effect in an entire
track at once, so if for instance I select
| | 02:56 |
this video track down here, and I click on
this button right here, this is my Track
| | 03:00 |
Fx button.
You see I have exactly the same options.
| | 03:04 |
I can select any one of these Video Fx,
and apply it to the entire track.
| | 03:08 |
So, for instance, if I apply the old Film
Effect here, there Film Effects and I
| | 03:14 |
apply it to the track, and I set it to one
of the presets, Low Quality Color Film.
| | 03:20 |
You see that it now applies to every
single video clip on that particular track.
| | 03:26 |
So, there's sometimes when you want to
apply your effect to an individual event,
| | 03:29 |
there are other times when you want to
apply it across an entire track at once.
| | 03:34 |
We're going to remove it from there.
Select this, select the effect and then
| | 03:39 |
click on the Remove Selected Plug-In
button.
| | 03:43 |
And now it's been removed from the track.
Finally you do have the option of applying
| | 03:47 |
an effect to an entire movie at once.
And you can do that by going up here to
| | 03:52 |
the top of the preview screen and clicking
this button here for the output effects.
| | 03:56 |
We have exactly the same options to choose
from our Plug-In Chooser, exactly the same
| | 04:00 |
effects are available whether you apply
them to an individual media event to
| | 04:04 |
attract or overall to your movie exactly
the same options here.
| | 04:08 |
So, for instance, if we've edited our
entire movie and then we decide at the
| | 04:12 |
very end we'd like to make it look like a
movie from 1908, we can select that option
| | 04:18 |
and then here in our presets select the
option for 1908 movie.
| | 04:22 |
And now our entire movie, the entire
timeline, I'll close this.
| | 04:26 |
No matter where I place the playhead, the
entire movie has that effect applied to it.
| | 04:31 |
Now each method for adding a video effect
has different results and affects how the
| | 04:35 |
individual media clips or events on your
timeline behave in a different way.
| | 04:38 |
In most cases, you'll probably adding your
effects.
| | 04:41 |
To the individual events on your timeline,
but it's not the only way to do it, though.
| | 04:44 |
There's some real benefits at times to
adding your effects to a raw media clip in
| | 04:49 |
your Project Media panel, to an entire
track, or to your home movie at once.
| | 04:53 |
| | Collapse this transcript |
| Applying and customizing video FX| 00:00 |
As we've previously discussed, video
effects can be applied to your video clips
| | 00:05 |
in your movie in a number of ways.
It can be applied to an individual clip,
| | 00:08 |
an individual clip while it's still in the
Project Media panel, we can pre-apply an
| | 00:13 |
effect to it.
And we can apply it to an event on the
| | 00:16 |
timeline, a clip that's already been
placed on your timeline.
| | 00:19 |
We can apply it to an entire track at once
and have it applied to every single event
| | 00:24 |
that's on that track.
Or we can apply it to our entire movie.
| | 00:27 |
A single effect.
That affects every single video in the
| | 00:30 |
entire movie.
Yet, once you apply a video effect, how
| | 00:34 |
you use it and how you customize it is
virtually the same process no matter where
| | 00:38 |
you're applying it.
Effects by the way in Vegas are refereed
| | 00:42 |
to as plug-ins.
And when I click on the option here on my
| | 00:46 |
event, for event effects, it opens up a
panel that's called the Plug-In Chooser.
| | 00:52 |
Now, Sony chooses to call them plug-ins
rather than effects.
| | 00:55 |
And you'll see the word plug-in appear a
lot with audio effects as well as transitions.
| | 00:59 |
The reason they're called plug-ins is that
they're not hard-wired into the program.
| | 01:04 |
If you look in the upper left corner of
this particular Option panel, you'll see
| | 01:08 |
that there are a number of third party
providers like New Blue for instance, who
| | 01:12 |
are providing additional special effects
for Vegas.
| | 01:16 |
There's also an OFX folder here.
OFX is open effects.
| | 01:21 |
That is a new standard that Sony helped
develop.
| | 01:24 |
And any producer out there that is
creating these special effects, if they
| | 01:29 |
create them to the open effects standard,
you can load them into Vegas and they
| | 01:33 |
become a part of the Vegas program.
And you'll have access to them as part of
| | 01:37 |
your special effects libaray.
That's a real nice thing.
| | 01:39 |
That's the reason why effects are called
Plugins.
| | 01:41 |
Now, let's go ahead and we'll choose a
plugin here from our Plugin Chooser.
| | 01:44 |
And I can choose for instance, Newsprint
and click OK and I have the option screen
| | 01:53 |
here for applying news print to this
particular event on my timeline.
| | 01:57 |
And Newsprint effect I often use the
presets, can effect things like if you
| | 02:02 |
watch the preview window you can see that
it can kind of make it look like an old
| | 02:06 |
newspaper photo.
A low quality newspaper photo really
| | 02:09 |
zoomed in with pure black and white here
or color zoomed in.
| | 02:12 |
And you can get a unique effect with that.
Let's set this just to default right now.
| | 02:18 |
And I'm going to close this window.
You have options also to apply video
| | 02:23 |
effects from this Video Effects Preset
menu.
| | 02:26 |
And the presets are here under this tab in
the upper left hand corner of the program.
| | 02:32 |
In the tabbed interface, you can find a
list of video effects.
| | 02:35 |
These are exactly the same as the effect
you'll get in the Plug-in Chooser.
| | 02:38 |
The only difference is that they include
nice little thumbnails here to give you an
| | 02:43 |
idea of what the effect does.
So, when I click Border, for instance, you
| | 02:47 |
can see that it actually creates a border
around the outside of my video.
| | 02:51 |
If I select for instance Black and White,
obviously it's going to change my video to
| | 02:57 |
black and white and you see we have a wide
variety of these.
| | 02:59 |
These sometimes are more intuitive to use
because you can actually look at what the
| | 03:04 |
effect looks like and you can decide
whether or not you want to apply it.
| | 03:07 |
It doesn't matter whether you add the
effect to your event or to your track or
| | 03:11 |
to your movie by selecting it by clicking
on the Event Effects button on an
| | 03:16 |
individual clip or you select it from the
Video Effect window.
| | 03:19 |
Either way, it's exactly the same set.
And it's just up to you, whichever one you
| | 03:23 |
feel more comfortable with.
Going to choose Film Effects also.
| | 03:26 |
The reason why I choose Film Effects, it's
one of my favorites, because it's a real
| | 03:30 |
easy one to see what the results are going
to be.
| | 03:32 |
And you can see you have the option of
Aerial Film.
| | 03:35 |
Take a look at these presets here.
When I apply them to my clip or to my
| | 03:39 |
event on my timeline.
And this opens up.
| | 03:42 |
You notice that at the top of the panel I
have a Preset menu.
| | 03:46 |
And these presets are identical to the
presets that are listed there in the Video
| | 03:53 |
Effects window.
So, either way you get access to exactly
| | 03:56 |
the same presets.
One just shows you a thumbnail preview of
| | 03:59 |
what it will look like.
One thing that's unique to Vegas is that
| | 04:03 |
any changes you make, or any adjustments
you make to any effect in this Option
| | 04:07 |
panel, these changes are immediately
applied.
| | 04:10 |
You don't have to click an OK button or
Cancel or Apply.
| | 04:13 |
Any changes you make will be immediately
applied then to your video.
| | 04:18 |
So, if you take a look at the preview
screen.
| | 04:19 |
When I increase, for instance, grain you
see that that's immediately applied to the video.
| | 04:24 |
If you add several effects to the same
clip, or to the same track, or to the same
| | 04:29 |
event, or to the same movie, they will
appear in a chain.
| | 04:33 |
And you can see that I have a chain of two
effects in addition to pan and crop at the
| | 04:38 |
top of my panel right now.
To add an additional effect to that chain,
| | 04:42 |
I simply click on the Plug-In Chain
button.
| | 04:45 |
Brings me back out here to my Plug-In
Chooser.
| | 04:48 |
I can choose for instance Gaussian and
Blur.
| | 04:50 |
I can click Add.
And you can see the chain growing in the
| | 04:54 |
upper left corner of this panel.
And when I click OK, now I have a third
| | 04:58 |
effect applied.
And I can disable or enable each of the
| | 05:02 |
individual effects by unchecking.
They still remain applied to, just not activated.
| | 05:08 |
Or in other words, they are disabled.
They are not enabled right now.
| | 05:11 |
So, I can focus on just one individual
setting and two adjust the setting for any
| | 05:16 |
one effect all I need to do is just click
on it.
| | 05:18 |
So, here are the settings for Newsprint,
here are the settings for Film Effects and
| | 05:21 |
these are the settings for Gaussian Blur.
To remove an effect from the chain, I
| | 05:25 |
simply select it in the chain, as I've
done with Gaussian and Blur.
| | 05:28 |
And I click the Remove Selected Plug-In
option, and so I can strip it back down to
| | 05:33 |
the single event.
Vegas comes bundled with over 60 Sony
| | 05:38 |
produced video effects, and these cover
the gamut from having your movie look like
| | 05:43 |
and old movie.
To effects for blurring or pixelating your
| | 05:46 |
videos to effects for correcting or
adjusting your movie's color levels.
| | 05:49 |
In additions, if you've got other VST
plugins or OFX plugins that are produced
| | 05:54 |
by third-party companies installed on your
computer.
| | 05:56 |
These are from companies like New Blue or
Red Giant.
| | 05:59 |
The program will find them and it will add
them automatically, so they become a part
| | 06:04 |
of your video effects library.
Isn't that cool?
| | 06:06 |
And in our next couple of movies, we're
going to take a look at two of the most
| | 06:08 |
powerful effects in the basic set here
that Sony provides for you.
| | 06:12 |
And we're going to show you how to use
them to make professional style
| | 06:14 |
improvements or changes to your video.
| | 06:17 |
| | Collapse this transcript |
| Looking at the color correction tools| 00:00 |
Some of the video effects you'll be using
can make your movie look unreal or surreal.
| | 00:04 |
While others can create a fantasy world
and make the fantasy world seem real.
| | 00:08 |
Others like the Vegas Color Correction
tools are designed just to make the video
| | 00:12 |
you've shot look better.
Improve the color or fix the mistakes in
| | 00:15 |
the way your camcorder interpreted a scene
or you can manipulate the color of the
| | 00:19 |
scene to create a specific mood.
Those are some of the things we want to do
| | 00:23 |
here with color correction.
There are a number a color correcting
| | 00:25 |
tools built into Vegas Pro.
Some of 'em are very high-level
| | 00:29 |
professional tools.
A lotta people will use what they see in
| | 00:32 |
the monitor.
In the little preview here to decide how
| | 00:36 |
the color is corrected, or if the color
needs corrected.
| | 00:39 |
And if you've got a good eye for that,
your monitor is well-adjusted.
| | 00:42 |
That may be good enough.
A lot of professionals prefer to use a vectorscope.
| | 00:46 |
In a vectorscope, you could see your
vectorscope if you go to the View menu.
| | 00:50 |
You can find it under Video Scopes,
there's a vector scope.
| | 00:53 |
You can also switch the entire program
here into sort of color correction mode by
| | 01:00 |
selecting that option from Window's
layouts.
| | 01:02 |
There's a nice big vector scope for you.
And a vector scope is basically a map of
| | 01:07 |
the frame that you have chosen.
And that map shows you cluster of all of
| | 01:12 |
the pixels in your picture and where they
fit, and you can see at the top we have red.
| | 01:17 |
This is a color wheel basically.
Then we have yellow off to the left and
| | 01:21 |
down at the bottom we have cyan, and off
to the right we have blue.
| | 01:24 |
And you can see this particular frame kind
of tends more towards blue and cyan.
| | 01:30 |
And my guess, it was probably shot that
way.
| | 01:32 |
That the director decided to shoot during
twilight or maybe they used a filter on
| | 01:36 |
the camera.
Because this scene doesn't look like bad
| | 01:39 |
color, it looks like it was intentionally
shot kind of blueish.
| | 01:42 |
But we can play withthe color correction
tools anyway.
| | 01:45 |
And see what we can do with it.
So our color correction tools can be
| | 01:48 |
found, some of them, under the video
effects tab here in our tabbed interface,
| | 01:53 |
and there are a couple major color
correctors.
| | 01:55 |
There's a primary color corrector right
here.
| | 01:57 |
And we'll just adjust this, and grab one
of these, and drag it onto the event under Timeline.
| | 02:02 |
Now you can see that we have three
different color wheels.
| | 02:04 |
I'm going to switch over to custom view so
you can see them side by side.
| | 02:08 |
And they represent both the low end, which
is the darkest pixels in your scene.
| | 02:13 |
The mid range, which are sort of your
middle, your gray pixels.
| | 02:17 |
And then the high end, which is the higher
end or the brightest colors that are in
| | 02:22 |
your particular scene.
And by adjusting these I usually start
| | 02:25 |
with mid range, you can take some of the
cast out of a scene.
| | 02:29 |
You know now I'm going to shift this less
blue and more toward yellow, and you can
| | 02:33 |
see how it's changing the scene.
I'm only adjusting the mid range of the
| | 02:36 |
color but look at the effect that it's
having here on my vector scope map.
| | 02:40 |
Can you see how it's changing the entire
map here?
| | 02:42 |
And then I adjust the low, move that over
into yellow more, and then we'll adjust
| | 02:47 |
the higher range.
And then I'm going to bring down the gamma.
| | 02:51 |
We'll bring up the gain to kind of give a
little more vibrancy to the picture, maybe
| | 02:55 |
increase saturation a little bit.
And we may not have improved the picture
| | 03:00 |
or made it perfect but we've certainly
corrected some of the color here.
| | 03:03 |
And if you'll look at the map there in my
vector scope you can see that the map
| | 03:07 |
shows a much more evenly spread map of
pixels.
| | 03:11 |
And we can look at here if you look in the
Preview window by disabling the effect you
| | 03:15 |
can see the before and the after.
Not necessarily an improvement but
| | 03:18 |
certainly a color correction and it's one
of the ways to do a color correction.
| | 03:22 |
There are a couple of other ways to do it,
another simple way to do it and one of my
| | 03:25 |
favorites is to use the white balance.
This is a fairly automatic way to adjust a scene.
| | 03:31 |
So, I'm going to go to the next scene
here.
| | 03:34 |
The next event on my timeline.
We have a man standing in front of a board.
| | 03:38 |
And this is nice, because the board, in my
mind, should be white.
| | 03:42 |
So all I've got to do is figure out what
adjustments I need to make to make that
| | 03:46 |
board white, and I'll have the scene color
corrected.
| | 03:49 |
So if we were to grab the white balance,
and I'll just grab the default preset,
| | 03:52 |
drag it down on to the clip or on to the
event on my Timeline.
| | 03:56 |
And this like I say is a fairly automatic
effect.
| | 04:00 |
In order to correct my color, all I need
to do is click on the Select White Color
| | 04:04 |
button and use the eye dropper.
To select a pixel or to select an area of
| | 04:09 |
my picture that I think should be pure
white, white, white.
| | 04:12 |
So when I click right now, so now I have
selected the board and said make this
| | 04:17 |
white, white.
And when it does it automatically corrects
| | 04:20 |
all the other colors in the image here.
I'm just going to open back up the option
| | 04:25 |
panel so we can do a before and after
comparison.
| | 04:27 |
Just disable the effect for a second and
see very, very bluish and it may well have
| | 04:31 |
been shot that way.
They're trying to make this character look
| | 04:34 |
a little bit spooky, so I think they're
shooting him In sort of a bluish tint.
| | 04:38 |
And you can see when we white balance it,
it very, very much changes the mood of the scene.
| | 04:43 |
Finally, there are color matching
templates and I'm going to move my play
| | 04:48 |
head now so that I'm on the final event
here on my Timeline.
| | 04:52 |
And let's go to color match.
And I'm going to select from color match
| | 04:56 |
just the default.
Drag it onto that clip on the Timeline,
| | 04:59 |
that event on the Timeline.
Now color matching can be used as you
| | 05:03 |
might guess to match the color scheme, or
to match the color mood, of another clip.
| | 05:09 |
You can do that simply by clicking on this
option here.
| | 05:12 |
And browsing to the clip that has already
been color corrected out on your hard drive.
| | 05:18 |
So I can do it that way.
I can cut and paste into this a scene that
| | 05:23 |
I'd like this to match the color scheme
for.
| | 05:25 |
Or I can simply choose from a number of
presets.
| | 05:28 |
And these presets are up here in the
drop-down menu at the top.
| | 05:31 |
And you can see, I can create different
moods depending on which preset i choose.
| | 05:36 |
So pastels, this is a little bit rich here
of course.
| | 05:38 |
But I can drag down the strength here, and
I can get sort of a "pastely" sort of
| | 05:43 |
Florida sunrise look or I can select inner
city.
| | 05:47 |
And get something a little more dead and a
little more kind of haunting.
| | 05:51 |
I can select Morning Sunrise.
Very nice night sky, to give it kind of a
| | 05:57 |
twilight sort of mood, or South Pacific
sunset.
| | 06:00 |
Let's decrease the strength on that a
little bit there's our self pacific sunset
| | 06:05 |
and finally teal and orange to get us a
real nice Miami vice look.
| | 06:09 |
So, anyway lots of cool things you can do
with your color you can correct it, you
| | 06:14 |
can add a mood with your color.
Color correction and manipulation is an
| | 06:18 |
art though.
Some of the higher level tools, like Color
| | 06:21 |
Curves and the Color Corrector, can take
years to master.
| | 06:24 |
But fortunately, as with most of the
program's tools, there are simpler color
| | 06:27 |
correction tools and there are more
advanced, more professional style tools.
| | 06:31 |
So basic color correction and manipulation
is fairly simple.
| | 06:34 |
As you grow with the program, or you need
more professional tools, you'll find that
| | 06:38 |
it offers deeper and more power tools in
it's tool set also.
| | 06:42 |
| | Collapse this transcript |
| Using the chroma keyer effect| 00:00 |
The chroma key here is one of the most fun
effects in the whole Vegas video effects set.
| | 00:04 |
With it we can take a video shot with a
smooth, usually green or blue background,
| | 00:08 |
and we can make that background
transparent, so that we can make an actor
| | 00:11 |
look like he or she is in any real or
imagined, place in the universe.
| | 00:15 |
This is the key effect for virtually every
science fiction or fantasy movie Hollywood
| | 00:19 |
turns out.
The most important thing when you're
| | 00:22 |
creating a chroma key effect is a well
shot, key shot.
| | 00:26 |
And here we've got our chroma key, this
man was shot in front of a green screen.
| | 00:30 |
Just going to open it here in our trimmer,
so you can have a look at it.
| | 00:34 |
And you can see this is very nice.
Notice the background, the green screen,
| | 00:38 |
very, very smooth.
And notice that the actor in the
| | 00:40 |
foreground is well lit.
There are no shadows, there are no
| | 00:43 |
wrinkles, there are no hot spots on the
background.
| | 00:46 |
So, the smoother and the more even the
color of the background, the better.
| | 00:50 |
Now, it doesn't matter whether you use
green or blue.
| | 00:51 |
Blue was the original.
Color that was used to create chromakey.
| | 00:55 |
It fell out of favor as people start to
wear more blue clothes.
| | 00:58 |
But you can use blue, you can use green,
you can use virtually any color to create
| | 01:02 |
a chromakey effect.
And so what we're going to need are two
| | 01:04 |
things to create our effect.
One is that we're going to need a good
| | 01:07 |
well shot, key shot, which we have here.
And then we're going to need a new background.
| | 01:12 |
On my particular case I'm using a still
photo for a background.
| | 01:15 |
You could also use, certainly, live video.
And you see that used a lot on television
| | 01:20 |
programs and movies.
Right?
| | 01:21 |
Then we'll drop that down on my first
video track.
| | 01:25 |
My photograph.
There it is.
| | 01:26 |
You can see it in the preview window.
And we'll take our chromakey picture and
| | 01:30 |
I'm going to drag it to the track right
above it.
| | 01:33 |
If, when you place, the chromakey clip on
your timeline, your video that's or your
| | 01:38 |
photo that's on the lower video track
moves aside it may be because you have
| | 01:43 |
your auto ripper turned on.
Turn it off right now so that you can add
| | 01:46 |
these two clips right above the other.
And then I'm going to take the vent that's
| | 01:49 |
on the lower track, I'm just going to
expand it.
| | 01:52 |
Now, it's because it's a photo, I could do
that.
| | 01:54 |
If this were a video, of course, you'd
have to make sure that you actually had
| | 01:57 |
enough video to serve as the background
for your key clip.
| | 02:02 |
So, once we've got these two pieces in
place on our timeline, it's just a matter
| | 02:06 |
of applying the effect to it.
And we can apply it of course either by
| | 02:09 |
launching our Plug-In Chooser by clicking
the Event Effects button, or clicking on
| | 02:14 |
the Video Effects tab here in our tabbed
interface.
| | 02:17 |
Let's go to the Chroma keyer.
There it is and you can see that they have
| | 02:21 |
some that are preset to certain colors.
As with any preset, it doesn't matter,
| | 02:25 |
which you choose.
You can select it or you can select the
| | 02:29 |
preset once you've placed it on a timeline
and right now it's set to default.
| | 02:33 |
We want to set it to green screen and you
can see it does a decent job at its
| | 02:37 |
default settings.
But its not clear its not clear through
| | 02:42 |
and if I were to show you let me hold down
the Ctrl key so this doesn't drop into any space.
| | 02:47 |
If I were to solo that backtrack you can
see this is how the background should look
| | 02:51 |
this is how it looks.
So, I don't think I'm getting a good clean
| | 02:54 |
Chroma key there yet.
Let's set this back to default, and move
| | 02:58 |
this panel off to the left.
Now, I can choose a new color or a color
| | 03:02 |
from my background by selecting it from my
Color picker here.
| | 03:05 |
But the easiest way to do it is to simply
click on my Sampler.
| | 03:09 |
That's this little eyedropper here.
And then use the eye dropper to sample the
| | 03:13 |
green background.
That's much better except now we can't see
| | 03:17 |
the poor guy.
What we've done is we've used such a wide
| | 03:20 |
range of color here, or we've selected a
color that now he's completely wiped off
| | 03:24 |
the screen.
So, we're going to have to do some
| | 03:25 |
adjustments here to our chroma key.
At least we have the key color set
| | 03:29 |
perfectly for our background and here's
how I recommend you set or make the fine
| | 03:35 |
tuning adjustments for your Chroma keyer.
I recommend you check this box here that
| | 03:38 |
says Show Mask Only on the options screen.
This is going to show you what the key
| | 03:44 |
effect will not remove, and so it's best
to put that in there, and then to adjust
| | 03:49 |
or fine-tune low threshold and high
threshold until we can see the mass of
| | 03:55 |
what we want to see.
And then we see transparency all around,
| | 03:58 |
and let me show you what I mean by that.
Maybe just take the low threshold slider
| | 04:02 |
and watching in the Preview panel, we'll
lift it up.
| | 04:04 |
I can't really go much higher than that
with the low, let's try bringing down the high.
| | 04:09 |
And as I bring it down we see more of our
actor being masked.
| | 04:13 |
We want to not see any transparency
through him.
| | 04:16 |
I gotta bring up low a little bit.
As I bring these two closer and closer
| | 04:20 |
together now we're just about as good and
we're going to get, there we go.
| | 04:24 |
Now, we have our actor masked, in other
words this indicates that we'll see
| | 04:28 |
keying, a good clean key all around our
actor.
| | 04:31 |
But yet, our actor is not transparent at
all, we're not seeing anything through him.
| | 04:35 |
And then I can turn off the mask, and I
can do just some fine tuning.
| | 04:39 |
Maybe what I'll do, is just put a very
fine blur, not too much.
| | 04:42 |
Just enough so that he looks natural in
front of the background.
| | 04:45 |
And I think we've got a pretty good key
effect.
| | 04:47 |
Let's play it on the timeline.
Move the play head back to the beginning.
| | 04:50 |
And just going to press the L button and
let's see how nice this looks.
| | 04:53 |
That's a pretty good looking key.
He looks like he's really out there,
| | 04:58 |
doesn't he?
Very, very nice.
| | 05:00 |
The chroma key here that comes with Vegas
is a very simple one, yet it's usually
| | 05:04 |
tremendously effective too.
But remember how well any chroma key
| | 05:09 |
effect works though is going to depend an
awful lot on the quality of your green
| | 05:13 |
screen or blue screen shot.
Remember, the more evenly colored your
| | 05:18 |
background and the better the lighting of
your entire shot, the better your chroma
| | 05:22 |
key effect is going to be.
| | 05:24 |
| | Collapse this transcript |
|
|
9. Adding TitlesAdding and customizing titles| 00:00 |
There are a couple of ways to add texts or
titles to your movies.
| | 00:03 |
The most basic and simplest are to use
titles and text, or legacy text, media
| | 00:08 |
generators, and they are listed under the
media generators tab there in our tab
| | 00:12 |
dinner base in the upper left corner of
the program.
| | 00:15 |
Titles and text is what Sony created as
just sort of a basic title creator for the program.
| | 00:20 |
So, let's add a title above the clip
that's on the timeline now, or the event
| | 00:24 |
that's on the timeline now.
To do that, let's create a video track
| | 00:27 |
above it.
I'll just right click here and select the
| | 00:30 |
option to insert video track, I've got a
place to put it.
| | 00:34 |
Titles and text is the default value for
creating titles.
| | 00:38 |
So, if I want to, I can just right click
and select insert text media, and it will
| | 00:43 |
create a titles and text title for my
timeline.
| | 00:46 |
There it is.
You can see it dropped it into the
| | 00:48 |
timeline here.
I'm going to hold down the Control key
| | 00:50 |
because that thing doesn't try to get
inside one of my windows.
| | 00:53 |
There it is.
I'm going to position my play-head over
| | 00:57 |
it, so that I can see what I'm doing in
the Preview window.
| | 00:59 |
I'll move this over to the side.
Now, Titles and Text comes with a number
| | 01:03 |
of presets.
And if you want to preview what any of
| | 01:06 |
those presets look like, they're in the
Media Generator's window.
| | 01:09 |
I'll close this for now.
You can just hover your mouse over it, and
| | 01:12 |
you'll see what each one of those
animations do.
| | 01:14 |
Some of them are very, very cool.
These same options are available right on
| | 01:22 |
the Option panel, and I can get to that by
clicking on Generated Media button here on
| | 01:26 |
my clip.
I'm back in here (INAUDIBLE) my title
| | 01:28 |
generator, and you'll see I have exactly
the same options available here as I have
| | 01:32 |
listed as presets on the media generators
window.
| | 01:35 |
If you're going to use one of these
though, select the animation before you
| | 01:39 |
start typing in your title, because if you
don't, it's going to overwrite your title
| | 01:43 |
with the name of the animation.
So, for instance, if I choose Dropping
| | 01:46 |
Words, it replaces whatever I've typed in
there already with the words Dropping Words.
| | 01:51 |
So, select your animation first.
I'm going to move the play-head just a
| | 01:55 |
little farther down the clip here, because
this animation brings the text in, one
| | 02:00 |
word at a time.
So, I want to make sure that I can see the
| | 02:02 |
entire title as I'm working on it.
Hold down the Ctrl key, and I'll move this
| | 02:06 |
off to the side, and now I can customize
my title.
| | 02:08 |
And I can call it, for instance, my big
movie.
| | 02:11 |
And I can change the font by just
selecting it.
| | 02:15 |
Selecting font from here for instance, I
can make it bold if I like.
| | 02:19 |
I can change the text color here by using
the color picker.
| | 02:27 |
I can if I'd like add a drop shadow and an
outline to it.
| | 02:32 |
And under the Advanced Options here, I can
choose whether or not it has a transparent background.
| | 02:37 |
When you a little checkerboard like this,
that means it's transparent.
| | 02:40 |
That's why we can see the video behind the
title, right now.
| | 02:43 |
I can of course change that background.
I can change the alpha level, which is the
| | 02:47 |
transparency, just by moving this slider
here.
| | 02:50 |
And I can make it whatever color I'd like.
I do like it transparent, so, I'm going to
| | 02:54 |
keep the alpha level at that level so that
now it's transparent.
| | 02:57 |
And that's pretty much it.
Let's take a look at my animation, let's
| | 03:00 |
take a look at my title.
I'm just going to press the Home button to
| | 03:03 |
get to the beginning of the timeline and
press L to play it.
| | 03:10 |
That's a nice little animation there.
Suppose I wanted it to take longer.
| | 03:14 |
I want it to be on screen longer, and I
wanted the animation to happen more slowly.
| | 03:17 |
I can do that by lengthening the event.
If I were to just stretch the event
| | 03:23 |
though, notice that doesn't actually
change the length of the event.
| | 03:26 |
It'll little notch up there at the top.
That tells me that's where it ends.
| | 03:30 |
What I'm going to see if I were to play
this is that it's going to get to the end,
| | 03:34 |
and it's going to repeat.
It's going to show me the animation all
| | 03:37 |
over again.
And that's not really what I want.
| | 03:38 |
There are a couple of ways to change the
length of a generated media clip on your timeline.
| | 03:43 |
Let's open to the Generated Media option
panel again, and I can manually change it
| | 03:47 |
to a certain value.
Right here under duration at the top of
| | 03:50 |
the screen, and change it into ten seconds
for instance.
| | 03:53 |
And when I close the window, now I can
drag this out to about ten seconds before
| | 03:57 |
I see that notch.
And now, if I were to play this, of course
| | 04:00 |
the animation is going to happen much more
slowly.
| | 04:06 |
Another way to do it is I can expand the
event on the timeline.
| | 04:09 |
And if I click to open back up, the Media
Generators option screen, I can click on
| | 04:14 |
this option over here at the top right of
the screen to match event length.
| | 04:18 |
Now, the program will automatically expand
the running time of this particular
| | 04:23 |
animation, so, it's the same length as
I've stretched the event out on my timeline.
| | 04:27 |
When I click on this, you can see now
duration's changed to about 14 and 2 3rds seconds.
| | 04:33 |
There it is on my timeline at that length.
Let's just click on here to send it back
| | 04:38 |
to begin the timeline, when I click play
or press the L button You can see that now
| | 04:43 |
my animation is very, very slow.
You may notice, if you look at the Media
| | 04:53 |
Generator's panel that this is Titles and
Text tool is just one of four ways to
| | 04:57 |
create titles and text for your movies.
In fact, it is one of five ways if we
| | 05:01 |
include the legacy text area.
And we're going to take a look at how each
| | 05:04 |
one of these tools works, in some of our
upcoming movies.
| | 05:07 |
But this tool is probably the simplest to
use, and that's not a bad thing by any
| | 05:11 |
means because this tool does a lot.
| | 05:13 |
| | Collapse this transcript |
| Adding a rolling or scrolling title| 00:00 |
Among the templates, Vegas includes for
creating titles are presets for creating
| | 00:04 |
animated rolling titles.
These are titles that roll up the screen,
| | 00:07 |
as with the titles and text media
generators, they're fairly simple to use,
| | 00:11 |
yet they're easily customizable.
There are even some tools in this media
| | 00:15 |
generator for building some interesting
animations beyond simple rolls or scrolls.
| | 00:19 |
You'll find him here on the Media
Generator's panel under Credit Rolls.
| | 00:22 |
And you can see, there are a number of
presets in there, preview any one of them
| | 00:26 |
by hovering your mouse over them.
Let's go ahead and we'll just drag plain
| | 00:29 |
scrolling on black, and I'm going to drag
them to where there is no video track,
| | 00:33 |
right above my current event.
And a video track is automatically
| | 00:36 |
created, if I move this off to this side.
I'm holding the Ctrl key as I move it so
| | 00:39 |
that it doesn't drop into any windows.
And you can see that my rolling title has
| | 00:43 |
been added here on a new track that was
created.
| | 00:45 |
You notice on the media generator that
there are three basic text styles on here.
| | 00:51 |
There's the header style, that is bold
text in this particular case, that's where
| | 00:55 |
it says title text there in the preview
window.
| | 00:57 |
There's also a sub-item text, which is
essentially the same font except in this
| | 01:01 |
case it's not bold-faced.
And then there are titles that go left
| | 01:05 |
item and right item.
And these are essentially two columns and
| | 01:08 |
they have a variety of styles that you can
set them to, so that you can get any look
| | 01:12 |
you want.
But those are three different text styles
| | 01:14 |
that you can use.
By the way, every one of those presets,
| | 01:17 |
every one of those rolling animations that
are available on the media generator
| | 01:21 |
screen, are of course available under the
Preset menu here too.
| | 01:24 |
But we're going to go with just kind of a
plain scrolling text on black here, for now.
| | 01:29 |
Now these three text styles could be
customized any way you want, and you can
| | 01:33 |
go over do that under the Styles tab, over
here on the right side of the panel.
| | 01:37 |
And you can see right now, let me lighten
this a bit for you, we are working on the header.
| | 01:42 |
Right now it is set to Arial, boldface 20,
we can change that if we want to Balhaus
| | 01:49 |
93 28 if we'd like.
We can control how much space above and
| | 01:54 |
below there is, and I'm going to decrease
the space below it.
| | 01:58 |
And I can select Single Item.
It will make about about 93, 24, and
| | 02:04 |
finally, we'll go with our dual item here.
And I kind of like my left styles to be
| | 02:09 |
left justified.
And I like my right styles to be right justified.
| | 02:14 |
And you have the option here of not only
tracking how tight they are, and how much
| | 02:20 |
space there is between them, but you also
have ways of connecting them.
| | 02:23 |
You can add for instance dots or dashes to
connect them like this.
| | 02:27 |
We should probably make that Balhaus 93
also, right?
| | 02:29 |
I'm going to make the left textiles bold
and the right textiles art bold, though
| | 02:33 |
you can't really see it here.
I do have the option also, I have the
| | 02:36 |
background color set to black, but if you
want you could bring the alpha down here
| | 02:40 |
and make it fully transparent, if you'd
like.
| | 02:42 |
We'll make it fully transparent.
And now we can see our actors behind our
| | 02:47 |
rolling text.
Now for my custom text, I would type it
| | 02:50 |
right here, so I can just double-click on
that and call it The Road Home.
| | 02:54 |
For my sub item I can say, A Steve
Grisetti Production.
| | 03:02 |
And now when it comes to adding these
individual lines here, I'm just going to
| | 03:05 |
delete this one here.
And rather than manually type in the names
| | 03:10 |
of all of my actors and all of the
characters they played, I can import them.
| | 03:14 |
And I can do that by just selecting this
left and right option here, and then going
| | 03:19 |
up here to the top where it says, import
text from a text file.
| | 03:21 |
Now, what I have for a text file is a txt
file.
| | 03:25 |
It's not a word doc, it is a plain basic
txt file with a tab in between the name of
| | 03:31 |
the character and the name of the actor.
Now, I could just click the Select that,
| | 03:35 |
and now if I go out here to where my
exercise files are in my project assets,
| | 03:39 |
there it is.
It's just a txt file called credits, and
| | 03:42 |
I'll open it up and when I do, it
automatically imports all of those names.
| | 03:47 |
And so when I come back here to my screen
you can see that automatically gives me
| | 03:51 |
the names of each actor and the characters
they played, gave me an extra window down
| | 03:55 |
here at the bottom, which I will delete.
And now I have my rolling titles, isn't
| | 03:59 |
that cool?
It automatically imported everything in
| | 04:01 |
there and just the tab in between them was
enough to tell the program, which was the
| | 04:05 |
left and which was the right object on my
dual item menu.
| | 04:09 |
And now I can test drive this, so lets go
ahead and close this screen.
| | 04:12 |
It's usually rolling titles go by pretty
fast the first time you create them,
| | 04:16 |
'cause they're only by default ten seconds
long.
| | 04:19 |
But let's see how it looks, press the L
key.
| | 04:21 |
That's not too bad a speed.
That does go by just a little bit quickly.
| | 04:28 |
We can change that speed by changing the
length of the event on our timeline.
| | 04:33 |
Now, we can't just stretch it out.
If we stretch it out, you see we end up
| | 04:36 |
with this notch right here.
That notch is an indicator that we've
| | 04:39 |
reached the end of the clip, and when we
get to the end of the clip, if we keep
| | 04:43 |
playing we go back to the beginning of the
clip again.
| | 04:45 |
That's not really what we want.
We want our clip to be longer and slower.
| | 04:49 |
There are two ways to do that.
I'm just going to resize this back, so its
| | 04:52 |
actual size.
We'll open up the Media Generators >
| | 04:54 |
Options panel again.
And I could manually change this to 15
| | 04:58 |
seconds, right?
And now when I close this, I can widen
| | 05:02 |
this out until I get to the notch.
There's the notch.
| | 05:06 |
Now, it's a 15 second credit roll.
And you'll see it goes a little bit
| | 05:09 |
slower, when I press the L key.
I also have the option of deciding in
| | 05:17 |
advance how long I want my titles to roll,
by stretching out my clip here, in my
| | 05:22 |
event on the time line.
Even though, it's now longer than the
| | 05:26 |
actual clip, which is indicted by that
little notch at the top.
| | 05:30 |
I can go back in here to Media Generators
and click this button here which is Match
| | 05:34 |
Event Links.
It will automatically extend or contract
| | 05:37 |
the clip, so that now it's 19 seconds and
10 frames, so that it fits the exact
| | 05:42 |
length that you have the event stretched
out on your timeline.
| | 05:45 |
And this should be a pretty slow rolling
title at this point, right?
| | 05:50 |
Nice and slow, nice and leisurely.
The Credit Roll Media Generator is another
| | 05:55 |
easy to use, semi-automatic, but fairly
powerful way to create your titles in Vegas.
| | 06:00 |
It's really pretty simple.
You just put things into the the template.
| | 06:03 |
You just drop in the text.
You customize it as much as you like, and
| | 06:06 |
you're done.
But like most tools in Vegas, there's a
| | 06:08 |
surprising amount you can do to customize
its look and customize its feel.
| | 06:12 |
So that it meets your specific needs.
| | 06:14 |
| | Collapse this transcript |
| Using the ProType Titler| 00:00 |
The Pro-typeTitler is one of the most
advanced ways of creating titles for your
| | 00:04 |
Vegas movie project.
As with any media generator its got a
| | 00:07 |
package of easy to use presets for any
animations.
| | 00:10 |
But in the pro-type titler you have much
more control over exactly how these
| | 00:14 |
animations behave.
And you can get pretty specific in
| | 00:16 |
creating your titles, animations, and
effects.
| | 00:19 |
So the pro-type titler here on our media
generators, and you can see we do have a
| | 00:22 |
couple of basic presets.
I'm going to drag one of the presets down
| | 00:26 |
in my Timeline right above the existing
event on the Timeline, where there is no
| | 00:31 |
video track.
And you can see that it automatically
| | 00:34 |
creates a video track for me and it places
my title right on the Timeline.
| | 00:37 |
Let's reopen that window, this isn't like
any media generator workspace you'll see.
| | 00:42 |
In fact,it kind of looks a little bit
light After Effects, or Motion, if you've
| | 00:46 |
used either of those, this workspace
should look somewhat familiar.
| | 00:49 |
We can select the texture in the middle
and if I double-click on it I go into text
| | 00:53 |
edit mode so I can select it all with Ctrl
+A and I can call this My Big Movie.
| | 00:59 |
While I'm in Text Edit mode here I can
select my font.
| | 01:02 |
I can select, Style, I can select the
color of the font.
| | 01:05 |
I can select if it has a stroke round it.
Or any of these other things that are
| | 01:09 |
available here in basic text.
To get out of Text Edit mode, I click on
| | 01:14 |
the red bar at the top here or just press
the Esc key on the keyboard.
| | 01:17 |
And when I'm here, I'm in animation mode.
Now an important thing to note is that you
| | 01:23 |
have the option of animating the entire
block of text.
| | 01:26 |
Which Sony calls a paragraph or I can add
my animation to an individual word if I
| | 01:32 |
use this down arrow here at the top of the
screen and click on that.
| | 01:36 |
Now my animation will apply to a single
word.
| | 01:39 |
And once I create an animation, I can set
it to cascade.
| | 01:42 |
In other words, that animation will apply
to the first word, then the second word,
| | 01:46 |
then the third word.
Or if I click on this down arrow again, I
| | 01:49 |
can set it to select an individual letter
and any animation I create will cascade down.
| | 01:55 |
It will roll down to the other letters
that are here on display in my title.
| | 01:59 |
Let me show you how that works.
Let's go to an easy effect.
| | 02:03 |
Going to select Gaussian Blur.
Put a little check mark in there.
| | 02:06 |
I'm going to turn on the key framing or
toggle the animation here for vertical and
| | 02:11 |
horizontal blur.
I'm just going to blur it completely.
| | 02:14 |
Like that.
And you notice that it creates these
| | 02:18 |
little blurred key-frames, for the letter,
the character M down at the bottom of the
| | 02:23 |
screen on my Timeline.
Going to move the playhead out, to about a
| | 02:27 |
second in, and I'm going to then, take
these sliders and slide them back down to zero.
| | 02:32 |
And now my text is in focus.
What I've basically created is a simple
| | 02:35 |
animation where I go from, as you can see
as I scrub through, from blurry to my
| | 02:40 |
letter coming into focus.
I can now cascade that by turning on the
| | 02:44 |
option to cascade that effect through my
letters.
| | 02:47 |
And if I select that option cascade, so in
my cascade settings I can set how much of
| | 02:53 |
a delay there is between each of the
letters showing this effect in this case
| | 02:57 |
it's twenty frames for about two thirds of
a second.
| | 03:00 |
Or even I can set them at a random.
And if I just double-click on here to
| | 03:04 |
create a couple of key frames and then
drag these up and down.
| | 03:11 |
Now I'm seeing let's just randomly have
this cascade down through the various letters.
| | 03:16 |
And you can see what my animation looks
like.
| | 03:18 |
And now it will be applied to a single
letter.
| | 03:20 |
And then you'll see after the m comes into
focus, the other letters will come into
| | 03:24 |
focus, too.
Let's go ahead and play that and you'll
| | 03:26 |
see it.
You see how I kind of randomly brought
| | 03:30 |
each letter in.
The effects sort of cascaded from the
| | 03:33 |
first letter to the other letters kind of
randomly in the effect.
| | 03:37 |
Now that's one way to do it.
You can create your animation completely
| | 03:40 |
manually, and you can create animations
for the opacity, or for the blur.
| | 03:45 |
Or for the glow or the drop shadow if
you'd like.
| | 03:47 |
And of course there are animations you can
create for scale to make things come
| | 03:50 |
nearer or farther from you.
As well as rotating and as well as
| | 03:54 |
creating a sheer effect, you can do that
also but I'm just going to delete this
| | 03:59 |
right now completely.
And I want to show you a simpler way to do it.
| | 04:06 |
The program comes with a set of presets
that are in a collection.
| | 04:09 |
And right here is our set of collections.
I want to click on that.
| | 04:12 |
I can see the various animation
collections.
| | 04:14 |
And if I want to see what any one of them
looks like, I just click on it.
| | 04:17 |
You'll see that's nice, bounce.
Can you see that down at the bottom of
| | 04:19 |
your screen?
Whichever one I select.
| | 04:24 |
It's an automatic effect that's added to
it.
| | 04:29 |
Some very cool, very fun effects.
I want to select Coming at You, here.
| | 04:32 |
I'll double click that.
Now right now, I don't see anything on the
| | 04:36 |
scree, that's because the opacity effect
is applied to it.
| | 04:39 |
If I move my play head out here toward the
middle, I can see Coming at You, and I can
| | 04:43 |
use this placeholder text to type in the
name of my movie.
| | 04:45 |
I'll just double click on it to get into
text edit mode and Ctrl+ A to select it
| | 04:50 |
all and call it My Big Movie.
And of course now if I wanted to I could
| | 04:56 |
change the font color or any of the other
font styles.
| | 04:59 |
Let's get out of text mode and we'll take
a look at what this animation looks like.
| | 05:03 |
Take a look down at the Timeline and you
can see what's going to be going on.
| | 05:06 |
We have an opacity applied to the entire
word, and that opacity will mean that at
| | 05:13 |
the beginning of the Timeline here, it
will have faded out, it hasn't faded in yet.
| | 05:19 |
You also notice the letter M has a
(UNKNOWN) blur applied to it, a horizontal blur.
| | 05:25 |
As you can see it's keyframed here.
That's why it kind of comes in from a blur
| | 05:30 |
into us seeing the first letter.
We also have the Cascade feature turned on.
| | 05:35 |
And we have as you can see a sort of
random delayed curve line here.
| | 05:40 |
Which is going to make each of the letters
sort of come into focus as this piece is
| | 05:44 |
animated to come toward us.
I'm going to shut down the character.
| | 05:47 |
You can see that we also have it set up so
the entire line of the entire paragraph.
| | 05:51 |
Is scaling toward us too.
Not a big change here in the Timeline I
| | 05:55 |
could take a look at this in greater
detail.
| | 05:57 |
I can take a look at the scale.
By clicking on this you can see that there
| | 06:01 |
is a shape to the line here.
That is the shape of this text coming
| | 06:05 |
toward us.
Getting closer and closer.
| | 06:07 |
You can't see it, but there is also a
fadeout at the end.
| | 06:11 |
An opacity setting that is off the edge,
there it is, at the end of my Timeline.
| | 06:16 |
And so you can see after this text gets to
a certain size and after all the letters
| | 06:20 |
have come into focus, it's going to fade
to black.
| | 06:22 |
Let's take a look at how that looks.
We'll play it.
| | 06:26 |
It's kind of cool.
The letters randomly come into focus as
| | 06:31 |
it's coming towards us.
And then once it gets to a certain size It
| | 06:34 |
all fades out.
You can customize these animations any way
| | 06:39 |
you want.
And again, you can come up here to any of
| | 06:41 |
the effects and you can apply any of the
effects to individual letters or to
| | 06:45 |
individual words.
Or to an entire line or paragraph of text
| | 06:49 |
here too.
There's an awful lot you can do with this.
| | 06:52 |
Whether you choose to use the collections
or whether you choose to create your own animation.
| | 06:56 |
As with a lot of tools in Vegas and in
particular media generators you can go as
| | 06:59 |
deep as you want with a Protype Titler.
You can use the existing collections and
| | 07:04 |
greet some very cool title animations.
But if you want to go deeper and you
| | 07:07 |
want to manually create some very specific
text effects.
| | 07:10 |
The Protype Titler offers you much more
hands on control than the more basic media
| | 07:14 |
generators like the Titles and Text or the
Rolling Credit templates.
| | 07:17 |
It's a very very cool tool for the
advanced tool here available for creating
| | 07:21 |
your titles in Sony Vegas.
| | 07:23 |
| | Collapse this transcript |
| Using the NewBlue 3D Titler Pro| 00:00 |
As we've seen, there are a number of ways
to create titles in Vegas, each with its
| | 00:04 |
own unique benefits.
But in my not so humble opinion, the
| | 00:07 |
NewBlue 3D Titler Pro, which is included
as a free plugin with the program, is one
| | 00:12 |
of the coolest.
With this tool, you can create titles that
| | 00:14 |
are not only animated but which can have
shape and which can be titled and rotated
| | 00:19 |
in three dimensional space.
And when I talk about 3D with this Titler,
| | 00:22 |
I'm not talking about 3D like you would
see with 3D glasses, not a stereoscopic 3D.
| | 00:26 |
We're talking about manipulating in 3D, as
in moving down the x and the y and z axes,
| | 00:32 |
so we can actually rotate and go behind
our titles.
| | 00:35 |
Very, very cool.
Let me show you how it works.
| | 00:37 |
We got the NewBlue Titler selected here in
our media generators.
| | 00:40 |
And we just drag our preset down to our
timeline right above the existing event.
| | 00:44 |
And when we do that, as you can see, it
automatically creates a new video track
| | 00:48 |
and it adds our title to our timeline.
Let's go back in there to our Media
| | 00:51 |
Generators Panel.
And so that you can see the timeline
| | 00:53 |
better, I'm just going to hover over the
seam here and drag up, make my timeline
| | 00:56 |
just a little bit easier to see.
Now, there is default text there.
| | 01:00 |
You don't see it at first.
But if you just click on the top of the
| | 01:02 |
timeline here, so that the playhead is
moved to the middle of the timeline, you
| | 01:06 |
can see it.
And so, let's go ahead and we'll just type
| | 01:08 |
something in there.
My Super Movie.
| | 01:10 |
(SOUND) And we can, of course, with this
text selected, Ctrl+A.
| | 01:15 |
We can, of course, change our font and we
can change the size or the style of the
| | 01:19 |
text, or we can go over here onto the
style page.
| | 01:23 |
And we can actually change, you know, the
color of the font and those sorts of things.
| | 01:27 |
The really cool thing as they say is that
we can not only manipulate it in the x and
| | 01:30 |
the y axis but also in the z axis, so we
can move or text around in three dimensions.
| | 01:35 |
So that you can see that, what I'm going
to do is go over here to Style.
| | 01:37 |
And I'm going to extrude it just a little
bit.
| | 01:40 |
That means I'm going to add some back
behind the text, so it's not flat.
| | 01:44 |
Extrude just a little bit, and then, so
you can see it better, we'll change this
| | 01:49 |
to gradient.
We'll click on one of the Gradient buttons here.
| | 01:53 |
And now we can see a little bit better.
That blue box surrounding it, don't worry
| | 01:56 |
about that.
That's just because we have the text selected.
| | 01:58 |
See when it's unselected, you don't see
that box.
| | 02:01 |
But we need to have it selected in order
to do what we're going to do.
| | 02:03 |
I'll go over to the Object page.
And you can see that I can rotate it now,
| | 02:08 |
not only toward me and around, but I can
rotate it here, so that I can see the top
| | 02:13 |
and the bottom or I can rotate it here to
see the sides and you can see that the
| | 02:17 |
text has three dimensions.
It's extruded.
| | 02:20 |
If I go over here to the library, I can
find a number of presets that can be
| | 02:25 |
applied to my title.
Among these are animations and effects,
| | 02:29 |
and if I'm want to preview any one of
these, just hover over them and you can
| | 02:33 |
see the effect that their going to have on
your title.
| | 02:36 |
Some of these are very, very cool.
Generally speaking, styles will change how
| | 02:41 |
your text actually looks, as you can see
here.
| | 02:44 |
Templates will change how your text looks,
and it will create an animation for them,
| | 02:52 |
as you can see.
There are animations that can be applied
| | 02:57 |
across your entire title.
These are categories, by the way, so it's
| | 03:02 |
not like you only get a few of these
animations.
| | 03:04 |
Let me tell you how much you get.
You get 150 text animations and effects.
| | 03:09 |
You get 19 lighting effects, 30 shapes and
graphics, 50 text styles, and 145 transitions.
| | 03:17 |
Now let me show you something you could do
here with one of the shapes.
| | 03:19 |
For instance, if we wanted to add, if I
select from circles, you can see we have
| | 03:23 |
one called Blow out.
I can add Blow out here to my title and
| | 03:27 |
then, I can animate that.
So it's very, very cool.
| | 03:30 |
I can turn on key framing for it.
I can make it very small.
| | 03:34 |
I want to constraint these here so they
move both at the same time.
| | 03:37 |
Turn on that lock and now I can make it
very small.
| | 03:40 |
Move the playhead a little bit and make
them very large.
| | 03:44 |
And then, a little bit farther make it
very small again.
| | 03:47 |
And now I've created an animation where
that little explosion just appears for a second.
| | 03:51 |
That's kind of cool, huh?
So you have that option too.
| | 03:54 |
I'm going to remove that from the timeline
just so it's not distracting.
| | 03:57 |
And here in our library, we will apply
some transitions.
| | 04:00 |
Now, transitions are very cool because
they change the way the text is introduced
| | 04:05 |
or the way it's removed from your screen.
And you can use any one of these animated
| | 04:09 |
transitions to introduce or to remove your
text from the screen.
| | 04:13 |
So, for instance, if I go to City Lights,
you can see among the categories here with
| | 04:16 |
my text selected.
These are very, very close.
| | 04:19 |
So let's go ahead and we'll apply the
Flicker transition.
| | 04:21 |
And you can see, it appears on my timeline
there, for the first, looks like 2 seconds
| | 04:26 |
of the title.
If I want to make it longer or shorter, I
| | 04:29 |
can do that just by stretching it.
If I double-click on it, I come over here
| | 04:33 |
to the Transitions menu, and I can make
some pretty specific changes to that transition.
| | 04:39 |
I can change the number of the rate at
which it flashes, what color it flashes
| | 04:42 |
to, whether it's applied to the letters or
the words, so that the flashing happens
| | 04:47 |
either to an individual letter or it
happens to an entire word or entire line
| | 04:51 |
or paragraph at once.
And, right now, the preset is set to Flicker.
| | 04:55 |
You have other options, too, for creating
your flashes.
| | 04:58 |
You can get pretty specific on creating a
transition.
| | 05:00 |
When you go back to our list of
transitions and we can look at another one here.
| | 05:04 |
How about Fly Back?
Fly Back looks like this.
| | 05:07 |
And I'll double-click that.
You see, it's added right above my City
| | 05:11 |
Lights transition.
So, I can drag it, though, from the
| | 05:14 |
beginning to the end of my movie.
There we go.
| | 05:16 |
Now, it's my out transition.
So I'm going to deselect my text, and
| | 05:20 |
let's just play it.
And you'll see what happens when we have
| | 05:23 |
City Lights kind of flickering to bring in
my title and then, float and pop to bring
| | 05:27 |
my title out.
That's very cool looking.
| | 05:31 |
And there's my title.
And then it floats out.
| | 05:37 |
That's very, very nice.
There's a lot you can do.
| | 05:39 |
The transitions can be applied to any text
at all.
| | 05:43 |
Templates include both transitions and a
style for the text.
| | 05:49 |
Styles apply to just the look of the text
and Shapes are additional graphics you can
| | 05:55 |
you can add to your titles, and then you
also have your Effects.
| | 05:58 |
A great, great, great collection of
things.
| | 05:59 |
NewBlue Titler is one of the most
sophisticated 3D titlers available.
| | 06:03 |
I can't say enough good things about it.
It's a deceptively simple tool that makes
| | 06:07 |
designing, stylizing, and adding 3D
animation to your titles as simple as
| | 06:11 |
applying a preset.
And yet, each of these presets offers
| | 06:14 |
tools for customizing how and how fast
each of the elements of the effects, and
| | 06:18 |
the animation's work.
With this tool, you're really limited only
| | 06:22 |
by your imagination.
| | 06:23 |
| | Collapse this transcript |
|
|
10. Create Animated Effects with KeyframesKeyframing a pan-and-crop animation| 00:00 |
Motion pass are pans and zooms over video
or more often over still image on your timeline.
| | 00:06 |
And this motion usually zooms in or out of
an event on a timeline as it moves
| | 00:11 |
horizontally or vertically across it.
And you can do this to an individual event
| | 00:15 |
on your timeline or an individual still
photo on your timeline.
| | 00:19 |
Or you can do this for an entire video
track at once.
| | 00:22 |
If you're doing this to an entire video
track at once, it's usually to crop off
| | 00:25 |
something that appears in every video on
the track.
| | 00:28 |
Now, you generally don't do this a lot on
the video track.
| | 00:31 |
But if you do, do it for an entire video
track at once.
| | 00:34 |
The tools called the Track Motion tool,
there it is, and when I click it and open
| | 00:37 |
it up.
You see, it's going to be exactly the same
| | 00:40 |
workspace as our event Motion Path tool or
event Pan/Crop tool.
| | 00:45 |
Just name something a little different
when you're working on an entire track at once.
| | 00:49 |
Our tool is launched by clicking on the
Pan/Crop tool button here, on any event on
| | 00:53 |
your timeline.
If we have a series of photographs here on
| | 00:55 |
our timeline of someone picking fruit or
of a garden.
| | 00:59 |
And I'm going to click to open the
Pan/Crop tool.
| | 01:01 |
Before you do any animation or before you
do any motion pass or a work with the pan
| | 01:07 |
and crop tool, I recommend that you make
sure the play head, right here on this
| | 01:11 |
timeline is at the very beginning.
If it happens to be out here, press the
| | 01:15 |
Home key so it'll jump to the beginning.
And the reason why is, wherever it is,
| | 01:19 |
it's going to create a keyframe.
I'll show you that in just a moment.
| | 01:22 |
But sometimes you get some unwanted things
if you're not at the very beginning right now.
| | 01:27 |
Because there's a default keyframe there
we need to overwrite.
| | 01:30 |
And if you're some place else on the
timeline you're going to have an
| | 01:33 |
additional key frame that you didn't
expect.
| | 01:35 |
Now we have our person here picking fruit.
What I'm going to do is I'm going to start
| | 01:39 |
with a close up of the person here picking
fruit, and the we'll pan out to a wider
| | 01:43 |
shot of the entire photo.
The way you control a Pan/Crop tool is by
| | 01:47 |
using the frame controller here.
And a frame is represented, can see it by
| | 01:51 |
that dotted line.
And the dotted line is the video frame.
| | 01:54 |
And it's got a little f in there, so
you'll know when it's upside down.
| | 01:58 |
And we can position it right over our
picture here.
| | 02:00 |
And if I zoom back a little bit, which you
can do by using the roller on your mouse,
| | 02:05 |
You can see that it also has controls for
setting the rotation around here, in case
| | 02:09 |
you want to turn your picture also.
But we're just going to do the simple pan
| | 02:12 |
and zoom.
And so what we'll do is we will drag on
| | 02:14 |
the corner handle of our frame and zoom
in.
| | 02:17 |
Now some people find this a little counter
intuitive, in other words, in order to
| | 02:20 |
make our picture bigger, in order to zoom
in on our picture in the preview window,
| | 02:25 |
we're actually making our frame smaller.
But it's a fairly simple paradigm there.
| | 02:29 |
You'll get used to it in just a moment.
There's a nice starting point for our
| | 02:33 |
motion path.
Now down on the timeline that runs along
| | 02:37 |
the bottom of this tool, this is called
the keyframe controller, you'll see that
| | 02:41 |
we have little diamonds at the beginning
of the timeline.
| | 02:43 |
This diamond by default represents the
position or the location of the frame, and
| | 02:48 |
there's the diamond, I'll drag it out
there for you...
| | 02:50 |
This is our initial starting point.
It's been modified so that it now
| | 02:54 |
represents the current view that we see in
our preview window.
| | 02:57 |
All I need to do now is create an end
point.
| | 03:00 |
So, I will click out here to drag the play
head to the end of my still photo and now
| | 03:05 |
I will come back out.
Now I can do this manually if I want, but
| | 03:09 |
here's a quick shortcut to jump out to say
a white shot or to a shot that shows the
| | 03:13 |
entire frame.
Just go up here and select from the preset
| | 03:15 |
menu and default.
And it automatically sets out here to a
| | 03:19 |
full view.
And so what we have now is that we have
| | 03:22 |
automatically created a second key frame.
And the program will now create the motion
| | 03:27 |
here between those two keyframes.
Take a look in the preview panel, and you
| | 03:31 |
can see we have a very nice motion path
here.
| | 03:34 |
Now this keyframe controller, like I said,
if the play head is in the middle here and
| | 03:39 |
you change a position, you see it creates
an additional keyframe.
| | 03:43 |
If you want that, you can add as many
keyframes if you want.
| | 03:46 |
If you don't, be careful, because you may
get some unexpected motion in here.
| | 03:50 |
Now see we have our pan and crop motion
going up and then out.
| | 03:53 |
You can delete any of these, simply by
right clicking on them and selecting the
| | 03:57 |
delete option.
That's a basic pan and zoom Ken Burn's
| | 04:02 |
motion path and it made a panic route
motion pass are most commonly used over
| | 04:07 |
photos in a slide show and they can make
still images just seem to come to life.
| | 04:12 |
A good panic crop motion path can direct
your audiences to certain details in your
| | 04:16 |
picture or it can be used to simply give
vitality or energy to an otherwise
| | 04:21 |
stationary image.
| | 04:22 |
| | Collapse this transcript |
| Keyframing an effect animation| 00:00 |
Animation tools and keyframing are found
throughout the Vegas program.
| | 00:04 |
With them, you can not only create effects
that move or change size or shape, but you
| | 00:08 |
can also create effects that change
parameters.
| | 00:10 |
And that means like color or background or
outline over the course of your event or track.
| | 00:14 |
Let's take a look at a basic video effect
or, actually, a couple of video effects.
| | 00:18 |
And let's create some keyframed animations
with them.
| | 00:20 |
We've got a couple of events here on our
timeline.
| | 00:23 |
And let's go down and we'll grab our film
effect from our list of video effects.
| | 00:28 |
And the film effect, of course, can make a
video look like an old time video or maybe
| | 00:33 |
an old scratched up, beat up film.
We have on first event here on our
| | 00:37 |
timeline, some birds flying over the
ocean.
| | 00:39 |
And if we apply, for instance, our very
old film effect preset and drag it down
| | 00:44 |
onto the clip, we see that now our video
looks like an old, beat up video.
| | 00:48 |
Just close that for a second.
And if I press L, you can see our scratchy
| | 00:52 |
old beat up black and white video.
(SOUND) By using keyframed animation
| | 00:58 |
though, we can create a transition, where
we go from this old beat up video into a
| | 01:02 |
fresh, new, clean video.
Let's open our option panel here for our
| | 01:06 |
video effect by clicking on the Event FX
button.
| | 01:09 |
At the bottom of the Video FX option
panel, we have a button that says Animate.
| | 01:13 |
Now, this is one of the older effects, and
the older effects have an Animate button
| | 01:17 |
at the bottom.
You'll see, as we play with some of the
| | 01:19 |
other video effects, that they have a way
to keyframe individual characteristics,
| | 01:24 |
rather than to key frame the effect, or
animate the effect, overall.
| | 01:28 |
So I click the Animate button and that
should open up this little keyframe
| | 01:31 |
controller, which is sort of a miniature
timeline that represents the duration of
| | 01:35 |
our clip.
And you see at the beginning of the
| | 01:37 |
timeline is a little diamond.
This diamond represents the current
| | 01:40 |
setting for our video effect.
That means all of these settings here for
| | 01:44 |
Grain, Tint, type of particles, and the
amounts of the particles.
| | 01:48 |
All those are represented in that little
keyframe.
| | 01:50 |
So I'm going to drag that keyframe out to
just before our playhead is positioned.
| | 01:55 |
And then, I'm going to change the level of
my effect.
| | 01:58 |
And, now, what I'd like to do is just
remove everything from it and I can do
| | 02:02 |
that by sliding each of these sliders back
to zero.
| | 02:05 |
But the easiest way to do it is go up to
preset and set it to None.
| | 02:09 |
And when I set it to None, if you notice
down on the key frame controller timeline,
| | 02:13 |
we have added automatically a second key
frame.
| | 02:15 |
I'm going to also disable particles on
here, the little scratches.
| | 02:19 |
This key frame represents the new effect
setting for our particular effect.
| | 02:24 |
In this case, it's reset to None, so this
new effect is no effect.
| | 02:28 |
In between these two key frames, we will
now see a transition as the movie goes
| | 02:33 |
from an old beat up black and white
scratchy movie to a nice clean movie.
| | 02:37 |
We'll move the playhead back just a little
bit here in our scratchy movie area.
| | 02:40 |
And I'm going to press L to play it and
you will watch the transition between
| | 02:44 |
those two key frame or between the two
settings for that particular effect.
| | 02:48 |
(SOUND) So you can transition from one set
of settings to another..
| | 02:56 |
That's one form of animation.
Let's go to our next clip here, we've got
| | 03:00 |
two guys sitting on the beach.
I'm going to apply to this event the Wave
| | 03:03 |
effect, it's way down here at the bottom,
the Wave effect.
| | 03:06 |
And I'm going to add large waves, you can
see kind of the preview what's it's
| | 03:09 |
going to look like.
Add that onto the clip.
| | 03:12 |
You can see it kind of makes everybody
look a little bit wavery.
| | 03:14 |
And by clicking the Animate button on the
Video Effects option panel, we can open up
| | 03:19 |
the keyframe controller.
There it is.
| | 03:21 |
And you can see that this key frame
controller represents the settings for the wave.
| | 03:25 |
I'm going to move the playhead.
So it's much closer to the initial
| | 03:29 |
keyframe setting, it's that little diamond
right there at the beginning.
| | 03:31 |
And we're going to change these settings
just a little bit.
| | 03:35 |
Change the horizontal waves, the vertical
wave amplitude, just make it a little wavery.
| | 03:39 |
And you'll see it creates automatically a
second keyframe and we'll move the
| | 03:41 |
playhead down just a little bit.
And we'll adjust these again.
| | 03:46 |
And then, we'll create one more, and this
one will Reset to None.
| | 03:50 |
I'll select that right from my Preset menu
at the top of the panel.
| | 03:53 |
And now we're back to normal.
What we're essentially doing is creating
| | 03:57 |
sort of a transition out of maybe a
flashback sequence, where things kind of
| | 04:00 |
waver in.
So we're at the beginning we're going to
| | 04:02 |
see the initial keyframe setting for the
waver.
| | 04:05 |
A couple of changes in the wavering.
And then, finally, after about a second
| | 04:09 |
and a half, we'll be back to normal.
So let's close the Option panel, reset the
| | 04:13 |
playhead back to the beginning of the
clip.
| | 04:16 |
(SOUND) And when I press the L button,
you'll see the animation.
| | 04:18 |
(SOUND) Very cool.
So you can create an animation in which
| | 04:23 |
things change shape.
You can use the Crop, for instance, in animation.
| | 04:27 |
And you can set it so that what's cropped
in your video changes.
| | 04:30 |
Or, we can create waverings, we can create
swirls that are animated now by changing
| | 04:35 |
the settings and creating new key frames
on that little animation key frame
| | 04:39 |
controller at the bottom of the panel.
Let me show you one more.
| | 04:42 |
This one's a little out of the box.
This is one that is not what the effect is
| | 04:45 |
designed to do, but it's kind of cool that
you can do it anyway.
| | 04:48 |
We have a video here of our beach.
Go ahead and move the playhead right back
| | 04:51 |
to the beginning of the video.
(SOUND) And then, we'll apply to it our
| | 04:56 |
Lens Flare effect.
There's our Lens Flare.
| | 04:59 |
And I'm going to select the 35mm Lens
Flare.
| | 05:04 |
And the Lens Flare effect is designed to
look as if light is shining back at the camera.
| | 05:09 |
And that's usually what it's used for is
to create maybe a glint or a twinkle on
| | 05:14 |
your video frame.
We're going to use it for something
| | 05:16 |
completely different though.
By keyframing the position of our Lens
| | 05:19 |
Flare, we're going to create the illusion
of a meteor or a flying saucer, flying
| | 05:23 |
across the sky.
So to do that right here at the beginning
| | 05:26 |
of our event, we're going to change the
position of the light source.
| | 05:31 |
And you can see that the light position is
one of the characteristics right here on
| | 05:35 |
our Option panel.
And to change it's position, rather than
| | 05:37 |
use the Option Panel here, I can just
click right on the cross here on my
| | 05:42 |
Preview panel.
Drag right up to the upper-right corner,
| | 05:45 |
that's it entering the frame.
I could also do the same thing right here,
| | 05:48 |
of course, on the option panel by dragging
up to the upper right corner.
| | 05:50 |
And to open the keyframe controller, to
create the animation, I now will create
| | 05:55 |
animations for this is one of the newer
effects, for the individual characteristic.
| | 05:59 |
And I can do that by clicking on this
little clock icon and that opens up the
| | 06:02 |
keyframe controller.
So now, I can do my animation.
| | 06:05 |
This is the present location for the Lens
Flare.
| | 06:08 |
That's whats represented on the keyframe
controller by diamonds and circles that
| | 06:13 |
represents the current position of our
lens flare.
| | 06:15 |
Now, let's move about, maybe 5, 6 seconds
in to the video.
| | 06:20 |
We'll move our playhead.
And we'll take this and drag our Lens
| | 06:23 |
Flare to a second position, off the edge
of the video frame.
| | 06:28 |
So now, what we have is an animation,
where it moves across our video frame.
| | 06:31 |
There's our flying saucer, or a shooting
star, depending on what sound effect you
| | 06:34 |
put behind it.
And now what we need to do, is make it disappear.
| | 06:38 |
And so to do that, I'm going to select the
keyframe controller for its intensity.
| | 06:44 |
Click on that button and you see now that
they're added to my timeline or added to
| | 06:48 |
my key frame controller.
Our key frame's for intensity.
| | 06:51 |
I'm going to move this intensity setting
right to our current position because I
| | 06:55 |
don't want that to change prior to this
point.
| | 06:58 |
So, in other words, I want my Lens Flare
to look as it does right now to this point.
| | 07:02 |
Then, right after this point, we're
going to move the play head just a little
| | 07:06 |
bit and I'm going to set the intensity to
zero.
| | 07:09 |
Boom.
Now my Lens Flare is gone completely.
| | 07:12 |
So we will see the lens flare as it moves
across the screen, and then once it gets
| | 07:16 |
to the edge of the screen it will
disappear.
| | 07:18 |
Like I say, you would add, maybe, some
dramatic music and maybe some dramatic
| | 07:22 |
sound effects of this and you would have a
really nice flying saucer or shooting star effect.
| | 07:26 |
Move my play head back to the beginning of
the clip and let's watch our lens flare
| | 07:29 |
move across the screen.
Now, press the L to play it.
| | 07:40 |
(NOISE) Vegas comes with a very nice
package of video effects.
| | 07:42 |
And these effect do things from change
colors, to effects that distort shapes, or
| | 07:47 |
cookie cutters, or effects that add visual
elements like a lens flare.
| | 07:51 |
And you can animate any one of them.
You can create a number of interesting
| | 07:55 |
effects by doing that.
Some form interesting transitions, like
| | 07:58 |
that wavering sort of thing, while others,
like the Lens Flare, can actually add a
| | 08:02 |
new moving object as a special effect to
your video.
| | 08:06 |
Very cool, a lot of fun to play with.
| | 08:07 |
| | Collapse this transcript |
| Keyframing a generated media animation| 00:00 |
As with video effects and painted crop
motion paths, generated media, which
| | 00:04 |
include titles, includes some of the
patterns we're going to play with here in
| | 00:08 |
the, on the media generators panel, can be
animated to change shape, to change size,
| | 00:13 |
to change color and any other
characteristics.
| | 00:15 |
But since generated media, our technically
created right in their option panels,
| | 00:20 |
there is a much wider animation options
available.
| | 00:22 |
Let's play with a couple of these and I'll
show you how to animate them.
| | 00:26 |
We'll go to the checkerboard patterns, and
we'll start with our default checkerboard.
| | 00:29 |
And even though there's no video track
currently on our timeline, I want to drag
| | 00:32 |
this down, and let go.
It's going to automatically create a track.
| | 00:35 |
I'll close this window for now.
And there you can see, it automatically
| | 00:38 |
created a track, and it placed, my
checkerboard on the timeline.
| | 00:42 |
And when I look in the preview window I
can currently see, what the default
| | 00:45 |
settings are, for this particular effect,
and I've got my checkerboard up there.
| | 00:49 |
Let's open our Media Generators Option
panel.
| | 00:52 |
There it is.
And I can now make adjustments to any one
| | 00:55 |
of these, or I could animate any one of
these characteristics.
| | 00:59 |
We'll open up tile dimensions here, and
color and you can see we have a number of
| | 01:03 |
options we can play with.
And a number of characteristics.
| | 01:08 |
We're going to animate the width, and
height, of our tiles.
| | 01:12 |
And you can see that they are linked
together, right now.
| | 01:15 |
That's why the square option is checked,
so they're constrained together.
| | 01:17 |
And we only have one adjuster for them.
And, I'd like to change the color, also,
| | 01:22 |
in my animation.
So, to do that, I click on the Animate
| | 01:25 |
button, to the right of any of these
characteristics.
| | 01:27 |
It opens up our Keyframe controller, which
is a miniature timeline that appears at
| | 01:30 |
the bottom of the panel, here.
And that first diamond and circle
| | 01:35 |
represent the initial keyframe settings.
In other words, they represent the current
| | 01:39 |
settings for the generated media that you
now see in the preview panel.
| | 01:43 |
I'm also going to turn on animation for,
for black squares and turn on animation
| | 01:49 |
for the white squares.
I'm just going to hover my mouse here and
| | 01:53 |
click and drag to bring my timeline up a
little bit.
| | 01:56 |
And now I can create my animation.
So if I take the playhead here and I drag
| | 02:00 |
it about 2 thirds of the way into the
clip, I can now create my animations.
| | 02:04 |
So I want to change the width and height
of my tiles.
| | 02:07 |
I can do that by dragging this.
There we are.
| | 02:10 |
Now, we've gone from many tiles on my
checkerboard to just a few.
| | 02:14 |
And as you can see on the timeline at the
bottom here on my keyframe controller it
| | 02:19 |
automatically created a key frame for the
height and the width characteristics.
| | 02:23 |
Now, we can also change our colors and the
colors are going to transition from black
| | 02:28 |
and white to whatever colors we select.
So lets select for instance a blue in
| | 02:31 |
place of the black and we'll select it in
place of the white, we'll select yellow.
| | 02:38 |
And you can see that it creates new
keyframes for that too so we're going to
| | 02:41 |
transition from many tiles on our checker
board to few.
| | 02:45 |
We're also going to transition from black
and white to yellow and blue.
| | 02:49 |
And let's see we'll press Home to make the
player go back to the beginning of the
| | 02:53 |
timeline and press L to play it.
And there's our animation as we go from
| | 02:57 |
many tiles down to few and change color in
the process.
| | 03:01 |
You can do that with any of the patterns
here.
| | 03:04 |
I want to take the Color Gradient
patterns.
| | 03:05 |
And let's use Elliptical White to Black.
I'll drag that down to our timeline.
| | 03:09 |
And let's move our playhead to the very
beginning of the clip so we can see what
| | 03:14 |
we're doing.
There it is.
| | 03:15 |
And I'll reopen our Media Generator for
this clip.
| | 03:17 |
And right now, this is the default setting
for it.
| | 03:20 |
And as you can see, if I drag these two
numbers closer to each other, I get a much
| | 03:25 |
sharper edge on that circle, and the
farther apart they are the more feathered
| | 03:29 |
the edge.
Let's make a very circular looking piece.
| | 03:32 |
There we go.
And by selecting either one of these
| | 03:34 |
numbers I can apply a color to it.
So I can select 2.
| | 03:37 |
And I can make two into a nice dark green
and I can select one and make into a nice yellow.
| | 03:44 |
There is our starting point for our
animation.
| | 03:47 |
And now, this is one of the older effects
and the older effects instead of setting
| | 03:51 |
up animations for the individual
characteristics, you just have a Basic
| | 03:55 |
Animate button.
There it is at the bottom of the panel.
| | 03:58 |
I'm going to click on it, and when I do I
get my Keyframe Controller timeline.
| | 04:02 |
I'll drag that up here so it's a little
closer, and this will take care of
| | 04:06 |
animating all of the characteristics at
once, so it's just a one click Option here.
| | 04:10 |
We'll put the playhead about halfway
through the clip.
| | 04:13 |
And then, I'll make some changes.
One thing, I want to narrow that ellipse
| | 04:17 |
into a very narrow ellipse.
I'll change the, interior color to maybe
| | 04:22 |
white, and my background color, I'll
change to a dark blue.
| | 04:26 |
And now the program will create the
animation between those initial settings,
| | 04:31 |
and the current keyframe, which represents
our current settings.
| | 04:34 |
Let's close that and we'll see.
Move the playhead back to the beginning of
| | 04:37 |
the clip.
And let's play your animation by pressing L.
| | 04:41 |
There it is.
Changing shape.
| | 04:42 |
Changing color.
Now, some of these animations you can
| | 04:46 |
create with these patterns are very, very
cool.
| | 04:48 |
I'll show you one more and then we'll take
a look at titles.
| | 04:50 |
Noise texture.
Going to drag the marble noise texture down.
| | 04:55 |
This of course looks like a piece of
marble.
| | 04:56 |
And now let me move the playhead right
over the clip so we can see what we're
| | 05:01 |
doing in the Preview window.
Reopen my Media Generator panel.
| | 05:04 |
And this is one of the newer of facts, so
again, I can adjust the individual characteristics.
| | 05:09 |
And the characteristic I'm most interested
in changing is under noise parameters.
| | 05:14 |
It is the grain.
That's the one I want to animate, the
| | 05:17 |
grain amplitude and fall off.
So if I select that to animate, you can
| | 05:21 |
see that the current settings are
represented by these keyframes, right here.
| | 05:25 |
If I wanted to update those, I would of
course just move my playhead on top of
| | 05:29 |
them, and make whatever changes I want,
but that's going to be my starting point.
| | 05:32 |
And then I'll move my playhead way toward
the end of the clip here.
| | 05:36 |
And I'm going to turn on my animation here
for grain amplitude.
| | 05:39 |
I'm going to raise that amplitude a lot,
cool pattern huh.
| | 05:44 |
And now the program is going to create the
animation between the initial settings,
| | 05:48 |
the initial keyframe and this current
view.
| | 05:51 |
Let's move the playhead to the beginning
of the clip and then press the L button.
| | 05:56 |
Now, that's very cool.
You can create some very, very cool patterns.
| | 05:59 |
We could be changing color right now, we
could be changing a lot of the
| | 06:02 |
characteristics and get some very cool,
psychedelic stuff going there.
| | 06:06 |
You can also Create animations with your
titles.
| | 06:10 |
Now, I know titles come with some
prepackaged animations.
| | 06:12 |
But, you can also create some on your own.
So we'll take titles and text, I'm just
| | 06:17 |
going to drag a generic title onto my
timeline.
| | 06:19 |
And put my playhead over it and I'm going
to select the text here.
| | 06:24 |
And naturally, I could change any one of
these characteristics, and as you can see,
| | 06:27 |
they all have little clocks next to them,
even if I open up some of these more
| | 06:31 |
advanced ones.
So they have clocks on them, too.
| | 06:34 |
So, any one of these characteristics can
be animated, and I'm going to animate some
| | 06:37 |
simple things here.
We're going to animate, for instance, the
| | 06:41 |
text color, and I'm going to animate its
location.
| | 06:45 |
I'm also going to animate its scale, or
its size.
| | 06:48 |
And I want to set the initial settings for
this particular title such that my scale
| | 06:53 |
is much smaller.
So I can drag that down.
| | 06:55 |
I can drag right on the Preview panel to
where I like the initial position for the
| | 07:00 |
text, right there.
And white is fine for my text color right now.
| | 07:04 |
Now I'll move the keyframe controller
playhead to about three quarters of the
| | 07:10 |
way through the clip.
And now I can change those characteristics.
| | 07:14 |
Any characteristics that I have selected
to animate, I can change.
| | 07:17 |
So I can increase my scale.
I can change the position.
| | 07:24 |
I can change the color of the text, if the
text is selected.
| | 07:27 |
Make sure it's selected in there or this
won't work.
| | 07:28 |
And I can change it to, using the hue
selector, I can get down here to a nice green.
| | 07:36 |
And naturally, I'm not limited to just two
keyframes.
| | 07:38 |
If I'd like, I can move my playahead in
between these.
| | 07:42 |
And I can change the position again.
See, I automatically get a keyframe for
| | 07:46 |
its position.
I can even change the color again, if I want.
| | 07:49 |
You can go for yet another color.
So it's now going to transition from white
| | 07:54 |
to this sort of brown to green.
And we've created a simple animation.
| | 07:58 |
And any one of the characteristics that
are listed on a Option panel you can
| | 08:02 |
create the animation for.
Let's take a look at what that looks like.
| | 08:07 |
And I'll play it by pressing the L button.
And there it is, changing size, changing
| | 08:12 |
shape, changing position, changing color.
Very, very nice.
| | 08:18 |
When you use keyframes on generated media
files, including text and titles, you can
| | 08:23 |
create a wide variety of shapes, objects,
and text animations.
| | 08:26 |
You can control how these objects or text
blocks move or you can even make them
| | 08:30 |
change color, outline, shape, whatever
over the course of your event clip.
| | 08:35 |
And because this type of media doesn't
really exist until you create it on your
| | 08:39 |
timeline, in some ways, there are even
more ways to create visual effects and
| | 08:43 |
animations with your generated media than
with any other media clips.
| | 08:47 |
| | Collapse this transcript |
|
|
11. Exporting Your MoviePorting your movie to DVD Architect| 00:00 |
Vegas is a video editor.
It's role is to take raw video, edit it,
| | 00:04 |
add titles and effects, and then output it
in a finished video format.
| | 00:08 |
But when it comes to creating DVDs and
Blu-ray discs, creating menu systems for
| | 00:11 |
them, that role falls to a whole separate
program called DVD Architect.
| | 00:15 |
In other words, when you want to output a
DVD or Blu-Ray disc from your Vegas
| | 00:19 |
project, your final step is then to port
your video from Vegas over to DVD
| | 00:25 |
architect so that you can author the disk.
I'm going to show you how to do that with
| | 00:29 |
an optimal format in just a moment.
But first, I want to show you something
| | 00:33 |
you can do one your timeline prior to
sending it over to DVD Architect.
| | 00:37 |
A lot of times people want to have scene
menus built into their DVD menus.
| | 00:42 |
You can add the makers for those scenes
right her on the timeline in Vegas.
| | 00:47 |
I can do that, I've got my playhead at the
very beginning of my timeline right now.
| | 00:50 |
And if I right click, on this bar above
the timeline I can select the option to
| | 00:53 |
insert marker.
I can call this scene one.
| | 00:58 |
I can then move the play head a little
farther down the menu.
| | 01:01 |
And I can right click again.
Select Insert Marker in Scene Two.
| | 01:07 |
Add as many markers as I like.
By the way, I want to show you a little trick.
| | 01:10 |
This is for just sort of navigating the
timeline.
| | 01:13 |
If you hold down the Ctrl and the Alt key
on your keyboard and you use the left and
| | 01:18 |
right arrows, the play head will jump
right to the beginning and end of events
| | 01:22 |
on your timeline.
It will do that based on the track that
| | 01:26 |
you happen to have selected.
So, I have the number one track selected
| | 01:28 |
now and you can see that it's jumping to
the beginning and end.
| | 01:33 |
Of the events on the time line if I had
effect number 5 selected, you see its
| | 01:37 |
going to jump to the beginning and end
which one of those events, that's a very
| | 01:40 |
cool shortcut trick.
So if I want to get to the very, very
| | 01:43 |
beginning of a scene, right there, and I
want to add my marker right there, got my
| | 01:47 |
playhead right into position and I can
select the option to insert marker here
| | 01:51 |
for scene 3.
Now once you've added your markers you can
| | 01:56 |
output your movie.
And if we go to file and select render as,
| | 02:00 |
if you want to include your markers as
meta data along with your video, you just
| | 02:06 |
go down here to the bottom of the screen
and check this option right here.
| | 02:10 |
Save project markers in rendered media
file.
| | 02:12 |
When you load then this video file into
DVD Architect, it's going to have these
| | 02:17 |
scene markers.
Automatically in there.
| | 02:19 |
Just check that box right there.
Now what is the optimal format for sending
| | 02:23 |
it over to DVD Architect?
Well, the answer is it depends whether
| | 02:26 |
you're doing a DVD or a blu ray you want
to send over ideally a video format that
| | 02:31 |
is as close as possible to the finished
DVD or to the finished blu ray.
| | 02:35 |
And there are two ways you can do this.
One, is sort of the simplified way and the
| | 02:39 |
other is a more professional way.
It's up to you which ever one you're more
| | 02:41 |
comfortable with.
To send DVD files over to DVD architects,
| | 02:46 |
you want to select the main concept MPEG
two, and you want to select one of the
| | 02:50 |
program stream options.
So, in my particular case I'm working with
| | 02:53 |
widescreen mini DV footage, so I would
choose NTSC widescreen.
| | 02:58 |
If you're in the PAL you would choose PAL.
If you're using four by three video you
| | 03:01 |
would choose that.
That's really all there is to it.
| | 03:03 |
You click render and it will create a very
nice MPEG2 that will not need to be
| | 03:07 |
rerendered when you load it into dvd
architect.
| | 03:11 |
If you're creating a blu ray file and you
wanted to send a single file over there,
| | 03:14 |
the simplest way to do it is to go down
here to the Sony avc options.
| | 03:20 |
And from them select one of these ABC
options.
| | 03:23 |
The 60 I option, will give you audio and
video in the same file in an NTSC format.
| | 03:29 |
The 50 I file will give it to you in a PAL
format.
| | 03:32 |
It will create a single file which you
load into DVD architect.
| | 03:35 |
It will not need to be re-rendered when
you create your Blu Ray disc.
| | 03:39 |
Very cool.
A lot of professionals prefer to send the
| | 03:42 |
video stream and the audio stream
separately.
| | 03:46 |
If you choose to do that, your option is
right down a little bit farther here.
| | 03:49 |
For Blu Ray, you would select the Blu Ray
option here 1920 by 1080 60 I for NTNC.
| | 03:54 |
With the 16 megabits per second video
stream option.
| | 03:58 |
This is going to send only the video over
there.
| | 04:02 |
So sending the audio would be a separate
process.
| | 04:04 |
And sending the audio, you would choose
the Sony Wave64 and send it over this way.
| | 04:09 |
If we were editing 5.1 audio on our
timeline, there would also be an option
| | 04:13 |
here to send 5.1 audio over to DVD
Architect, okay.
| | 04:17 |
So, right now because I'm editing in
stereo, we only have stereo options here.
| | 04:26 |
And this will send it over in a format
that it does not need to be re-rendered
| | 04:30 |
once you get it into DVD architect.
For a DVD, rather than a Blu Ray, you
| | 04:36 |
would go to MainConcept MPEG-2, but this
time instead of choosing the Program
| | 04:40 |
Stream, you would chose only the Video
Stream.
| | 04:43 |
And there we can see we have the
Widescreen NTSC video stream and here we
| | 04:47 |
have the PAL version of that.
Again this sends only the video file over.
| | 04:52 |
Then you would create a separate output,
so when you wave 64, once again if we were
| | 04:57 |
had been editing 5.1 audio on our
timeline, we would have the option to port
| | 05:01 |
over the Sony Wave 64 file, that would be
set in 5.1 rather than stereo here.
| | 05:07 |
The process of preparing and rendering
your audio and video files and importing
| | 05:11 |
them over to DVD Architect can be as
simple or as in-depth as you want it to be.
| | 05:15 |
I recommend you just work with whatever
your comfort level is.
| | 05:17 |
If you port your files over with the video
and audio packaged in the same program
| | 05:21 |
stream or the same file and you're happy
with the results, that's all that matters.
| | 05:25 |
The results will look and sound great I
promise you, but if you get to a point
| | 05:28 |
later where you can see and hear the
difference between importing the files
| | 05:31 |
over as a program stream or porting them
over as separate video and audio steams,
| | 05:35 |
that's available too.
As we've seen again and again this program
| | 05:38 |
will let you go just as deep or as shallow
as you'd like to go.
| | 05:41 |
| | Collapse this transcript |
| Outputting a movie for the web| 00:00 |
One of the most fun ways to share your
finished movies is to send it into a
| | 00:04 |
website like YouTube or Vimeo or Facebook.
In a matter of minutes your movie is out
| | 00:09 |
there for the whole world to see.
Now Vegas includes a number of ways for
| | 00:12 |
creating videos for the web.
Including a tool for loading your video
| | 00:16 |
directly to YouTube.
And I want to show you that, first, and
| | 00:18 |
then we'll talk about creating videos
specifically for web purposes.
| | 00:22 |
Because the process is very different
depending on whether you're sending them
| | 00:25 |
to a site like YouTube, Vimeo or Facebook.
Or rather you're creating video that
| | 00:29 |
you're going to use on a web page.
Very, very different process and I'll show
| | 00:33 |
you that.
Now there is a very nice tool under the
| | 00:34 |
file menu here for Upload Your video to
YouTube.
| | 00:39 |
And when you select that, the program will
do the thinking for you.
| | 00:41 |
You simply name your file or you put in
your, your own user name and password.
| | 00:45 |
And you name your file, add a description
and you select categories for it.
| | 00:49 |
You add tags, of course to it, and you
decide whether it's something you want to
| | 00:53 |
make available to the public or by
invitation only.
| | 00:56 |
Of course, there's an option on here to
render the loop region only, If you
| | 00:59 |
selected a loop region on your timeline.
So this is a tool that's built right into
| | 01:03 |
the program so you can load your video
directly to YouTube.
| | 01:06 |
In most cases though you're probably
going to want to create your own video and
| | 01:10 |
put it up there.
And in fact even if you're going to send
| | 01:12 |
it to YouTube, a lot of times you get
better results if you create your own.
| | 01:15 |
Now I'm going to show you how to create
video to send to YouTube or Vimeo or
| | 01:19 |
Facebook first.
And then I'm going to show you how to
| | 01:21 |
create video if you're going to load it up
to your website because the process is a
| | 01:25 |
little bit different.
So under the File menu we choose Render As.
| | 01:28 |
My recommendation for video that you're
sending to YouTube or Facebook or Vimeo is
| | 01:33 |
that you use the main concept AVC options
and they're right here.
| | 01:38 |
AVC, these create mp4s as indicated right
here.
| | 01:42 |
And there are options right here listed
under internet depending on whether you
| | 01:47 |
want to send up a high definition file,
which would be a 1080p or a 720p file.
| | 01:51 |
Or whether you want to send up a 480p file
which is, you know standard definition, or
| | 01:56 |
even a 360p widescreen file, which is a
smaller standard definition file.
| | 02:01 |
And then there of course the 480p files
and 360 files if you're going to send a
| | 02:05 |
four by three up there.
If you're still shooting in mini dv in
| | 02:09 |
standard four by three resolution.
So these are presets they are very, very
| | 02:12 |
nice they will create a very clean looking
mp4.
| | 02:16 |
You load them up.
Don't worry about these sides.
| | 02:17 |
So the challenge with these sites is that
they re-encode your files.
| | 02:22 |
When you put them up to Vimeo, or Youtube,
or Facebook what shows is not what you put
| | 02:26 |
up there.
So these will create the ideal files for
| | 02:29 |
these websites to re-encode and post to
their sites so you get the highest quality possible.
| | 02:35 |
Very, very nice.
If you're creating files for the web,
| | 02:38 |
you're creating them for your website, you
have another challenge which is that you
| | 02:42 |
want to optimize your file.
The files, like I say, that're going up to
| | 02:45 |
a lot of these video websites like YouTube
are being re-encoded by the site.
| | 02:49 |
So that they're optimized once you send
them up there.
| | 02:52 |
But if you are working on your own website
and you want to create files specifically
| | 02:57 |
for your own website, you will need to
create an optimal file on your own.
| | 03:01 |
And you can do that, the two most common
are of course QuickTime, right here, and
| | 03:05 |
QuickTime is great.
It'd give you real high quality displays
| | 03:09 |
when you put them on your website.
And, the only challenge is, some people on
| | 03:13 |
PCs still have not loaded the Quicktime
player, unfortunately, so, some of them
| | 03:18 |
are a little challenge.
The other option is to go with a wmv or
| | 03:21 |
Windows media file right here.
And the same sort of issue, which is that
| | 03:25 |
although, 80 to 90% of the world is on
PCs, and they will have the media player
| | 03:30 |
built into their computer.
People on Macs sometimes have to load
| | 03:34 |
additional software to be able to see a
WMV.
| | 03:36 |
But if you're loading video.
For use on the Internet, you probably
| | 03:40 |
would like to use this right here, the 512
kilobytes per second video.
| | 03:45 |
This is a streaming video and it is a low
quality video, but it is one that you can
| | 03:50 |
be sure is going to stream over the
Internet.
| | 03:53 |
Likewise QuickTime also has a low quality
in here you use the 512 kilobytes for that also.
| | 03:58 |
And sometimes, like I say, you get better
results if you use a QuickTime file.
| | 04:02 |
The challenge is that if somebody doesn't
have QuickTime on their computer, they
| | 04:05 |
won't be able to see it.
So if you're creating your own website,
| | 04:08 |
what you put up there is what the world is
going to see.
| | 04:11 |
That's unlike YouTube, Facebook, and
Vimeo, which will take whatever video you
| | 04:15 |
put up there, and convert it to an FLV
file that anybody can watch.
| | 04:20 |
So, whether you're creating videos for
your website or uploading them to file
| | 04:23 |
sharing sites like YouTube or Vimeo.
Vegas has nice preset render options
| | 04:27 |
available so you can optimize them to
pretty much any use.
| | 04:30 |
If you're creating video for your personal
website, you do need to consider the
| | 04:33 |
streaming bit rate and the size of the
file.
| | 04:35 |
So you may want to use a more optimized
QuickTime or WMV file, if you're doing that.
| | 04:40 |
But if you're using one of those popular
video sharing sites, like YouTube,
| | 04:43 |
Facebook, or Vimeo, you simply provide
them a good, high quality MP4.
| | 04:48 |
And you'll get the best possible results
with your video online.
| | 04:51 |
| | Collapse this transcript |
| Outputting video for a portable device| 00:00 |
More and more, people are producing videos
that they can watch on their portable devices.
| | 00:04 |
This would be things like your iPad's and
your iPod's, your Sony PSP's, or even on
| | 00:08 |
your smartphones.
They're creating videos that can be sent
| | 00:11 |
to a device like Apple TV, for instance.
Fortunately, Vegas includes some render
| | 00:16 |
presets that are optimized specifically
for these devices.
| | 00:20 |
And let's take a look at some of those.
We've got our little movie, we'll go to
| | 00:22 |
the File menu, select render as.
If we go to the MainConcept AVC category
| | 00:28 |
and open it up, you will see some
specifically named for what they're
| | 00:31 |
created for.
So Sony tablet, there's a very nice one.
| | 00:34 |
Using an iPod and iPad, there are presets
already available for them.
| | 00:38 |
This will create very nice MP4 files that
are optimized for this particular device.
| | 00:43 |
Again, if you're creating for a
smartphone, you'll probably use one of
| | 00:47 |
these iPod ones.
In most cases your smartphone is going to
| | 00:50 |
be your able to play an MP4 file.
That's becoming the new standard here
| | 00:54 |
where streaming video, as well as for
portable device video because this creates
| | 00:59 |
such a good looking file that also happens
to be so small and very non-demanding for
| | 01:03 |
your, a lot of these players.
Apple TV, this will create really nice
| | 01:08 |
files that you can load into iTunes.
And if you sync up your computer with your
| | 01:11 |
Apple TV device, you can actually, then,
watch these videos on your television.
| | 01:16 |
They can be ported over to your
television.
| | 01:18 |
These are optimized for playing on Apple
TV.
| | 01:20 |
Very, very cool.
And if you happen to have a device, like a
| | 01:24 |
Sony PSP, that's a PlayStation Portable,
for playing your video.
| | 01:27 |
If you go down here to the Sony AVC
options, right here.
| | 01:30 |
And we open them up.
You see that we have options right here
| | 01:33 |
for the PSP also.
This will create an optimized MP4 file
| | 01:38 |
that will play very nicely on your PSP.
Portable devices including set top boxes
| | 01:42 |
that synchronize your computer, like Apple
TV, are an exciting new way to share your
| | 01:46 |
movies and your video files.
And Render presets in Vegas make it fairly
| | 01:50 |
simple to create exactly the right file
for any one of these formats with exactly
| | 01:54 |
the right parameters to get the best video
playback quality on pretty much any device.
| | 01:59 |
Just think of them as your new media
outlets on which you can publish and
| | 02:02 |
distribute your movie masterpieces.
| | 02:04 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
I hope you've enjoyed our course here on
Sony Vegas essential training.
| | 00:03 |
If you'd like to learn more about video
making we have a couple great resources
| | 00:07 |
here for you to check out here at Lynda
dot com.
| | 00:09 |
There are some wonderful courses by
Anthony Artis.
| | 00:12 |
He's one of our best trainers and he's got
a course here on Foundations of Video.
| | 00:16 |
He mostly deals with camera optics,
setting up, and shooting your video.
| | 00:19 |
An excellent thing to get into the
production aspect of video, an excellent
| | 00:23 |
course for that.
He also has done a wonderful one on
| | 00:25 |
interview techniques.
This is for setting up interviews that
| | 00:28 |
you're going to do on video.
And how to get your actors or how to get
| | 00:31 |
the people that you're interviewing to
really open up.
| | 00:33 |
So you get a really nice story on your
videos.
| | 00:35 |
But if you'd like to know more about the
basics or the mechanics of the program
| | 00:39 |
itself, come on over to my website here at
www.muvipix.com.
| | 00:42 |
Muvipix.com.
And, here, we don't offer a lot of
| | 00:44 |
tutorials for the professional version of
Vegas.
| | 00:48 |
We do have many for a Sony Movie Studio,
which is the consumer version.
| | 00:52 |
The interface is identical, so you can
certainly pick up a lot of the principles there.
| | 00:56 |
Also come on over here to our community
forum, it costs absolutely nothing to join
| | 01:00 |
our community forum.
And here, on our community forum, we
| | 01:03 |
actually have a specific subforum for
Vegas.
| | 01:07 |
Post your question there and I, or one of
our moderators, will get back to you very,
| | 01:11 |
very quickly.
And you could write me directly, of
| | 01:13 |
course, at steve@moviepix.com, and I'll be
glad to answer any questions or field any
| | 01:17 |
questions I can for you.
Video production and video editing,
| | 01:21 |
whether you're doing it as a hobby or
whether your'e doing it as a professional,
| | 01:23 |
is just a wonderful, wonderful experience,
and I want to welcome you to it.
| | 01:27 |
So thanks for joining me for Sony Vegas
Essential Training.
| | 01:30 |
I hope I've been able to help you get
started.
| | 01:32 |
I hope you've been able to get a little
more comfortable with the program.
| | 01:35 |
I want to wish you happy movie-making and
have a lot of fun with this.
| | 01:38 |
It really is a great, fun program.
| | 01:40 |
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