Pinnacle Studio 25 User Guide

Total Page：16

File Type：pdf, Size：1020Kb

Pinnacle Studio™ 25 User Guide Including Pinnacle Studio™ Plus and Pinnacle Studio™ Ultimate Contents Before you start . 1 Abbreviations and conventions . 1 Buttons, menus, dialog boxes and windows . 2 Help and Tooltips . 2 Finding your version information. 3 Upgrading . 3 Using Pinnacle Studio . 5 The Welcome tab . 5 The Import tab. 5 The Export tab . 6 The Edit tab . 7 Creating your first movie in Edit. 8 Editing media and assets . 9 Overlays . 10 Pinnacle Studio Projects. 11 The Library. 13 What can you find in the Library? . 14 Instant gratification: SmartMovie . 15 Understanding the Library. 15 The Navigator . 17 Project Bins. 18 Projects . 18 Collections . 18 Favorites . 20 Managing Library assets . 21 The Library Browser . 22 Thumbnails and details . 23 Optional indicators and controls . 25 The Library preview. 27 Choosing what to display in the Library . 29 Contents i Tags . 31 Video scene detection . 34 Correcting media. 35 SmartMovie . 35 Edit . 39 Edit tab components . 40 The Editor panel . 41 Using keyframes . 42 Previewing edits in the Player . 44 The Project Timeline . 47 The Timeline toolbar. 51 Markers . 58 3-point and 4-point editing . 59 The timeline track header . 62 Editing Movies . 64 Title Editors, ScoreFitter, voice-over . 68 Deleting clips . 69 Clip operations . 69 Rotating video . 71 Camera properties . 71 Trimming video . 72 Using Slip, Slide, Roll, or Stretch tools on the Timeline . 80 Using the Clipboard . 82 Controlling speed with Time Remapping . 83 Using Time Freeze to freeze frames. 86 Movies within movies (nested projects) . 87 Picture-in-Picture (PIP) . 88 Track Transparency . 89 Blend Modes . 90 Transitions . 95 Morph Transitions. 99 Seamless Transitions (Ultimate) . ..

312

Copy Link

Recommended publications

Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech” J
PAPERS M. Torcoli, A. Freke-Morin, J. Paulus, C. Simon, and B. Shirley, “Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech” J. Audio Eng. Soc., vol. 67, no. 12, pp. 1003–1011, (2019 December.). DOI: https://doi.org/10.17743/jaes.2019.0052 Preferred Levels for Background Ducking to Produce Esthetically Pleasing Audio for TV with Clear Speech , MATTEO TORCOLI,1 AES Member, ALEX FREKE-MORIN,1 2 AES Associate Member, ([email protected]) ([email protected]) , JOUNI PAULUS1 3, CHRISTIAN SIMON,1 AES Associate Member, AND ([email protected]) ([email protected]) BEN SHIRLEY,2 AES Member ([email protected]) 1Fraunhofer Institute for Integrated Circuits IIS, Erlangen, Germany 2Acoustics Research Centre, University of Salford, UK 3International Audio Laboratories Erlangen, Germany, A joint institution of Universitat¨ Erlangen-Nurnberg¨ and Fraunhofer IIS. In audio production, background ducking facilitates speech intelligibility while allowing the background to fulfill its purpose, e.g., to create ambience, set the mood, or convey seman- tic cues. Technical details for recommended ducking practices are not currently documented in the literature. Hence, we first analyzed common practices found in TV documentaries. Second, a listening test investigated the preferences of 22 normal-hearing participants on the Loudness Difference (LD) between commentary and background during ducking. Highly personal preferences were observed, highlighting the importance of object-based personaliza- tion. Statistically significant difference was found between non-expert and expert listeners. On average, non-experts preferred LDs that were 4 LU higher than the ones preferred by experts.
[Show full text]
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
[Show full text]
SO630 Manual
SO630 ATX Industrial Motherboard User’s Manual A-604-M-2045 ver.MP_MP_4-1521_15-14 Copyright FCC and DOC Statement on Class B This publication contains information that is protected by copyright. No part of it may be repro- This equipment has been tested and found to comply with the limits for a Class B digital duced in any form or by any means or used to make any transformation/adaptation without the device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reason- prior written permission from the copyright holders. able protection against harmful interference when the equipment is operated in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference This publication is provided for informational purposes only. The manufacturer makes no to radio communications. However, there is no guarantee that interference will not occur in a representations or warranties with respect to the contents or use of this manual and specifi- particular installation. If this equipment does cause harmful interference to radio or television cally disclaims any express or implied warranties of merchantability or fitness for any particular reception, which can be determined by turning the equipment off and on, the user is encour- purpose. The user will assume the entire risk of the use or the results of the use of this docu- aged to try to correct the interference by one or more of the following measures: ment. Further, the manufacturer reserves the right to revise this publication and make changes to its contents at any time, without obligation to notify any person or entity of such revisions or • Reorient or relocate the receiving antenna.
[Show full text]
Camera Raw Workflows
RAW WORKFLOWS: FROM CAMERA TO POST Copyright 2007, Jason Rodriguez, Silicon Imaging, Inc. Introduction What is a RAW file format, and what cameras shoot to these formats? How does working with RAW file-format cameras change the way I shoot? What changes are happening inside the camera I need to be aware of, and what happens when I go into post? What are the available post paths? Is there just one, or are there many ways to reach my end goals? What post tools support RAW file format workflows? How do RAW codecs like CineForm RAW enable me to work faster and with more efficiency? What is a RAW file? In simplest terms is the native digital data off the sensor's A/D converter with no further destructive DSP processing applied Derived from a photometrically linear data source, or can be reconstructed to produce data that directly correspond to the light that was captured by the sensor at the time of exposure (i.e., LOG->Lin reverse LUT) Photometrically Linear 1:1 Photons Digital Values Doubling of light means doubling of digitally encoded value What is a RAW file? In film-analogy would be termed a “digital negative” because it is a latent representation of the light that was captured by the sensor (up to the limit of the full-well capacity of the sensor) “RAW” cameras include Thomson Viper, Arri D-20, Dalsa Evolution 4K, Silicon Imaging SI-2K, Red One, Vision Research Phantom, noXHD, Reel-Stream “Quasi-RAW” cameras include the Panavision Genesis In-Camera Processing Most non-RAW cameras on the market record to 8-bit YUV formats
[Show full text]
COM 320, History of the Moving Image–The Origins of Editing Styles And
COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9.
[Show full text]
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
[Show full text]
PC Literacy II
Computer classes at The Library East Brunswick Public Library PC Literacy II Common Window Elements Most windows have common features, so once you become familiar with one program, you can use that knowledge in another program. Double-click the Internet Explorer icon on the desktop to start the program. Locate the following items on the computer screen. • Title bar: The top bar of a window displaying the title of the program and the document. • Menu bar: The bar containing names of menus, located below the title bar. You can use the menus on the menu bar to access many of the tools available in a program by clicking on a word in the menu bar. • Minimize button: The left button in the upper-right corner of a window used to minimize a program window. A minimized program remains open, but is visible only as a button on the taskbar. • Resize button: The middle button in the upper-right corner of a window used to resize a program window. If a program window is full-screen size it fills the entire screen and the Restore Down button is displayed. You can use the Restore Down button to reduce the size of a program window. If a program window is less than full-screen size, the Maximize button is displayed. You can use the Maximize button to enlarge a program window to full-screen size. • Close button: The right button in the upper-right corner of a window used to quit a program or close a document window – the X • Scroll bars: A vertical bar on the side of a window and a horizontal bar at the bottom of the window are used to move around in a document.
[Show full text]
Powerview Command Reference
PowerView Command Reference TRACE32 Online Help TRACE32 Directory TRACE32 Index TRACE32 Documents ...................................................................................................................... PowerView User Interface ............................................................................................................ PowerView Command Reference .............................................................................................1 History ...................................................................................................................................... 12 ABORT ...................................................................................................................................... 13 ABORT Abort driver program 13 AREA ........................................................................................................................................ 14 AREA Message windows 14 AREA.CLEAR Clear area 15 AREA.CLOSE Close output file 15 AREA.Create Create or modify message area 16 AREA.Delete Delete message area 17 AREA.List Display a detailed list off all message areas 18 AREA.OPEN Open output file 20 AREA.PIPE Redirect area to stdout 21 AREA.RESet Reset areas 21 AREA.SAVE Save AREA window contents to file 21 AREA.Select Select area 22 AREA.STDERR Redirect area to stderr 23 AREA.STDOUT Redirect area to stdout 23 AREA.view Display message area in AREA window 24 AutoSTOre ..............................................................................................................................
[Show full text]
Legacy – the All Blacks
LEGACY WHAT THE ALL BLACKS CAN TEACH US ABOUT THE BUSINESS OF LIFE LEGACY 15 LESSONS IN LEADERSHIP JAMES KERR Constable • London Constable & Robinson Ltd 55-56 Russell Square London WC1B 4HP www.constablerobinson.com First published in the UK by Constable, an imprint of Constable & Robinson Ltd., 2013 Copyright © James Kerr, 2013 Every effort has been made to obtain the necessary permissions with reference to copyright material, both illustrative and quoted. We apologise for any omissions in this respect and will be pleased to make the appropriate acknowledgements in any future edition. The right of James Kerr to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. A copy of the British Library Cataloguing in Publication data is available from the British Library ISBN 978-1-47210-353-6 (paperback) ISBN 978-1-47210-490-8 (ebook) Printed and bound in the UK 1 3 5 7 9 10 8 6 4 2 Cover design: www.aesopagency.com The Challenge When the opposition line up against the New Zealand national rugby team – the All Blacks – they face the haka, the highly ritualized challenge thrown down by one group of warriors to another.
[Show full text]
Reference Manual
1 6 - V O I C E R E A L A N A L O G S Y N T H E S I Z E R REFERENCE MANUAL February 2001 Your shipping carton should contain the following items: 1. Andromeda A6 synthesizer 2. AC power cable 3. Warranty Registration card 4. Reference Manual 5. A list of the Preset and User Bank Mixes and Programs If anything is missing, please contact your dealer or Alesis immediately. NOTE: Completing and returning the Warranty Registration card is important. Alesis contact information: Alesis Studio Electronics, Inc. 1633 26th Street Santa Monica, CA 90404 USA Telephone: 800-5-ALESIS (800-525-3747) E-Mail: [email protected] Website: http://www.alesis.com Alesis Andromeda A6TM Reference Manual Revision 1.0 by Dave Bertovic © Copyright 2001, Alesis Studio Electronics, Inc. All rights reserved. Reproduction in whole or in part is prohibited. “A6”, “QCard” and “FreeLoader” are trademarks of Alesis Studio Electronics, Inc. A6 REFERENCE MANUAL 1 2 A6 REFERENCE MANUAL Contents CONTENTS Important Safety Instructions ....................................................................................7 Instructions to the User (FCC Notice) ............................................................................................11 CE Declaration of Conformity .........................................................................................................13 Introduction ................................................................................................................ 15 How to Use this Manual....................................................................................................................16
[Show full text]
Avid DS - Your Future Is Now
DSWiki DSWiki Table Of Contents 1998 DS SALES BROCHURE ............................................. 4 2005 DS Wish List ..................................................... 8 2007 Unfiltered DS Wish List ............................................. 13 2007 Wish Lists ....................................................... 22 2007DSWishListFinalistsRound2 ........................................... 28 2010 Wish List ........................................................ 30 A ................................................................. 33 About .............................................................. 53 AchieveMoreWithThe3DDVE ............................................. 54 AmazonStore ......................................................... 55 antler .............................................................. 56 Arri Alexa ........................................................... 58 Avid DS - Your Future Is Now ............................................. 59 Avid DS for Colorists ................................................... 60 B ................................................................. 62 BetweenBlue&Green ................................................... 66 Blu-ray Copy ......................................................... 67 C ................................................................. 68 ColorItCorrected ...................................................... 79 Commercial Specifications ............................................... 80 Custom MC Color Surface Layouts ........................................
[Show full text]
Ministudio PERSONAL US-32
D01288520D MiNiSTUDIO PERSONAL US-32 OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS This product complies with the European Directives request and the For U.S.A. other Commission Regulations. INFORMATION TO THE USER This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful inter- ference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following Nameplate measures. a) Reorient or relocate the receiving antenna. b) Increase the separation between the equipment and receiver. c) Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. IMPORTANT SAFETY INSTRUCTIONS d) Consult the dealer or an experienced radio/TV 1 Read these instructions. technician for help. 2 Keep these instructions. CAUTION 3 Heed all warnings. Changes or modifications to this equipment not 4 Follow all instructions. expressly approved by TEAC CORPORATION for 5 Do not use this apparatus near water. compliance could void the user’s authority to operate 6 Clean only with dry cloth.
[Show full text]