Table of Contents
- Pinnacle Studio 25
- Contents
- Before you start
- Using Pinnacle Studio
- The Library
- What can you find in the Library?
- Instant gratification: SmartMovie
- Understanding the Library
- The Navigator
- Project Bins
- Projects
- Collections
- Favorites
- Managing Library assets
- The Library Browser
- Thumbnails and details
- Optional indicators and controls
- The Library preview
- Choosing what to display in the Library
- Tags
- Video scene detection
- Correcting media
- SmartMovie
- Edit
- Edit tab components
- The Editor panel
- Using keyframes
- Previewing edits in the Player
- The Project Timeline
- The Timeline toolbar
- Customizing the toolbar
- Timeline settings
- Disc Editor
- Audio mixer
- ScoreFitter
- Title
- 3D Title Editor
- Voice-over
- Audio Ducking
- Multi-Camera Editor
- Track Transparency
- Motion Tracking
- Split Screen
- Mark In, Mark Out, Clear
- Razor blade (Split Clips)
- Trashcan
- Snapshot
- Markers
- Selection tool
- Slip tool
- Slide tool
- Roll tool
- Stretch tool
- Trim mode
- Dynamic length transitions
- Magnetic snapping
- Audio scrubbing
- Editing mode
- Using the Alt key to override the editing mode
- Markers
- 3-point and 4-point editing
- The timeline track header
- Editing Movies
- Title Editors, ScoreFitter, voice-over
- Deleting clips
- Clip operations
- Rotating video
- Camera properties
- Trimming video
- Using Slip, Slide, Roll, or Stretch tools on the Timeline
- Using the Clipboard
- Controlling speed with Time Remapping
- Using Time Freeze to freeze frames
- Movies within movies (nested projects)
- Picture-in-Picture (PIP)
- Track Transparency
- Blend Modes
- Transitions
- To apply a default dissolve transition
- To apply a transition from the Library
- To apply a fade in or fade out transition
- To apply multiple transitions
- To remove one or more transitions from the Timeline
- To replace a transition on the Timeline
- To copy and paste transitions
- To change default transition settings
- Morph Transitions
- Seamless Transitions (Ultimate)
- Clip effects
- Clip context menus
- Corrections
- Effects
- Masks and Motion Tracking
- Montages and Templates
- Titles
- About titles
- Title panel components
- Accessing the Title panel
- Creating simple titles
- Creating composite titles with layers
- Saving and loading titles
- Look presets
- Title Motion
- Creating and editing titles
- Background settings
- Look settings
- Title preview
- Text and text settings
- Titles and stereoscopic 3D
- Working with the Layer List
- Sound and music
- Disc projects
- MyDVD disc projects
- Author tab (legacy)
- Menu templates (legacy Author tab)
- Disc menus (legacy Author tab)
- Adding disc menus (legacy Author tab)
- Previewing disc menus (legacy Author tab)
- Menu editing on the timeline
- Timeline menu markers (legacy Author tab)
- Authoring tools (legacy Author tab)
- The Chapter Wizard (legacy Author tab)
- The Menu Editor (legacy Author tab)
- Menu buttons (legacy Author tab)
- The Disc Simulator (legacy Author tab)
- The Importer
- Using the Importer
- Import sources
- The Mode area
- Compression settings for Capture Video
- Scene detection settings for Capture Video
- File name for imported files
- Selecting assets for import
- Selecting files for Import
- Customizing the browser
- Scan for assets
- Import from DV or HDV camera (Capture Video)
- Import from analog sources
- Import from DVD or Blu-ray Disc
- Import from digital cameras
- Stop motion
- Snapshot
- MultiCam Capture
- The Exporter
- Setup and preferences
- About the Control Panel
- Legacy Options
- Audio Device Setup
- Event Log settings
- Export and Preview settings in the Control Panel
- Import settings in the Control Panel
- Keyboard shortcut settings
- Project Settings in the Control Panel
- Startup Page settings
- Storage Locations settings
- Reset and Backup settings
- Restore Purchase in the Control Panel
- MultiCam Capture Lite
- Multi-Camera Editing
- The Multi-Camera Editor workspace
- Basic steps in multi-camera editing
- Importing video and audio clips into the Multi-Camera Editor
- Synchronizing video and audio clips in multi-camera projects
- Choosing an audio source for your multi-camera project
- Editing multiple clips to create a multi-camera compilation
- Adding picture-in-picture (PIP) in the Multi-Camera Editor
- Managing multi-camera source files
- Saving and exporting your multi-camera project
- Using Smart Proxy for a faster, smoother editing experience
- 3D Title Editor
- Color correction and color grading
- Appendix A: Troubleshooting
- Appendix B: Videography
- Appendix C: Keyboard shortcuts
- Appendix D: The installation manager
Pinnacle Pinnacle Studio 25 Plus User Manual
Displayed below is the user manual for Pinnacle Studio 25 Plus by Pinnacle which is a product in the Video Software category. This manual has pages.
Related Manuals
Pinnacle Studio™ 25 User Guide
Including Pinnacle Studio™ Plus and
Pinnacle Studio™ Ultimate
Contents
Contents i
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
ii Pinnacle Studio
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) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Contents iii
Clip effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Clip context menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Correcting Library media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Correcting timeline media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Correcting photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Correcting video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Stabilize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Wide-angle Lens Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Correcting audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Corrections versus effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
About effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Effect compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Real-time vs. rendered effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
The Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Video and photo effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Green screen chroma key effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Selective Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Transition In and Transition Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Pan-and-zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
360 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Masks and Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Understanding masks in Pinnacle Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Shape masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Using a Shape mask to edit specific areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Using a mask panel to create a 3D effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Using face detection for mask tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Using object detection for mask tracking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
iv Pinnacle Studio
Montages and Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Template basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Montage templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Montage clips on the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Anatomy of a montage template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Montage editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Using the Montage Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Split screen video templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
My Templates: Saving a movie as a template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
About titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Title panel components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Accessing the Title panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Creating simple titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Creating composite titles with layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Saving and loading titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Look presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Title Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Creating and editing titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Background settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Look settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Title preview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Text and text settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Titles and stereoscopic 3D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Working with the Layer List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Sound and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Audio features of Pinnacle Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Editing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Detach audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Channel mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Audio Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Contents v
Audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Audio on the timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Timeline audio functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
ScoreFitter background music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
The Voice-over tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Using Audio Ducking to automatically adjust volume . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Disc projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
MyDVD disc projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Author tab (legacy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Menu templates (legacy Author tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Disc menus (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Adding disc menus (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Previewing disc menus (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Menu editing on the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Timeline menu markers (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Authoring tools (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
The Chapter Wizard (legacy Author tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
The Menu Editor (legacy Author tab) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Menu buttons (legacy Author tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
The Disc Simulator (legacy Author tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
The Importer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Using the Importer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Import sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
The Mode area. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Compression settings for Capture Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Scene detection settings for Capture Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
File name for imported files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Selecting assets for import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Selecting files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Customizing the browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Scan for assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
vi Pinnacle Studio
Import from DV or HDV camera (Capture Video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Import from analog sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Import from DVD or Blu-ray Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Import from digital cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Stop motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Snapshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
MultiCam Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
The Exporter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Exporting your project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Export options and settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Output to disc or memory card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Output to file (Format or Extension) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Output to a device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Output to MyDVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Export to animated GIF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Exporting movies with transparency to alpha channel video . . . . . . . . . . . . . . . . . . . . 241
Setup and preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
About the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Legacy Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Audio Device Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Event Log settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Export and Preview settings in the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Import settings in the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Keyboard shortcut settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Project Settings in the Control Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Startup Page settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Storage Locations settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Reset and Backup settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Restore Purchase in the Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
MultiCam Capture Lite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Starting a screen capture project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Contents vii
Recording your screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Multi-Camera Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
The Multi-Camera Editor workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Basic steps in multi-camera editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Importing video and audio clips into the Multi-Camera Editor . . . . . . . . . . . . . . . . . . 260
Synchronizing video and audio clips in multi-camera projects . . . . . . . . . . . . . . . . . . 260
Choosing an audio source for your multi-camera project. . . . . . . . . . . . . . . . . . . . . . . 261
Editing multiple clips to create a multi-camera compilation. . . . . . . . . . . . . . . . . . . . . 262
Adding picture-in-picture (PIP) in the Multi-Camera Editor . . . . . . . . . . . . . . . . . . . . . 264
Managing multi-camera source files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Saving and exporting your multi-camera project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Using Smart Proxy for a faster, smoother editing experience. . . . . . . . . . . . . . . . . . . . 266
3D Title Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
3D Title Editor workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Creating and editing 3D titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Color correction and color grading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Using the Color controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Tone Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
HSL Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Color Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Video scopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Appendix A: Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Contacting support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Forums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Compatibility with past content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Capture hardware compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Serial number information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Appendix B: Videography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
viii Pinnacle Studio
Creating a shooting plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Editing a video project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Rules of thumb for video editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Soundtrack production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Giving your project a title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Appendix C: Keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
General shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Library shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Playing and transport shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Importer shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Edit tab shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Editor shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Title Editor shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Appendix D: The installation manager . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Before you begin installing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Upgrade Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Launching the Installation Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Supporting installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
The installation Welcome Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Common controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Installing plugs-ins and bonus content. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
1
Before you start 1
Before you start
Thank you for purchasing Pinnacle Studio™ 25, powerful and creative video editing software.
We hope you enjoy using the software. If you have not used Pinnacle Studio before, we
recommend that you review this section and “Using Pinnacle Studio” on page 5. The rest of
this comprehensive guide and be used as a reference whenever you need more information.
Note: Not all features described in the user guide are included in all versions of
Pinnacle Studio. For more information, please visit www.pinnaclesys.com and refer to the
Compare table.
This section contains the following topics:
• Abbreviations and conventions
• Buttons, menus, dialog boxes and windows
• Help and Tooltips
• Finding your version information
•Upgrading
Abbreviations and conventions
This guide uses the following conventions to help organize the material.
Common terms
360: 360 video is an interactive type of video that lets the viewer look in any direction by
changing the viewing angle during playback. 360-degree videos are captured on special
cameras or cameras attached to multi-directional mounts.
4K: A video resolution that is approximately 4,000 pixels in width. It is also known as Ultra
High-Definition or Ultra HD. The term is used to refer to all screen standards that are at least
3840 x 1080 pixels.
AVCHD: A video data format used by some high-definition camcorders, and for creating
DVD discs that can be read on Blu-ray players.
DV: This term refers to DV and Digital8 camcorders, VCRs and tapes.
HDV: A ‘high-definition video’ format that allows video in frame sizes of 1280x720 or
1440x1080 to be recorded in MPEG-2 format on DV media.
2Pinnacle Studio
1394: The term ‘1394’ applies to OHCI-compliant IEEE-1394, FireWire, DV or i.LINK interfaces,
ports and cables.
Analog: The term ‘analog’ applies to 8mm, Hi8, VHS, SVHS, VHS-C or SVHS-C camcorders,
VCRs and tapes, and to Composite/RCA and S-Video cables and connectors.
Buttons, menus, dialog boxes and windows
Names of buttons, menus and related user interface items are written in bold to distinguish
them from the surrounding text.
Choosing menu commands
The right arrowhead symbol (>) denotes the path for hierarchical menu items. For example:
• Select File > Burn Disc Image.
Context menus
A ‘context menu’ is a pop-up list of commands that appears when you click with the right
mouse-button on certain areas of the application interface. Depending where you click, a
context menu may pertain either to an editable object (like a clip on an editing timeline), to
a window, or to a zone such as a control panel. Once open, context menus behave just like
the ones on the main menu bar.
Context menus are available in most parts of the Pinnacle Studio interface. Our
documentation generally takes for granted that you know how to open and use them.
Mouse clicks
When a mouse click is required, the default is always a left-click unless otherwise specified,
or unless the click is to open a context menu:
Right-click and select Title Editor. (Or, one might say, “Select Title Editor from the context
menu.”)
Key names
Key names are spelled with an initial capital and are underlined. A plus sign denotes a key
combination. For example:
Press Ctrl+A to select all the clips on the Timeline.
Please refer to Appendix D: Keyboard shortcuts for a comprehensive table of available
shortcuts.
Help and Tooltips
Immediate help is available while you are working in Pinnacle Studio via the Help menu.
Before you start 3
Help
Click the Help button > Search Help to access the Web-based Help (Internet connection
required). The Home page of the Help lets you search, access a table of contents, and explore
links to popular topics and other resources, including the user guide PDF.
The Pinnacle Studio 24 User Guide offers you the same information as the Help, but in a
PDF document that you can download and store locally. This format makes it easy to print
one or more sections.
The Help button is located on the Menu bar.
Video tutorials
You can access video tutorials from the Welcome tab or by visiting the sites listed below
directly. For more information about the Welcome tab, see “The Welcome tab” on page 5.
•YouTube — http://www.youtube.com/user/pinnaclestudiolife
•StudioBacklot.tv — http://www.studiobacklot.tv/studio24
First-time StudioBacklot.tv users get a limited-time all-access pass to StudioBacklot.tv,
featuring brand-new Pinnacle Studio 24 content, loads of other training and a royalty-
free stock library. (Training is available in English and French.)
Tool tips
Many user interface elements have tool tips—a pop-up that provides a name and/or a
description. To find out what a button or other Pinnacle Studio control does, pause your
mouse pointer over it.
Finding your version information
Whether you are considering upgrading your software or looking for support, it’s good to
know your version information. To check the version of Pinnacle Studio that you have, click
the Help button > About.
Upgrading
There are different versions of Pinnacle Studio and features vary depending on the version
you have. For more information, please visit www.pinnaclesys.com and refer to the Compare
table.
For information about upgrading your software, check the Welcome tab or click the Help
button > Online Offers & News > Software Offers.
4Pinnacle Studio
2
Using Pinnacle Studio 5
Using Pinnacle Studio
For a simple outline of the digital movie-making process, you don’t have to look any further
than the central tab group of Pinnacle Studio’s main window. The same steps apply to any
type of production, from an unpretentious slideshow with dissolves between each frame to
a 3D extravaganza containing hundreds of carefully-arranged clips and effects.
Pinnacle Studio’s main control bar summarizes the movie-making process.
This section contains the following topics:
•The Welcome tab
• The Import tab
• The Export tab
•The Edit tab
• Creating your first movie in Edit
• Editing media and assets
•Overlays
• Pinnacle Studio Projects
The Welcome tab
The Welcome tab provides learning tools, offers, and important information about your
product.
The Welcome tab has a house icon on it. Think of it as the home page for your
application.
The Import tab
Import is a preparatory step. It involves procedures like ‘capturing’ video from your video
camera, bringing in photos from a digital camera, and copying media files to your local hard
drive from a network location.
The Pinnacle Studio Importer provides tools for these tasks, along with a Snapshot feature
for grabbing frames from video files, and a Stop motion tool for building up video frame-
by-frame. See “The Importer” on page 207 for details.
6Pinnacle Studio
File menu import commands: Choosing Import from the file menu has the same effect as
clicking the Import tab: it opens the Importer. The menu provides other import-related
choices as well. Each of these opens a Windows file dialog to permit import of files from a
hard drive or other local storage.
•Import previous Pinnacle Studio Projects lets you load movie projects created with
earlier versions of Studio.
•Import Studio for iPad App Projects lets you bring in projects exported from Studio’s
companion app for the iPad.
Studio Importer
The Export tab
At the other end of the movie-making process is Export. By the time you get to this stage,
the hard part of the task is behind you. The creative energy that went into making your movie
has paid off in a production that now lacks only one ingredient—an audience.
Using Pinnacle Studio 7
Studio Exporter
The Pinnacle Studio Exporter helps you over that last hurdle with tools for taking your movie
to its viewers, whoever and wherever they might be.
See “The Exporter” on page 231 to learn more.
The Edit tab
The Edit tab lets you access Pinnacle Studio’s main editing features for digital movie creation.
It brings together four main components: the Library panel, the Editor panel, the Timeline
panel, and the Player panel. For more information, see “Edit” on page 39.
The Library
The Library is a cataloging and management tool for all the file-based resources – or assets
– that you can draw on when authoring. Almost all of the materials of your movie – video
footage, music and audio files, and many specialized resources such as transitions and
effects – originate as assets in the Library. Many Library assets are supplied with
Pinnacle Studio, and are available for royalty-free use. These include professionally-designed
titles, DVD menus, sound effects and more. For more information about the Library, see “The
Library” on page 13
When you click Library, the Library panel displays assets that can be brought into a movie
or disc project by drag-and-drop.
8Pinnacle Studio
The Library consists of navigation controls for exploring media assets (icons along left
edge) and a browser for examining and selecting assets (right).
The Editor
Accessible from the Edit tab, the Editor panel lets you access and edit properties for the
currently selected media or content. The Editor panel shares a space with the Library panel.
For more information about the editing, see Edit.
The Player
The Player is a viewer that works for all media types handled by the application. The Player
can be used to view Source media from the Library, or your Timeline content. For more
information, see “Previewing edits in the Player” on page 44.
In each window or context in which it is used, the Player exhibits somewhat different controls.
For an introduction to the Player and its basic controls, please see “The Library preview” on
page 27. For the use of the Player in trim mode on the timeline, see “Clip operations” on
page 69. For information on using the Player with Montage, see “Using the Montage Editor”
on page 147. For the use of the Player in editing disc menus, see “Previewing disc menus
(legacy Author tab)” on page 197.
Creating your first movie in Edit
The next step, once you know your way around the Library and have made any changes
needed to the default set-up, is to start creating a movie. There are two ways to go about this.
The usual way
If you want to exert detailed control over the way media assets are used in your production,
you will usually start building your movie or disc project from scratch by using the features
available from the Edit tab.
Using Pinnacle Studio 9
The easiest way
For ultra-quick results, click SmartMovie at the bottom of the Library panel. Select some
visual media assets to serve as the basis of the project, choose music for a soundtrack, and
make a handful of other customizations. Then the software takes over, automatically
generating a full-scale Pinnacle Studio project containing the media and options requested.
For more information, see “Instant gratification: SmartMovie” on page 15.
Back to the usual way
After you have imported and identified your materials in the Library panel, it’s time to get
to work on a video or a slideshow by dragging the media to the Timeline, editing the media,
previewing in the Player panel as you work, and exporting your final product.
If you are working on a disc production specifically, you can use the Disc Editor mode in the
Timeline and export to MyDVD™. For more information, see “Disc projects” on page 191.
A multitrack timeline occupies the lower part of the display. Most of the ‘clips’ on the
timeline come from the Library; a few types, like automatic background music, are
generated with special tools.
The preview type control above the Player lets you switch between viewing the current
Library asset (Source) and the current timeline clip (Timeline).
For more information about Timeline editing, a central activity in project authoring, see “Edit”
on page 39.
Editing media and assets
In addition to the Editor panel, a number of other specialized editing windows are available.
In general, you can open an editor appropriate to any asset or clip by double-clicking the
item or right-clicking and choosing an option from the context menu.
When you double-click a media asset in the timeline, you open the Editor panel. Edits apply
to the clip in the project.
For information about applying corrections directly to Library media, see “Correcting Library
media” on page 106.
10 Pinnacle Studio
Adding transitions, effects, titles, and other assets
You can enhance your video project by adding transitions, effects, titles, overlays, a sound
track or other assets, including photos.
Transitions let you punctuate the passage of one clip to the next with anything from a barely
perceptible dissolve to an audience-awakening flare. For more information, see “Transitions”
on page 95.
Effects range from the practical (Brightness and contrast) to the theatrical (Fractal fire).
Effects can be animated with keyframed parameter changes to any degree of complexity.
They provide innumerable ways to add creative interest to your productions. Some effects
are particularly designed for 3D material.
Photos
Photos can be resized, cropped, corrected, and you can add a pan-and-zoom effect. Like the
effects just discussed, pan-and-zoom can be animated with keyframes to create any desired
combination of simulated pan and zoom camera moves within the boundaries of a single
photo.
For more information about Correction tools and editing media, see “Corrections” on
page 105 and “Effects” on page 113.
Overlays
The Overlays category in the Library contains a variety of assets that can be used over top
of a clip or in any creative way you like. For example, you can apply an animated overlay to
apply lighting, brush stroke, or animated drawing effects over your main clips. You can also
add basic shapes or pre-made graphics and keyframe their motion or other properties.
To add an animated overlay or other overlay graphic to a project
1From the Edit tab, click the Navigation bar for the Library panel, and choose
Overlays .
2Navigate to the category you want, and in the library, click thumbnail for the overlay that
you want to select.
You can preview the overlay in the Player panel.
3Drag the overlay to a track above the target clips.
You can edit the overlay as you would edit any other clip.
Using Pinnacle Studio 11
Pinnacle Studio Projects
The movies and discs that you create in Pinnacle Studio are distilled from the projects that
you build on the timeline.
To manage projects, Studio must keep track of everything that goes onto your timeline, and
all the editing decisions you make with regard to trimming, adding effects, and much more.
Much of this information is stored in the project file, which is in axp (Studio Movie) format.
For Stop Motion, projects are saved in the axps format.
In order to conserve hard drive space when dealing with files that can be very large, the
project file does not include the media items in your movie. For these, only their location is
stored.
The axp project file is the default file format for the File > Open, File > Save and File > Save
As menu commands. It may be the only one you need.
Sometimes, however, it is convenient to have all the resources recruited for a project
gathered into a single, manageable unit for hassle-free archiving, file transfer or upload. This
is the purpose of an alternative file format, the axx (Studio Project Package), which contains
in a single file all the materials your project uses, including media items. Of necessity, files in
this format are considerably larger than standard project files.
Although it is not possible to directly edit a project in the package format, Pinnacle Studio
lets you open a project package with File > Open by selecting axx in the file extension box.
Studio seamlessly unpacks the project, creates a new Library entry for the unpacked version,
and opens it for editing.
If you create a multi-camera project in the Multi-Camera Editor, the project is saved as a
mcam file. When you add an mcam file to the timeline, it is added as a nested project by
default. You can expand it by double-clicking the file in the timeline and editing it in the
corresponding timeline tab. All edits are saved to the main project.
Project notes
You can keep track of project details, tasks, and reviewer notes by using Project Notes. The
notes are structured as a check list, making it easy to mark off items that you have completed
or reviewed. The project notes can be accessed from your open project at any time. You can
also choose to save your project notes as a TXT file in the same location as your project file.
To work with project notes
1On the main menu bar, click the Project Notes button .
2In the Project Notes window, do any of the following:
12 Pinnacle Studio
• To add a note, click the plus sign icon , type your note in the text field, and when
finished, click a blank area of the Project Notes window to exit the text field.
• To mark a note as complete, click the circle to the left of the note.
• To delete a note, click the trash can icon to the right of the note.
• To save a copy of your project notes in a separate file, enable the Save as text file
check box at the bottom of the Project Notes window.
3Click OK to close the Project Notes window.
3
The Library 13
The Library
The Pinnacle Studio Library is a cataloging and management tool for all the file-based
resources you can draw on when authoring. It is displayed as a panel and accessible from
the Edit tab. Its purpose is to let you choose and use the video segments, photos, sound
bites, transition effects, titles and other ‘assets’ (as they are often called) for your movies as
easily, rapidly and intuitively as possible.
The Library consists of navigation controls for exploring media assets (icons along left
edge) and a browser for examining and selecting assets (right).
This section contains the following topics:
• What can you find in the Library?
• Instant gratification: SmartMovie
• Understanding the Library
•The Navigator
• Project Bins
•Projects
• Collections
•Favorites
• Managing Library assets
•The Library Browser
• Thumbnails and details
• Optional indicators and controls
• The Library preview
14 Pinnacle Studio
• Choosing what to display in the Library
•Tags
• Video scene detection
• Correcting media
•SmartMovie
What can you find in the Library?
The Library contains the following media and content categories:
• Project Bins — Project bins are virtual folders for your assets. They are created
automatically during import and you can create them manually to organize your assets
according to your needs (for example, by project). For more information, see “Project
Bins” on page 18.
• Projects — A virtual folder that automatically lists your Pinnacle movie and disc
projects. For more information, see “Projects” on page 18.
• Collections — Fully flexible virtual folders that you can create for any reason. Unlike
project bins, collections are not created automatically, so you have full control of
collections. For more information, see “Collections” on page 18.
• Effects — ‘Effects’ is an umbrella term taking in a wide range of software tools for
manipulating your media. Effects range from the practical (Brightness and contrast) to
the theatrical (Fractal fire). They provide innumerable ways to add creative interest to
your productions. For more information, see “Effects” on page 113.
• Transitions — A transition is a specialized animated effect for easing – or
emphasizing – the passage from one clip to the next. Fades, wipes and dissolves are
common types of transition. For more information, see “Transitions” on page 95.
• Sound Effects — From slamming doors, crashing cars, and barking dogs, Sound
Effects provides you with a wide range of sounds for your creative projects. For more
information, see “Sound and music” on page 173.
• Titles — Titles let you add text and more to your projects. From a creative, animated
opening title in 2D or 3D, to a rolling list of credits at the end, titles can entertain and
inform your audience. For more information, see “Titles” on page 155.
• Montages and Templates — Numerous professionally designed sequences are
available to give your productions instant impact. For more information, see “Montages
and Templates” on page 143.
• Overlays — A collection of assets that you can use to enhance your projects. The
collection includes animated overlays, basic shapes, and other ready-made graphics. For
more information, see “Overlays” on page 10.
• SoundStage — A collection of Scorefitter music that you can use for soundtracks. For
more information, see “Sound and music” on page 173.
The Library 15
• Triple Scoop Music — A collection of premium music for soundtracks that you can
purchase for your projects.
• Disc Menus — These disc menu templates can be used only if you enable the legacy
Author tab for disc projects. For more information, see “Disc projects” on page 191.
Assets are displayed either as icons or text records within collapsible and expandable
sections. Folders may correspond either to real directories in your computer’s file system, or
to virtual groupings based on ratings, file type, creation date, or membership in a user-
defined Collection.
You can also use watchfolders to automatically monitor and import media files that are
added to the folders you choose to “watch”. For information about activating watchfolders,
see “Watchfolders” on page 244. When you use watchfolders, a Library Media branch is
added to the Asset Tree in the Library. You will also see a Library Media branch if Pinnacle
Studio detects a library from a previous version of Pinnacle Studio (you must enable
watchfolders if you want to continue populating this branch).
To open the Library
1From the Edit tab, do one of the following:
• Click Library (under the menu bar), and use the Navigation bar to choose a media or
content category that you want to browse.
• On the Navigation bar, click a category that you want to browse. This automatically
switches focus to the Library panel.
Instant gratification: SmartMovie
In addition to the core functions mentioned so far, the Library offers a matching pair of tools
for automatically constructing a complete project using media resources you specify. Just
select some photos or video sequences, enter a few settings, and start. You can output the
project Studio generates without further modification, or refine it with manual editing as you
prefer. For more information, see “SmartMovie” on page 35.
Understanding the Library
It’s important to understand how Library assets and the information about them are stored.
Storage of Library assets
Every asset in the Library – every clip, sound, transition, and so on – corresponds to a file
somewhere in the local storage of your computer system. The Library doesn’t ‘own’ these
files, and never modifies them unless specifically requested to do so. Rather, it keeps track
16 Pinnacle Studio
of their names, locations and properties in an internal database. The information stored also
includes any tags and ratings with which you have annotated particular items.
The database
The files that make up the Library database are stored in a folder with single-user rather than
shared access rights under Microsoft Windows. If Pinnacle Studio is used on your computer
by multiple users with individual log-ins, a separate Library will be created for each.
Missing media
Operations like adding, removing and renaming a Library asset are database operations that
have no effect on the media file itself. When you remove an asset from the Library, an option
on the confirmation dialog box does let you go one step further and delete the actual file as
well, but the option is off by default – you have to specifically request the action.
By the same token, when you delete or move an asset file in Windows Explorer or another
application outside of Pinnacle Studio, the database record of the file continues to exist.
Since the Library can’t actually access the file, however, an error graphic is added to the file’s
listing. If the file still exists, but has simply been moved to another folder or device, relinking
it to the Library is easy. Double-click the item to pop up a standard File Open dialog with
which you can point the way to the file’s new location.
Incidentally, to check if there are missing media anywhere in the Library, look in the special
subsection All media >Missing media of the Asset Tree.
Library Media
The Library Media category appears only if you enable Watchfolders or if your current
version of Pinnacle Studio detects a previous library (see “Watchfolders” on page 244). In
most cases, Project Bins can be used instead of the Library Media branch.
The Library Media branch contains the standard media files on your system in subsections
named Photos, Video, and Audio. Many standard file types are supported. The purpose of
the fourth subsection, Missing media, is described below.
The Library 17
Location tabs
Editing a video project involves coordinating the various media and other assets at your
disposal. As you proceed, it’s likely that you’ll find yourself browsing repeatedly in various
parts of the Library that are relevant to the project. No doubt you will also change your
viewing and filtering options from time to time, depending on the material you’re reviewing.
Like a web browser that uses a row of tabs to allow flipping effortlessly amongst multiple
open web sites, the Library lets you create and configure location tabs as you work. The tabs
provide direct access to each of the various locations in which you are currently working.
Here three tabs give access to media required by different parts of a disc project. The
mouse pointer is poised to create a new tab. To close a tab, click the x icon to the right
of the tab caption.
To set the location of the current tab, click a name in the Asset Tree. Changes you make to
viewing and filtering options while the tab is active are retained between accesses.
The Navigator
The entire gamut of Library assets is organized into an asset tree whose folder-style structure
and general usage should be familiar from file-system tools like Windows Explorer. When
you select a location in the Navigator, the folder name appears on the caption of the active
location tab, and its contents are displayed in the neighboring Browser.
18 Pinnacle Studio
In the Library panel, when you hover the pointer over the Navigator bar (left), it opens
the list of categories in an asset tree.
Project Bins
Project bins are virtual folders for your assets. They are created automatically during import
and you can create them manually to organize your assets according to your needs (for
example, by project).
By default, the folders are labeled according to import date, but you can right-click a folder
to rename it and you can click the Create new project bin button to add a new bin.
To create a project bin
1In the Project Bins branch of the Library Asset tree, click the Create a new project bin
button
2Type a name for you bin and click OK.
The bin is added to the end of the project bin list.
To rename a project bin
1In the Project Bins branch of the Library Asset tree, right-click a project bin, and choose
Rename.
The current name appears highlighted
2 Type a new name for the bin.
To remove a bin
•In the Project Bins branch of the Library Asset tree, right-click a project bin, and choose
Remove Project Bin.
Projects
The Projects category contains your own Pinnacle Studio movie and disc projects. You can
open a project right from the Library and begin editing it, or you can add it to the timeline
of another project to serve as an ordinary clip.
Collections
Similar to project bins, collections are virtual folders. However, collections are not created
automatically (there are two exceptions). This means that you have full flexibility to create
and delete them for any purpose. From the Library’s point of view, a Collection is just an
The Library 19
arbitrary grouping of assets – a set of Library items with no organizing principle. You may
well have a good reason for gathering certain files into a particular collection, but the Library
doesn’t have to know what it is.
One special Collection, with the name Latest import, is automatically updated after each
import operation to display the media added. Immediately after importing, you can turn to
this Collection and start working with the new material.
Another automatically-generated Collection is Latest Smart Creation, which stores the
media you selected for your most recent SmartMovie production.
Hierarchically-organized Collections are also supported. The top-level Collections in the
hierarchy are used as subsections of the Collections branch.
To create a new collection
1Click the icon in the header line of the Collections branch and enter a name in the
provided text field.
2Complete the process by pressing Enter.
Tip: Alternatively, choose Add to collection > Create new collection from any asset’s
context menu.
To manage collections
1Right-click a collection and choose a command for renaming or deleting the collection,
or for creating a subcollection that has the current Collection as its parent ‘folder’.
To organize a collection
• Drag and drop a collection in the Navigator with the mouse. A dragged Collection
becomes a subcollection when dropped upon another.
Displaying collected assets
Clicking the name of a Collection causes it to be displayed in the Browser. As your mouse
pointer passes over any listed asset, the Collections to which the asset belongs ‘light up’ in
the Navigator.
Operations on collected assets
These operations can be performed from the context menu of any Collection item. To act on
a group of items, first select them with the mouse (using Ctrl-click and Shift-click for multiple
20 Pinnacle Studio
selections as needed) or by dragging out a frame around the items. Then right- click within
the selection to access the context menu.
To add to a collection
• Choose a target Collection on the Add to collection submenu to add the selected item
or items.
Tip: Alternatively, drag the selection onto the target Collection.
To remove items from a collection
• Click the Remove command to remove the item (or items) from the Collection. As usual
with the Library, the underlying media items involved are not affected, so removing a
video or other item from a Collection in the Library does not delete it from other Library
locations.
Favorites
Using Favorites is a quick way to mark and find your preferred content, such as your favorite
effects, transitions, and titles.
To mark content as Favorite
1In the Navigation panel of the Library, and click a category.
2In the browser area of the Library, right-click a thumbnail and choose Add to Favorites.
The command appears only if the category supports favorites.
Content marked as Favorites appears at the top of the Library in a Favorites folder (when
the content is organized by folder). Each type of content has its own Favorites folder that
can be accessed from the corresponding category in the Navigator panel.
The Library 21
Favorites in the Library
Managing Library assets
Media and other assets find their way into the Library in several ways. For instance, content
that is provided with Pinnacle Studio, such as templates, titles, transitions, and effects, are
added to the Library when you install the application.
If you enable Watchfolders, the Library automatically discovers some assets on your system
by regularly scanning Windows-standard media locations. You can add your own
watchfolders (see below), and they will be automatically updated, too.
Finally, you can import media manually by any of several methods.
Watchfolders
You can turn on Watchfolders to monitor directories on your computer. If you add media files
such as video clips to a watchfolder, or one of its subfolders, the files automatically become
part of a Media Library branch in the Asset Tree. Updating occurs each time the application
is launched and while the application is running.
Watchfolders are set up on the Watchfolders page of the Pinnacle Studio Control Panel. For
each folder that you add, you can specify that either one particular supported media type
will be ‘watched for’, or all of them. Please see “Setup and preferences” on page 243 for more
information.
Importing
If you need to import a large amount or variety of media, or to import from analog media
such as VHS tape, click the Import button near the top of the application window to open
the Importer. See “The Importer” on page 207 for full information.
Quick import: The Quick Import button at the top left of the Library opens a Windows
file dialog for fast import of files from a hard drive or other local storage. New folders in the
corresponding media categories (photos, video, audio and projects) are created for the files
specified. In addition, the imported items are included in the Last Import Collection.
22 Pinnacle Studio
Direct import via drag and drop: To select and import items in one step, use drag-and-drop
from Windows Explorer or the desktop into the Browser. The new items are immediately
displayed in the Collection ‘Latest Import’, which is created for the occasion if necessary.
Exporting directly from the Library
Any photo, video, audio file or project in the Library panel can be directly exported “as is”,
using the context menu commands described below, to either a Cloud-based storage service
or a disc. For other exporting options, choose Export from the context menu. See “The
Exporter” on page 231 for full information.
To store a Library asset on a disc, select Burn Disc Image on the context menu. You can burn
just the file, or a disc image if you have made one. If you select multiple assets, and then
select Burn Disc Image, all of the assets will appear on the Burn files to disc dialog. More
assets can be added by clicking the File icon and browsing. You can also delete files from the
list before burning.
Removing items from the Library
To remove an item from the Library, or a selection containing multiple items, choose Delete
selected from the context menu or press the Delete key. A confirmation dialog lets you
approve the list of media files to be removed from the Library database. By default, the files
themselves will not be affected, but the Remove from library and delete option lets you
delete the files too, if desired. Be careful, as this command works on all kinds of Library assets,
including your Pinnacle Studio projects if any of those are selected.
When all the files in a folder are removed, the Library hides the folder as well.
The Library Browser
This is the area in which the Library displays its media assets – the videos, photos, audio,
projects, collections and ‘content’ that are available for you to use in your movie and disc
projects. The items are displayed either as a list of text records or as a grid of icons. Visual
asset types use thumbnail images for their icons; other types use graphic symbols.
The Library would not be much help if the Browser displayed all its assets at once. It therefore
has several controls that help you screen out items that aren’t relevant to your purpose. See
“Choosing what to display” below for details.
Controlling the Browser display
A group of controls in the Library’s footer bar provides general functions for managing the
way assets are presented in the Browser.
The scenes view button activates a mode in which the Browser displays a separate
icon or text record for each scene in the video file. (As explained under Video scene
detection, a scene in the most general sense is just any portion of a video file.)
The Library 23
For more information about video scenes in the Library see “Video scene detection” on
page 34.
The thumbnails view button switches to viewing assets as thumbnails rather than as
text lines. A pop-up checklist associated with the button lets you select the readouts
and controls that will appear beside thumbnails in the Browser.
The details view button switches to the alternative viewing mode, in which each
asset appears as a text listing. The pop-up checklist with this button selects the text
fields to be displayed.
The zoom slider lets you magnify the thumbnails to get a closer look,
or pull back for a wider view. This slider is always found at the right-
hand end of the footer bar.
Thumbnails and details
Each asset is displayed in the Library Browser in one of two formats, depending on the view
selected.
Because the icons of thumbnails view and the text records of details view represent the same
assets, they have certain features in common. For instance, the context menu for assets is the
same regardless of which representation is used.
Similarly, standard media assets (video, photo and audio), open an appropriate media editor
when double-clicked. The corrections tools are also available when a media editor is invoked
from the timeline, but when applied to a Library asset the corrections are carried forward into
any future project that includes it. See “Correcting timeline media” on page 106 for more
information.
Details
In details view, each asset is presented as one line in a list of text records. In thumbnails
view, it appears as a thumbnail image (for visual media types) or graphic icon.
To switch the Browser to details view, click the icon on the details view button at the
bottom of the Library. The arrow beside the button pops up a panel listing the optional
columns available to be included in the text records (one column, Caption, is always present).
Check the boxes beside any of these – File size, File type, Date, Tags, Rating and Duration –
you wish to be shown.
24 Pinnacle Studio
In Details view, each asset is displayed as a one-line text record. A pop-up checklist
beside the Details view button lets you select which columns to show.
Thumbnails
The thumbnails view button to the left of the details view button selects thumbnails
view, in which assets are represented in the Browser by icons rather than text. The arrow
alongside the button opens a pop-up checklist on which you can choose additional data to
be shown with each icon. The options are Rating, Stereoscopic, Information, Correction,
Collection, Tag, Used Media, Caption and Shortcut.
At the bottom center of most asset icons a preview button, a standard
triangular play icon, is displayed when the mouse pointer is over the asset. The
preview is shown on the Source tab of the Player panel.
In either version of the Library, Alt-clicking the preview button will give you a
mini-preview on the asset icon itself. With video and audio media, you can
control the mini-preview manually by means of a scrubber that appears
below the thumbnail whenever the mouse is over the icon.
If the asset is a photo, a pop-up preview button replaces the standard play symbol. Clicking
it will display the photo in the Player panel.
When the Browser is in thumbnails view, a slider is available to control the size of the icons.
You will find the slider in the bottom right corner of the Library. The icons can also be resized
with the scroll wheel when Ctrl is pressed and the mouse pointer is positioned over the
Browser pane.
Locked content indicator: Some of the Disc Menus, Titles, Montages, and other creative
elements in the Library are locked to indicate that you do not own a license to distribute
them freely. This status is indicated by the lock indicator.
The Library 25
Even though locked, the content can still be handled as usual. A project containing locked
content can be saved, put on a disc and exported.
However, a translucent ‘watermark’ logo will appear on the locked content.
The locked content watermark.
To purchase and unlock the content, use one of the following options:
• In the Library, click the lock symbol on the icon.
• During export of a project with locked content, a dialog will appear prompting you to
click the lock symbol.
Optional indicators and controls
The optional indicators and buttons on an asset icon in the Library Browser let you access
and in some cases modify information about the asset without having to burrow deeper. Use
the pop-up checklist on the thumbnails view button to determine which indicators and
buttons are displayed.
Caption: The caption below the icon is the Library alias for the asset, which you can set with
the Edit caption context menu command for any asset. It is not necessarily the name of the
underlying asset file (which is shown in the tooltip).
Shortcut: The presence of this indicator in the extreme upper left of a thumbnail shows that
the asset is a shortcut rather than an independent media file. Shortcuts, which consist of a
reference to an existing media item along with a package of Corrections settings, can be
created from the File menu of the media editor for any Library asset. Thereafter, they behave
like ordinary assets, and are available for use in your productions.
Tag indicator : The bottommost of the three symbols at the right of the thumbnail is shown
if the asset has any tags assigned to it. Hover the mouse pointer over the indicator to bring
up a menu on which the existing tags for the asset are shown. As you pass the pointer over
a tag name on this menu, a remove button appears. Click it to unset the tag. Click remove
26 Pinnacle Studio
all at the bottom of the menu to clear all tags from the asset. The creation and application
of tags is discussed in “Tags” on page 31.
Collection indicator: Just above the tag indicator, the presence of this symbol indicates that
you have included the asset in one or more Collections. To see which ones, hover the mouse
over the symbol. As with the tag indicator menu, a remove button is shown as you position
the mouse on each Collection name; click it to remove the asset from the Collection. The
remove all command removes the asset from all Collections of which it is a member.
Ratings: The row of stars above the top left of the icon lets you set the asset rating. If no stars
are lit, the asset is said to be unrated. To set the rating of one asset or a selection of assets,
either click the corresponding star on the indicator (click the first star twice to make the asset
unrated again) or choose the setting on the Apply rating context submenu.
The Ratings control appears at the left above the asset thumbnail. At top right is the
Info button. The Corrections indicator is also at upper right, just above the Collection
indicator.
3D indicator: Assets whose content is designed for stereoscopic 3D viewing carry a 3D
indicator. The indicator appears when video and photo assets are automatically detected as
stereoscopic while importing them the Library, and when an asset has been manually set as
stereoscopic in corrections.
Used media indicator: A check mark is displayed to the right of the ratings indicator if the
asset represented by the thumbnail is currently to be found in an open timeline within your
project. The check mark is rendered in green if the asset is used in the currently visible
The Library 27
project; otherwise it is gray. The used media indicator applies only to photo, video and audio
assets.
Information indicator: Clicking the information indicator opens the information panel
where you can edit the asset’s rating, title, and tags as well as view all its properties. Like most
of the other indicators, the information indicator can be turned on and off using the
thumbnails view pop-up.
Multi-Camera indicator: Projects created in the Multi-Camera Editor have a four-pane
square icon in the upper right corner of the thumbnail.
The Library preview
Most types of Library asset support previewing in the Library Browser. The capability is
indicated by a preview button on the asset icon, and the presence of a Preview command
on its context menu. Remember too that most asset types can be previewed on the icon itself
with an Alt-click on the play button.
Clicking the preview button in the center of the asset icon loads the item into the Player
panel for viewing. In some cases, for example when you choose Edit scenes, a pop-up player
window appears.
3D viewing mode switcher
When stereoscopic 3D content is being shown, the 3D viewing mode switcher will appear.
On opening the Player, the default mode from the preview settings in the Control Panel is
used for photos, videos, and projects. The icon for the current mode is displayed beside a
dropdown arrow used for switching modes. The available modes are:
28 Pinnacle Studio
Left eye, Right eye: The preview for stereoscopic content can be set to show
only its left or right eye view. This helps keep things simple at times when a
stereoscopic preview is unnecessary. Editing in these views is carried out as for a 2D movie.
Side by side: This mode displays the frames for both eyes horizontally adjacent to
each other, with the left eye on the left and the right eye on right. When editing, no
stereoscopic equipment is needed.
Differential: Differential mode is good for detecting the ‘depth’ of an image more
easily, and especially for revealing areas of ‘zero depth’. Differential mode show a 50%
gray for areas where identical information is being presented to both eyes; a color difference
is shown if the areas are not identical. If 2D material is added to a stereoscopic 3D timeline
in differential mode, since the same content is shown to both eyes, the image will be a
uniform gray.
Checkerboard: Checkerboard mode breaks the image up into a 16 x 9 checkerboard
pattern. The ‘white’ squares of the checkerboard contain the view from one eye, the
‘black’ squares the other. Checkerboard mode provides a quick check on the ways the left
and right frames differ across the whole image.
3D TV (Side by Side): Use this mode to preview stereoscopic content on a 3D TV
display or with a 3D projector by connecting it as a second monitor. This obviates the
need for a special graphics card or additional hardware. Configure the second display to
operate in its native resolution, and to extend your desktop, not just mirror it. Make sure the
input format is side- by-side.
In the Control Panel Preview settings, choose Second Monitor from the “Show external
preview on” dropdown menu. Set up Studio with a 16x9 stereoscopic timeline. Finally, on the
Player, click the Full Screen button. Please see “Export and Preview settings in the Control
Panel” on page 245, and “Timeline settings” on page 52 for help with these configurations.
Anaglyph: An Anaglyph stereoscopic preview is suitable for viewing with red-cyan
stereoscopic glasses, with no additional hardware support required. Pinnacle Studio’s
anaglyphic display works well even for images with a lot of red, thanks to a method very
similar to the ‘optimized anaglyphs’ technique.
3D Vision: This stereoscopic mode is available with many NVidia graphics cards after
the 3D Vision feature has been
enabled in your NVidia configuration utility. The type of 3D display
offered depends on the hardware available. At the basic ‘Discover’ level, the 3D Vision
display is anaglyphic.
The Library 29
Choosing what to display in the Library
The Library is much more than a passive storehouse of material for your Pinnacle Studio
productions.
The Library Browser has several features for decluttering your view by hiding assets that
aren’t relevant to your purpose. No matter how numerous your media files, the combined
power of these techniques can greatly speed your browsing.
Location tabs
Most importantly, each location tab corresponds to a different selection on the Navigator.
Like web browser tabs, location tabs are readily defined (click the ‘+’ icon at the right end of
the tab list), and come in handy for keeping track of multiple things simultaneously.
Clicking within the Navigator sets the location for the current tab; conversely, clicking
another tab transfers you to its saved location on the tree. Only the assets within the chosen
location are displayed in the Browser. If the location has subfolders, however, their contents
will be included. To keep things simple, choose a location as near the bottom of the folder
hierarchy as possible.
Other controls let you restrict the display further by filtering out some of the assets in the
chosen location. Each location tab maintains its own set of filters, so any change of filtering
settings affects the current tab only.
Filter by media type
When you have Project Bins selected in the Navigator, you can filter by media type.
By clicking the icons for Video, Audio, Photo, and Project, you hide or show the
corresponding media type. When the icons are orange, they are active, and the
corresponding media type is displayed. When the icons are white, the corresponding media
type is hidden.
Filter by used and unused files
When you have Project Bins selected in the Navigator, you can filter used and unused media
by clicking the Hide Used Files icon. When the icon is orange, all files are visible; when the
icon is white, files that have already been added to the Timeline are hidden. Hiding used files
is an easy way to avoid duplicating or missing files when you are creating a project.
30 Pinnacle Studio
Filter by rating
The Filter by rating control at the top of the Library hides all assets that don’t have at least
the specified rating from one to five stars (zero stars means ‘unrated’). To use the filter, simply
click on the star that represents the minimum rating you want to bother with. The default
filter setting is to show all assets regardless of rating.
See “Inadvertent filtering” on page 31 for instructions on switching off all filters at once. To
deactivate just the rating filter click the last selected star or double-click any star.
In this close-up, three stars are highlighted, meaning that only assets with ratings of
three stars or better are on display.
Filter by stereoscopic 3D
To display only stereoscopic 3D content, click 3D at the top of the Library. To return to
viewing 2D assets as well, click 3D again.
Filter by tags
Another way to narrow the field of displayed assets is with filtering by tags. Tags are
keywords that you can assign to assets as you work. Once tags have been defined, you can
use them in several ways to control which assets are displayed by the Browser. See “Tags” on
page 31 for detailed information.
Search
At the top right of the Library is a search field that gives one further way to filter the display.
As you begin entering your search term, the Browser continually updates the view to include
only those assets with text that matches your search term.
Even when multiple terms are separated by spaces, partial-word as well as whole-word
matches are allowed in each term. A dropdown list lets you choose whether the search will
be satisfied if even a single search term matches the asset text, or if all terms must match for
the asset to be accepted.
The Library 31
Inadvertent filtering
The various filtering methods can be combined at will. Should you leave any of the filtering
types switched on when you don’t need it, it’s likely that some assets will be hidden that
should be displayed. When an item is unexpectedly missing in the Browser, verify that filters
are inactive.
The Browser guards against the possibility of inadvertent filtering by displaying a ‘filter alert’
that remains visible as long as any filter is in use.
A filter alert (orange bar) like the one shown here is displayed at the top of the Browser
whenever filtering is in force. Click the x icon at the right-hand end to clear all filtering
at once.
Tags
The Library is capable of handling a great number of asset files, sometimes far more in even
a single folder than can be viewed conveniently. The Browser therefore provides a number
of methods of winnowing out irrelevant assets from the display.
One method of streamlining the display of assets in the Browser is filtering by tags. A tag is
simply a word or short phrase that you think would be useful as a search term. It is up to you
whether you assign tags to your media, but if you do, they provide a powerful way of
selecting assets to display.
Tag management and filtering
Management of tags, and filtering by tags, are handled in a panel that appears when the Tags
button at the top of the Library is clicked. The panel can also be invoked by choosing Apply
tag > Create new tag from any asset’s context menu.
32 Pinnacle Studio
The tags panel, with existing tags listed alphabetically.
At the top of the tags panel is a text box for entering new tag names. The panel also lists all
the tags you have defined so far, lets you delete or rename them, and lets you choose which
assets you want displayed in the Library.
Creating, renaming and deleting tags
To create a new tag, click in the text box at the top of the tags panel and type in your tag.
Select the media that you want to tag, make sure the Apply the tag to selected media box is
checked, and click the Create new tag button beside the text box. There is no limit to the
number of tags you can create. However, if you try to apply a name that isn’t new, you will
be notified that the name already exists, and it will not be added to the selected media.
To apply an existing tag to all currently-selected assets in the Browser, click the tag name.
Selecting multiple assets to tag makes the process much more efficient than if you could tag
only one item at a time.
Hovering over a tag reveals the Rename and Delete buttons. Clicking the tag itself
applies it to any currently-selected assets.
Hovering the mouse over a tag reveals the controls for renaming or deleting the tag. To
rename, click the Rename icon, type in the new name, and press Enter. Click the Trashcan icon
to delete the tag. To delete all tags at once, use the Delete all tags button at the bottom of
the panel. If you are deleting a tag that is in use, you will be given a chance to back out of
the operation.
The Library 33
Sorting tags
In the middle of the tags panel is the Sort by dropdown, offering just two choices: ‘Abc’, in
which the tags are sorted alphabetically, or ‘Relevance’, which sorts them in descending order
of their popularity in the set of assets currently on display. Under the second choice, you will
see the tags being resorted each time one is checked or unchecked.
Filtering with tags
Beside each tag name listed in the panel is a Filter icon that you can use to narrow the set of
items displayed in the Browser. As you check and uncheck the tags, the view updates
automatically.
The exact effect of your selections depends on another control, the Match dropdown just
above the tags. The list provides three options.
None displays only assets that have none of your check-marked tags. In a tagged set of
animal photos, checking both the ‘dog’ and ‘cat’ tags, then selecting ‘None’, should hide
most of the pet pictures.
Partial selects assets with any of your tags, which happens to be exactly those hidden by ‘No
match’. If you leave ‘dog’ and ‘cat’ checked, but switch to ‘Partial’, all the dogs and cats will
be displayed, including the handful of photos in which both animals appear. Photos with
neither tag will be hidden.
Full selects only the assets that have all your tags. Now with the same boxes checked you
should see only those photos in which at least one cat and one dog appear. Notice that
under ‘Partial’ you will see more assets displayed as you check more tags, but with ‘Full’ you
will see fewer.
Turning off tag filtering
When tags are set to filter the contents of the Library, an orange bar at the top of the Browser
lists which tags are being used. To turn off filtering by an individual tag, bring up the tag
panel and uncheck the tag’s Filter icon. To turn off all filtering at once, click the x button at
the right hand end of the orange bar.
The art of tagging
There is no prescribed way of using tags. The best way to use them – if you do – is the way
that works best for you. Consistency is important, however. The more faithful and systematic
you are about assigning tags to your media, the more useful they will be.
34 Pinnacle Studio
Since the idea is to locate an asset quickly when you need it, tags should be chosen to work
well as search terms. With family photos, your tags might include the names of the people
in each shot. For vacation video scenes, tags naming the locations visited would probably be
useful.
Video graphic terms (‘two-shot’, ‘silhouette’, ‘exterior’) can also serve as good tags by making
it easier to find assets that fulfill particular structural or creative requirements.
Video scene detection
Using the Library’s automatic scene detection function, video footage can be split into
multiple scenes either automatically or manually. Dividing raw files into scene-length
portions can make some editing tasks much less cumbersome than they would be otherwise.
The time required for scene detection varies depending on the length of the clip and the
detection method selected. A progress bar keeps you informed of the status.
To initiate scene detection, select one of the methods on the Detect scenes context menu
command for video assets.
By date and time: This option often results in logical scene boundaries that reflect your
intention while shooting. In many digital recording formats, such as DV and HDV, a
discontinuity in the recorded timecode data occurs whenever the camera is restarted after
being stopped. These shooting breaks are treated as scene breaks under the option.
By content: Under this option, the scene detection tool analyzes the image content of the
material frame by frame, and establishes a new scene whenever there is an abrupt change
in content. However, a quick pan or rapid movement across the frame may produce some
unneeded breaks.
By time interval: In this variant you define the length of the scenes to be created. A small
editing window opens for entering the desired value in hours, minutes, seconds and
milliseconds. The scene duration has a one second minimum. Press Enter to confirm your
input.
To manually split scenes in a clip
1In the Library panel, right-click a clip, and choose Edit scenes in the context menu.
The Library panel switches to Scenes View and a pop-up player window displays.
2In the pop-up player window, use the playback controls to pause where you want to split
the scene.
3Click the Split Scene button to create a scene indicator thumbnail that appears in
Scenes View.
4When you have set all the scenes you want, close the pop-up player window.
The Library 35
Note: You must turn off Scenes View before you can access the Detect scenes and Edit
scenes commands in the context menu.
Show the scenes
To show the catalog of scenes for a particular video file, either select Show scenes from its
context menu; or select the clip, then click the Scenes view button that appears at the
bottom of the Library panel.
Scene view is a temporary viewing mode. The orange bar at the top of the Browser alerts you
that scene view is active. At the right hand end of the bar is an x button you can use to
terminate the mode. Clicking the Scenes view button again has the same effect.
A single video file can contain many scenes. This makes the footage easier to
manipulate during editing than if it were treated as a single segment.
During editing, scene clips behave identically to other video clips.
Removing scenes
To empty the entire list of scenes for a video file, select Scene detection > Remove scenes
on the asset’s context menu.
To remove individual scenes, select one or more scenes then press Delete.
Correcting media
You can apply corrections to media in the Library. The file underlying the corrected asset is
not modified: instead, the correction parameters are stored in the Library database and
reapplied whenever the item is displayed or used. For more information, see “Correcting
timeline media” on page 106.
SmartMovie
SmartMovie is a built-in project generator that allows you to create a slideshow or movie
production automatically based on media you supply. The production will include animated
transitions, a full music soundtrack and eye-catching image effects.
36 Pinnacle Studio
At the bottom of the Library, just click SmartMovie.
To begin, select from the Library a series of photos or video files. Your music might come
from digital audio assets already in the Library, or you can cook up a soundtrack on the spot
with the ScoreFitter tool.
That might be all it takes, though you can work on the project further with manual editing if
you wish. Once you have a final product you like, it takes only a few clicks to burn it onto a
disc or save it as a file for other uses, such as upload to the web.
The SmartMovie panel that slides up into the window from below contains three subs. The
leftmost of these presents information about SmartMovie, and advice on how many files to
include. The center sub is a storage area with bins for photos and other images (top) and
audio. The right sub contains controls for customizing the show.
Adding media
To add media to the production, drag them from the Browser into the upper bin in the
storage area. Drag thumbnails within the storage area to get the order you want. Continue
adding further images until you are satisfied.
To add music, drag one or more sound files to the lower bin in the storage area. Alternatively
you can click the clef button in the bottom left corner of the audio bin to create a music
soundtrack in ScoreFitter.
As media are added, the total running time of the source material is displayed in the top-left
corner of the bin. This is not necessarily the length of the resulting movie.
Preview, edit and export
Once your media are in place, click the Preview button on the footer bar below the tool. The
project is created and presented in a preview window. If necessary, you can return to the
settings to modify your media selections.
When you click the Preview button, the media you have chosen are automatically saved in
a Collection named Latest Smart Creation. If you expect to make further use of this
grouping of assets, rename the Collection to prevent it being overwritten the next time you
look at a SmartMovie preview.
The Library 37
The analysis phase of generating a SmartMovie may take some time to complete the
first time the material is analyzed. Full rendering of the project, with progress indicated
by shading on the time-ruler of the Player, may introduce an additional delay before a
fully-detailed preview is available.
The Edit button brings your production to the Movie Editor timeline for detailed editing. It’s
a good idea to check that the timeline video settings match your requirements for the show.
The video settings button on the settings panel provides access to these. Also see “The
Project Timeline” on page 47.
When the presentation is the way you want it, click Export to burn a disc or create a file for
upload.
The storage area
The photos in the upper bin are displayed as icons, while the music and sound files in the
lower bin appear as text lines giving the file name and duration of each asset. Both bins
support multiple selection, drag-and-drop reordering, and a context menu with just two
commands:
Delete selected: The selected media are removed from the SmartMovie production. They
remain available in the Library for other uses. (Shortcut: Delete.)
Open editor: This command opens the Corrections tool of the Photo or Audio Editor. Any
modifications you make to the media apply only within this SmartMovie production.
(Shortcut: double-click.)
SmartMovie Settings
The settings on this sub customize the SmartMovie production.
38 Pinnacle Studio
The settings entered will be used the next time the production is generated. The video
settings button lets you set up the timeline options that will apply if you take the production
into the Movie Editor. The clear project button removes all media from the project and
returns to default settings.
Title: Enter a caption to be used as the main title of the movie.
Clip lengths: The visual tempo of your movie increases as the clip length is shortened.
Maximum uses the original length of the asset.
Pan and zoom: Checking this option enlivens your presentation with simulated camera
moves.
Fit image: Check this option to enlarge material that is too small for the frame format of your
project.
Video Track Volume: Set the volume of the original audio in the video segments. For a
soundtrack of background music only, set to zero.
4
Edit 39
Edit
The Edit tab lets you access Pinnacle Studio’s main editing features for digital movie
creation.
This section contains the following topics:
• Edit tab components
• The Editor panel
• Using keyframes
• Previewing edits in the Player
• The Project Timeline
• The Timeline toolbar
•Markers
• 3-point and 4-point editing
• The timeline track header
•Editing Movies
• Title Editors, ScoreFitter, voice-over
• Deleting clips
• Clip operations
•Rotating video
• Camera properties
•Trimming video
• Using Slip, Slide, Roll, or Stretch tools on the Timeline
• Using the Clipboard
• Controlling speed with Time Remapping
• Using Time Freeze to freeze frames
• Movies within movies (nested projects)
•Picture-in-Picture (PIP)
• Track Transparency
• Blend Modes
• Transitions
•Morph Transitions
• Seamless Transitions (Ultimate)
• Clip effects
• Clip context menus
40 Pinnacle Studio
Edit tab components
The Edit tab brings together four main components:
The Library panel provides the assets available to your project. For more information about
the Library, see “The Library” on page 13.
The Editor panel lets you access and edit properties for the currently selected media or asset.
The Timeline lets you organize the assets as clips within a schematic representation of your
production.
The Player panel lets you preview Library assets before adding them to your project. It also
lets you view – on a frame-by-frame basis if you like – how any part of the production will
actually appear to your audience when you export it, whether you save it as a file, burn it to
a disc, or transfer it to a device.
The Edit tab includes the Library/Editor panel (Editor showing, upper left), the Player
panel (upper right), and the Timeline (lower panel).
Along with the Library, the Editor, the Timeline of your project, and the Player, the Edit tab
lets you access a variety of tools and s for creating and editing titles, adding effects, and other
purposes.
The editing process often starts by dragging assets from the Library panel to the timeline.
From there, you can make some edits in the timeline itself, or you can right-click an asset in
the timeline to access additional editing tools. You can also double-click an asset to activate
Edit 41
the Editor panel or an alternative editing window (such as the Title Editor or 3D Title
Editor).
The Editor panel
Accessible from the Edit tab, the Editor panel shares a space with the Library panel.
The Editor panel gives you global and keyframe control over the properties for the media or
asset selected in the timeline.
In the timeline, select the media you want to work with, and open the Editor panel to view
the properties or other settings.
For example, if you select a clip with an effect applied in the timeline, you can see the
properties for the clip.
Properties is the active section for the media selected in the timeline.
To see the settings for the effect applied to the clip, click Effect along the top of the Editor
panel.
Not only can you edit the effects or corrections applied to the selected clip, but you can also
add an effect or correction to the selected clip from within the Editor panel.
42 Pinnacle Studio
Effect is the active section for the asset selected in the timeline. The keyframe area
displays on the right with a scrubber. No keyframes are used in this example, so the
area is blank. With no keyframes, any changes to the properties on the left apply to the
entire clip.
To apply a consistent setting to the entire media or asset, adjust the settings (no keyframes
active).
Using keyframes
Keyframing is a method used for mapping individual properties of a selected element to
specific moments in a video. By setting multiple keyframes, you can precisely change things
like position, opacity, and the size of elements throughout the duration of a video. Keyframes
can be found in the Editor panel, where you can access and control clip Properties settings,
as well as Corrections, Color, Effect, 360 Video, Pan and Zoom and Time Remapping.
Keyframes are also available in the Mask panel and the Title panel, and in other places
throughout the application. A keyframe area displays to the right of the properties and
functions listed in the panel you have open.
To use keyframes in the keyframe area
1In any of the panels that include a keyframe area, drag the scrubber to the position
where you want to add a keyframe.
2Click the Turn on/off keyframing button (diamond) to the right of the control you want
to adjust (sometimes there is an on/off button above a section that adds keyframes for
the entire section). The button turns orange when keyframing is on, and for individual
properties, keyframe controls display to the right of the button.
Edit 43
Note: When you turn keyframing on, a keyframe is automatically added at the current
scrubber position.
3Choose the settings you want for the current keyframe.
4Do any of the following to set and manage your keyframes, moving the scrubber each
time you want to set a new keyframe:
• Add a keyframe: Click the white Add/Remove Keyframe button (diamond) next to the
control you want to set. Then adjust the control, using the preview in the Player window
as a reference.
• Select a keyframe: Click the arrow buttons (triangles) on either side of the Add/
Remove Keyframe button to navigate to a specific keyframe or drag across the
keyframe (the keyframe displays as orange when you select it by dragging).
• Select multiple keyframes: When working with keyframes that aren’t in the start or
end positions, you can drag across keyframes to multi-select (keyframes display as
orange when you select them by dragging). You can then drag the keyframes to a new
position, or right-click to access Delete, Cut, Copy, and Paste functions.
• Move a keyframe: Click a keyframe and drag it horizontally to a new position.
• Copy and paste a keyframe: Select one or more keyframes, right-click a selected
keyframe and choose Copy. In the keyframe area, right-click where you want to
position the keyframes, and choose Paste.
• Delete a keyframe: Select the keyframe (using the arrow buttons) and click the Add/
Remove Keyframe button (icon changes when in “Remove” mode) or drag across a
keyframe to select it, right-click the keyframe, and choose Delete.
Caution: If you turn off keyframing (by clicking the Turn on/off keyframing button), you will
lose all keyframes for that control (keyframes are not hidden--they are removed). If you click
the Turn on/off keyframing button in a title bar for a section, all keyframes for all controls
will be removed.
The Turn on/off keyframing button in a title bar will add or remove keyframes for all
controls within that section.
44 Pinnacle Studio
In this example, the scrubber is aligned with two keyframes. You can remove a selected
keyframe by clicking the Add/Remove Keyframe button (diamond with line through it)
that appears to the right of the control.
You can also select a group of keyframes and copy and paste them to another clip.
Previewing edits in the Player
You can operate the Player panel either in single or dual preview mode. Click the Preview
Mode button in the upper right corner of the Player to toggle between them.
The Player in single mode. You can choose to view either ‘Source’ (Library) or timeline
material.
Single mode conserves screen space by providing only one Player preview. The Source and
Timeline tabs above the Player indicate whether Library or timeline material is being viewed,
and allow you to switch from one to the other.
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The player in dual mode. The side-by-side previews let you browse the Library while
keeping your current movie frame in view.
In dual mode, Source (Library) material is shown in the left-hand preview, and timeline
material in the right-hand preview, each with its own set of transport controls. The dual view
makes it easier to locate Library assets that fit well with your movie by making both the
existing and the prospective material visible simultaneously.
Common preview controls:
The following controls are available at the bottom of both the Timeline preview and Source
preview:
•Playback Speed bar: Set to 1x playback speed by default, drag to the right to increase
the playback speed. To decrease playback speed, drag to the left, not passing the narrow
middle area. To reverse playback, drag to the left side of the bar (the Play button flips
when playback is set to reverse). You can also choose a playback speed from the drop-
list to the right of the bar. Click the dot above the bar to reset playback to 1x speed.
.
•Playback controls: Standard playback controls let you navigate your project on the
Timeline: Loop, Go to start, Jump backward, Step one frame backward, Play/Pause,
Step one frame forward, Jump forward, Go to end.
•Duration and Timecode (TC): These indicator appear at the top of the preview areas. In
the case of the Source clip, the total trimmed length is displayed. For the Timeline, the
total project length is displayed. The TC (Timecode) indicator displays the current
scrubber position for each preview.
•Show full screen : Lets you preview in fullscreen mode. Press ESC to exit.
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•Dock/Undock : Lets you undock the preview so that you can position anywhere on
your screen or on a second screen.
Timeline preview controls
The following controls are available for the Timeline preview:
•Zoom Level box: Choose Fit to fill the preview area, or choose a zoom level from 10% to
400%
•System Volume and Mute: Controls the volume for any audio on the Timeline. Clicking
the Volume to toggle Mute on or off. Click the Volume arrow and drag the slider to
increase or decrease the audio volume. For more control over audio, use the controls in
the Timeline.
•PIP controls , : Picture-in-Picture (PIP) controls let you scale or crop a clip. For
more information, see “Picture-in-Picture (PIP)” on page 88.
Source preview controls
•Video stream active and Audio stream active buttons: These buttons let you toggle
between including both the video and audio during playback, or including audio only in
order to preview an audio waveform of the clip audio.
•Send to Timeline: Click to send the source clip that you’ve previewed to the Timeline.
The clip is inserted at the scrubber position or according to markers indicating an in-
point or out-point.
•Mark In, Mark Out, Clear mark in/mark out: Markers let you trim the source clip before
you add it to the Timeline. Markers can be used for 3-point editing and 4-point editing.
For more information, see “Clip operations” on page 69 and “3-point and 4-point
editing” on page 59.
Disc editing
You can prepare a project that you want to export to MyDVD by enabling the Disc Editor
button in the timeline toolbar.
Pinnacle Studio lets you smoothly transition a movie to a disc project at any time during
development, so it’s all right to start in the Movie Editor even if you end up targeting DVD
for output instead of or as well as the other options.
For more information about disc editing, see “Disc projects” on page 191.
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Slideshow productions
In addition to all types of video productions, you can create complex slideshows and
presentations from still images. The same editing techniques apply in both cases.
The Project Timeline
The timeline is where you create your movie, by adding video, photo and audio assets from
the Library, by editing and trimming these core media, and by enlivening them with
transitions, effects, and other enhancements.
Timeline fundamentals
The timeline consists of multiple tracks – as many as you require – in a vertical stack. Tracks
nearer the top of the stack are positioned towards the front when viewed, their opaque parts
obscuring the tracks below.
The basic action of movie authoring is to drag an asset from the Library to a timeline track,
where it is called a clip. With a little practice, you can lay out a rough edit of a movie very
quickly just by adding its main media assets at their approximate timeline positions.
At the left end of the timeline are track headers with several controls per track: a lock
button, the track name, and monitoring buttons for the track’s video and audio.
The track header: To the left of each track is a header area that provides access to functions
such as disabling video or audio monitoring for the track.
The default track: One track is highlighted with lighter background color, and is also marked
with an orange bar to the left of the track header. This is the default track. It has a special role
in certain editing procedures; for instance, it is the target track for pastes. To make another
track the default track, click in its header.
Your current position on the timeline corresponds to the video frame shown in the Player
panel. The current position is indicated by a vertical red line, at the bottom of which is a
draggable scrubber handle. Another vertical line marks the same position in the Editor panel
(in the keyframe area).
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The Timeline Navigator
The space just under the toolbar can be occupied by the Timeline Navigator or the
Storyboard, or by neither. The Timeline Navigation tool selector is located near the left end
of the timeline toolbar. It includes a dropdown that lets you select which tool you want
displayed in that area.
The Timeline Navigator is an auxiliary navigation panel that can be revealed or hidden by
clicking its icon on the Timeline Navigation tool selector near the left end of the timeline
toolbar.
The full-width strip appears just below the toolbar. It gives a bird’s- eye view of your whole
project at a reduced scale. In the Timeline Navigator, the bars representing clips have the
same colors as they do on the timeline, except that the bar representing the selected clip is
drawn in orange. Clicking in the Timeline Navigator allows you to speedily access any
timeline location.
A portion of the Navigator strip, showing the current position (vertical line, left) and the
translucent draggable view window.
The gray rectangle that encloses a portion of the Timeline Navigator display – the view
window – indicates the section of your movie currently visible on the timeline tracks.
To change which part of the movie is in view, click and drag horizontally within the view
window. The timeline scrolls in parallel as you drag. Since your timeline position does not
change, this may take the scrubber out of view.
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The Storyboard
Assembling a movie can involve juggling a large number of photos and video clips, as well
as deciding where to place titles, Montages and the like. In the Storyboard, the clips on one
track of your movie are presented as a sequence of icons, so you can see at a glance what is
included and where. To choose which track to view in the Storyboard, use the Storyboard link
button in the track header.
Any of the photos, video, audio, projects, templates and titles in the Library can be added to
your movie by dragging and dropping them onto the Storyboard. Once there they can be
rearranged, or removed altogether if you change your mind.
Different types of clips are represented in the Storyboard with different colors. For example,
photos and videos have a blue frame, and projects have a gray frame. As in the timeline, clips
that have had effects applied appear with a magenta line on the top, and clips with
corrections have a green line. A colored band connects the Storyboard icon with the position
of its clip on the timeline; a gap in the timeline is reflected in a gap in the Storyboard. Once
you become familiar with the color coding, it will help you quickly visualize the structure of
your movie.
The Storyboard displays a sequence of icons representing the contents of one track.
Effects (magenta) and corrections (green) are indicated on the top edge of the icon; the
length of the clip is shown on the bottom.
The space just below the toolbar where the Storyboard appears is also used by the Navigator
(and in the Disc Editor by the Menu List). Which tools is visible, if any, is controlled by the
Navigation tool selector near the left end of the timeline toolbar.
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Navigating in the Storyboard
To scroll to a part of the Storyboard that is not in view, hover with the mouse over the
Storyboard until a hand cursor appears. Now click the left button and drag the Storyboard.
If you drag the mouse quickly and release the mouse button, the Storyboard will briefly
continue scrolling, thus creating a ‘swiping’ behavior.
Alternatively you can hover over the Storyboard and use the mouse wheel to scroll, or use
the arrows at each end of the Storyboard.
Editing with the Storyboard
Although most editing takes place on the timeline tracks, the Storyboard has some editing
capability. For instance, effects can be added directly to a clip on the Storyboard by dragging
and dropping the effect onto the clip. The clip’s context menu offers the same set of
commands here as on the timeline. Any editing that takes place on the Storyboard is
immediately reflected in the timeline, and vice versa.
Adding clips: Any photo, video, audio clip, project, template or title can be added to your
project by simply dragging it from the Library to the Storyboard. An insertion line appears
to indicate where the new clip will be placed. You can select multiple clips to add them all at
once.
Inserting or replacing clips: If you are inserting material between clips already on the
Storyboard, drag the new clip so that it overlaps the right side of the clip that will precede it.
When the insertion line appears and a space opens up, drop the new clip into the gap.
To replace a clip, drag the new one onto the clip to be replaced. The insertion line will appear,
and the old clip will highlight to indicate proper placement. The new clip must be the same
type as the old. A video clip cannot be replaced by a photo or audio clip, for example.
Selecting clips: To select a clip, click on its icon; an orange frame around the clip indicates
selection. The timeline scrubber will jump to the beginning of the selected clip, and a
connecting band of color will link the Storyboard clip with its timeline counterpart. If the
timeline position of the selected clip is currently off-screen, it will be brought into view.
You can select multiple clips using the Shift and Ctrl keys according to the usual Windows
conventions.
Reordering clips: To pick up a clip and move it, click on it until it is selected, and then drag
it to its new location. If necessary, the Storyboard will scroll until you reach the desired
position.
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Zoom level of the timeline
To change the zoom level of the timeline, either click and drag horizontally in the time-ruler
along the bottom of the timeline, or drag the sides of the view window. The first method has
the advantage that it always leaves the screen position of the playhead undisturbed, which
may make it easier to orient yourself after the zoom.
To change the zoom of the Navigator itself, use the plus and minus buttons immediately to
its right.
Double-clicking on the view window adjusts the zoom of both the Navigator and the timeline
such that your entire movie fits within the Movie Editor window.
Resizing panels
The height of the timeline panel, along with the relative proportions of the Library/Editor
panel and the Player panel, can be adjusted with the sizing grip in the form of an inverted T
in the middle of the screen.
Resizing tracks
To adjust the height of individual timeline tracks, grab and adjust the separator lines between
the track headers on the left. If the vertical size of all tracks exceeds the available viewing
area, a scroll bar at the right will allow you to select which tracks are in view.
Set the height of the Storyboard (when it is visible) by vertically dragging the horizontal
separator along the Storyboard’s bottom edge.
The Timeline toolbar
The toolbar above the timeline offers various settings, tools and functions that apply to the
timeline and timeline editing. These are described in order from left to right.
Customizing the toolbar
The timeline toolbar can accommodate numerous buttons to help editing go more smoothly.
One set of buttons is available for the Movie Editor and a somewhat larger set for the Disc
Editor. The Customize toolbar button at the far left of the toolbar lets you choose which
subset of the available buttons you wish to display.
Clicking the button brings up a panel upon which all the other toolbar buttons can be
individually set as visible or hidden. The gray check marks beside the Timeline settings
button and a few others indicate that these buttons are not optional and will be displayed
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as a matter of course. Check or uncheck the boxes for the optional buttons until the toolbar
has been configured to your liking, or check the Select all box to display all of the buttons.
Some of the commands invoked by buttons also have keyboard shortcuts. These work
whether the button is displayed or not. (See “Appendix C: Keyboard shortcuts” on page 293
for more information.)
Timeline settings
By default your timeline settings are copied from the first video clip you add to the timeline.
If that will give the right result, you won’t have to alter them.
If you do need to change these basic image properties of your project, click the Gear button
to open the timeline settings panel and configure the four settings provided.
Aspect: Choose between a 4x3 and a 16x9 display.
Imaging: Choose between Regular (2D) and Stereoscopic (3D).
Size: Choose amongst the HD and SD pixel resolutions available for the given aspect ratio.
Frame rate: Choose from a selection of frame rates consistent with the other settings.
These settings can be changed at any time during the development of your movie, but you
should be aware that a change of the frame rate can cause a slight shifting of clips on the
timeline as they adjust to new frame boundaries.
Video material that is not in compliance with the chosen project settings will be converted
automatically on being added to the timeline. If you are making a stereoscopic movie, 2D
material may be used but it will still look two dimensional, as both the right eye and left eye
views will be the same. 3D material can be used on a 2D timeline, but only the left eye
channel will be shown.
If you want to choose a video standard for your projects explicitly, rather than relying on
inheriting the format from the first clip added, open the Project settings page of the
application settings. See “Project Settings in the Control Panel” on page 249.
Disc Editor
You can prepare a project that you want to export to MyDVD by enabling the Open
Author toolbar button in the timeline toolbar.
For more information about disc editing, see “Disc projects” on page 191.
Edit 53
Audio mixer
This button opens the enhanced audio control area with volume adjustment tools and
access to the Panner, a surround panning control.
ScoreFitter
ScoreFitter is the integrated music generator of Pinnacle Studio, providing you with
custom-composed, royalty-free music exactly adjusted to the duration required for your
movie. See “ScoreFitter background music” on page 186.
Title
The Title button opens the Title Editor. If none of the many supplied titles answers your
need, why not author one of your own? See “Titles” on page 155.
3D Title Editor
The 3D Title Editor lets you edit preset 3D titles and create your own 3D titles. You can
also create 3D objects.
Voice-over
The voice-over tool lets you record commentary or other audio content live while
viewing your movie. See “The Voice-over tool” on page 187.
Audio Ducking
Audio Ducking is used to automatically lower the volume of one track so that you can
hear another track better. For more information, see “Using Audio Ducking to
automatically adjust volume” on page 188.
Multi-Camera Editor
The Multi-Camera Editor is a workspace that lets you create professional-looking video
compilations from footage of events that have been captured on different cameras,
from different angles. For more information, see “Multi-Camera Editing” on page 257.
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Track Transparency
Track Transparency provides precise transparency control in the Timeline by opening
a mode that makes it easy to set keyframes and adjust transparency level by keyframe.
For more information, see “Track Transparency” on page 89.
Motion Tracking
You can track the motion of elements in your videos and add masks or objects that
follow the same motion. For more information, see “Motion Tracking” on page 139.
Split Screen
You can easily create a split screen video in Pinnacle Studio to play multiple videos in a
preset or customized template. For more information, see “Split screen video templates”
on page 149.
Mark In, Mark Out, Clear
Mark In lets you set the start point for a trimming action.
Mark Out lets you set the end point for a trimming action.
Clear Mark In/Mark Out lets you remove all trim markers.
Razor blade (Split Clips)
To split one or more clips at the playhead position, click the razor blade button. No
material is deleted by this operation, but each affected clip becomes two clips that can
be handled separately with respect to trimming, moving, adding effects and so on.
If there are selected clips at the playhead on any track, only those clips will be split. Both parts
of those clips remain selected after the split.
If there are no selected clips at the playhead line, all clips intersected by it will be split and
the right-hand parts will be selected to facilitate easy removal in case that is desired.
Locked tracks are exempt from the split operation.
Trashcan
Click the trashcan button to delete all selected items from the timeline. See “Deleting
clips” on page 69 for details on how other timeline clips may be affected by the deletion.
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Snapshot
If, while previewing video on the timeline, you see a frame that you would like to capture
as a still image, click the Snapshot button. This creates a photo of the image currently
being previewed, and puts it in the Snapshot folder under Photos in the Library.
Using the Snapshot button on the timeline is a quick way to grab a frame; for more control,
use the Snapshot tool in the Video Editor. Please see “Snapshot” on page 111 for more about
the Snapshot tool.
Markers
The marker functions available here are identical to those provided in the media editors
for video and audio. Please see “Markers” on page 58.
Instead of being attached to a particular clip, however, timeline markers are considered to
belong to the video composite at the marked point. Only if there is a clip selection embracing
all tracks at the marked point, and only if no track is locked, will the markers change positions
during timeline editing.
Selection tool
This default tool lets you select clips in the Timeline. It is one of five tools that let you
adjust clips in the Timeline.
Slip tool
Lets you drag in the Timeline to change what frames you see (content) without affecting
the “window” (duration) for the clip, essentially moving the trim markers for the source
clip. For more information, see “Using Slip, Slide, Roll, or Stretch tools on the Timeline” on
page 80.
Slide tool
Lets you move the clip “window” along the timeline without changing duration,
essentially moving the trim markers in the Timeline to reveal different content. For more
information, see “Using Slip, Slide, Roll, or Stretch tools on the Timeline” on page 80.
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Roll tool
Lets you adjust the size of the clip “window”, affecting the duration of the selected clip
and the adjacent clip.For more information, see “Using Slip, Slide, Roll, or Stretch tools
on the Timeline” on page 80.
Stretch tool
Lets you adjust the size of the clip “window”, thus changing the duration on the
Timeline, expanding or contracting the content (adjusting the speed) in order to fit the
new duration without changing which frames are shown. For more information, see “Using
Slip, Slide, Roll, or Stretch tools on the Timeline” on page 80.
Trim mode
To open a trim point, place the timeline scrubber near the cut to be trimmed and click
the trim mode button. Click it again to close trim mode. Please see “Trimming video” on
page 72 for more details.
Dynamic length transitions
Ordinarily when a transition is added to the timeline, it is given the default length you
have configured in the Pinnacle Studio Control Panel. Click this button if you would like
to override the default length. When the button is highlighted, the transition durations can
be set by dragging the mouse to the right or left while placing the transition onto a clip. For
more about transitions, please see “Transitions” on page 95.
Magnetic snapping
Magnet mode simplifies the insertion of clips during dragging. While the mode is active,
clips are ‘magnetically’ drawn to other items on the timeline when they approach within
a critical distance. This makes it easy to avoid the unnecessary – though often indiscernibly
small – gaps between items that are otherwise apt to arise during editing. If you want to
deliberately create such a gap, however, simply turn off the mode to allow the preferred
placement.
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Audio scrubbing
By default, the audio portion of a project can be heard only during playback in the
preview. The audio scrubbing button on the timeline toolbar provides an audio preview
even while just ‘scrubbing’ through your movie by dragging the timeline scrubber control.
The shuttle wheel of the Player also provides audio scrubbing.
Editing mode
The editing mode selector at the right-hand end of the timeline toolbar determines the
behavior of other clips when editing changes are made.
Five choices of editing mode are available: Smart Editing, Insert and Overwrite, 3-4 Point
Edit, Replace. The default is Smart Editing, in which Pinnacle Studio selects from insert,
overwrite and sometimes more complex strategies in the context of each editing operation.
Smart Editing Mode is designed to maintain synchronization between timeline tracks as far
as possible. In a multitrack editing situation, clips typically have vertical as well as horizontal
relationships. When you have carefully placed your cuts to coincide with the beats of a music
track, for example, you don’t want to disrupt everything when you make additional edits.
Insert Mode is always non-destructive: it moves other clips on the track out of the way
before inserting new material. It will also automatically close gaps created by removing
material. Only the target track is affected. Any prior synchronization with other tracks from
the edit point rightwards is lost.
Insert Mode is most useful in the early stages of a project, when you are collecting and
arranging clips on the timeline. It ensures that no material will be lost, and makes it very easy
to reorder clips and sequences of clips.
In the later stages, when the structure of your project is approaching its final state and you
have started carefully synchronizing material on different tracks, insert mode is less helpful.
The very properties that favor its use for the early stages (the ‘ripple’ behavior) count against
it when finalizing. This is where overwrite comes into play.
Overwrite Mode directly affects only the clips you select. Changing the length or position
of a clip in overwrite mode will overwrite neighboring clips (if you lengthen) or leave gaps (if
you shorten). It will never affect the synchronization between tracks.
3-4 Point Edit Mode offers a quick and precise way to add clips to a sequence on the
Timeline. You can use 3-4 Point Edit Mode for any project, but it works particularly well for
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projects where you want align clips precisely, such as matching illustrative clips to narration
or matching the clips to specific parts of a soundtrack. For more information, see “3-point
and 4-point editing” on page 59.
Replace Mode lets you replace one clip by another while retaining its duration, effects and
other properties. It is particularly useful when working with templates. See “Replacing a clip”
on page 67 for details.
Using the Alt key to override the editing mode
To change insert to overwrite behavior, or overwrite to insert, hold down the Alt key while
carrying out your edit as usual. You can press (or release) Alt as you please while setting up
the edit: what counts is the state of the key at the instant the operation is finally enacted,
such as when you drop dragged items onto the timeline.
Markers
Markers are visual reference points that can be set on the time-ruler to identify changes of
scene or other editing cues.
The Marker
Setting and moving markers: Position the playhead at the location where the marker
should be set. Click the toggle marker button at the left of the toolbar, or press M. Only one
marker may be set per frame.
To move a marker: Ctrl-click and drag left or right.
Deleting the marker: Click the marker to move the playhead to that position, then either
press M or click the toggle marker button.
You can also delete markers using the list on the Marker panel, which opens when you
double-click a marker on the ruler, or click the down-arrow next to the toggle marker button.
The Marker panel shows the markers that have been set within the media currently on view,
in ascending order, with color code, name, and position. Most of the available commands
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apply to the currently- selected marker. The exception is the Delete all markers button at the
bottom of the panel.
Clicking a marker in the list selects it for editing. At the same time, the playhead jumps to the
marker position.
Edit name: The name field lets you enter a distinctive name for the currently-selected marker
if desired. The left and right arrows beside the name provide another way of moving through
the marker list.
Position: Edit the position of a marker directly here as time-code.
Marker color: Set the color of the current marker (and markers subsequently created), by
clicking one of the available color buttons.
Trashcan: The trashcan icon on each row of the marker list lets you delete individual markers.
3-point and 4-point editing
You can use the 3-4 Point Edit Mode in Pinnacle Studio to trim and add source clips to a
sequence in the Timeline. 3-point and 4-point editing offers a quick and precise way to add
clips. You can use 3-4 Point editing mode for any project, but it works particularly well for
projects where you want align clips precisely, such as matching illustrative clips to narration
or matching the clips to specific parts of a soundtrack.
“Points” refers to the “in point” (Mark In) and “out point” (Mark Out) markers that you add
to the source clip and the Timeline. In most cases, you will likely use 3-point editing because
it lets you edit precisely without adjusting the speed of clips. 4-point editing, in most cases,
results in adjusting the speed of the clip so that it precisely fits a defined time in the Timeline.
How does it work?
In the Timeline, you can identify where you want to add a source clip by adding an in-point
marker (for where you want the clip to start), an out-point marker (for where you want the
clip to end), or both. The same is true for your source clip. You can add an in-point marker,
an out-point marker, or both. The source clip will be trimmed according to these markers
when you add it to the Timeline and overwrite any underlying content in the Timeline (non-
destructive, the original files are protected). If you decide to set all 4 points, in most cases,
the duration set in the Timeline will not match the duration of the trimmed clip. This means
you need to alter the speed of the clip to fill the time defined in the Timeline, or, you can
choose which 3 points are the priority, and allow the clip to run at its original speed.
Example of a 3-point edit
If you want to match a narrator’s description of a bear to a clip of a bear, in the Timeline you
can set your in-point and out-point markers for the narration, and then evaluate your source
clip that has the bear. Set either an in-point marker or an out-point marker, depending on
60 Pinnacle Studio
your preference and the overall impact. If you use an in-point marker, when you drag the clip
from the Library to the Timeline, it will automatically align the source and Timeline in-point
markers and trim the source clip at the out-point marker set in the Timeline.
Fit Clip options
When you add clips to the Timeline in 3-4 Point Edit Mode, a Fit Clip message window
appears. The windows provides you with a number of options that let you determine exactly
how the clip will interact with the content in the Timeline. The options presented depend on
the points set and the length of the clip in relation to the length of the gap on the Timeline.
In this example, the Fit Clip window offers two options: Trim Source Clip, which means
it will use a soft marker (gray marker) as a Timeline trim marker for the source clip
because it represents the end of the current track. Or, Overwrite Timeline, which means
the two points set for the Source clip will be respected and the source clip will extend
beyond the end of the clip currently in the Timeline.
Note: When you trim clips in the Library, your trim markers are saved with the clip. You
can use the trimmed clip with the next project or clear and reset the markers at any
time.
Tip: 3-4 Point Edit Mode always overwrites any underlying content to protect track
synchronization in multi-track projects. To insert clips, rather than overwrite, from the
editing mode drop-down, choose Insert Mode.
To add clips by using 3-point editing
1In the Timeline, click the 3-4 Point Edit Mode button in the editing mode drop-
down.
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The 3-4 Point Edit Mode button is located in the drop-down at the right end of the Timeline toolbar.
2With one or more clips already in the Timeline, drag the scrubber to the position you
want, and do one of the following:
• To set an in point, click the Mark In button on the Timeline toolbar, or press I.
• To set an out point, click the Mark Out button on the Timeline toolbar or press O.
Note: To clear a marker, click the corresponding button a second time. To clear both
markers, click the Clear Mark In/Mark Out button .
3If you are setting two points in the Timeline, repeat step 2.
4In the Library, select the source clip you want, and in the Player panel, ensure the
Source view is displayed (click the Source tab).
5Using the controls below the preview, move the scrubber to the position you want, and
do one of the following:
• To set an in point, click the Mark In button or press I.
• To set an out point, click the Mark Out button or press O.
6If you are setting two points for your source, repeat step 2, but the total points for the
Timeline plus the source should be 3.
7In the Timeline, select the track where you want to add the source clip, and do one of the
following:
• Below the Preview, click the Keep Speed button .
• From the Library, drag the source clip to the track.
8When the Fit Clip window appears, choose the option you want from the message
window.
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The clip is added to the Timeline according to the points set.
To add clips by using 4-point editing
1In the Timeline, click the 3-4 Point Edit Mode button in the editing mode drop-
down.
2With one or more clips already in the Timeline, drag the scrubber to the in-point position
you want, and click the Mark In button on the Timeline toolbar.
3In the Timeline, drag the scrubber to the out-point position you want, and click the Mark
Out button on the Timeline toolbar.
4 In the Library, select the source clip you want, and in the Player panel, ensure the
Source view is displayed (click the Source tab).
5Using the controls below the preview, move the scrubber to the in-point position you
want, and click the Mark In button or press I.
6Move the scrubber to the out-point position you want, and click the Mark Out button
or press O.
7In the Timeline, select the track where you want to add the clip.
8Below the preview, click the Fit to Duration button .
Note: The speed of the clip will be adjusted to fit the duration between the in and out
points in the Timeline. Unless the clip duration and Timeline duration are exactly the
same, a yellow dashed line appears across the top of the clip to indicate that the original
speed has been modified. If your clip includes audio, the quality of the audio will be
affected and sped up or slowed down to correspond with the new clip duration.
Note: A Fit Clip window displays when you add the clip to the Timeline. Accept the
default option to maintain a 4-point edit. If you decide to override a point (to essentially
use a 3-point edit), click another option in the window.
The timeline track header
In the header area of the timeline are a number of controls affecting the arrangement and
organization of the timeline tracks. These are covered here, while the audio functions
controlled from the timeline header, such as track volume, are described in the topic “Audio
on the timeline” on page 183.
The all tracks area above the track headers offers controls similar to those found on each
track header but with global effect: they apply to all tracks simultaneously, overruling the
individual settings.
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Default track
The orange vertical line to the left of the track header, together with a lighter background
shade, identifies the default track. It provides a destination track for certain functions,
including send to and paste. Newly-created titles and ScoreFitter songs are also added on
this track. For more information see “Sending to the timeline” on page 68, “Using the
Clipboard” on page 82, “Titles” on page 155 and “ScoreFitter background music” on
page 186.
To make another track the default track, simply click anywhere within the track header other
than on a button or other control.
Locking
Click the padlock buttons to protect a track from unintended edits. The same button in the
all tracks area confers this protection on the whole project.
Storyboard link
The Storyboard is an alternative representation of a timeline track. A small storyboard link
button appears beneath the padlock button on all track headers when the Storyboard is
open. Click the button to select a given track as the one linked to the Storyboard display.
Track name
To edit the name of a track, click the name once to access the in- place editor, or select Edit
track name from the track header context menu. Confirm your edit with Enter, or cancel it
with Esc.
Video and audio monitoring
The video and audio buttons in the track header control whether this track contributes its
video and audio to the composite output of the project. They support the many editing
situations in which it is advantageous to block the output of one or more tracks in order to
simplify the preview. The same buttons in the all tracks area toggle audio and video
monitoring for the entire project.
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Additional track functions
The following functions are available in the track-header context menu or by manipulating
the tracks:
Insert New Track: You can insert a new track either above or below the existing track.
Delete track: Delete a track and all clips on it.
Move track: Drag the track header up or down to a new layer position. As you drag, a bright
horizontal line appears at valid placements.
Copy track: Keeping the Ctrl key pressed while moving a track will copy the track instead of
move it.
Track size: The context menu contains four fixed track sizes (Small, Medium, Large, Very
large). For custom sizing, drag the separator line between the track headers to seamlessly
adjust the height.
View waveforms: Toggle the waveform view for audio clips.
Please see “Audio on the timeline” on page 183 for coverage of Timeline audio functions.
Editing Movies
The first step in any movie editing session is to start or open a movie project.
To launch a new production: Choose File >New > Movie from the main menu. Before
adding your first clip, make sure that the timeline video format will be right for the project
(see below).
To edit an existing movie: Select a recent project from the File > Recent menu; click File >
Open to browse for a movie project to open; or locate the movie you want to open in the
Projects folder of the Library, and double-click the thumbnail.
If your movie has been stored as a project package, it must be unpacked before editing. Find
your project in the Studio Projects group in the Library, and use the Unpack project package
command on the thumbnail’s context menu.
Alternatively, you can click File > Open and find the project package in Explorer by choosing
Studio Project Package (axx) in the file extension box.
When unpacking is finished, the unpacked project is added to the Library and opened on the
project editor timeline, where it can be edited as usual.
To open a Studio project: Choose File > Import previous Pinnacle Studio projects. Please
note that some features of projects created with a previous version of Studio may not be
supported in the current version.
To import a Studio for iPad project: Choose File > Import Studio for iPad App projects.
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Project settings
To start editing a new project, verify that the video format settings of your project – aspect
ratio, 2D or 3D, frame-size and playback speed – are as you want them. See “Project Settings
in the Control Panel” on page 249 for configuring the automatic feature, and “Timeline
settings” on page 52 for instructions on entering project settings manually.
Depending on your timeline settings, clips in some formats might not be instantly playable.
Such content will automatically be rendered in an appropriate format.
Establishing tracks
With only minor exceptions, timeline tracks in Pinnacle Studio do not have specialized roles.
Any clip can be placed on any track. As your projects become more complex, however, you
will find it increasingly helpful to give some thought to the organization of tracks, and
rename them according to their function in the movie. For information on track properties
and how to edit them, please see “The timeline track header” on page 62.
Adding clips to the timeline
Most types of Library asset can be brought onto the timeline as independent clips. The types
include video and audio clips, photos, graphics, ScoreFitter songs, templates and titles. You
can even add your other movie projects as container clips that work just like video clips in
your project. Disc projects, however, cannot be added as container clips to a timeline, since
they require a capability – user interactivity – that timeline clips don’t have.
Drag-and-drop
Drag-and-drop is the commonest and usually the most convenient method of adding
material to a project. Click any asset in the Library panel and drag it wherever you like on the
timeline.
When crossing into the timeline area during the drag and continuing to the target track,
watch for the appearance of a vertical line under the mouse pointer. The line indicates where
the first frame of the clip would be inserted if dropped immediately. The line is drawn in
green if the drop would be valid, and red if it would not be possible to insert a clip where
indicated (because the track is protected, for example).
It is possible to insert multiple clips into the timeline at the same time. Simply select the
desired Library assets, then drag any one of them to the timeline. The sequence in which the
clips appear on the track corresponds to their ordering in the Library (not the order in which
you selected them).
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Magnet mode: By default, magnet mode is switched on. This makes it easier to insert clips
so that their edges meet exactly. The new clip snaps to certain positions, like the ends of clips
or the positions of markers, as if drawn by a magnet once the mouse pointer gets close to
the potential target.
On the other hand, don’t worry about whether the first clip is right at the start of the timeline.
Not every movie starts with a hard cut to the first scene!
Live editing preview
In order to eliminate the confusion created by complex editing situations, Pinnacle Studio
provides a full dynamic preview of the results of editing operations as you drag clips around
on the timeline. If things seem to jump around a bit more than you’re used to during timeline
editing, this is the cause. Don’t worry: you will quickly get used to and learn to take advantage
of the extra information provided. Take it slowly at first. Watch the changes on the timeline
as you hover the dragged item over various possible landing places, and complete the drop
when you see the result you want.
If it turns out that drag-and-drop isn’t working the way you want, either press Esc or move
the mouse pointer out of the timeline area and release the button. Either of these abandons
the drag-and-drop operation. To call back a drag-and-drop after it’s complete, press Ctrl+Z
or click the undo button.
Don’t forget that you can vary many timeline editing operations with alternative mode: just
press and hold Alt while dragging or trimming. In a one-for-one clip replacement, Shift is
also significant.
Advanced drag-and-drop
After you have assembled an assortment of clips on a timeline track, it’s only matter of time
before you want to start changing things around. For instance, you might want to:
• Fill a gap with clips.
• Insert some clips before a specific clip.
• Replace a clip already on the timeline with a different one.
The smart editing mode helps you achieve these goals with ease.
Filling a gap
Smart mode makes it simple to fill a particular timeline gap with new material, for example.
Rather than having to painstakingly pre- trim the new material to the space available, you
simply drag items into the gap. Any clips that are not needed for filling the gap will be
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dropped, and the last clip used will automatically be trimmed to the appropriate length. No
clips already on the timeline are affected, so no synchronization problems can result.
Inserting clips
Suppose that your goal is to add new material to the timeline at a point where there is an
existing clip. You don’t want the clip already there to be overwritten, however; you just want
it (and any clips to its right) to move rightwards far enough to make room for the new
material.
Here again, smart editing provides a painless answer. Simply drag the new material to the
start of the clip that is in the way, rather than into a gap. The clip moves aside exactly as far
as necessary.
Inserting with split
If you drop an item onto the middle of an existing clip, rather than at a cut, the clip will be
split. The new material is inserted at the point you specified, and is followed immediately by
the displaced portion of the original clip.
In smart mode, synchronization of the target track with all other tracks is maintained by
inserting in each of them a gap of length equal to the new clip. To avoid affecting the other
tracks in this way, use insert instead of smart mode. Alternatively, pressing Alt as you drop
the new material will cause it to overwrite a portion of the existing clip. A third approach is
to lock any track that should not be modified, although this will affect the synchronization of
clips on locked tracks with those on unlocked tracks.
Replacing a clip
To replace a clip, drag a single Library asset onto the clip you want to replace while holding
down Shift. The replacement clip will inherit any effects and transitions that were applied to
the original clip. Corrections are not inherited, however, since they are usually meant to
address the issues of a particular media item.
In smart mode, the replace operation will succeed only if the Library clip is long enough to
cover the full length of the clip being replaced. In other modes a Library clip of insufficient
length will be extended using over-trimming. The direction and amount of the extension is
based on your mouse position as you drag. For information on over- trimming, please see
“Trimming video” on page 72.
If the Library asset is longer than needed, it will be truncated to the same length as the clip
being replaced.
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Sending to the timeline
In addition to dragging a clip to the timeline, you can ‘send’ it to the default track at the
position of the playhead. The operation is equivalent to drag-and-drop, so smart mode is
applied accordingly when deciding how other clips will be affected. The Send to timeline
command is found on the context menu of an individual asset or multiple selection in the
compact view of the Library.
Sending from the Player
There is also a second ‘send’ method that provides greater control.
If you click on a Library asset, the Player switches to Source mode for previewing. For
trimmable media (video and audio), the Player also provides trim calipers for cutting out a
starting or ending portion of the asset.
Clicking the Send To Timeline button in the Player after trimming a Library video asset.
After previewing the asset and trimming it if required, use the send to timeline button at the
bottom left of the Player. As usual, the asset is added to the project on the default track and
at the playhead. A useful variation is to click anywhere within the Player screen and drag the
asset onto any desired timeline track. The asset is added at the drop point rather than at the
playhead.
Title Editors, ScoreFitter, voice-over
These four functions add new clips to the project’s timeline, clips that are not underpinned
by any Library asset. Instead, they are created from settings and other actions you take
during editing.
Once your editing is complete, both titles and ScoreFitter clips will be sent to the default track
on the timeline using the Send to timeline function, while voice-over clips will go to the
special voice-over track instead. For details please see “Titles” on page 155, “ScoreFitter
background music” on page 186 and “The Voice-over tool” on page 187.
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Deleting clips
To delete one or more clips, first select them, then press Delete. Alternatively, click the
trashcan icon on the timeline toolbar, or choose Delete from the selection’s context
menu.
In smart mode, if the deletion produces a gap that spans all tracks, it is closed by shifting
material to the right of the gap leftwards. This lets you avoid accidentally creating empty
sections in your movie, while still ensuring that synchronization between tracks is maintained.
If the Alt key is held down when deleting, any gaps produced will be left unclosed.
In insert mode, gaps on the tracks from which clips are deleted will also be closed, but other
tracks will be unaffected. No effort is made to preserve synchronization to the right of the
deletion.
With regard to synchronization, the safest editing mode for deletion is overwrite, which will
simply remove the clips and leave everything else unchanged.
Clip operations
The timeline of your project provides comprehensive support for selecting, adjusting,
trimming, moving and copying clips.
Selecting
Select clips in preparation for performing editing operations upon them. A selected clip
receives an orange frame in the timeline and in the Storyboard, and is displayed as solid
orange in the Navigator.
To select one clip, click it with the mouse. Any previous selections are removed. For a fast
multiple selection, click in an open timeline area then drag out a selection frame that
intersects the clips of interest. To select all clips with one command, press Ctrl+A.
To clear a selection click into any gap area of the timeline.
Multiple selection with keyboard and mouse
To create more complex multiple selections, left-click while pressing Shift, Ctrl or both
together.
To select a series of clips: Click on the first and Shift-click on the last. The two clips together
define a bounding rectangle, or selection frame, within which all clips are selected.
Toggle selection of one clip: Use Ctrl-click to reverse the selection state of a single clip
without affecting any of the others.
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Select rest of track: Press Ctrl+Shift-click to select all clips that start at or after the start
position of the clicked clip. This function is particularly useful if you quickly want to get the
rest of your timeline ‘out-of-the way’ for inserting new material, or to manually ripple left to
close timeline gaps.
Grouping and ungrouping clips
You can select and group multiple clips so that you can move the clips together. To group
or ungroup clips:
1In the timeline, select two or more clips.
2Right-click one of the selected clips and choose Group > Group.
To ungroup the selection, right-click a group and choose Group > Ungroup.
Note: You can also Group as Project to save the group as their own movie. For more
information, see “Movies within movies (nested projects)” on page 87.
Adjusting
As you move your mouse pointer slowly over the clips on your timeline, you will notice that
it changes to an arrow symbol while crossing the sides of each clip, an indication that you
can click and drag to adjust the clip boundary.
Adjusting changes the length of a single clip on the timeline in overwrite mode (since insert
mode would cause synchronization issues). If you drag the start of a clip to the right, a gap
will be opened on the left side. If there is a clip to the immediate left of the clip being
adjusted, dragging to the left overwrites it.
The adjustment pointer also appears when the mouse hovers at the ends of a gap – an
empty space on a timeline track with at least one clip to its right.
It turns out that adjusting gaps in overwrite mode, as we do for clips, is not especially helpful.
However, gaps do come in handy when you’re editing in smart mode if you want to ripple
an individual track left or right, ignoring any resulting synchronization issues. Adjusting gaps
therefore occurs in insert mode.
Even if no gap is available, incidentally, you can get the same result by holding Alt while
adjusting the sides of a clip.
Scaling
The first two options affect the treatment of clips that are not in conformance with the
current timeline format when brought into the project. See “The Timeline toolbar” on
page 51.
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•Fit displays the image at its correct aspect ratio, and scaled as large as possible without
cropping. Unused parts of the frame are treated as transparent.
•Fill also maintains the aspect ratio of the image, but scales it such that there are no
unused parts of the screen. Portions of the image will be cropped if the aspect ratios do
not match.
To further fine-tune the scaling behavior of a clip, try pan-and- zoom.
•Keep alpha, Remove alpha, Generate alpha: These commands apply to content with an
alpha channel (specifying transparency pixel by pixel). Such alpha information can
conflict with Pinnacle Studio effects. The command isn’t available for pure audio clips.
Rotating video
You can rotate video clips that you add to the Timeline. You can rotate a video clip by 90
degrees increments (right or left), or choose a custom rotation.
To rotate a video clip by 90 degree increments
1In the Timeline, right-click the video clip that you want to rotate.
2 Choose Rotation from the context menu, and choose one of the following options:
• Rotate Right: Rotates the clip to the right by 90 degrees.
• Rotate Left: Rotates the clip to the left by 90 degrees
To rotate a video clip by any degree
1In the Timeline, select the video clip that you want to rotate.
2Open the Editor panel.
3In the Properties list for the clip, type a value in the Rotation box or drag the slider to
set the degree of rotation you want.
Note: You can use keyframes to set different rotation values for the clip.
Camera properties
You can apply camera-style movements to your clips by adjusting the settings in the Camera
area of the Properties page. Settings include:
•FOV: Adjusts the field of view which determines how close or how far away the camera
appears to be from the scene—the effect is similar to zooming. Lower values zoom in for
a narrower view; higher values zoom out for a wider view.
•Dolly Zoom: When enabled, this feature simulates a camera effect where the camera is
moved while zooming to keep one area consistent (typically the subject), while the
surrounding area is affected by the zooming action.
•Swivel: Adjusts the camera horizontally (x-axis)
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•Tilt: Adjusts the camera vertically (y-axis)
•Rotation: Sets the camera rotation
•Pivot X: Moves the camera along the x-axis
•Pivot Y: Moves the camera along the y-axis
•Pivot Z: Moves the camera along the z-axis
Trimming video
Changing the length of clips or gaps on the timeline is called ‘trimming’.
Multitrack trimming is a valuable editing skill. By trimming multiple tracks at once, you can
assure that the clips coming later on the timeline maintain their relative synchronization.
Trimming clips without consideration for content later on the timeline can disrupt the
synchronization of your project. Soundtracks that don’t match the action and badly-timed
titles are the kinds of problem that may result.
Multiple track trimming
A rule for staying in sync
Pinnacle Studio has powerful trimming tools to allow you to perform multitrack trimming
without risk. Fortunately, there is a simple rule for safeguarding synchronization even on a
complex timeline: open exactly one trim point on every track. Whether the trim point is
attached to a clip or a gap, and at which end, are up to you.
Opening trim points
To open a trim point on the active timeline track, position the timeline scrubber near the cut
you want to trim, then click the trim mode button on the timeline toolbar. To open one
trim point on each non-empty track simultaneously, Shift-click the trim mode button.
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Once in trim mode, you can open trim points with the mouse pointer at the beginning or
end of a clip. Notice that the trim pointer faces left at the start of the clip and right at the
end. While the trim pointer is showing, click once at the point you want to trim. Then
continue to open trim points on other tracks if required.
You can open two trim points per track by holding down the Ctrl key to create the second
point. This feature is useful for the trim both, slip trim, and slide trim operations, all described
below.
The Trim Editor in dual mode. The yellow rectangle shows the currently selected trim
point at the start of a clip; the left side shows the final frame of the outgoing clip.
When a trim point is opened several things happen:
• The left or right edge of the clip is highlighted with a yellow bar, showing that it is
currently selected. Trim points that are not currently selected are shown with an orange
bar.
• The Trim Editor opens, with the Player in dual preview mode.
• The transport controls under the Player become trim adjustment tools.
• The preview with the currently active trim point is outlined in yellow.
The Trim Editor
In dual preview mode, the Trim Editor shows two frames from the timeline. The currently
selected trim point is always shown and has a yellow rectangle around it. If the trim point is
at the beginning of the clip, the first frame of the clip is shown; at the end of the clip, the last
frame. You can switch the selected trim point by clicking in the other preview window, or by
pressing Tab.
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The Trim Editor in a slip trim operation. The left preview shows the currently selected
trim point; the right preview shows the second trim point.
Which frame is shown in the second preview window depends on which trim mode is being
used. In a slip or slide trim, the second trim point of the operation is displayed, surrounded
by an orange rectangle. In other cases, the second preview window shows the frame on the
other side of the cut at the selected trim point.
Above each preview window, the number of frames that have been trimmed is displayed. If
you think of the original cut point position as zero, the number indicates how many frames
the new position of the cut point has moved.
The Trim Editor is by default in solo mode. The clip that has the trim point is shown without
the tracks above it and without any transitions applied to it. This preview mode is most
suitable for determining the exact frame to trim. The default display of adjacent frames are
a complete composition of all the timeline tracks. You can toggle the display behavior with
the Solo button in the lower right corner of the Trim Editor. When solo mode is
deactivated, the preview shows trim points in their timeline context.
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The Trim Editor in single preview mode.
The Trim Editor opens in dual preview mode. To switch to single preview, click the preview
mode button in the upper right corner of the preview area.
Closing trim mode: Trim mode can be closed by clicking the trim mode button .
Editing modes for trimming
The current editing mode – smart, overwrite, insert, or replace – determines how trimming
will affect other clips on the timeline. Select the mode from the dropdown list at the far right
of the timeline toolbar.
Insert mode: Clips to the right of a trimmed clip and on the same track will shift left or right
to accommodate the new length of the clip. Synchronization with other tracks may be lost,
but no clips are overwritten.
Overwrite mode: Only the clips you are trimming, and any neighboring clips they happen
to overwrite, are altered in this mode. Synchronization across tracks is not affected.
Smart mode: For trimming, smart mode is equivalent to insert mode.
Replace mode: Dragging a new clip over an existing clip in the timeline will replace the
existing clip.
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Trimming the beginning of a clip
Prepare to trim the beginning of a clip (the ‘mark-in’ point) by clicking at the left-hand edge
of the clip while the trim pointer is visible. With a trim point thus established, you can add or
remove frames from the beginning of the clip.
To trim on the clip, drag the trim point to the left or right.
To trim on the Player, use the trim buttons to trim one or ten frames either forwards or
backwards. Click the loop play button for a looping preview of the trim region.
The position of the playhead relative to the trim point helps distinguish the in-point of
a clip (left) from the out-point of the previous clip (right).
Trimming the end of the clip
To trim the end of the clip (or ‘mark-out’ point), open a trim point by clicking at the right-
hand edge of a clip when the mouse pointer changes to a rightward-pointing arrow. Now
you can add or remove frames from the end of your clip.
Once again you can trim directly on the clip by dragging the trim point, or on the Player while
it remains in trim mode.
Trimming gaps
The project’s timeline lets you trim not just the clips upon it but also the gaps between them.
Trimming gaps might not sound terribly useful at first, but is in fact handy. For instance, the
easiest way to insert or delete space on a single timeline track is to trim the right- hand edge
of a gap. All clips to the right of the gap are shifted as a block when this is done.
Also, when you need to open a trim point on each track in order to maintain synchronization
while trimming, you may often choose to trim the duration of a gap rather than that of a clip.
(Remember the rule: one trim point on every track is required for keeping in sync.)
Trimming a gap, whether at the start or the end, is accomplished in exactly the same way
described above for trimming a clip.
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Two gaps and an audio out point have been selected for trimming. Because one trip
point has been created on each track, the entire production stays in sync when
trimmed.
Trim both
In this operation, two adjacent clips (or a clip and an adjacent gap) are trimmed
simultaneously. Any frames added to the left-hand item are taken away from the one on the
right, and vice versa, as long as space and material are available. All you are moving is the
cut-point where the items meet. One application for this technique is adjusting visual cuts to
the beat of a music soundtrack.
To start, click at the end of the left-hand clip to open the first trim point, then Ctrl-click at
the beginning of the right-hand clip to open the second.
When positioned over the adjacent trim points you just opened, the mouse pointer should
be a horizontal two-headed arrow. Drag left or right to move the clip boundary, or use the
Player in trim mode.
Trim both: Adjacent out and in trim points have been selected. Dragging the trim points
affects the timing of the hand-off from the outgoing clip to the incoming one, but does
not disrupt the timeline.
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Over-trimming
Over-trimming occurs when you try to extend the duration of a clip beyond the limits of its
source material, a situation you typically want to avoid.
Notice that if you have over-trimmed your clip the invalid parts are shown in pink.
Overtrimmed clip: The first and last frames will be frozen in the over-trimmed sections.
Over-trimming is not a crisis situation. You do not need to take action immediately. Pinnacle
Studio will simply extend the clip as specified by ‘freezing’ the first and last frames of the clip
into the over-trimmed areas.
Depending on the duration of the over-trim, and the context, this simple approach may be
all you need. A brief freeze-frame can even be visually effective in its own right.
The freeze-frame method will probably not give satisfactory results if it happens during a
sequence involving rapid motion, however. In such exacting cases you might consider
supplementing or replacing the clip, or prolonging it by changing the speed. (See
“Controlling speed with Time Remapping” on page 83.)
Slip trim
To change the starting frame of a clip within the source material, but leave its duration
unchanged, open one trim point at the start of a clip, and another at the end of either the
same clip or one later on its timeline track.
Drag either trim point horizontally or use the Player trim controls to reposition the clip within
its source.
Slip trim: With the in and out trim-points of a clip selected, dragging the clip changes
its in and out points relative to the original material, but doesn’t affect its start time or
duration on the timeline.
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Slide trim
A slide trim is an extended version of the trim both technique described above. In this case
you open trim-points at the end of one clip and the beginning of another later on the
timeline. Instead of sliding a single clip boundary along the timeline, as in trim both, you are
sliding two that move together. All clips between the two trim points are repositioned earlier
or later on the timeline.
Slide trim: An out-point has been opened for trimming on the first clip, and an in-point
on the third. Dragging either point moves the center clip – or multiple clips, if more are
present – along the track while other clips remain stationary.
Both slip trimming and slide trimming can be useful for synchronizing clip contents to
material on other tracks.
Monitoring trim points
When you are trimming with multiple trim points, it is helpful to switch the preview from one
trim location to another to make sure that each is properly set. Selecting a trim point for
monitoring makes it the source for audio and video during preview.
Monitoring is enabled for a trim point when it is created. When multiple trim points are
created in succession, you can fine tune each one as you go. To select an existing trim point
for monitoring, Ctrl- click it. While trim mode is active, use Tab or Shift+Tab to cycle through
the open points.
After using Ctrl-click to monitor a trim point, trimming can be controlled with the Left and
Right arrow keys. Trim one frame using the keys unshifted; add the Shift key to trim in 10-
frame steps.
Moving and copying
To move a selection of one or more clips, place the mouse pointer on any selected clip and
watch for it to change to a hand symbol. When it does, start dragging the clip to the desired
position.
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Move can be thought of as a two-step process. First, the selection is deleted from the current
timeline, according to the rules of the current edit mode. Second, the selection is moved to
the desired end position, where it is inserted in a left-to-right fashion per track. The relative
position of all selected clips on all tracks is retained.
Moving a ‘sparse selection’ (a selection in which some clips per track are selected while
others in the same region are not) is possible, but may be confusing unless executed in
overwrite mode. Moving either single clips or a complete timeline cross-section is more
straightforward and should be preferred when possible.
Holding down the Alt key while moving clips allows you to toggle between insert and
overwrite modes. Standard smart operation is the same as insert, since the most frequent
use of horizontal moves is to reorder the playback sequence.
Copying clips: Holding down the Ctrl key while moving a selection of clips will copy the clips
instead of moving them.
Using Slip, Slide, Roll, or Stretch tools on the Timeline
You can adjust a clip in the Timeline in a number of different ways—especially if you are using
trimmed clips. Trimmed clips have hidden head frames (frames trimmed from the beginning
of a clip) and tail frames (frames trimmed from the end of a clip).
It’s helpful to think of the clips in the Timeline as consisting of two elements: a window (the
duration for a clip, defined by the start and end points for each clip that you see on the
Timeline), and the content (all the frames included in the full, pre-trimmed clip, whether they
are hidden by a trim action or not).
This example shows a sequence in the Timeline, with a clip selected (orange box
“window”). The Slip tool is active and as you drag, the full, pre-trimmed length of the
clip is revealed (green box “content”). You can then see which frames will appear in the
“window” that is defined on the Timeline.
The following tools let you adjust clips on the Timeline.
•Slip: Lets you drag in the Timeline to change what frames you see (content) without
affecting the “window” (duration) for the clip, essentially moving the trim markers for the
source clip.
•Slide: Lets you move the clip “window” along the timeline without changing duration,
essentially moving the trim markers in the Timeline to reveal different content.
•Roll: Lets you adjust the length of the clip “window”, affecting the duration of the
selected clip and the adjacent clip.
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•Stretch: Lets you adjust the size of the clip “window”, thus changing the duration on the
Timeline, expanding or contracting the content (adjusting the speed) in order to fit the
new duration without changing which frames are shown.
The full pre-trimmed length of the clip determines the limits for your adjustments. For some
changes, the pre-trimmed length of the adjacent clip is also a limiting factor. For example, if
you use the Roll tool to decrease the Timeline duration of a selected clip, the Roll tool will
stop at the point where the adjacent clip (which is increasing in duration) has run out of
frames.
In the Player panel, you can view the in point and out point for your selected clip when
the Slip, Slide, or Roll tools are active.
To use the Slip tool to adjust clips in the Timeline
1In the Timeline, select a trimmed clip that is part of a sequence.
2On the Timeline toolbar, click the Slip tool.
3Drag in the Timeline to change which frames will display in the Timeline.
The Player panel displays a dual pane view of the In frame and Out frame to help you
set the position of your clip in the Timeline.
To use the Slide tool to adjust clips in the Timeline
1In the Timeline, select a trimmed clip that is part of a sequence.
2On the Timeline toolbar, click the Slide tool.
3Drag in the Timeline to adjust the position of the clip and to change which frames are
displayed.
The duration of the selected clip is not affected, but the duration of adjacent clips is
affected.
Note: A gap can result if the adjacent clip is not long enough to fill the area left by the
moved clip.
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To use the Roll tool to adjust clips in the Timeline
1In the Timeline, select a trimmed clip that is part of a sequence.
2On the Timeline toolbar, click the Roll tool.
3In the Timeline, drag an edge of the selected clip to change the duration of the clip.
The duration of the adjacent clip is also affected.
To use the Stretch tool to adjust clips in the Timeline
1In the Timeline, select a clip that is part of a sequence.
2On the Timeline toolbar, click the Stretch tool.
3In the Timeline, drag an edge of the selected clip to change the duration.
Although the content of the selected clip remains the same, the speed changes (as
indicated by a yellow dashed line across the top of the clip) to fit the new duration.
The duration of the adjacent clip is also affected.
Using the Clipboard
Although drag-and-drop operations provide somewhat greater power when dealing with
clips, the timeline does support the standard Clipboard operations cut, copy and paste, with
the usual shortcut keys. The Clipboard also provides the only method for moving and
copying transitions and effects between clips.
From the Library
After selecting one or more clips in the Library, select Copy from the selection’s context
menu or press Ctrl+C to put the selection on the application’s Clipboard. (Cut, the other
usual command for adding to the Clipboard, is not available in the Library.)
On the timeline, position the playhead at the point where the paste operation should begin,
and select the desired track by clicking in its header.
Now press Ctrl+V to insert the clips from the Clipboard onto the given track, starting at the
playhead.
If you select Paste from the timeline’s context menu rather than pressing Ctrl+V, the clips will
be pasted at the mouse pointer position on the default track, not at the playhead.
You can repeat the paste operation with the same set of clips as often as desired.
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From the timeline
Select one or more clips on the timeline, then click either Copy or Cut on the selection’s
context menu, or press Ctrl+C (copy) or Ctrl+X (cut). Both commands add the clips to the
Clipboard; Cut removes the original clips from the project, while Copy leaves them in place.
Paste the Clipboard contents onto the timeline as described above. The clips paste onto the
same tracks as they originally occupied; and with the same horizontal spacing. Unlike drag-
and-drop, the Clipboard does not support moving clips between tracks.
Effects on the Clipboard
Clips to which effects have been added have a magenta line along the upper edge. Right-
click on the clip, or right-click the line, to access the Effect context menu, which provides Cut
all and Copy all commands for transferring or sharing a set of effects between clips. Select
one or more target clips, then press Ctrl+V or click Paste on the timeline context menu.
The effects stack will be pasted to all selected clips. The target clips retain any effects they
may already have had. The pasted effects stack will be placed on top of the existing effects.
Transitions on the Clipboard
Right-click in the transition area in the upper corner at the start or end of a clip to access the
Transition context menu. Select Cut or Copy to put the transition on the Clipboard.
As with effects, transitions can be pasted to one or more target clips, but any existing
transition of the type (start or end) being pasted will be overwritten. The paste fails if the
duration of the transition on the Clipboard is longer than the target clip.
Controlling speed with Time Remapping
You can adjust the speed for your video clips. You can apply a slow motion or fast motion
effect to the entire clip, or you can use keyframes to speed up some scenes in a clip, while
slowing down other scenes. For example, you might speed up the section of a clip showing
the approach to a ski jump, and slow down the section with the aerial part of the jump.
Clips with speed changes applied are identified in the Timeline by a yellow dashed line across
the top of the clip.
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A yellow dashed line across the top of a clip indicates that the speed has been changed.
The following controls and options are available for the Time Remapping feature:
•Anchor: An anchor serves as a fixed point in the Timeline around which the speed
changes occur. You can choose between First frame, Last frame, or Current frame (as
indicated by the current position of the playhead). This can be useful for coordinating
action between the speed-affected clip and material such as background music on other
tracks.
•Stretch: Under this option, the first and last frames of the clip as currently trimmed will
remain locked when the clip is trimmed on the timeline. Shortening the clip, instead of
trimming material from the end, speeds it up just enough so that it finishes at the same
frame as before. Lengthening the clip by trimming its end rightwards slows it down
rather than exposing any trimmed material.
•Reverse Clip: Reverses the direction of playback (backwards) for the entire clip without
affecting the speed. Synchronous audio, if any, is suppressed with this option, since it is
generally undesirable to play sound backwards. If you want to reverse one section of a
clip, you must split the clip to isolate the section that you want to reverse.
•Smooth Motion: This option applies a special transition technique to achieve maximum
fluidity of movement from frame to frame.
•Hold Pitch: This option maintains the original pitch of the recorded audio even when it is
played back accelerated or slowed. The function becomes less effective the more the
speed is changed. Beyond certain limits, it is switched off completely.
For information about working with keyframes, see “Using keyframes” on page 42.
To vary the speed of a video by using Time Remapping
1In the Timeline, select the clip you want to adjust.
2Open the Editor panel, click Time Remapping (appears towards the end of the Editor
categories bar, you might need to use the scroll arrow to reveal it).
3Click the Anchor Frame option.
4In the Anchor area, choose one of the following anchor frames:
• First frame
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• Current frame
• Last frame
The anchor frame appears as a red marker in the Keyframe view and serves as a fixed
point around which the speed adjustments will occur.
5In the Keyframe view, position the scrubber where you want to add a keyframe and click
the Add/Remove Keyframe button, and drag the corresponding node on the yellow
speed line up (to increase the speed) or down (to decrease the speed). You can also set
the speed for a keyframe by adjusting the Speed slider or by typing a precise value in the
Speed box and pressing Enter.
For more information about using keyframes, see “Using keyframes” on page 42.
6Apply as many keyframes and speed changes to the clip as you want.
To change the speed of an entire clip by using Time Remapping
1In the Timeline, select the clip you want to adjust.
2Open the Editor panel, click Time Remapping (appears towards the end of the Editor
categories bar, you might need to use the scroll arrow to reveal it).
3Click the Stretch option.
4In the Timeline, position the cursor along the inside edge of the clip end that you want to
adjust, and drag to increase or decrease the length of the clip.
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The speed of the clip is adjusted accordingly.
To reverse a clip by using Time Remapping
1In the Timeline, select the clip you want to adjust.
2Open the Editor panel, click Time Remapping (appears towards the end of the Editor
categories bar, you might need to use the scroll arrow to reveal it).
3In the Video area, enable the Reverse Clip check box.
Using Time Freeze to freeze frames
You can create a freeze frame effect by using Time Freeze to hold a selected frame in a video
clip for a specified duration. The “frozen” frame essentially functions as a still image for the
duration you set. You can remove the freeze frame effect at any time.
To create a freeze frame effect by using Time Freeze
1In the Timeline, select a clip and drag the scrubber so that the frame you want to freeze
displays in the Player panel.
2Right-click the clip and choose Time Freeze > Insert.
3Type a value in the Duration box to specify the number of seconds that you want to
freeze the frame, and click OK.
The freeze frame is indicated by a pink area on the Timeline clip.
The pink area in the middle of the clip indicates the freeze frame section.
To delete a freeze frame
1In the Timeline, right-click a clip that has a freeze frame that has been created with Time
Freeze.
2Choose Time Freeze > Delete.
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Movies within movies (nested projects)
All the movie projects that you create in Pinnacle Studio appear as assets in the Projects
category of the Library panel. But the purpose of Library assets is to serve as the ingredients
of movies. What will happen if you try to drag Movie Project A onto the timeline of Movie
Project B?
The answer is simple enough: As with most types of assets, Project A becomes a single clip
on Project B’s timeline. From the standpoint of timeline editing, it behaves just like any of
your other video assets. You can trim it, move it around, apply effects and transitions, and so
on. (The same is not true of disc projects. These cannot be used as clips in another project.)
The nested project remains intact inside this container clip, along with all of the project’s clips,
effects, titles and other components. Double-clicking the clip in the timeline opens the
project in a new timeline tab. Any modifications you make affect only the copy of the project
inside the container clip, not the original.
The length of the container clip on the timeline of the main project is not tied to the length
of the nested clip on its own timeline. You need to manually trim the container clip if you
want it to match the duration of the nested project.
To create a nested project from clips in the Timeline
1Hold down Ctrl, and in the Timeline, select the clips that you want to save as a nested
project.
2Right-click a selected clip and choose Group > Save Group as Project.
3Type a name for the project.
The group is saved as a project in the Library and now appears in the Timeline as a
single container clip (gray color).
To edit a nested project in the Timeline
1In the Timeline, double-click a nested project (gray color indicates a nested project).
2A new tabbed page opens on the Timeline (the name of the nested project appears on
the tab).
3Make the edits you want to the nested project.
4To return to the main project, click the corresponding Timeline tab (name of main project
appears on tab).
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To add a project from the Library to the current project
1With the main project open in the Timeline, drag a project file from the Library to the
Timeline.
The project is automatically added to the Timeline as a nested project (gray color
indicates a nested project).
Tip: If at any time you want to move elements between a nested project and the main
project, you can use the context menu to copy and paste the elements you want to
move.
Picture-in-Picture (PIP)
You can easily create a picture-in-picture (PIP) effect with media that you have added to the
Timeline. PIP lets you play a video in one area of the screen while the main video plays in the
background. You can also use PIP with images. You can adjust the PIP media by resizing,
rotating, or cropping it, and then positioning it where you want it to display on the
background.
To scale or crop a video clip for a picture-in-picture (PIP) effect
1In the Edit workspace, ensure that the clip you want to use for PIP is added to the
Timeline in the track above your background video.
2Select the clip, and choose one of the following PIP options below the Player preview
window:
• Scale mode — lets you resize the selected clip by dragging the sizing nodes that
appear in the preview window. To rotate the clip, drag the rotation handle (node that
extends above the sizing rectangle).
• Crop mode — lets you crop the selected clip by dragging the orange cropping
handles that appear along the edges of the clip
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Track Transparency
You can use Track Transparency mode to set the transparency for the entire track, or to
precisely control the transparency across individual clips in the Timeline. Setting the
transparency for clips in Track Transparency mode is an alternative to setting the Opacity
for the clips in the Editor panel. Track Transparency can be used to create a superimposed
effect or to create a fade in and fade out effect.
Note: When you use the Track Transparency slider in the track head, the transparency
setting for the track affects all clips on the track and sets the baseline for any keyframe-based
Opacity/Transparency settings for individual clips. For example if the Track Transparency
slider is set to 50%, this will be used as the maximum opacity value for any clips on the track.
This means a clip keyframe setting of 100% Opacity will present as 50% opacity when the clip
is added to that track.
You can create a superimposed effect or fade with Track Transparency
To use Track Transparency mode
1In the Edit workspace, select a track in the Timeline, and on the Timeline toolbar, click
the Track Transparency button .
2In the Timeline, do one of the following
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• To adjust the transparency for the entire track, in the track head area, drag the Track
Transparency slider to set the value you want or type a value in the box at the end of
the slider.
• To vary the transparency, on a clip, click the yellow transparency line to add as many
keyframe nodes as you need. Drag the nodes down to increase transparency.
If you want to delete keyframes, right-click a keyframe node and choose the
corresponding command.
3Click the Track Transparency button to exit Track Transparency mode.
Blend Modes
Blend modes let you choose how a clip blends with an underlying clip—from creating a
superimposed effect, to blending masked areas, or creating light bleeds or other color and
exposure effects. Each blend mode uses a different formula to combine the color and
brightness values in a selected clip with the values in an underlying clip. It doesn’t matter if
several assets are used to create the underlying background for the clip that you apply a
blend mode to—the blend formula is applied based on what is visible when the blend is
applied.
Blend Mode can be found in the Editor panel, on the Properties page. The result of a blend
mode can also be modified by adjusting the Opacity setting for the clip.
Pinnacle Studio includes the following blend modes in the Blend Mode drop-down menu.
In the first example, None, you can see the two clips that are used for all the blend mode
examples.
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Blend Mode Example
None: No blending—this is the default
setting. The underlying clip is covered by
the clip in the track above it unless the
Opacity of the clip has been adjusted.
Example: The sunset clip on Track 1 will
completely cover the lighthouse clip on
Track 2 when None is set as the blend
mode.
Color Burn: Darkens the background clip
and increases its contrast with the selected
clip.
Color Dodge: Lightens the background clip
and decreases its contrast with the selected
clip.
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Darken: Compares the selected and
background clips and displays whichever
pixels are darker.
Dissolve: Replaces pixel colors in the
selected clip from the background clip. The
greater the opacity of the selected clip, the
fewer pixels are replaced.
Hard Light: Adds highlights or shadows
depending on the brightness of the
selected clip.
Hard Mix: Adds the selected clip RGB
values to the background clip.
Blend Mode Example
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Lighten: Displays the pixels in the selected
clip that are lighter than those of the
background clip.
Linear Burn: Darkens the background clip
depending on the brightness of the
selected clip. Darker than Multiply but less
saturated than Color Burn.
Linear Dodge: Lightens the background
clip depending on the brightness of the
selected clip.
Linear Light: Lightens or darkens the
background clip depending on the
brightness of the selected clip. Applies
Linear Dodge blend to brighter pixels and
Linear Burn blend to darker pixels.
Blend Mode Example
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Multiply: Combines colors of the selected
and background clips and retains darker
pixels to produce a darker result.
Overlay: Displays patterns or colors of the
selected clip and preserves the shadows
and highlights of the background clip.
Pin Light: Lightens and darkens
simultaneously and removes mid-tones.
Screen: Removes more of the dark pixels,
resulting in smoother transitions. Similar to
Multiply, but multiplies the light pixels
instead of the dark pixels.
Blend Mode Example
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To apply a blend mode to a clip
1In the timeline, double-click a clip that you want blend. There must be visible content on
the tracks below for the clip to blend.
2In the Editor panel, on the Properties page, choose a blend mode from the Blend Mode
drop-down menu.
The result of the blend mode appears in the timeline preview of the Player panel. You can
preview and experiment with different blend modes until you find the result you want.
Transitions
A transition is a specialized animated effect for easing – or emphasizing – the passage from
one clip to the next. Fades, wipes and dissolves are common types of transition. Others are
more exotic, and many employ sophisticated 3D geometry to calculate the animated
sequences.
Create a default transition by dragging to ‘folding back’ a clip’s upper corner.
Without a transition, a hard cut happens between clips.
Soft Light: Adds soft highlights or shadows.
Vivid Light: Increases or decreases contrast
depending on the brightness of the
selected clip.
Blend Mode Example
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Pinnacle Studio offers a wide variety of transitions for softening, dressing up or dramatizing
the change from one clip to another.
By default, the transition between two clips is centered, so a 4 second transition starts 2
seconds before the end of the first clip, and the duration continues 2 seconds into the
second clip.
You can edit the Duration, Alignment (position), and other transition settings. The settings
available depend on the design of the transition. Some settings can be adjusted interactively
in the Timeline (duration and position), while others can be adjusted in the Editor panel.
Double-clicking a transition in the Timeline opens the Transition settings in the Editor
panel.
The visual display in the Editor panel lets you see duration, position, and in the case of
transitions between videos, whether the transition consists of static end frames (pink) or head
and tail frames from trimmed video (dark blue).
By default, the Transition Mode setting is Maintain Timeline Sync (recommended). This
means that clip positions aren’t adjusted when you add a transition—the transition uses
static end frames (freeze frame effect) or head and tail frames from trimmed video. If you
choose the Overlap Clips option (a legacy mode), when you create a transition in the
Timeline by dragging the fold-back to the left, the transition is created by overlapping one
clip over the other, thus affecting any synchronization with other tracks in the project. Why
choose this legacy option? In the case of video transitions, it means that you don’t need any
head or tail frames to achieve a video transition if you have no synchronization concerns.
When you change the Transition Mode, it applies to the next transition you add (does not
affect existing transitions).
You can remove or replace transitions in the Timeline. You can also copy and paste
transitions in the Timeline.
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If you are trying to add the transition to a clip which is shorter than the length of the
transition (default or copied transition), the transition will not be applied.
To apply a default dissolve transition
• In the Timeline, click and drag the top corner of a clip (a fold-back icon appears), and
drag to set the duration you want.
This creates a dissolve between two clips. If there is one clip, a fade-in or fade-out to
black is created.
To apply a transition from the Library
1From the Edit tab, click the Navigation bar for the Library panel, and choose
Transitions .
2Navigate to the category you want, and in the library, click an transition thumbnail.
You can preview the transition in the Player panel.
3Drag the transition that you want to the Timeline.
The transition is added using the default duration.
4To adjust the transition, do any of the following:
• Duration: Drag either end of the transition to adjust the duration or type a duration
value (if you are zoomed into the Timeline enough to expose the duration values on
the transition).
• Position: Position your pointer over the transition (a hand cursor appears) and drag the
transition right or left to move it off the default position (centered between the two
clips).
• All transition settings: Double-click the transition to access its settings in the Editor
panel. For plug-in transitions, in the Editor panel, click the Open button to access more
settings. The settings available depend on the design of the transition.
You can also apply a transition by right-clicking a transition in the Library and choosing
Send to Timeline to apply the transition to the clip on the default track at the cut
nearest the playhead.
You can find where a timeline transition is located in the Library by right-clicking the
transition on the Timeline, and choosing Transition > Find in Library.
You can also apply or edit a transition at the start or end of a clip by right-clicking a clip
in the Timeline, choosing In Transition or Out Transition, and choosing the command
you want.
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To apply a fade in or fade out transition
• Do one of the following:
• To apply a fade in or fade out at the end of a single clip (no adjacent clip), in the
Timeline, click and drag the top corner of a clip (a fold-back icon appears), and drag to
set the duration you want. The default transition dissolves to/from black.
• To apply a fade-to-black transition between two clips, click the Navigation bar for the
Library panel, and choose Transitions > Standard > Realtime Transition FX > Fade
in or out. Drag the transition to the position you want in the Timeline.
Tip: You can quickly find and apply the Fade in or out transition by adding a five star
rating to it in the Library. You can then right-click a default transition (or any transition)
on the Timeline, and choose Transition > Replace by, and select Fade in or out from
the Transitions rated with 5 stars area.
Rating any of your favorite transitions with a five stars will add them to the Transition
> Replace by context menu for easy access.
To apply multiple transitions
1Add the transition you want to any clip in the Timeline.
2In the Timeline, select all the clips to which you want to apply the transition.
3Right-click the transition, and choose Transition > Ripple.
The transition is added between the selected clips. Any existing transitions are not
affected. The transition will not be added between any clips that cannot fit the duration
of the transition.
To remove one or more transitions from the Timeline
1On the Timeline, do one of the following:
• To remove one transition, click the transition that you want to remove, right-click it, and
choose Transition > Remove.
• To remove multiple transitions, select the clips you want, right-click a selected clip and
choose Remove Transitions.
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To replace a transition on the Timeline
1Do one of the following:
• From the Library, drag a transition over an existing transition in the Timeline and
release the mouse button.
• In the Timeline, click a transition to select it, right-click it and choose Transition >
Replace by, and choose a transition from a limited list of standard, recent, and five star
rated transitions.
To copy and paste transitions
1In the Timeline, select the transition you want to copy.
2Right-click the transition and choose Transition > Copy.
All transition attributes are copied, this includes attributes related to its position. It is
therefore not possible to paste a fade-in as a fade-out or vice versa.
3Select the clip where you want to paste the transition
4Right-click the clip and choose Paste.
To change default transition settings
1In the Menu bar, click Control Panel, and in the list of categories, click Project Settings.
2Modify any of the following:
• In the Default Durations area, set a new value in the Default Duration for Transitions
box.
• In the Transition Mode area, choose a default option.
Morph Transitions
The Morph Transition creates a fun metamorphosis effect by analyzing the content in one
clip and blending it into the content of the next clip.
The Morph Transition Editor lets you set a guide line for each clip to help determine the
area of focus for the transition, such as a horizon line. You can then preview the transition
and make adjustments to the guide line and length (duration) of the transition. The guide
line determines how the transition will be applied, so feel free to experiment with the
positioning until you achieve a result you like.
Morph transitions work best between clips that have similar reference points.
To edit a Morph Transition
1Add the Morph Transition to the timeline using your method of choice.
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2In the timeline, double-click the transition to open the Morph Transition dialog box.
3Click Edit to open the Morph Transition Editor.
4In the Start area and End area, drag to set the nodes for the guide line that will be used
as a reference point. You can add nodes by clicking the guide line.
Note: You can undo or redo actions by using the Undo and Redo buttons at the top of
the window.
5In the Preview area, use the playback controls to preview the transition.
Note: You can drag the vertical bar on the timeline below the preview to adjust the
length (duration) of the transition.
6If required, adjust the guide lines to fine tune the transformation.
7Click OK to exit the editor.
Seamless Transitions (Ultimate)
The Seamless Transitions category consists of motion-based animated effects that blur the
passage from one clip to the next, creating what is sometimes known as an invisible cut.
Whether the motion is up, down, or to the side, the result is similar to a whip pan effect. Some
transitions include rotation and you can edit the transitions to control the zoom level,
position, edge softness, and rotation settings. For example, you can zoom in and align the
sky in the first clip with a similarly colored sky in the second clip, ensuring that the transition
is as seamless as possible.
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The Seamless Transition alignment rectangles (left) let you set the areas that will
overlap and blend. You can then use the Preview area (right) to check the results
To apply a Seamless Transition
1In the Timeline, choose where you want to place your Seamless Transition. Ensure that
the clips are trimmed to the frames that have content you can use for aligning the
transition.
2From the Edit tab, click the Navigation bar for the Library panel, and choose
Transitions .
3Navigate to the Seamless Transitions category, and click a transition thumbnail.
You can preview the transition in the Player panel.
4Drag the transition to the Timeline, placing it between two clips, at the start of the
second clip.
5Preview the result in the Player panel. You can stop here if you like the results.
6To edit the transition, right-click the transition in the Timeline and choose Transition >
Edit.
The Editor panel opens with the settings for the Seamless Transition. In the Player panel,
an interactive area lets you align the two clips.
7Adjust any of the following settings:
• Duration: Sets the overall length of time for the transition.
• Transition Type > Select: Switches Seamless Transition presets.
• Clip A Position/Clip B Position: Lets you use sliders instead of the interactive Hand
icon to set the position of the clips.
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• Clip A Size/Clip B Size: Zooms in or out of a specific area of your clip by adjusting the
size of the clip. This helps you isolate areas that match in each clip.
• Edge Softness: Adjust the softness of the edge along the transition line for the clips.
• Rotate Direction: If you choose a preset than includes rotation, you can choose
between a Clockwise or Counterclockwise motion.
8To align the clips, in the interactive area of the Seamless Transition panel, position your
pointer over the clip you want to reposition, and when the hand icon appears, drag the
clip. Position the area where you want the transition to occur within the yellow rectangle.
Do the same for the other clip, ensuring the clips overlap along the transition line of the
two rectangles.
The Up & Rotation preset was used to align the sky areas. Clip A is on the bottom and
the Size has been increased to choose an area of the sky that matches the sky in Clip B
(top).
Note: The yellow rectangles must be completely filled by each clip. A blank area will
result in harsh lines.
9In the Player panel, click Play to preview the transition.
10 Fine tune the controls until you get the results you want.
Clip effects
Clip effects (also called filters or video effects) operate on one clip at a time. Effects are of
many kinds, and vary widely in purpose. With keyframing, effect parameters can be arbitrarily
varied throughout the clip.
To apply a specific effect to a clip, either locate it in the Effects section of the Library and drag
it to the clip you want to enhance, or double-click the clip and select the effect from those
offered under the Effects tab of the clip’s media editor.
Multiple effects can be applied to a clip using either or both of these methods. By default,
multiple effects are processed for playback in the order they were added.
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On the timeline, the upper border of any clip to which an effect has been applied is drawn
in magenta. This clip effect indicator has its own context menu, which provides the Clipboard
commands for cutting and copying effects between clips. See “Using the Clipboard” on
page 82 for more information.
Double-clicking any clip opens it in its media editor, where effects may be added, removed
or configured. Please see “Effects” on page 113 for detailed information.
Clip context menus
Right-clicking a clip opens a context menu with commands appropriate to the item type. A
video clip has a different menu than a title clip, for example. Some commands are shared
between most or all types however. Differences of applicability are noted in the following
descriptions.
Edit movie: Available only for movie (container) clips, this command opens the container in
its own movie editor. The nested editor offers the same functions and areas as the primary
one.
Edit title: For titles only, this opens the Title Editor. (See “Titles” on page 155.)
Edit music: This command is for editing ScoreFitter clips. (See “ScoreFitter background
music” on page 186.)
Edit Montage: Edit a Montage clip in the Montage Editor. (See “Using the Montage Editor”
on page 147.)
Open effects editor: Opens the media editor for the clip, whatever its type, with the Effects
tab selected. Montage, title and container clips are treated in the same manner as ordinary
video clips.
Speed: This command opens the Speed Control dialog, where you can apply fast and slow
motion effects to selected clips. This option is not available for containers. See “Controlling
speed with Time Remapping” on page 83.
Scaling: The first two options affect the treatment of clips that are not in conformance with
the current timeline format when brought into the project. See “The Timeline toolbar” on
page 51.
• Fit displays the image at its correct aspect ratio, and scaled as large as possible without
cropping. Unused parts of the frame are treated as transparent.
• Fill also maintains the aspect ratio of the image, but scales it such that there are no
unused parts of the screen. Portions of the image will be cropped if the aspect ratios do
not match.
To further fine-tune the scaling behavior of a clip, try pan-and- zoom.
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•Keep alpha, Remove alpha, Generate alpha: These commands apply to content with an
alpha channel (specifying transparency pixel by pixel). Such alpha information can
conflict with Pinnacle Studio effects. The command isn’t available for pure audio clips.
Active streams: This command is available for disabling individual streams in clips
containing both video and audio. It is typically used as an easy way to discard unneeded
camera audio.
Adjust duration: Enter a duration numerically in the pop-up window. All selected clips will
be trimmed to the duration requested by adjusting their out points.
Detach audio: In clips with both video and audio, this command detaches the audio stream
into a separate clip on a separate track, allowing advanced editing operations like L-cuts.
Find in Library: This command opens the Library Browser at the folder containing the asset
that is the source of the video, photo or audio clip.
Cut, Copy, Paste: Move or copy a selection of clips using Clipboard commands instead of
drag-and-drop.
Group: You can group multiple clips so that you can move the clips together. When you no
longer need the group or want to create a different grouping, you can Ungroup the clips.
In Transition, Out Transition: These provide access to a set of operations for managing
transitions, including Add, Replace, Edit, Copy, and Remove. For more information, see
“Transitions” on page 95.
Delete: Delete the selected clip or clips.
Display information: Display properties of the clip and underlying media files in textual
form.
5
Corrections 105
Corrections
Pinnacle Studio lets you correct three main media types: video, photos (and other images),
and audio. The usual way to access one of these editors is by double-clicking media on your
project’s timeline.
In the Editor panel, click Corrections and click a numbered category to view the correction
filters available to you.
The numbered groups appear under the Corrections tab
The tools in the Corrections family are designed to fix common issues in the video, photos
and other media that you use in your projects. You can straighten a photo with a tilted
horizon, improve the clarity of a muffled music track, or stabilize and apply lens correction
to a video scene, to name just a few possibilities.
The application of Corrections does not modify your media files themselves.
This section contains the following topics:
•Correcting Library media
• Correcting timeline media
• Correcting photos
• Correcting video
• Stabilize
• Wide-angle Lens Correction
•Correcting audio
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Correcting Library media
You can apply corrections to media in the Library. The file underlying the corrected asset is
not modified: instead, the correction parameters are stored in the Library database and
reapplied whenever the item is displayed or used. You can make further corrections on the
timeline, if you want, but they will have no effect on the Library asset.
To apply corrections to Library media
1In the Library panel, do one of the following:
• Right-click a media thumbnail (video, photo, or audio file), and choose Open in
Corrections.
• Double-click a media thumbnail
2In the Corrections window, apply the changes you want and click OK to return to the
Library.
The corrected media file can now be added to projects. All future projects get the benefit
of the correction.
To remove corrections from Librar y media
1In the Library panel, right-click a media thumbnail that has corrections applied, and
choose Revert to original.
Correcting timeline media
Corrections made to content in the timeline are saved with the project (and therefore apply
to the project only).
To remove corrections from media, select the clip in the timeline, and in the Editor panel,
open the corrections you applied and from the Select preset dropdown, choose Default.
For details on correcting particular media, please see “Correcting photos” on page 107;
“Correcting video” on page 110; or “Correcting audio” on page 112.
View options
Solo: This button appears above the track heads in the Timeline. When active
(orange), it lets you view the selected track in isolation, without taking into account
the effect of any clips in the track above or below it on the timeline. By clicking the menu
arrow beside the button, you can also choose to view the selected track and only the track
that appear below the selected track.
Corrections 107
Full screen: This button appears in the upper right corner of the Preview panel. When
active, this button scales the preview image to the size of the current monitor and
removes other tools from view. To exit the full screen mode, press Esc, or use the close (X)
button at the top right of the window. The full-screen view includes its own small overlay
panel of transport controls.
Correcting photos
Photo correction categories include Adjustments, Crop, Straighten, Red-Eye, and Wide-
angle Lens Correction. For more information about Wide-angle Lens Correction, see
“Wide-angle Lens Correction” on page 111.
Adjustments
During import, Studio automatically detects certain parameters, but a variety of factors can
lead to the occasional incorrect identification. Adjustments allows any of these basic image
properties to be changed, if needed.
Alpha
Your photo may have an Alpha channel, an 8-bit grayscale image plane that defines the
transparency level of each pixel in your photo. If you wish to remove the alpha channel,
choose the Ignore Alpha option.
Interlacing
If the Interlacing options on the image were misidentified on import, use this dropdown to
impose the correct setting.
Stereoscopic 3D
If the format of a 3D image file was wrongly identified on import, set the correct stereoscopic
layout with this dropdown list.
Snapshot (Crop)
Use this tool to emphasize a specific section in an image, or to remove undesired
components.
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Cropping an image.
Aspect ratio: The Aspect ratio dropdown on the control bar can be use to ensure that the
crop rectangle maintains a desired standard proportion while being resized. Standard (4:3)
and wide (16:9) frame aspect ratios are supported.
After you select an aspect ratio, on the image preview, drag the sides and corners of the
resizable bounding box, or drag the center of the bounding box to adjust its position.
Click Clear Selection to return to the original dimensions.
Click Save image to save the cropped version of the photo.
Straighten
This correction enables you to straighten an image in which elements that should be exactly
horizontal or vertical are visibly tilted. Unless you have cropped the image, it dynamically
resizes as you rotate to keep the corners from being visibly cut off. With a cropped image,
no resizing takes place as long as there is sufficient excess material to fill in the empty
corners.
Corrections 109
Ready to straighten an image (with crosshairs).
Several functions pertaining to Straighten are provided on the toolbar below the preview.
Guide line options: The two buttons in the Editor panel set the mode for the lines that are
superimposed on the preview:
•Crosshairs: Adds a pair of crossed lines that can be dragged with the mouse to serve as
a reference for true vertical and horizontal alignment anywhere in the image.
•Grid: Produces a fixed, repeating grid pattern over the entire image.
Set angle: To set the degree of rotation you can either use the slider on the toolbar below
the image, or click and hold the left mouse button while dragging over the preview. Rotations
up to 20 degrees in either direction are supported.
Clear: Sets the image back to its original state.
Red-eye
This tool corrects the red-eye effect that often occurs in flash photography when the
subject’s gaze is towards the camera. Mark the area around both red eyes with the mouse.
Extreme precision shouldn’t be necessary, but you can experiment with changing the area
slightly if you are dissatisfied with the correction.
Clear: Sets the image back to its original state.
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Correcting video
When you select a video clip and choose Corrections in the Editor panel, you can choose
from the following correction categories: Adjustments, Snapshot, Stabilize, and Wide-
angle Lens Correction.
Adjustments
During import, Studio automatically detects certain parameters, but a variety of factors can
lead to the occasional incorrect identification. Adjustments allows any of these basic image
properties to be changed, if needed.
Alpha
If your video has an Alpha channel and you wish to remove it, choose the Ignore Alpha
option.
Aspect ratio
If the aspect ratio of a video asset was not recognized correctly on import, or if the frame
proportions must be manually changed for another reason, use this dropdown menu to
select the desired setting. The adjustment does not change the amount of the image on
display. Instead, visible area is stretched (or shrunk) independently in width and height to
make it fit the desired frame boundaries.
Interlacing
If the Interlacing options on the image were misidentified on import, use this dropdown to
impose the correct setting.
Stereoscopic 3D
If the format of a 3D image file was wrongly identified on import, set the correct stereoscopic
layout with this dropdown list.
Correcting the stereoscopic 3D properties of a Library asset.
Corrections 111
Snapshot
The snapshot tool enables you to acquire a single frame from a video, crop it, and save it as
a photo. Its controls are similar to those for the Crop correction for photos.
Aspect Ratio: The frame for selecting an image cutout can be resized by grabbing its sides
and corners, or dragged within the preview by grabbing it in the center.
Preview: Preview shows the selected cropped image without the snapshot tools. Press Esc
or click once on the image to view the tools again.
Save image: This command exports the cropped image as a JPEG file, and switches off the
snapshot editing mode in the preview. Snapshots are stored in the library under My Pictures
> Images. Locate the new item by returning to the Library and clicking the special find added
item button that is displayed temporarily on the Library footer bar. The new media file itself
is created in:
[Registered User]\My Documents\My Pictures\Images
Clear Selection: Sets the selection frame back to its original setting (whole image).
Stabilize
Similar to the electronic stabilization in digital camcorders, this tool minimizes shake and
jitter caused by inadvertent camera movement. When using this effect, the outer areas of the
image are removed and a varying portion of the image is enlarged up to 20 percent in order
to fill the frame.
To stabilize movement in a video clip
1Double-click the video clip in the Timeline, and in the Editor panel, choose Corrections,
and Stabilize.
2From the Select preset menu, choose a preset.
3In the Settings area, adjust any of the following:
• Borders
• Auto Zoom Frames
• Max Auto Zoom
4To preview your settings, click Render & Play.
Wide-angle Lens Correction
Wide-angle lenses, often used in video action cameras, are great for capturing a wide scene,
but they cause distortion in the video footage. Wide-angle Lens Correction has presets (for
some GoPro cameras, for example) and manual controls that let you reduce distortion.
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Distortion (left) can be reduced (right) by using Wide-angle Lens Correction.
To correct wide-angle lens distortion
1In the timeline, double-click a clip with lens distortion, and in the Editor panel, click
Corrections > Wide-angle Lens Correction.
2In the Select preset drop-down menu, choose a preset.
By default, the preview of the correction applies to the entire clip. To toggle the preview
on or off, click the square Disable/Enable button to the right of the Wide-angle Lens
Correction title.
Advanced users can manually adjust the settings to correct distortion
Correcting audio
The Audio Editor can be used both for audio-only media such as .wav files and for video with
an included (‘original’ or ‘synchronous’) audio track.
For information about opening the Audio Editor to access the correction tools, along with
general functions of the media editors, please see “Correcting timeline media” on page 106.
For an overview of audio-related information, please see “Sound and music” on page 173.
For coverage of the Audio Editor, see “Editing audio” on page 175. Please see “Audio
Corrections” on page 177 for descriptions of the individual correction tools.
6
Effects 113
Effects
Pinnacle Studio lets you apply effects to video, photos and audio. ‘Effects’ is an umbrella term
taking in a wide range of software tools for manipulating your media—’effects’ is not limited
to the effects in the Library. It includes presentational tools like 2D Editor, 360 Video, Motion
Tracking, atmospheric transformations like Old film, and some theatrical touches like
Fractal fire that you may find are too much fun not to use.
The available options and controls depend on what type of media you are working with.
The Editor panel lets you access the effects available for your media. In this example,
the Oil Painting effect is applied.
Audio corrections and effects are described in “Sound and music” on page 173.
This section contains the following topics:
• Corrections versus effects
• About effects
•Effect compositions
• Real-time vs. rendered effects
•The Settings
• Video and photo effects
• Green screen chroma key effects
• Selective Color
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• Transition In and Transition Out
•Pan-and-zoom
• 360 Video
Corrections versus effects
Effects and corrections are applied and edited in a similar way, but the Corrections family is
meant primarily for remedying the imperfections that are often encountered in actual media
files – poor white balance in photos, wind noise in soundtracks, and so on. Please see
“Corrections” on page 105 for details about Corrections and how to use them.
About effects
Like other resources for your project, effects are stored in the Library. As with other types of
Library resources, you can use all the usual features – Collections, ratings, tags, and so on –
to help you organize the many effects available.
Modifications that you make in the Editor panel are saved automatically. See “The Settings”
on page 116 for further information.
In the timeline, clips to which an effect has been added are indicated by a brightly-colored
upper border. Both this clip effect indicator and the clip itself provide useful context menu
commands for effect management.
The clip effect indicator is a contrasting stripe along the top edge of any clip to which
an effect has been applied.
To choose and apply an effect
1From the Edit tab, click the Navigation bar for the Library panel, and choose Effects .
2Navigate to the category you want, and in the library, click an effect thumbnail.
You can preview the effect in the Player panel.
3Drag the effect that you want to apply to a media clip in the timeline.
A pink line appears above the clip to indicate that an effect has been applied.
4To edit the settings for the effect, click the Editor panel, choose Effect, and adjust the
settings for the effect, adding keyframes if you want to vary the settings. At any point,
you can return to the original settings by choosing Default from the Select preset
dropdown menu for the effect.
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If the effect controls are not displayed (collapsed), click the bar with the name of the
effect in the Editor panel to display the controls area.
You can also apply an effect for a clip selected in the timeline by clicking the Editor
panel > Effect, clicking one of the numbered categories, and choosing an effect from
the thumbnail bar that displays.
To remove effects
• In the timeline, right-click a clip that has effects applied and do one of the following:
• To remove one effect, choose Effect > Delete, and choose the effect that you want to
remove.
• To remove all effects, choose Effect > Delete All
Effect compositions
Achieving a desired look, behavior or sound can take a combination of several effects,
applied in a particular order. Both video and audio effects may be needed. For each effect,
parameters must be adjusted to get the results you are looking for. Once you have found the
right combination, the set of effects can be saved as a special type of asset– an effect
composition.
They are stored in the Effects category of the Library under My FX Compositions and can
be used in the same way as ordinary effects.
You can access saved FX Compositions from the Library panel.
To save a combination of effects as an FX Composition
1 In the timeline, apply two or more effects to a clip.
2Right-click the clip and choose Effect > Save As FX Composition.
3In the FX Composition window, enable the check marks for the effects that you want to
include, and type a name for the composition.
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4Click Save.
The composition is saved in the Effects category of the Library under My FX
Compositions.
Real-time vs. rendered effects
Adding effects to a clip increases the amount of computation Pinnacle Studio must do to give
you a smooth preview. Depending on your computer’s hardware, the ‘rendering’ process for
a clip can easily require more computing time than can be managed in real time; that is, while
the preview is actually running.
In this circumstance, some ‘pre-rendering’ will be required before the clip can preview
acceptably. Rendering progress is shown on the time-ruler by yellow (‘to be rendered’) and
green (‘now being rendered’) shading. The shading is removed as soon as pre-rendering is
complete.
Options for rendering are set in the Preview page of the Pinnacle Studio Control Panel. (See
“Export and Preview settings in the Control Panel” on page 245).
If effects are not playing back smoothly, try increasing the Optimization Threshold value.
This will increase the amount of pre- rendering time while improving the preview quality. If
rendering is taking too long, on the other hand, the Optimization Threshold value can be
decreased, or rendering can be turned off by altogether by setting it to zero. Other factors
that affect playback and rendering time are the format, size and frame rate selected for the
project. These can be changed in Timeline settings. Please see “Timeline settings” on
page 52.
The Settings
Settings for an effect are available from the list of effects that have been assigned to the
current clip. Click an effect name in the list to select it; this causes its settings to be displayed
for inspection and editing in the parameters area below the list. Most effects also offer a
dropdown list of preset parameter combinations.
When a clip has multiple effects, they are applied in the order they were added, which is the
reverse of the order in which they are listed (new effects are added at the top of the list, not
the bottom). To change the order, drag the effect header up or down in the list.
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The right-hand end of the effect header has four buttons for operations related to that effect.
From left to right they are:
Diamond: Toggle keyframing for parameters of the effect. See “Working with keyframes for
effect settings” on page 117.
Expand All Settings: All the groups of settings for the effect can be expanded for editing or
closed with one click.
Trashcan: Remove the effect from the clip.
Dot: Toggle the effect on and off. You can switch the effect off for comparison purposes
without deleting it and losing your settings.
Drag handle: Use either this zone or the name area for dragging the effect up or down in
the effect list when the clip uses multiple effects. As mentioned above, effects are applied in
bottom-up order. In some cases, changing the order can dramatically affect the cumulative
result.
Modifying parameters
Parameters are organized into named groups of related controls. Click the expand/collapse
triangle on the group header to open the group and access its parameters, or close it and
conserve screen space.
Numeric parameters are controlled by horizontal sliders, with a bar that you can drag
horizontally to change the value. For more precise control, use the Left or Right arrow.
Double-click the bar to reset a particular parameter to its default value.
Most effects furnish a dropdown list of preset parameter combinations for fast selection of
variants. Once a preset has been selected, you can customize it by editing the parameters if
desired.
Changes to the settings in the Editor panel are saved automatically.
Working with keyframes for effect settings
The normal use of some types of effect is to transform the source material in a uniform way
from beginning to end. Atmospheric effects like Old film, and effects that change only the
coloration of the clip, are among those in this category. Their parameters are generally set
once and for all at the start of the clip. This is the static use of an effect.
Other effects, such as Water drop, depend on a sense of motion. They are likely to be
effective only when their parameters are allowed to vary throughout the clip. The easiest
method is to use a preset that has animation built in, like most of those for Water drop. In
this kind of keyframe animation, one or more parameters of the effect has a different value
118 Pinnacle Studio
at the end of the clip than it did at the beginning. On playback, the parameters are updated
after every frame to move smoothly from the start value to the end value.
Keyframing isn’t limited to just the start and end frames of a clip. Keyframes can be defined
with particular values of effect parameters at any point in the clip to produce effect
animations of arbitrary complexity. If, for example, you would like an image to reduce to half-
size by the middle of the clip and return to full size by the end, you would need to add at
least a third keyframe.
For information about using keyframes, see “Using keyframes” on page 42.
Video and photo effects
The effects provided for use with video also work with photos, and vice versa. Many
Pinnacle Studio-supplied effects are described here. For third-party plug-in effects, please
consult the manufacturers’ documentation.
Blur: Adding Blur to your video produces a result similar to shooting out of focus. The Blur
effect allows you to add separate intensities of horizontal and vertical blurring over the whole
frame or any rectangular region within it. You can easily blur out only a selected portion of
the image, such as a person’s face, an effect familiar from TV news coverage.
Emboss: This specialized effect simulates the look of an embossed or bas-relief sculpture.
The strength of the effect is controlled by the Amount slider.
Old film: Old movies have a number of traits that are usually considered undesirable: grainy
images caused by early photographic development processes, spots and streaks from dust
and lint adhering to the film, and intermittent vertical lines where the film has been scratched
during projection. The effect lets you simulate these ‘blemishes’ to give your footage an
antique look.
Soften: The Soften effect applies a gentle blurring to your video. This can be helpful for
anything from adding a romantic haze to minimizing wrinkles. A slider controls the strength
of the effect.
Bevel crystal: This effect simulates viewing the video through a pane of irregular polygons
arranged into a mosaic. Sliders let you control the average dimensions of the polygonal ‘tiles’
in the image and the width of the dark edging between neighboring tiles from zero (no
edging) to the maximum value.
2D Editor: Use this effect to enlarge the image and set which portion of it will be displayed,
or to shrink the image and optionally add a border and shadow.
Earthquake: The Pinnacle Studio Earthquake effect jiggles the video frame to simulate a
seismic event, whose severity you control with sliders for speed and intensity.
Lens flare: This effect simulates the flaring seen when direct bright light overexposes an area
of a film or video image. You can set the orientation, size and glow-type of the main light.
Effects 119
Magnify: This effect lets you apply a virtual magnifying lens to a selected portion of the
video frame. You can position the lens in three dimensions, moving it horizontally and
vertically within the frame, and nearer to or further from the image.
Motion blur: This effect simulates the blurring that results when a camera is moved rapidly
during exposure. Both the angle and the amount of blurring can be set.
Water drop: This effect simulates the impact of a drop falling onto the surface of water,
producing expanding, concentric ripples.
Water wave: This effect adds distortion to simulate a series of ocean waves passing across
the video frame as the clip progresses. Parameters allow you to adjust the number, spacing,
direction and depth of the waves.
Black and white: This effect subtracts some or all of the color information from the source
video, with results ranging from partly desaturated (the ‘Faded’ preset) to fully monochrome
(‘Black and white’). The Amount slider controls the strength of the effect.
Color correction: The four sliders in the parameters panel for this effect control the
coloration of the current clip in terms of:
•Brightness: The intensity of light.
•Contrast: The range of light and dark values.
•Hue: The location of light on the spectrum.
•Saturation: The quantity of pure color, from gray to fully saturated.
Color map: This effect colorizes an image using a pair of blend ramps, or color maps. Stylize
your footage with bold color treatments, add duotone and tritone style colorization, or
create striking editorial transitions. The effect can be used for anything from fine control of
monochrome images to psychedelic color transformations.
Invert: Despite its name, the Invert effect doesn’t turn the display upside-down. Rather than
the image itself, it is the color values in the image that are inverted: each pixel is redrawn in
its complementary light intensity and/or color, producing a readily recognizable but
recolored image.
This effect uses the YCrCb color model, which has one channel for luminance (brightness
information) and two channels for chrominance (color information). The YCrCb model is
often used in digital video applications.
Lighting: The Lighting tool enables correction and enhancement of existing video that was
shot with poor or insufficient lighting. It is particularly suitable for fixing backlit outdoor
sequences in which the subject’s features are in shadow.
Posterize: This Pinnacle Studio effect lets you control the number of colors used to render
each frame of the clip, all the way from the full original palette down to two colors (black and
white) as you drag the Amount slider from left to right. Regions of similar color are coalesced
into larger flat areas as the palette shrinks.
120 Pinnacle Studio
RGB color balance: RGB Color Balance serves a dual role in Pinnacle Studio. On the one
hand, you can use it to correct video that suffers from unwanted coloration. On the other
hand, it allows you to apply a color bias to achieve a particular effect. For example, a night
scene can often be heightened by adding blue and slightly reducing overall brightness. You
can even make video shot in daylight look like a night scene.
Sepia: This Pinnacle Studio effect imparts the appearance of antique photography to the clip
by rendering it in sepia tones rather than full color. The strength of the effect is controlled by
the Amount slider.
White balance: Most video cameras have a ‘white balance’ option for automatically
adjusting their color response to ambient lighting conditions. If this option is switched off or
not fully effective, the coloration of the video image will suffer.
The White balance effect corrects the problem by allowing you to specify which color should
be taken as ‘white’ in this image. The adjustment needed to make that reference color white
is then applied to every pixel of the image. If the reference white is well chosen, this can make
the coloration seem more natural.
Effects and stereoscopic 3D
Some video and photo effects have features designed for 3D media. For instance, some of
the provided effects offer a stereoscopic mode that is activated by a check box in the effect
parameters. Meanwhile, the effects in the Stereoscopic group itself let you modify the 3D
properties of your material. The group includes:
The S3D Depth Control: This effect allows you to adjust the parallax of stereoscopic footage.
By default, the effect is presented in Standard mode, in which a single Depth slider lets you
control the amount of divergence between the left and right frames, whether to correct or
match source material, or as a special effect.
The advanced mode offers separate Shift and Zoom control groups, each containing a
Horizontal and a Vertical slider. The Shift sliders let you control the divergence between the
left and right frames, while the Zoom sliders control their magnification. Both properties can
be controlled independently in the horizontal and vertical dimensions, but by default the
Zoom aspect ratio is locked. Click the lock icon to adjust the horizontal and vertical zoom
independently.
S3D Eye Selector: The Eye Selector effect is presented in two variations; one for left eye,
and the other for right; it is used for uniting left and right eye video streams on a 3D timeline.
A pair of clips at the same timeline index, one for left eye and the other for right eye, can be
combined to produce stereoscopic output by applying the eye selector effect to the upper
clip.
Effects 121
The effect can also be employed to extract either the left or right stream from a 3D clip by
setting the Source to Left Eye or Right Eye, and direct it to either eye using the Mapping
dropdown.
Green screen chroma key effects
The StudioChromaKeyer effect lets you choose any color in your video footage and make
it transparent so that an underlying video clip (on another track) can be seen. For example,
weather reporters are often recorded in front of a green screen, then the green screen is
substituted with a video clip of a weather map. Sometimes referred to as chroma keying, this
is a popular special effect technique. Best results are achieved when the background color
that you want to remove is consistent and good lighting has been used to capture the
subject.
A photo taken in front of a green screen, or any solid color, makes it easy to replace the
solid color with another background (right).
To create a chroma key effect
1In the Timeline, double-click a clip that has a background color that you want to remove.
Tip: It works best if the clip that you want to use as the underlying background is already
placed in the track below the selected clip.
2In the Editor panel, click Effect > Keyers > StudioChromaKeyer.
3In the Settings area, click the Key Color eyedropper tool.
4In the Player panel, click the color that you want to become transparent.
5Adjust any of the other settings to fine-tune the color selection, using the preview area
and playback controls to review the chroma key results.
122 Pinnacle Studio
Selective Color
Selective Color is an effect that lets you fully or partially desaturate a video or photo while
preserving one or more focal colors. For example, you can preserve the bright yellow of a
taxicab while making everything else in the scene black-and-white.
Selective Color lets you preserve one or more focal colors.
To apply the Selective Color effect
1In the Timeline, select a clip.
2Open the Editor panel, click Effect > Color, and click the Selective Color thumbnail.
Note: An arrow appears when you position your pointer over the bar of effect
thumbnails. This lets you scroll through the available effects.
3Click the Eyedropper tool , and in the Player panel, do one of the following:
• Click a color that you want to preserve—all other colors will be desaturated (based on
the Desaturation slider setting).
• Drag across an area to set a rectangular sample area—all other colors will be
desaturated.
To add to your color selection, hold the CTRL key while you click or drag the Eyedropper
tool.
Effects 123
To clear all color selections, choose Default from the Select preset dropdown menu.
Note: Enable the Reverse check box if the area you want to desaturate has less color
variation (such as a lawn, sky, or water) than the area that you want to preserve.
The Reverse check box was enabled in this case, making it easy to click the lawn and
leave the subject in color.
4To adjust the results, do any of the following:
• To adjust the selected color, click the Edit button beside the Eyedropper tool and in
the Hue Color Picker, drag a top arrow to move to a new color. Drag the bottom
arrows to adjust the range for a selected color. Use the Add Color and Remove Color
buttons to change colors using the Hue Color Picker.
• Drag the Desaturation slider from 100 to a lower value if you don’t want a full black-
and-white effect in unselected areas.
• Drag the Edge Softness slider to a higher value if you want a softer edge transition
between the areas of color and the desaturated areas.
5Preview your entire clip to ensure your settings achieve the results you want. Adjust any
settings as required.
Transition In and Transition Out
Transition In and Transition Out are two options available in the Editor panel that let you
apply a specialized animated effect for easing – or emphasizing – the passage from one clip
to the next. Fades, wipes and dissolves are common types of transition. Others are more
exotic, and many employ sophisticated 3D geometry to calculate the animated sequences.
For more information, see “Transitions” on page 95.
Pan-and-zoom
The pan-and-zoom tool is available for videos and images when they are opened from the
timeline.
With pan-and-zoom, an area from within the image or video is used to fill the whole video
frame. The area can be of any size and shape. On playback, it will be enlarged sufficiently to
fill the video frame without empty areas.
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If you define two or more areas, pan-and-zoom animates your presentation of the image by
zooming in and out while traversing it with simulated camera movements as it moves
smoothly from one area to another. You can also rotate while panning and zooming.
The pan-and-zoom tool utilizes the full available resolution so you will not forfeit detail by
zooming in.
Adding pan-and-zoom
To apply pan-and-zoom to a selected clip on the timeline, in the timeline, right-click the
image or video, and choose Pan-and-Zoom or in the Editor panel, click Pan-and-Zoom.
The Player panel displays Pan & Zoom Source (left) and Pan & Zoom View (right). The
selection frame can be set on the source side of the panel.
In this illustration the Pan-and-zoom tab has been selected and remains set to the
default Static mode. The selection frame, defines a region of the image that will be
magnified to fill the entire frame, as shown on the right.
Pan-and-zoom has two alternative Edit Modes: Static and Animated. In the Static mode, a
single unchanging image region is shown throughout duration of the clip. In the Animated
mode, separate regions are defined for the first and last frame of the clip; on playback, a
smooth ‘camera move’ from one to the other is shown. Animated mode also allows
keyframing, in which any number of additional defined regions can be added to the pan-
and-zoom camera path.
Static mode
In Static mode, a gray selection frame with round control points is displayed over the image.
You can enlarge, reduce, and move this frame, but you cannot change its proportions (aspect
ratio). You can use the Source and Timeline windows in the Player panel to preview
The zoom and position can also be controlled numerically using sliders in the Editor panel.
Double-click the sliders to reset the values, or single click to enter a numeric value.
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Animated mode
When Animated mode is set, the image is automatically analyzed and an initial size and
position both for the start and end is automatically set. The generated animation begins
zoomed in slightly, then pulls back to the full size available. If an image has a different aspect
ratio than the video frame, enough zoom is applied throughout to prevent blank areas from
appearing.
To support the extra functionality of Animated mode, the color of the selection frame is used
to indicate its place in the animated sequence. The start frame is green, and the end frame
is red. Frames at any intermediate point are drawn in white.
When multiple frames are visible, you can drag the frames as needed by positioning your
mouse over either the edge of the frame or the center dot. Moving the white frame will
automatically add a keyframe at the current position.
Keyframing Pan-and-Zoom
With keyframing, you can create a customized pan-and-zoom animation of arbitrary
complexity, though simple sequences of a few steps may be all you ever need.
Switch to Animated mode as described above, and note that two frames have been added
to the preview. These special start and end keyframes, which as mentioned above are drawn
in green and red respectively.
If you don’t require intermediate keyframes, positioning the start and end frames completes
your session.
For a more complex animation, however, position the scrubber where a change of camera
motion should occur. To create a new keyframe, simply set the white selection frame to the
desired size and position. The new keyframe is represented by a lozenge-shaped gray icon
in the keyframe line below the clip timeline and in the Editor panel. Adjust the selection
frames interactively in the source view or use the controls in the Editor panel.
Add as many keyframes as necessary. Settings in the Editor panel are saved automatically.
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For more information about keyframes, see “Using keyframes” on page 42.
The Pan-and-Zoom Settings
The following controls are available for Pan-and-Zoom:
•Preset: Choose from a number of static and animated presets.
•Zoom, Horizontal, and Vertical display the numerical values of the current frame.
Double-click the sliders to reset the values.
•Rotation lets you rotate the view from 0 to 360 degrees.
•Low pass filters out small-scale movements to achieve a smooth, optimized animation.
•Motion: Lets you choose from Ease In, Ease Out, Smooth, and Linear to determine the
style of the movement. For example, Smooth provides a gentle braking when
approaching a direction change in the keyframe animation path.
360 Video
360 video is an interactive type of video that lets the viewer look in any direction by changing
the viewing angle during playback. The viewing angle can be controlled by using a
touchscreen, onscreen controls, or by moving the viewing device, such as a smartphone or
tablet, in different directions. 360 video requires a special 360 video player (for example,
YouTube and Facebook have 360 video players).
Editing 360 video
Pinnacle Studio lets you edit equirectangular, single fisheye, and dual fisheye 360 video
footage (check the instructions for your 360 video camera for more information). For
example, you can trim the video or add titles or objects. Please note that not all effects can
be applied to 360 videos. You can also convert fisheye to equirectangular.
Converting 360 video to standard video
You can also convert 360 video to standard video in Pinnacle Studio. As you play the 360
video, you can set the viewing angle for your audience, similar in effect to a person turning
their head to look in different directions. You can then export the edited video as a standard
file—no special player is required for the video (not interactive).
Effects 127
When converting a 360 video source to a standard video, the dual preview window
makes it easy to select and adjust the view by adjusting the View Tracker.
Tiny planet and rabbit hole video effects
You can use the Equirectangular to Spherical Panorama effect to create tiny planet-style
videos, rabbit hole-style videos, or anything in between.
If you have a fisheye or dual-fisheye 360 video, you can convert the file to equirectangular
and export the 360 file. You can then apply the Equirectangular to Spherical Panorama
effect.
When you apply the effect, the video is converted to a standard format, with a square aspect
ratio.
You can confirm the settings for your spherical panorama video by clicking the Timeline
Settings button .
You can use keyframes to adjust the panorama effect as the video plays.
To edit and export a 360 video
1In the Edit workspace, drag a 360 video from the Library to the Timeline.
If you want to convert fisheye 360 to equirectangular, right-click the clip in the Timeline,
choose 360 Video, and click Single Fisheye to Equirectangular or Double Fisheye to
Equirectangular.
2In the Timeline, click the Timeline Settings button , and set the following:
• Aspect — choose 360 Video (2:1)
View tracker
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• Size — for best results, choose the highest resolution possible
3Edit the video in Pinnacle Studio. For example, you can do the following:
• Trim the video
• Add a title or object
• Create a freeze frame effect (Time Freeze)
Note: When you apply a title or object to a 360 video, right-click the item in the
Timeline, and choose 360 Video > Insert as 360 to convert the media to 360.
4When you are finished editing, save your file and click Export.
5From the Export tab, ensure that the Same as Timeline check box is marked (check
mark appears) in the Settings area.
6Click Start Export.
To edit a 360 video and convert it to a standard video
1In the Edit workspace, drag an imported 360 video from the Library to the Timeline.
2In the Timeline, right-click the video, choose 360 Video, and click one of the following:
• Equirectangular to Standard
• Single Fisheye to Standard
• Double Fisheye to Standard
A duel preview mode opens with the 360 Source video on the left and the 360 Preview
on the right.
3In the 360 Source pane, adjust the View Tracker to select a direction. The 360 Preview
pane updates to display the view.
The View Tracker appears onscreen as a red square-shaped marker with a crosshair at
the center.
4Click Play to start the video playback. At any time, you can adjust the angle of the view
by dragging the View Tracker to a new position.
Keyframes are added when you adjust the View Tracker. You can fine-tune the keyframes
with the controls below the preview pane.
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Keyframes appear below the preview panes just below the scrubber. Keyframe controls let you
go to the previous keyframe, delete a keyframe, go to the next keyframe, and adjust the settings
for the transition between keyframes
5Make any additional edits to the video project, and save.
6Click Export, and choose the settings you want in the Studio Exporter, and click Start
Export.
To apply a tiny planet or rabbit hole effect to a 360 video
1In the Timeline, right-click a 360 video that is in the equirectangular format, and from the
context menu choose 360 Video > 360 Video Conversion > Equirectangular to
Spherical Panorama.
The Editor panel opens with the Equirectangular to Spherical Panorama controls.
2In the Player pane, display the Timeline view, and scrub to a scene that you can use as a
starting point.
If you will be using keyframes, you can add them in the Editor panel. For more
information, see “Using keyframes” on page 42.
3In the Editor panel, drag the Zoom slider to set the field of view.
4Adjust the Tiny Planet/Rabbit Hole dial or type a value in the corresponding box.
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• Tiny Planet: A value of 180 creates a sphere using the bottom edge of the video as the
center.
• Rabbit Hole: A value of 360 creates a sphere using the top edge of the video as the
center.
You can experiment and set values between 0-360 and use keyframes to control the
transition.
5Adjust the Rotation dial or type a value to rotate the video to the position you want.
6Play your video, using the Timeline view to evaluate your settings. Make any
adjustments to the settings or to your keyframes.
Note: To reset all controls, from the Select preset menu, choose Default.
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Masks and Motion Tracking 131
Masks and Motion Tracking
Pinnacle Studio includes masking features that let you selectively edit one or more areas of
a video clip or track. For example, you can make an area of a video clip transparent so that
an underlying video clip shows through. You can apply effects to specified areas, allowing
you to add a Black and White effect to a specific area, or color correct a specific area. You
can also create a 2D mask panel that has 3D motion.
Motion tracking lets you apply a blur or element, such as text, to a moving object in a video,
tracking the movement frame-by-frame. Some versions of Pinnacle Studio include Face
detection that can be used for tracking and masking.
This section contains the following topics:
• Understanding masks in Pinnacle Studio
• Shape masks
• Using a Shape mask to edit specific areas
• Using a mask panel to create a 3D effect
• Using face detection for mask tracking
•Using object detection for mask tracking
•Motion Tracking
Understanding masks in Pinnacle Studio
The masking process starts by adding a dedicated Mask track above the clip or track that
you want to mask. You can also choose to create a Clip Mask when you want to create a mask
for a specific clip, rather than adding a mask track.
From there, you can choose between two types of masks:
•Shape mask: To change the opacity, add a border, or edit specific areas for color or other
filters, use a Shape mask.
•Panel mask: Lets you import assets to a 2D mask object and apply 3D motion to the
object.
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Layering masks
You can apply only one function or filter to a Shape mask (and its corresponding Matte
area). You can create new mask tracks to layer masks. You can also layer Panel masks.
Shape masks
You can draw a shape in the mask preview window using a variety of tools:
Selection tool: Lets you interact with the selected shape in the Mask preview area (size,
position, rotation).
Rectangle tool: Lets you draw rectangular and square shapes.
Circle tool: Lets you draw circular shapes.
Pen tool: Lets you draw an enclosed shape by setting nodes connected by straight lines.
Freehand tool: Lets you draw a freehand outline to create a mask.
Brush tool: Lets you apply freehand brushstrokes. Adjust the brush Radius to change the
size of the brush. To auto-detect edges, enable the Smart Edge check box, and adjust the
Tolerance value to increase or decrease the range of similarly colored pixels that are included
in the mask.
Magic Wand tool: Lets you select all areas of a specified color by clicking a sample area
in the preview window. Instead of color, you can choose from a Mode list to detect other
values. For more information, see “Magic Wand Modes” on page 132. Adjust the Tolerance
value to increase or decrease the range of similar pixels that are included in the mask. To
select only those pixels that are attached to the original sample areas, enable the
Contiguous check box. Hold Ctrl and click to add another sample area. Hold Shift and click
to remove a sample area from the mask selection.
Eraser tool: Lets you erase brushstrokes that you have added with the Brush tool.
Text tool: Lets create a text-based mask.
Import: Lets you import a media file to use as a mask.
Object tool: Lets you create a mask based on popular shapes (arrows, speech bubbles...)
Face tool: Auto-detects the face area when you click on a face in a photo or video frame.
Magic Wand Modes
The following modes are available for the Magic Wand tool:
•None — selects all pixels
•RGB Value — selects pixels that match the red, green, and blue values of the pixel you
click
•Color — selects pixels that match the shading variations of the pixel you click
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•Brightness — selects pixels that match the perceptual lightness value of the pixel you
click
•Perceptual — selects pixels that match the perceptual shading variation and lightness of
the pixel you click
•Traditional — selects pixels that match red, green, and blue values, with a bias toward
lightness variations. This match mode is therefore more discriminating than the RGB
Value match mode.
•All Opaque — selects all pixels that are not completely invisible (that is, having an
opacity value of 1 or greater). Choosing this option disables the Tolerance control.
•Opacity — selects pixels that match the opacity value of the pixel you click.
Mask groups and shape interaction
You can use one or more shape tools to create a mask. Each time you use a shape tool, it
adds a new shape to the current group. The Brush and the Eraser are the exception to this
rule (all brushstrokes are added to the same shape until you switch to another shape tool).
The shapes within the group can interact in three different ways, according to the Combine
setting:
•Combine: Overlapping shapes are additive (increase the area of the mask).
•Subtract: Overlapping shapes are subtractive (decrease the area of the mask).
•Intersect: Only areas where shapes overlap are masked.
You can add a new group to help organize elements of your mask.
Editing mask shape properties
You can edit the shapes you use to create your mask by adjusting Position (X, Y), Size (X, Y),
or Rotate (value in degrees). Keyframes can be used to adjust the properties of the shapes
throughout the video to create dynamic masks.
Mask and Matte
Pinnacle Studio Shape masks let you apply distinct functions or filters to the Mask (the
selected area that has the ruby-colored overlay) and the Matte (the “unselected” area).
Using a Shape mask to edit specific areas
You can use a Shape mask to complete many editing and creative tasks by setting the Mask
Properties and Matte Properties you want.
Functions include:
•Opacity: Create transparent areas based on shapes, text, brushstrokes, or color selected
with the Magic Wand.
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•Color Correction: Selectively brighten an area or desaturate all but one element, boost
color in specific areas and more.
•Invert Color: Invert colors in the selected area.
•Replace Color: Select and change one color for another color.
•Black and White: Create a Black and White film effect, leaving some areas in color.
•Zoom and Loupe: Create magnification effects in selected areas.
For a full list, refer to the Function menu.
Filters include:
• High Pass
•Low Pass
•Dichroic
•Color
The Mask panel (left) and the Mask preview in the Player panel (right) let you create,
view, set properties, and edit masks.
To create a Shape mask
1Do one of the following:
• In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel (shares a space with Library and Editor panel). Click Create Mask to add a Mask
Track above the clip and automatically create a mask (yellow bar) that matches the
length of the selected clip.
• In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel. Click Create Clip Mask to add a mask directly to the clip.
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• In the Timeline, right-click a track head above which you want to add a mask, and
choose Insert New Track > Mask Track. Hold down Ctrl and drag along the mask
track to set the length of the mask (yellow bar).
2In the Mask panel, click Create Shape.
3Choose one of the shape tools along the left edge of the Mask preview, and create one
or more shapes, clicking Done in the preview area when you finish.
4In the Mask panel, adjust the properties for the shape, including the Transform mode to
determine the interaction between shapes.
5If you want to create a dynamic mask, use the keyframes in the Mask panel to adjust the
properties over time.
6If you need to organize the shapes, for more complex masks, click Add a New Group
(bottom of Mask panel). Add as many shapes and groups as you need.
7In the Mask panel, click Function (near the top of the panel).
8From the Mask Properties area and the Matte Properties area, from the drop-down
menu choose Function or Filter, and choose a function or filter from the corresponding
drop-down menu.
9Adjust the settings to get the effect your want.
If you want to remove an effect, choose None from the drop-down menu.
To edit a shape mask from frame-to-frame
1Create a shape mask.
Note: If masking an irregular shape that is moving, it is recommended that you try using
the Brush tool with Smart Edge enabled to create your mask.
2In the mask properties area, ensure keyframing is turned on for the shape you have
created.
3Use the playback controls in the Mask preview area to move through the frames,
stopping when you need to edit the mask so that it covers your target area.
4In the Shape properties area, do one of the following:
• Click the Replace button, and in the Mask preview area, use the Brush tool (with Smart
Edge, or another tool of choice), to redraw the mask (the outline for the previous mask
remains as a guide), and click Done.
136 Pinnacle Studio
Outline in Replace mode
• Click the Modify button, and in the Mask preview, use the tools you want (for example,
Brush tool with or without Smart Edge to add to the mask, or Eraser tool to remove
from the mask) to edit the shape, and click Done.
Keyframes are added for the edited mask shape.
5Repeat steps 2-4 for any additional frames.
The keyframes on the left indicate each time the mask has been modified or replaced
in order to match the mask to a moving subject.
Using a mask panel to create a 3D effect
Mask panels are 2D objects to which you can apply a photo or video. The objects can then
be assigned 3D motion properties.
Panels have only one group, but you can use multiple shapes to create your panel. For
example, you can merge several shapes to create a panel shaped like a cat’s head or a cloud.
You can also apply media assets to individual shapes, such as three circles, each with different
media, spinning and moving independently.
To create a Panel mask
1Do one of the following:
• In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel (shares a space with Library and Editor panel). Click Create Mask to add a Mask
Track above the clip and automatically create a mask (yellow bar) that matches the
length of the selected clip.
Masks and Motion Tracking 137
• In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel. Click Create Clip Mask to add a mask directly to the clip.
• In the Timeline, right-click a track head above which you want to add a mask, and
choose Insert New Track > Mask Track. Hold down Ctrl and drag along the mask
track to set the length of the mask (yellow bar).
2In the Mask panel, click Create Panel.
3Choose one of the available shape tools along the left edge of the Mask preview, and
create one or more shapes.
4In the Mask panel, adjust the properties for the shape, including the Transform mode to
determine the interaction between shapes.
5In the Mask panel, click Asset (near the top of the panel).
6Click Select Media, and navigate to the photo or video clip that you want to apply to the
panel.
7In the Link drop-down, select the Group or Shape to which you want to apply the
media.
8Set the properties you want, and repeat the process for any additional shapes.
9In the Mask panel, click 3D (near the top of the panel).
10 Set the 3D properties that you want, using key frames to make the element dynamic.
Using face detection for mask tracking
You can use the Face tool to create a mask and then track the motion of the face in a video
clip. This feature lets you more easily apply a blur or mosaic to protect someone’s identify, or
apply enhancing or creative effects to a face or the inverse—you can protect the face while
applying an effect to the surrounding areas.
Face detection and motion tracking let you add a blur, mosaic or other effect to a
subject’s face.
To apply a mask that uses face detection for motion tracking
1In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel. Click Create Clip Mask to add a mask directly to the clip.
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2In the Mask panel, click the new Clip Mask button (for example, Clip Mask 1) that
appears, and click Create Shape.
3In the Mask preview area of the Player panel, click the Face tool .
4In the preview window, click a face.
A mask overlay appear on the face. If you want to adjust the mask, in the Mask panel,
click Modify, and then back in the Player panel preview window, use the Brush tool and
Eraser tool that appear at the top of the window to edit the mask. Click the Done button
to the right of the tools when you’re finished.
5In the Mask panel, click the Track button for the corresponding shape.
Depending on the size and complexity of the clip and your computer system, it might
take a few moments to process.
6In the Mask panel, click the Function tab, and choose the Mask Properties that you
want.
Using object detection for mask tracking
You can use object detection to help you apply a mask to a moving object in your video clips.
Object detection uses artificial intelligence (AI) to recognize common objects and
automatically track them throughout the video clip. If the object is detected, the mask is
automatically adjusted from frame to frame. Fine-tuning is required if the object is obscured
and tracking is lost at any point. If the object isn’t recognized, then you can edit the shape
mask from frame to frame. For more information, see “To edit a shape mask from frame-to-
frame” on page 135.
To use object detection for mask tracking
1In the Timeline, select a clip that you want to mask, and click Mask to display the Mask
panel. Click Create Clip Mask to add a mask directly to the clip.
2In the Mask panel, click the Create Shape button.
3In the Mask preview area of the Player panel, click the Brush tool .
By default, the Smart Edge check box is enabled, so object edges will be auto-detected.
Note: You can use any of the tools in the Brush flyout to select your object, and you can
choose to unmark the Smart Edge check box if edge detection isn’t needed.
4After you object is selected, click the Apply button .
5In the Shape area, if the object is recognized, you can click the Track button (the
button is not available if no object is recognized).
Depending on the size and complexity of the clip and your computer system, it might
take a few moments to process.
Masks and Motion Tracking 139
6Review the tracked mask to see if any adjustments need to be made. Before making
manual adjustments, you can try changing the Sensitivity setting (below the Track
button). You can then click the Track button again to regenerate the tracking result.
Lower Sensitivity values include more areas in the mask; higher values include less areas
in the mask.
For more information about fine-tuning a mask, see “To edit a shape mask from frame-
to-frame” on page 135.
7In the Mask panel, click the Function tab, and choose the Mask Properties that you
want.
Motion Tracking
You can track the motion of elements in your videos and add masks or objects that follow
the same motion. For example, you can apply a mask to obscure a face, license plate, or
trademarked logo that is visible in your video.
You can also track the motion of an element so that you can follow it with a title or other
object. For example, you can add a name label to follow a player in a video of a sporting
event.
To track and mask an element in a video
1In the Edit workspace, select a video clip in the Timeline that you want to track, and do
one of the following:
• On the timeline toolbar, click the Motion Tracking button .
• Right-click the clip and choose Motion Tracking from the context menu.
2In the Mask Object area of the Motion Tracking Editor, click a Shape icon.
3Drag in the preview window to apply the shape to the area that you want to cover. Fine-
tune the mask by dragging the orange mask nodes
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4In the Mosaic or Blur area, choose the settings you want to apply to obscure the
selected area.
Mosaic effect (left). Blur effect (right)
5Track the selected area of the video by clicking one of the following Analyze buttons
:
• Track selected mask backward all frames — tracks the selected area backward from
the current time point until it is not detected onscreen
• Track selected mask backward by 1 frame — tracks the selected area back one frame
from the current time point. Good for short tracking segments that are not easily
tracked.
• Track selected mask — tracks the selected area (back and forward of the current time
point) until it is no longer detected onscreen
• Track selected mask forward by 1 frame — tracks the selected area forward by one
frame from the current time point. Good for short tracking segments that are not easily
tracked.
• Track selected mask forward all frames — tracks the selected area forward from the
current time point until it is not detected onscreen.
6Check the tracking analysis by playing the video using the navigation controls below the
preview.
Pause the video if you notice points where the mask doesn’t fully cover the selected area,
and readjust the nodes in the preview area. You can change the shape of the mask by
clicking the orange mask outline to add a node (pointer displays a plus sign), or by
clicking a node (selected node is white) and pressing Delete to remove the node.
7Click OK when you are satisfied with the mask and to return to the Edit workspace.
The Mask Object is added to the Timeline above the corresponding video.
To track an element in a video with a title or object
1In the Edit workspace, select a video clip in the Timeline that you want to track, and do
one of the following:
• On the timeline toolbar, click the Motion Tracking button .
Masks and Motion Tracking 141
• Right-click the clip and choose Motion Tracking from the context menu.
2Click the Follow Object tab.
3In the Follow Object area, click the Tracker icon .
4In the preview area, click the element that you want to track. Choosing an area that has
distinct color and contrast works best.
5Track the selected element of the video by clicking one of the following Analyze buttons
:
• Track backward all frames — tracks the selected area backward from the current time
point until it is not detected onscreen
• Track backward by 1 frame — tracks the selected area back one frame from the
current time point. Good for short tracking segments that are not easily tracked.
• Track — tracks the selected area (back and forward of the current time point) until it is
no longer detected onscreen
• Track forward by 1 frame — tracks the selected area forward by one frame from the
current time point. Good for short tracking segments that are not easily tracked.
• Track forward all frames — tracks the selected area forward from the current time
point until it is not detected onscreen.
6Check the tracking analysis by playing the video using the navigation controls below the
preview.
If the tracking is lost at any point, find the point where the tracker is lost, and reapply the
tracker.
7Drag the title or object that you want to apply to the tracking path to the drop zone
(thumbnail area).
The title or object that you selected appears in the preview area.
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8To adjust the position of the title or object, in the Offset area, adjust the Horizontal and
Vertical settings.
9To scale the title or object, drag the corner handle for the title or object in the preview
area or in the Size area type Width and Height values.
10 Play the video to check the positioning of title or object.
11 Click OK when you are satisfied with the tracking to return to the Edit workspace.
A new track is inserted in the Timeline, above the tracked video.
Tips:
You can’t edit titles in the Motion Tracking editor, so It’s best to create and save a title
in advance. This will let you see the text in the Motion Tracking context.
To delete a tracking object, right click the thumbnail in drop zone, and choose Delete.
To rename a tracking object, right click the thumbnail in the drop zone and choose
Rename. Type the name you want.
To replace a tracking object, drag a new title or object to an existing thumbnail.
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Montages and Templates 143
Montages and Templates
Pinnacle Studio has different types of templates
• Montages are pre-defined multimedia templates that include professionally designed
sequences to give your productions instant impact. Organized under Themes, montages
are grouped according to technical sophistication and look.
•Split Screen Templates let you play multiple video clips at one time. You can use an
existing template or create and save your own split screen template.
•My Templates are custom templates that you create from a project (Save Movie As
Template). Custom split screen templates are also saved under My Templates.
This section contains the following topics:
• Template basics
• Montage templates
• Montage clips on the timeline
• Anatomy of a montage template
• Montage editing
• Using the Montage Editor
• Split screen video templates
• My Templates: Saving a movie as a template
Template basics
Below is a basic procedure for choosing and filling a template. For details, see the section for
each type of template.
To use a template
1From the Edit tab, click the Navigation bar for the Library panel, and choose Montages
and Templates .
2Navigate to the category you want, and in the library, click the thumbnail for the
template you want to use.
You can preview the template in the Player panel.
3Drag the template you want to use to the timeline.
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4To add media to a template, do one of the following:
• Montage templates (Themes)—double-click the template in the timeline to open the
Montage Editor.
• Split Screen Templates—right-click and choose Open in Sub Editor
• My Templates—right-click and choose Open in Sub Editor
5Add or edit the content you want and click OK to return to the main application window.
Montage templates
Montage templates are located under Themes in the Montages and Templates category of
the Library panel. The templates are pre-defined (limited editing) and designed to enhance
your movies with off-the-shelf slideshow, animation and multitrack editing effects. Montage
templates have slots that can contain several types of custom data, including video, text
captions, photos and more. You can fill in a slot just by dragging a suitable asset to the
corresponding displayed drop zone.
Montage templates are located under Themes in the Library.
Within each theme, the available templates are designed to complement one another when
used in the same project.
For instance, most themes provide an Opening template and a matching Ending template.
Many themes also provide one or more Segue templates you can use when transitioning
from one video or image clip to another.
Montage in your project
The first step in using a chosen template is to drop it onto your project’s timeline. Once there,
the Montage template is treated as an ordinary, self-contained video clip. To customize the
clip by filling in the template’s blanks, you will double-click the Montage clip to open the
Montage Editor. For more information, see “Using the Montage Editor” on page 147.
Montages and Templates 145
Each template defines a video or graphic sequence with blanks to be filled in by you. The
available customizations can take several forms. For instance, most templates provide one or
more slots, or ‘drop zones’, for video or image clips. Many let you supply text captions for
titles, and some have additional parameters for other special properties.
Montage backgrounds
Some templates have built-in graphical backgrounds, a selectable background color, or both.
Many of these also provide a Background check box in the Montage Editor; leave the box
unchecked if you want a transparent background. This allows the Montage to be used on an
upper timeline track over a background of the video or photo material on the tracks below.
Montage clips on the timeline
Montage clips behave like ordinary video clips when it comes to operations on the timeline
of a movie or disc project, such as adding transitions, trimming and positioning.
A Montage template dropped onto the timeline is added by one of three methods: insert,
overwrite and replace. When the editing mode button on the toolbar is set to Smart Editing
Mode, the replace method is chosen automatically. The default length of the clip varies from
one template to another. For more information about editing modes, see “Editing mode” on
page 57.
Trimming Montage clips
Although trimming operations on the timeline are the same for Montage clips as for video
clips, the actual result produced by trimming may vary depending on the nature of the
template.
In an all-animated template, such as a fancy rolled title, the animation always runs to
completion. The animation speed therefore depends on the clip duration. Shortening the
clip causes the animation to run faster, but does not truncate the sequence.
Clips that include video, in contrast, can be trimmed in the usual way. Many themes include
a variable-length video subclip. When one of these is present, the clip can be expanded as
far as the length of the subclip will allow – indefinitely, if the subclip happens to be a still
image.
Transitions and effects
Transitions can be used at the beginning and end of Montage clips in the same way as with
other clip types.
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Video and audio effects can also be added to Montage clips as usual, and apply to all the
content the clip embodies. However, a few effects, such as Speed, are not available for use
with Montage clips.
Anatomy of a montage template
For examples of how themes work, let’s examine the included ‘50s Modern’ theme, which
contains five templates: Opening, Segue A, Segue B, Segue C, Ending.
All the templates in this particular theme use the same backdrop design – an abstract,
scrolling pattern. It is continuously visible except during full-frame video segments. The
coloring of the pattern is set using a parameter control available for each of these templates
in the Montage Editor.
Let’s take a closer look at one of the templates: Opening.
Opening: An Opening template usually starts with some sort of animation, including titles,
and ends with full frame video. Our ‘50s Modern’ example follows that pattern.
The scrolling background animation runs through most of this sequence. Within the
animation, two customizable captions are displayed. They are represented in the diagram
below by lines on the Animation bar. Both captions are flown into and out of the frame (dark
line color), with a one and a half second pause for stationary display (light line color) in
between.
Schematic representation of the Opening template in the ‘50s Modern’ theme, at its
default length of about 14 seconds.
Just as the second caption is leaving the frame, an animated panel containing the running
video subclip is launched. The video zooms to full frame by 11:18 in the template clip, and
remains so through to the end (the white portion of the ‘Video’ bar in the diagram).
By default, the length of this template clip is 14:00. The embedded video clip starts at a fixed
offset of 7:03 and runs to the end; its length is therefore 6:27. If your video subclip is long
enough, you can lengthen the overall clip, extending the full-frame video portion. This
capability is indicated in the diagram above by the arrow at the end of the ‘Video’ bar.
Montage editing
Studio’s main tool for customizing a Montage clip is the Montage Editor, which allows you to
interact with all the settings a Montage provides. Using the editor, you can add content from
Montages and Templates 147
the Library, change the background, and edit any text in the Montage. The editor can be
invoked from a Montage clip on the timeline of a project by double-clicking the clip or with
Edit Montage on its context menu.
A useful trick lets you add timeline clips directly to a Montage clip via the Clipboard. Copy
the chosen clip using the Copy command on its context menu or Ctrl+C. Then right-click the
Montage clip to open its context menu. Choose Paste to Drop Zone, then choose from the
graphical submenu of all the available slots in the Montage to select one as the destination.
Using the Montage Editor
Each Montage template has its own set of slots for video and photo content, represented by
drop zones in the Montage Editor. Most templates have at least one slot; the most is six.
Some also provide text captions and other parameters to customize special features. You can
set a default method for how content is scaled to fit the montage templates (fit, crop, or no
scaling). For more information, see “Project Settings in the Control Panel” on page 249
(Montage scaling).
The Montage Editor lets you specify template elements such as video or image clips,
property settings, and text captions. Clips are added by dragging them from the editor’s
Compact Library to drop zones below the Player.
The Montage Editor is split into five parts:
1On the left, the compact version of the Library provides access to your videos and
photos.
2On the right is a customization panel including any text fields or other controls required
by template parameters.
3The Player shows you the results of your changes.
4Below the Preview are the drop zones for your video and images.
5A timeline provides handles for adjusting the lead-in and lead-out times.
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Interior trimming of Montage clips
When a Montage template begins or ends with a user-settable amount of full-frame video,
as many do, the Montage Editor timeline provides handles for adjusting the lead-in and lead-
out times – the durations of the full-frame portions. Click a handle and drag left or right to
adjust either duration separately. The duration of the center part of the clip – the animated
part – will shorten or lengthen accordingly. If you want to balance the lead-in and lead-out
without affecting the duration of the center portion, click between the handles and drag.
Part of the Montage Editor, with the timeline (bottom) and drop zones for video or
images (middle). The lower portions of the Library and the Player are also visible. Click
and drag on the timeline to adjust the timing of the Montage.
For a detailed explanation of the template structure, see “Anatomy of a montage template”
on page 146.
Working with drop zones
Clearing drop zones: To delete a subclip from its drop zone, right- click the zone and select
Remove Media from the context menu.
Muting subclip audio: Some drop zones are marked with an audio symbol, indicating that
the audio portion of any video in that zone will be included in the Montage clip’s audio. If
you don’t want the audio to be used, click the symbol to mute the subclip.
Choosing the start of your subclip: Video in a drop zone can be adjusted to start from an
offset in the subclip. Click and drag the start of clip slider located under the drop zone to
adjust the start frame. The keyboard left and right arrow keys are handy for making fine
adjustments.
If the drop zone you are working with is active at that time index, the preview will reflect any
changes to the start frame. When you are fine tuning the start frame of a subclip, it’s a good
idea to set the scrubber position to the location where the Player preview will be of the
greatest assistance.
Montages and Templates 149
Using the start of clip slider changes neither the position of the subclip within the template
nor its duration, but only which excerpt of the subclip is used. If you set the start of the
subclip so late that the video runs out while its zone is still active, the subclip’s last frame will
be frozen to fill the allocated time.
Adding effects within drop zones: It is possible to apply video or audio effects directly to a
Montage subclip by dragging the effect to the drop zone. As usual, a magenta stripe on the
top of the clip signals that effects have been applied.
Removing effects within drop zones: Look under Effects the zone’s context menu for the
Delete all command, or for the Delete submenu on which you can select the effect to be
deleted.
Note: If you remove or replace the media in a drop zone, all the effects applied to that
media are removed, too.
Split screen video templates
You can easily create a split screen video in Pinnacle Studio to play multiple videos in a preset
or customized template. Custom templates can include dynamic changes and 3D motion.
B
You can use a template to create a split screen video project or create your own split
screen template.
Before you start
• Ensure that the video clips you want to use are imported to the Library and easy to
access from a project bin or collection.
• Preview the video clips you want to use so that you have an idea what shapes will suit the
content that you want to focus on. For example, if the main action is vertical, it won’t fit a
horizontal shape very well.
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To choose and fill a split screen template
1From the Library navigation bar, choose Montages and Templates > Templates > Split
Screen Templates.
2Drag the thumbnail for the template that you want to use into the timeline.
3In the timeline, right-click the template and choose Open in Sub Editor.
The template expands into separate tracks in the Sub Editor window. A track is added for
each area of the template (tracks visually indicate which area they correspond to).
4From the Sub Editor Library panel, drag a video clip onto each track.
5To adjust the clip within the template area, click a track, and in the Player panel, click the
PIP Scale Mode button .
A semi-transparent view of the clip displays over the template base.
6In the Player panel, do any of the following:
• Resize the selected clip by dragging the sizing nodes (orange dots) that appear in the
preview window.
• Position the clip by dragging it to fill the corresponding area of the template.
• Rotate the clip by dragging the rotation handle (node that extends above the sizing
rectangle).
7In the timeline, click another track to adjust the other clips in the template.
8When you are finished, click OK to exit the Sub Editor and collapse the split screen
elements onto a single track in the timeline.
To create a split screen template
1In the Timeline, click the Split Screen Template Creator button .
In the Montage/Template Editor, choose a tool from the Shape Tools palette, and drag
in the editor window to split the area into different clip zones. A number appears in each
clip zone.
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2To adjust the lines and shapes, in the Shape Tools palette, choose the Select tool .
You can drag the lines and shapes to reposition them and resize them. You can also
adjust the Rotation, and Border (Width, Color, Opacity), and apply 3D Effect options
(Swivel and Tilt).
3If you want to add dynamic changes or 3D motion to your template, for each object, you
can add keyframes along the timeline at the bottom of the template window. You can
then choose the settings you want to apply to a keyframe, and press Enter.
4If you want to save content with your template (for example, an image or video that will
be part of the template), navigate to the content you want to add and drag the
corresponding thumbnail to the number you want in the drop zone. You can adjust the
properties for a template video by setting values for any of the properties in the Video
Properties area.
Note: To remove the content, right-click it in the drop zone, and choose Remove
Media.
A numbered drop zone appears along the bottom edge of the preview pane.
5When your template is complete, click Save As to save your template to the Library
(Montages and Templates > Templates > My Templates).
6Click OK to go to the Sub Editor.
7Add and edit the clips as you would with an existing template.
8When you are finished, click OK to exit the Sub Editor and collapse the split screen
elements onto a single track in the timeline.
My Templates: Saving a movie as a template
You can save your movies as templates and add them to the Library (Montages and
Templates > My Templates). When you convert a movie project to a template, you choose
which elements of the movie will be replaced with placeholders. Saving a movie as a template
Click to add a keyframe at the current
scrubber position
Keyframe on
timeline
Keyframe
navigation
arrows
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does not lock the non-placeholder content—all elements of the template are editable in the
Sub Editor. Placeholders simply make it easy to identify content that is meant to be replaced.
Note: Custom split screen templates are also saved to My Templates. For information on
using split screen templates, see “To choose and fill a split screen template” on page 150.
To convert a movie project to a template
1With the movie you want to use as a template open in the timeline, click File menu >
Save Movie As Template.
2In the upper left panel of the template window, mark the check boxes beside the media
(videos, audio, or pictures) that you want to replace with placeholders.
3Click Replace With Placeholder.
Orange numbered panels are used as placeholders.
4Review the template and click Save Template when finished.
5Type a file name for the template, and click Save to return to the main application
window.
The template is saved to the Library in Montages and Templates > My Templates.
To choose and fill a movie template from My Templates
1Drag a template from the Montages and Templates > My Templates section of the
Library to the timeline.
The template is added to a single track.
2Right-click the template and choose Open Sub Editor.
Montages and Templates 153
The template expands to multiple tracks (if originally a multi-track movie).
3In the Sub Editor, replace the placeholders by dragging the content you want to use
from the Library over the placeholders.
4Make any other edits you want in the Sub Editor.
5Click OK when you want to return to the main application window.
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9
Titles 155
Titles
In Pinnacle Studio, you can create and edit animated titles and graphics. Whether you start
from a preset title or create your own title from scratch, extensive text and image effects, as
well as detailed keyframe control give you almost limitless options.
For information about creating and editing 3D titles, see “3D Title Editor” on page 269.
This section contains the following topics:
• About titles
• Title panel components
• Accessing the Title panel
• Creating simple titles
• Creating composite titles with layers
• Saving and loading titles
• Look presets
• Title Motion
• Creating and editing titles
•Background settings
•Look settings
• Title preview
• Text and text settings
• Titles and stereoscopic 3D
• Working with the Layer List
About titles
There are different ways to add titles in Pinnacle Studio:
• Create a title from scratch
• Add a preset title
When you create a title from scratch, you can save it as a preset.
Most of the time, when you choose a preset title, you’ll add it to your project, then make any
edits you want by selecting the title in the Timeline, and changing the text or other properties
in the Title panel.
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Note: If you decide to edit a title directly from the Library, the preset opens in Correction
mode. A tab appears in the Timeline to display the title (the current project also has a tab).
It is recommended that you finish editing the title, save it (to a new name), and close the title
tab in the Timeline before continuing with your main project.
Tips for finding titles
As with other assets, you can search for preset titles in the Library. Here are some keywords
you can use:
•overlay: Titles that have transparent areas through which the content of underlying
tracks will be visible.
•fullscreen: titles have no transparent areas: they fully occupy the video frame.
Other search keywords to try out with titles in the Library are ‘roll’, ‘crawl’, ‘name’ and ‘title’.
Title panel components
Areas of the Title panel: 1. Title panel page tabs (Title, Text, Motion, Legacy Presets) 2.
Layer area; 3. Settings area; 4. Keyframe area; 5. Player panel with title preview
These are the main areas of the Title panel, numbered as in the illustration above:
1The Title panel has tabs for four pages: Title, Text, Motion, and Legacy Presets.
• Title page includes basic create, save, load and duration controls.
• Text page is the default and includes most text editing controls.
• Motion page lets you set motion properties for the entire title layer, or individual lines,
words, or letters.
• Legacy Presets lets you choose motion presets for titles. These include some classic
styles for the Enter, Emphasis, and Exit of titles.
2The Layer area provides a list of the layers in the title. Layers can be text-based or shape-
based (vector shapes or imported photos or videos). The Layer area is available for the
Text and Motion pages, as well as the Legacy Presets page. Each graphical or textual
element constitutes a layer in the title, which is a stack of such layers. The opaque parts
Titles 157
of each layer obscure the layers below; the bottommost layer can obscure only the
background. The process of building up an image in layers is called ‘compositing’.
Because the information in each layer is maintained separately, to be combined only
when the image is output, it is possible to return to the composition at any time and add
new layers, and to adjust, reorder, remove or replace existing ones.
3The Settings area includes Text, Look, Background, and Stereoscopic settings. For the
Motion page, it includes all the motion settings. Text settings determine the style and
size of titles; Look settings, determine the faces, edges and shadows for title text; and
Background settings pertain to the title’s background layer.
4The Keyframe area lets you set and view keyframes for properties that support
keyframing. For example, you can use keyframes to determine motion. For more
information about keyframes, see “Using keyframes” on page 42.
5The Player panel lets you preview your titles and provides some interactive editing
control.
Accessing the Title panel
There are several ways to access the Title panel. What you see when you open the Title panel
depends on what is selected (or not selected).
Note: When you double-click a title in the Library, the preset opens in Correction mode. A
tab appears in the Timeline to display the title (the current project also has a tab). It is
recommended that you finish editing the title, save it (to a new name), and close the title tab
in the Timeline before continuing with your main project.
To access the Title panel
• Do one of the following:
• In the Library panel area, click Title.
• In the Timeline, drag the scrubber (playhead) to the position where you want to add a
title and click the Title button on the Timeline toolbar.
• In the Timeline, double-click an existing title clip.
• In the Library, double-click a thumbnail for a preset title.
To close Correction mode for Library title editing
• After you save the edited Library title to a new name, in the Timeline, click the close icon
(x) on the tab for the title.
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Clicking the Close icon on the light green tab closes Correction mode for the title.
Creating simple titles
The best way to learn about title features in Pinnacle Studio is to create a title from scratch.
To create a simple title
1In the Timeline, ensure that you have a track for your titles. By default, titles are created
with transparent backgrounds so that they can be added as an overlay in a track above
the main media tracks.
2In the Timeline, position the scrubber (playhead) at the timecode where you want to
insert a title.
3Click the Title button on the Timeline toolbar.
A default title clip (3 second duration) is added to the Timeline and the Title panel
displays.
4In the Title panel, type your title text in the Text Settings text field.
If you want to preview the title text, in the Timeline, ensure that the scrubber is
positioned over the title clip.
5Apply any of the formatting options in the Text Settings area to customize the font or
alignment of the text.
6In the Look Settings area, choose a Fill color from the color selector, and click the Apply
button.
Other options include adding outline (Edge) or drop shadow/glow (Shadow) properties.
For more information, see “Look settings” on page 163. You can also add a background
to your title. For more information see “Background settings” on page 163.
7Click Motion at the top of the panel, and do one of the following:
• In the Position area, change the settings to reposition the text.
• In the Player panel, click the text box to select it, position your pointer over the edge of
the box to display the move icon, and drag the text to the position you want.
Other options include setting the motion for the individual lines, words, or letters in your
title, including Rotation and Opacity settings. For more information, see “Title Motion”
on page 161.
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Creating composite titles with layers
You can create complex titles by using layers. Layers can be based on text, shapes, photos or
videos. Layers are a great way to organize different elements of your titles and give you the
flexibility to change one part without affecting another part. You can create lower-third title
graphics by using layers, as well as logos and other graphics that incorporate text.
To create title layers
1In the Title panel, click the Text tab to ensure the Text page is displayed.
2At the top of the Layers list area, click one of the following buttons:
• Add Text Layer : Adds a new text layer to the list.
• Shape Tool : Choose a vector shape or choose Add assets from Library to open a
window that lets you search and select media by Project Bins, Video, or Photo
categories. Click the Apply button after you select the media to close the selection
window and add the layer to the list.
3In the Layers list, select the layer that you want to edit, and specify the settings you want
in the Settings area.
4Above the Text Settings, you can choose any of the following:
• Group Align: In the Player panel preview, select two or more layers, and choose an
alignment option from the Group Align menu.
• Group: In the Player panel preview, select two or more layers to create a group that will
share look and motion properties.
• Order: Lets you change the stacking order of the selected layer.
• Wrap Text: Lets you wrap text within the text frame instead of stretching the text if the
frame size is adjusted.
You can also select layers in the Player panel preview by clicking a layer, or by right-
clicking and choose Select All Layers from the context menu. You can also right-click
to choose Deselect All Layers.
You can also right-click in the Player panel preview to access Grouping and Order
commands.
To edit title layers
1In the Title panel, click the Text tab to ensure the Text page is displayed.
2At the top of the Layers list area, select the layer that you want to edit.
3Do any of the following:
• In the Settings area, make any changes you want.
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• In the Player panel, select one or more layers in the preview, right-click and choose any
of the following: Cut Layer, Copy Layer, Paste Layer, Delete Layer.
Saving and loading titles
You can save titles that you create and edit to your computer. From there, titles can be
exported and shared with other Pinnacle Studio users.
To save a title as a preset
1In the Timeline, select the title that you want to save.
2In the Library panel area, click Title.
3In the Title panel, click the Title tab in the upper left corner of the panel.
4Click Save Title, and type a name for your title.
5Click Save.
By default, the title is saved as a preset title in the My Titles section of the Library.
To load a saved title
1In the Title panel, click the Title tab in the upper left corner of the panel.
2Click Load Title, and navigate to the title you want (.axp file).
3Click Open.
Look presets
Look presets are visual styles that can be applied to layers with text or vector shapes. They
are a great way to create an attractive title quickly when you’re looking for more than basic
formatting.
As you hover the pointer over any Look preset thumbnail, a preview of the look appears on
your selected layer in the Player panel preview area.
Even if you can’t find exactly the Look you want among the presets, you can often save time
by starting with one that’s almost what you want, then tweaking it in the Look Settings area.
You can then save your own Look presets in the My Looks category.
To apply a Look preset
1In the Title panel, click the Text tab to ensure the Text page is displayed.
2In the Layers list, select a text layer or shape layer that has a vector shape.
3At the top of the panel, click one of the following Look categories:
• Standard: Includes presets for some popular styles
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• Shadow: Includes shadow styles
• Beveled: Includes beveled-edge styles
• Outlined: Includes a variety of edge and glow styles
• My Looks: When you save a custom Look, it is available here.
4Position your pointer over any of the thumbnails within the selected category to preview
the Look in the Player panel.
5Click a thumbnail to apply the corresponding Look.
6If you want to adjust the preset, modify the settings you want in the Look Settings area.
Note: You can save your customized Look by typing a name for the Look in the text field
under Look Settings, and clicking the Save Look button to the right of the text field.
Title Motion
You can use the settings on the Motion page of the Title panel to set the position of your
text. With the addition of keyframes, you can add precise movements to change the position
of the text over time, including rotation, tilt, and swivel movements.
For each layer in your title, you can choose to apply motion to the individual lines, words, or
letters in your title.
Legacy Presets
The Legacy Presets page also provides motion options in the form of preset animation
routines. For example, presets include typing effects, scrolling or bouncing text. The motions
are divided into three classes:
•Enter: An enter Motion controls the arrival of the title layer – its first appearance within
the running title.
•Emphasis: An emphasis motion maintains audience focus on the content of a title layer
by giving it an attention-getting action during its time onscreen.
•Exit: An exit motion takes the title layer off-stage again, completing its life cycle.
Each layer is allowed to have one motion of each type.
Note: Enter and Exit presets often have matching pairs if you want to apply a consistent
effect.
To add motion to a title
1In the Timeline, double-click the title that you want to edit.
2In the Title panel, click the Motion tab to ensure the Text page is displayed.
3In the Layers list, select a layer.
4If you choose a text layer, select the element that you want to affect by clicking one of
the following buttons:
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• Layer
• Line
• Word
• Letter
5If you have multiple units for the element you chose (for example, Letter), in the text
field, click the specific item that you want to edit.
6Set the Position, Rotation, Pivot, Scale, and Opacity settings you want, adding
keyframes to the Keyframe area at the timecode positions you want.
To add motion with Legacy Presets
1In the Timeline, double-click the title that you want to edit.
2In the Title panel, click the Legacy Presets tab.
3In the Layers list, select a layer.
4In the Enter area, click Select preset.
5Hover your pointer over the thumbnails to preview the motion in the Player panel.
6Click to apply the preset.
7Repeat steps 5 and 6 for Emphasis and Exit.
8You can use the preset timeline area to adjust the duration of each motion effect on the
clip as well as the total duration of the motion effects.
If you want to remove the motion applied with a Legacy Preset, in the preset timeline
area (to the left of the preview), right-click and choose Motions, and from the submenu,
choose the motion that you want to delete.
Creating and editing titles
A title in Pinnacle Studio’s Title Editor is built from elements of four types:
The background layer: By default, the background is fully transparent. For overlay titles, this
is normally what you want. For special purposes, or for full-screen titles, you can choose a
color, a gradient, an image, or video for the background. For additional flexibility, the
Background Settings also include an opacity control. See “Background settings” on page 163.
Video and image layers: The resources that make up these layers originate in the Videos,
Photos and Movie Projects sections of the Library. The layers support the same operations
as text and shape layers except for the application of Looks.
Text and shape layers: These are ‘vector-based’ layers, meaning that they are stored not as
bitmapped images like video and photo files, but as a kind of ‘recipe’ for recreating the
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images from straight and curved line segments to which properties (e.g. color) and special
effects (e.g. blur) can be applied. Like video and image layers, these vector-based layers can
be dragged, resized, rotated and grouped, and you can apply Motions to them. Unlike the
other layers, however, they can also be customized with Looks from the Looks section of the
Presets Selector. See “Look presets” on page 160 for details.
Background settings
The background is controlled from the Background Settings area.
The default background for a title is fully transparent. If your title appears on an upper track
in your project’s timeline, any video or other imagery on the tracks below will be visible
behind the title foreground.
To create a solid or gradient background, click the background preview area. This brings
up a color selection dialog, and also provides an eyedropper that allows you to pick up a
color from anywhere within the Title Editor window.
You may choose to have a gradient background by choosing the Gradients tab at the top of
the color palette. Additional gradient markers can be set by single-clicking below the
gradient bar. Gradient markers can be removed by dragging them vertically out of the bar
area.
To use video or a still image as your background, drag the item down from the Videos or
Photos sections of the Library to the background preview, which also serves as a drop zone.
To make the background translucent, position the opacity slider anywhere between fully
transparent (all the way to the left) and fully opaque. Double-clicking the slider returns it to
full opacity.
To reset the background to its default state (with no background), click the trashcan button.
Look settings
The Settings panel provides access to the Look Settings, where you can examine, modify,
add or delete the individual detail layers that are overlaid to generate a particular Look.
There are three types of detail layer: face (surface), edge and shadow. The three types differ
not in the settings they support, but in the default position at which they will be inserted in
the layer stack. Unless explicitly dragged out of position, face details always appear at the
top of the stack, followed by edges, and finally shadows. After a detail has been created,
however, it can be dragged up or down in the layer stack as desired.
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Face, Edge and Shadow: A new face detail (left, top) is added above the uppermost
existing face layer; new edge and shadow details are added below the bottommost
layer of their respective types.
The properties of individual detail layers can be modified by means of controls on collapsible
s in the Looks Editor.
The following detail properties are available:
•Offset X, Offset Y: These sliders set the position of the detail layer relative to the nominal
position of the text or graphic to which the Look is applied. The range of offset is -1.0
(left, or bottom) to +1.0 (right, or top). The maximum offsets represent one eighth the
width and one eighth the height of the Player panel preview.
In this example, a Look with three detail layers has been applied to a single text layer.
The detail layers are configured identically except for their offset values, as follows: top
left (-1.0, 1.0); center (0, 0); bottom right (1.0, -1.0).
•Size: This slider sets the thickness of the segments used to draw the text or graphic, from
zero to 2, where 1 represents the default thickness.
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This example includes three detail layers with varying size values. From left to right:
0.90, 1.0, 1.20. The visual effect of varying the size depends on the default thickness of
the strokes in the layer. In a text layer, this depends on the font family and size chosen.
•Blur: As this slider increases in value from 0 to 1, the detail layer affected becomes
increasingly ghostly and indistinct.
The detail layers in this example differ only in their blur settings. From left to right: 0.15,
0, 0.40.
•Opacity: This slider sets the opacity of the detail layer from 0 (transparent) to 1 (opaque).
•Fill: Click the color swatch button to open a color picker in which the fill color of the
detail layer can be set. The color picker includes an eyedropper button to pick up a color
from anywhere in the Title Editor. To set a gradient background, choose the Gradients
button at the top of the color palette. Additional gradient markers can be set by single-
clicking below the gradient bar. Gradient markers can be removed by dragging them
vertically out of the bar area.
Working with detail layers
In addition to setting the properties of existing detail layers, you can add details of any of the
three types, delete details, and reorder the detail layer stack.
To add a detail layer, click one of the three small buttons at the top right of the Look
Settings. From left to right, these create a new face, edge and shadow layer respectively. The
placement of the new detail layer in the layer stack is determined by its type, as explained
above.
To delete a detail layer, click the trashcan button in the header bar of the detail’s edit panel.
To rename a detail layer, double-click its name, type the name you want, and press Enter.
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To temporarily hide a detail layer, click the dot-shaped visibility toggle icon in the detail’s
header.
To close down or open up the edit panel of a detail layer, click the arrow button at the left-
hand end its header bar.
To reorder detail layers, drag the header bar of the edit panel to its new location. If the Look
you are editing contains more than two or three layers, it can be easier to follow the action
if you close down the s first so that the whole stack is visible at once.
Title preview
The Player panel preview is the main preview and editing area for titles. This is where you
rearrange, resize and rotate the foreground layers of your title.
A necessary first step for most kinds of editing is to select the layer or layers your want to
affect. Selected layers are drawn within a frame having eight control points for sizing and a
rotation handle at the top for rotating the selection in one-degree increments. Most types of
layer can be ‘grabbed’ for dragging to a new position by clicking directly on the control
frame.
Rotating a shape object in the preview. The smaller dot at the top center of the control
frame is the rotation handle for the layer. To rotate a layer, click down on its rotation
handle and drag. When you are over the rotation handle, the mouse pointer will show
as a circular arrow.
With text and shape layers, some of the layer content may appear outside the control frame.
This occurs if one of the ‘details’ within the Look is defined with a horizontal or vertical offset
that moves the detail away from the nominal location of the layer.
Layer operations available in the preview
The operations described here are for a single layer, but can be extended to work with
multiple layers simultaneously.
To select a layer in the preview, click in the layer rectangle with the mouse. This causes the
layer’s control frame to appear, ready for editing.
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Layers respond to mouse clicks anywhere within their containing rectangle (the rectangle
shown by their control frame when selected). This means that you may not be able to
manipulate a layer that is visible only because it lies beneath a transparent area within the
rectangle of another layer. To perform any editing with the mouse in such cases, you should
first hide the upper layer(s).
To move any non-text layer, click down anywhere within its rectangle and drag to the new
position.
To move a text layer, position the mouse near the edge of the layer’s control frame until you
see the drag pointer (four-way arrows) appear, then click and drag normally. Clicking inside
the frame, as you would do a non-text layer, would instead activate text-edit mode.
To resize a layer but retain its proportions, click down on a corner point of the control
frame and drag outwards or inwards until the desired size is achieved.
To resize a layer and modify its proportions, click a side point of the control frame and
drag. By resizing with the center control point on two adjacent sides in succession, you can
produce any desired size and proportion.
To rotate a layer, click down on its rotation handle and drag. For finer control over the
rotation, move the mouse pointer away from the center of rotation while dragging. The extra
distance makes it possible to define smaller angles between one mouse position and the
next.
To change the stacking position of a layer, right-click the layer, and select from its context
menu one of the commands on the Order submenu: Send to Back, Send Backward, Bring
to Front, Bring Forward. Convenient keyboard shortcuts are available for all four operations;
respectively, Ctrl+Minus, Alt+Minus, Ctrl+Plus and Alt+Plus.
Another approach to reordering layers, which may be more convenient in titles where several
layers overlap, is to use the Layer List.
To delete a layer, select the control frame or select it in the Layer List, then press Delete.
Alternatively, you can use the context menu command Delete Layer. If the layer is a text layer
in text-edit mode, the Delete command (and the Delete key) apply to the layer’s text only,
not the layer itself.
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Text and text settings
In many instances the primary reason for using titles is the text they contain. The editor
therefore provides several specialized options to help you ensure that you can get your text
looking exactly the way you want. The text operations we will look at below include:
•Editing the text
• Changing fonts, font sizes and styles
•Setting text justification and flow
• Copying and pasting text properties
In a newly-created text layer, text-edit mode is already enabled: you can begin to type
immediately and the default text will be replaced.
To activate editing for an existing text layer, click anywhere inside the control frame in the
Player panel preview. Text-edit mode becomes active and – to save you an often-required
step – all existing text in the layer is automatically selected. As usual, selected text is indicated
by highlighting.
To modify the text itself, simply start typing. The highlighted text disappears and the text
you type takes its place. As you type, the current insertion point (the place in the text where
new letters are inserted) is indicated by a vertical line.
If you want to add new text without losing what was already there, click at the desired
insertion point after putting the layer in text-edit mode, or use the arrow keys to maneuver
the insertion point as desired.
You can also highlight (and thus replace) only part of the text before typing: drag across the
letters with the mouse, or hold down Shift while using the arrow keys. You may also triple
click to select all of the text in the layer or double click on a word to select just that word.
Lastly, if you want to select all the text in the layer again, you can use the mouse or arrow
keys as just described, or give the standard shortcut Ctrl+A.
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The Text Settings
The topmost Settings sub is this group of controls for editing and styling the content of the
current text layer.
Using the text field
In cases where text in the Player panel preview is difficult or impossible to access for editing,
the text field in the Text Settings area of the Title panel provides another convenient way
to select and edit your text. This is the approach to take if the text is off-screen at the scrubber
position, which can happen when Motions are involved.
Styling highlighted text
Font styling: To set or unset the bold, italic or underline properties of the selected text, use
the toggle buttons, or the standard keyboard shortcuts Ctrl+B, Ctrl+I and Ctrl+U. The
buttons light up when their respective style options are active.
Font name: Your titles are the perfect place to experiment with fancy display fonts, so you’ll
likely be accessing this dropdown list quite often. If you have many fonts on your system, the
list can be quite long. For ease of navigation, pressing the first letter of a font name will take
you instantly to the corresponding alphabetical location in the list. Click the font you want,
or move to the name using the up and down arrow keys and press Enter.
To select a font, open the dropdown list and click the one you want. The font is applied
to the currently-highlighted text only.
Font size: There are several methods of setting the font size. You can enter a new value
directly into the font-size edit field (up to 360), or use the neighboring dropdown arrow to
display a list of sizes. Further to the right, the shrink font and enlarge font buttons change
the size in intervals that widen as the font size increases.
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Copying and pasting text styles
With both text and shape layers, the Copy Attributes and Paste Attributes context menu
items, found by right-clicking on a the control frame in the Player panel preview, let you copy
Looks from one layer to another.
With text, this operation also replicates the font name, size and style from one text layer to
another, and also works on partial selections within text layers.
Text alignment
For titles with multiple lines of text, a standard menu of justification options is available. The
default for new text layers is center justification (Align Center on the dropdown list), in which
each separate line is horizontally centered in the available space. The additional options
provide for Align Left, Align Right and Justify.
Text flow
To accommodate the various conventions of different languages with regard to the direction
in which lines of text are written, and for maximum graphical design flexibility, a menu of
eight text flow options is available. These options, which work in concert with the justification
options just discussed, affect not just the way the text is displayed but also the meaning of
standard keys like Home and End.
Styling with Looks
As explained in the topic “Look presets” on page 160, the appearance of text and shape
layers can be transformed by the application of Look presets. In a partially-highlighted text
layer, applying a Look affects only the highlighted text. In principle, each of individual
character in your title could be given its own Look.
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Titles and stereoscopic 3D
If you are working on a stereoscopic 3D project, you don’t have to settle for a 2D title. The
Library includes many titles identified as 3D, but any title at all can make use of stereoscopic
text.
To set a 2D title as stereoscopic, select a text layer, then check the Stereoscopic box on the
Stereoscopic Settings sub. Now the Text Depth setting becomes available; it allows you to
change the apparent distance between the text and the viewer. If you save the title to a
watchfolder, its Library thumbnail will carry the 3D indicator.
A stereoscopic title that has been opened from the Library or a 3D timeline will provide a
stereoscopic preview. A stereoscopic title on a 2D timeline will preview in 2D only; the
timeline settings must be changed to 3D in order to get stereoscopic playback.
Text depth: To change the depth of a text layer – its apparent distance from the viewer –
select the layer and open the Stereoscopic Settings sub. Make sure the Stereoscopic box
has an orange check mark displayed. As you increase the value in the Text Depth slider, the
text recedes from view; decreasing the value brings the text closer.
As you adjust the depth of the text, you may have to adjust the font size as well. Moving the
text into the distance can decrease its apparent size to the point of unreadability, while
bringing the text closer can make it too large to fit in the title frame.
Working with the Layer List
The procedures described here are all carried out in the header area of the Layer List.
Selecting layers
Clicking a header in the Layer List has the same effect as selecting the layer in the Player
panel preview (and vice versa). The layer name highlights, and the layer’s control frame
appears. Multiple selection is also allowed, using the standard Windows mouse and
keyboard combinations Shift-click (extend selection), Ctrl-click (toggle selection of one
item), and Shift+Ctrl-click (extend selection from last item clicked). See “Creating composite
titles with layers” on page 159 for information on how to use multiple selections.
Layer names and renaming
When you create a new layer, a default name based on the resource name or file name
displays. Since the default names are often not very descriptive of the layer contents, it may
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be helpful in a title with a number of layers to give them custom names that make it easier
to tell at a glance which name goes with which layer.
The name of a new text layer is the same as its default text (“Your text here”). Unless you give
the layer a custom name, its default name will continue to match whatever text you type into
the layer. Once you do rename a text layer, further changes to the text are no longer reflected
in the layer name. The default behavior can be restored by setting a blank name, however.
To rename the primary layer, click its name. An edit field opens with the existing name
selected. Type the new name, then press Enter or click outside the edit field to finish.
Reordering layers
The position of a layer in the layer stack can be altered by means of commands on the Layer
context submenu, or by keyboard shortcuts such as Ctrl+Plus (Layer > Bring to Front).
The Layer List offers a more direct approach: simply drag the layer header to a new position
in the list. This is particularly handy in situations where overlapping layers make mouse
selection difficult. As you drag the layer, an insertion line shows where the layer will appear
in the list when dropped.
Using multiple selection (see “Selecting layers” on page 171) you can drag several layers at
once to a new position.
10
Sound and music 173
Sound and music
Video may be thought of as primarily a visual medium, but the role of sound in your movies
is often no less important than that of the images on the screen.
Feature film and television productions include numerous types of audio, beginning with the
dialog and other sounds created during live action. In your movies, that raw soundtrack – the
original or synchronous audio – is imported along with the video, and remains bound to it
unless you explicitly separate them.
Most commercial productions also require sound effects – slamming doors, crashing cars,
barking dogs – and incidental music, which may consist of music created especially for the
production, songs taken from recordings, or both. With the ScoreFitter tool, you can even
create a full-length musical background track at the press of a button. Voice-overs and other
types of customized audio are also often needed.
This section contains the following topics:
• Audio features of Pinnacle Studio
•Editing audio
•Detach audio
• Channel mixer
•Audio Corrections
• Audio effects
• Audio on the timeline
• Timeline audio functions
• ScoreFitter background music
• The Voice-over tool
• Using Audio Ducking to automatically adjust volume
Audio features of Pinnacle Studio
On the timeline of your movie or disc project, audio clips behave very similarly to clips of
other types, but the timeline also has some features just for audio.
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In this group of timeline toolbar buttons, the highlighted buttons are audio-related:
Audio Mixer, Create Song, Voice Over, and Audio Ducking.
At the right-hand end of the toolbar, this button activates audio scrubbing.
For instance, the timeline toolbar includes a button for a pop-up audio mixer that lets you
control clip dynamics with keyframes. One button lets you create a ScoreFitter background
music clip; another lets you record a voice-over, and another lets you apply audio ducking.
Further along on the toolbar is a toggle button for audio scrubbing; which allows you to
monitor audio in brief snatches as you drag the scrubber along the timeline.
The Library
Audio and music clips enter your productions via the Library, which handles audio files in
wav, mp3 and other standard formats. When you want to add audio files to your production,
you can do so by dragging the desired asset from the Library Browser directly onto the
timeline of your project.
Audio corrections
When you select an audio clip in the timeline and open the Editor panel > Corrections, you
can apply various repairs and customizations, including noise reduction, compression and
equalization. Unlike effects (discussed next), these tools can also be applied to audio assets
in the Library. When you later use the asset in a project, the corrections will come with it; you
can modify them further from the timeline if you choose. Corrections are non-destructive,
meaning that the corrected audio file is not modified in any way.
Audio effects
When you select an audio clip in the timeline and open the Editor panel > Effect, you’ll find
a number of ways of enhancing, transforming or having fun with sound clips. Unlike the
correction tools just discussed, effects can’t be applied directly to Library assets, but only
within a project. The effects come with preset parameter combinations that you can further
edit according to your needs.
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Editing audio
The audio editing features in the Editor panel provide tools for previewing, analyzing and
manipulating digital audio from wav, mp3 and other file types. This includes special features
for the original or synchronous audio track created during video recording.
The audio features (Corrections > Noise Reduction selected) in the Editor panel.
The Editor panel provides tools for different purposes, including Channel Mixer,
Corrections, and Effect. Corrections are available both for Library assets and for clips on
your timeline of your movie or disc project. Effects are available for timeline clips only.
Synchronous video
If synchronous video exists for the currently-selected audio (for example, if you used Detach
Audio in the timeline context menu to create an audio track from the a video clip), the video
displays in the Player panel while you review and edit the audio in the Editor panel.
Detach audio
When a video clip includes audio, you can choose to separate the audio from the video track
to create an independent audio clip and a silent video clip in the Timeline.
To separate the audio from a video clip
• In the Timeline, right-click a video clip that includes audio, and choose Detach Audio
from the context menu.
A track with the new audio clip is inserted below the track with the selected video.
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Channel mixer
The channel mixer allows you to make level adjustments and redirect audio signals from their
original channel assignments to new ones. For instance, you can use the mixer to condense
separate stereo channels to a left or right mono channel.
If you need functions the channel mixer does not provide, consider applying the Channel
Tool effect to the clip. See “Audio effects” on page 181 for information about the Channel
Tool.
Level adjustment: Click on the slider under the level meters to set the playback level of the
clip. The level you set will be used whenever this clip is played or used in a timeline. The red
area on the meters represents overmodulation of the sound and should be avoided if
possible. To determine the maximum level you can safely use, click the Normalize button .
Stereo: This dropdown list contains all options for redirecting audio signals, such as a
channel exchange (left interchanges with right, for example), or combining a two-channel
stereo signal onto one mono channel.
The Stereo drop-down menu with the channel routing options.
Normalize button : The normalize button examines the audio samples in the loaded
sound to determine the amount of uniform increase that can be applied without
overmodulation (harsh digital clipping) of any sample. Unlike compression and limiting,
which modify the dynamics of audio material, normalization preserves dynamics by
uniformly increasing (or decreasing) amplitude.
Waveform graph and frequency spectrum
The waveform graph of the audio shows statically how the amplitude of the sound changes
with time.
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The waveform graph shows the change in audio levels over time. For stereo recordings,
the graph is horizontally divided as shown here, with the left channel uppermost.
An alternative, dynamic view of the same audio material is given by the frequency spectrum
display, which shows the changing spectral composition of the sound as it plays back.
The frequency spectrum breaks down the audio signals by frequency bands, showing
the sound level in each band. Lower frequencies are on the left. Peak levels are shown
as a small box above each main bar for which a peak has been detected in the past few
seconds.
Audio Corrections
The correction features in the Editor panel are Equalize, Adjustments, Compressor,
Expander, De-esser and Noise Reduction. Corrections can be applied both to Library assets
and to timeline clips. Many controls for Corrections are shared between different features.
Equalize
Equalizers are similar in principle to the treble and bass controls of an audio system, but with
finer adjustment capabilities. This equalizer divides the audio spectrum into five frequency
bands, each centered on a specified frequency and with a settable amount of gain.
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The controls for the Equalize correction feature. The dials let you set Gain and
Frequency and the HiCut and LoCut settings.
Select preset: A number of fixed presets can be selected from the dropdown list; for
example, you can select a ‘telephone voice’ effect.
Gain: Using the Gain parameter, you can determine the amount that the respective frequency
band contributes to the overall sound (from -18 to +18).
Frequency: Using the Frequency parameter you can specify the center frequency of each
band.
LoCut and HiCut: These controllers completely eliminate frequencies below or above a set
value. The default values allow all frequencies.
Adjustments
The only parameter available under the Adjustment tool the is LFE (Subwoofer), which lets
you either activate or deactivate the Subwoofer channel for a particular clip, or to stay with
the Library’s setting, determined on import.
Compressor
A compressor smooths the dynamics instant by instant in an audio signal, scaling back the
loud sections while typically boosting the overall sound. This gives the impression of a
stronger signal, even though the level peaks are not higher after compression than before.
Light compression is very commonly applied in audio mastering of music tracks.
Compression can also be used creatively in numerous ways depending on the material.
Select preset: Choose from a number of premade parameter sets for the compression filter.
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Ratio: This control sets the compression ratio, which is the amount of compression applied
to sections of the input signal that exceed the Threshold setting. For example, a 2:1
compression ratio means that a 2 dB increase of source level above the threshold produces
only a 1 db increase in the output level. The allowed range is from 1:1 (no compression) up to
100:1 (hard limiting).
Threshold: All levels above this setting are attenuated by the value set in Ratio. You can apply
an overall boost with the Gain controller to compensate for the level lost.
Attack and Release: Attack governs how quickly the compressor responds to an audio signal
that has crossed the threshold. Larger values delay the onset of compression, allowing (for
example) the brief attack of a piano note to remain distinct, while applying compression as
usual for sustained sounds. Release controls the speed with which compression is switched
off when the signal falls back below the threshold.
Gain: It is best to make adjustments to the gain after it has already been compressed.
Knee: A higher knee value causes compression to take hold gradually as the threshold sound
level is approached and departed from, rather than switching on all at once. This changes
the tonal qualities of the compressed sound.
Expander
The Expander decreases the gain of signals that fall below a chosen threshold. Expanders
provide a gentler way of reducing noisy low- level signals than the abrupt cut-off of a gate.
Select preset: Choose from a number of premade parameter sets.
Ratio, Threshold, Attack, Release: These parameters have the same meanings as in the
Compressor (see above).
Range: This controls the maximum gain reduction (attenuation).
Hold: This determines how long the expander remains active after the initial attack.
Increasing this value is useful when, between louder signals, there are small pauses or much
quieter passages that should not be amplified. In this use, the expander works like a noise
gate.
De-esser
This audio filter inconspicuously removes distracting sibilance from recorded speech. The
available parameters allow individualized fine adjustment of the effect.
Select preset: Choose from a number of premade parameter sets.
Frequency: This knob sets the frequency above which the De-esser is deployed.
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Range: This knob controls the maximum attenuation that will be applied to the detected
sibilance.
Setting and presets for the De-esser and Noise Reduction audio corrections.
Noise reduction
Using the noise reduction filter you can reduce or eliminate undesirable background noise.
The filter reacts dynamically to changing amounts and kinds of noise within the material.
Noise reduction can be applied for a range of problems. The results obtained may differ,
however, depending on the source material and the origin of the problem. In many cases the
results can be optimized through targeted use of the Level and Fine Tuning parameters.
To apply noise reduction
1Double-click a clip with audio.
2In the Editor panel, click the audio button in the upper-left corner.
3Click the Corrections tab and click Noise Reduction.
4Click the Create Noise Profile button.
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5In the waveform view, drag across a section of the audio that contains only the audio
sound that you want to remove.
6Click the Generate Noise Profile button.
7Adjust any of the following settings to fine-tune the noise reduction.
• Reduction: Specifies the amount of noise reduction. Higher values remove more noise,
but can reduce the volume of the audio that you want to preserve.
• Sensitivity: Specifies the frequency range of the noise reduction. Higher values remove
more noise, but might remove some frequencies that you want to preserve.
• Smoothing: Removes artifacts such as choppiness and popping. Higher values remove
more artifacts, but can reduce clarity.
If you aren’t able to get the results you want, you can click Recreate to select and
generate a new noise sample.
Pitch Scaling
Pitch Scaling lets you change the pitch of audio without affecting the speed (no impact to
duration of the clip).
To apply Pitch Scaling
1Double-click a clip with audio.
2In the Editor panel, click the audio button in the upper-left corner.
3Click the Corrections tab and click Pitch Scaling.
4Adjust either of the following settings to change the pitch of the audio:
• Pitch (Semitone): Increases or decreases pitch (measured in semitones)
• Scale (%): Increases or decreases pitch (measured as a percentage)
Audio effects
Audio effects are found in the Library panel under the Effects > Audio effects. One way to
add an effect to your project is to drag it from the Library onto any audio clip (including video
clips with synchronous audio) in the timeline. Another way is to select a timeline clip and in
the Editor panel, choose Effect > Add-ons > Audio effects, and click an effect on the
thumbnail bar.
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Audio effects in the Library.
The overall interface for audio effects is exactly the same as that for video effects. The
common features are not covered here. (See “Effects” on page 113.) A few audio effects, such
as the Equalizer and the De-esser, double as correction tools. These are covered under
“Audio Corrections” on page 177. Let’s now take a look at the other audio effects.
Channel tool: The basic action of this effect is to route your stereo audio signal. It allows you
to connect either or both of the left and right input channels to either or both of the output
channels. In addition, channel tool offers special-purpose presets, including phase reverse
and voice removal – the ‘karaoke’ effect.
Chorus: The Chorus effect creates a richer sound by repeatedly reintroducing ‘echoes’ into
the audio stream. By controlling properties such as the frequency with which the echoes
recur, and the decay in volume from one repetition to the next, a variety of results is possible,
including flanger-like sounds and other special effects.
Equalizer: Similar to the Equalize correction filter, Equalizer lets you set the Gain
(represented as a dial) for a given frequency range (start of range is represented by the
number to the left of the dial). For more information about equalizing audio, see “Equalize”
on page 177.
Grungelizer: The Grungelizer adds noise and static to your recordings. It can make your
clips sound as though you were hearing them on a radio with bad reception or a worn and
scratched vinyl record.
Leveler: This effect helps compensate for a common problem in recording audio for video
productions: the imbalance in the recorded volume of different elements in the original
audio. For instance, your commentary as you shoot the video may be recorded at such a high
level that it overwhelms other sounds at the location.
The trick in using the Leveler is to find a target volume somewhere between that of the loud
and soft audio in the original clip. Below that volume, Leveler increases the original level by
a fixed ratio. Above the target volume, Leveler acts as a compressor, reducing the original
Sound and music 183
level. With careful adjustment of the parameters, the internal balance of the audio can be
significantly improved.
Reverb: The Reverb effect simulates the effect of playing back the source sound in a room
of a given size and sound reflectivity. The interval between the arrival of the original sound
at the listener’s ears and the first echoes is greater for a large room than a small one. The
rate at which the echoes die away depends on both the room size and the reflectivity of the
walls.
The presets for Reverb are named for the type of room they simulate, from the passenger
cabin of a car all the way up to a huge underground cavern.
Stereo echo: This effect allows you to set separate delays on each of the left and right
channels, with feedback and balance controls to provide a variety of interesting sounds.
Stereo spread: This effect allows you to decrease or increase the apparent width of the
stereo listening field in an audio clip. Most often it is used to create a mix that sounds more
open and spacious.
Audio on the timeline
When you click the Audio Mixer button on the timeline toolbar, you can access the audio
levels and stereo or surround positioning of individual clips, and edit levels on the tracks
using audio keyframing. The Master Volume for all timeline audio appears at the bottom
the timeline header area.
Surround sound
The Panner tool is fully surround-capable. For maximum flexibility, you can position any clip’s
audio as desired in a two-dimensional listening field – from front to rear as well as left to
right.
You can open the Panner popup by clicking the Panner tool button on audio track when
Audio Mixer mode is active.
If you mix the audio for every clip as though for surround playback, you can still output a
movie file with a stereo soundtrack using just the left-right balance information. If you further
decide to output your project on DVD, the 5.1 surround-sound production will already be
complete. For more information about the Panner tool, see “The Panner” on page 184.
Timeline audio functions
Along with the track management functions, the header area of the timeline is also home to
a number of audio controls.
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Master playback level
Below the timeline track headers is a master playback level indicator. As you preview your
project, it shows the total output from all tracks as currently mixed.
Below the timeline track headers is a master playback level indicator.
Audio mixer mode
Track level: The upper slider sets the output level of the track as a whole. You can restore the
default value by double-clicking the slider—no overall change is applied to the original
volume of the clips on the track.
Clip level: The lower slider sets the level of the current clip at the scrubber position. If no clip
is currently selected on the track, this slider is unavailable. The volume contour of a clip can
be controlled with keyframes, as discussed immediately below. When keyframing is in use,
the slider level causes new keyframes to be created or existing ones to be repositioned.
Click the diamond icon for the audio track to activate audio keyframing.
The Panner
This tool lets you regulate the apparent location of the sound source in relation to a
listener within a ‘surround’ listening field. Like the clip volume tool it works with
Sound and music 185
keyframes assigned to the clip, and so is active only when the timeline scrubber is positioned
on an audio clip or a video clip with synchronous audio. The contour line for panning
changes is drawn in blue.
For the purposes of timeline editing, all panning occurs in surround mode, so you only have
to deal with a single version of the Panner controls. The surround-panned clips can be mixed
down to other output configurations after editing of the project has been completed. This
lets you work with a single set of panning decisions for all formats you might eventually
produce.
Changes made with this tool apply to the current clip only. They stay with the clip even if you
move or copy it to another track.
To open the Panner, click grid icon in the track header when Audio Mixer mode is active. This
button is grayed if there is no clip on the track at the scrubber position. The sound source is
denoted by a blue spot on a two-dimensional grid. The listener is situated in the center,
facing forward.
Positioning the clip audio using the Panner in Dialog Mode. Note that the icons for the front
corner speakers are translucent, indicating that they are not used in this mode. As adjusted
here, the audio for the track will be heard coming from the right.
Selection list
The dropdown list at the top of the Panner window provides three methods for distributing
the sound across the set of six surround speakers.
5.1 is the best general purpose setting for natural sound reproduction. Use it for general
atmospheric sounds, such as barking dogs, or cars passing by. The five main speakers are
represented by icons in the work area. The sixth, the LFE (low-frequency effects) speaker, is
too low-pitched to provide positional cues. Its level in the surround mix is controlled by a
slider beneath the work area.
Center channel off is the preferred setting for an immersive music track.
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Dialog mode combines the center speaker with the two at the rear. This combination is
suitable for dialog involving multiple speakers.
Panner work area
The main body of the Panner window schematically depicts a listening area with a typical
arrangement of loudspeakers. The cross icon in the center of the area indicates the position
of the listener.
A blue control point sets the position of the sound source. The speaker symbols at the edge
of the work area show your typical surround 5.1 speaker arrangement, with the screen at the
top.
If you want to control the sound source position in one dimension, horizontal or vertical, use
the slider at the bottom or right of the work area respectively.
LFE channel: Surround supports a special subwoofer channel (the ‘.1’ in ‘5.1’) that allows you
to boost or cut the lowest frequencies for special effects. Control the LFE enhancement with
the slider under the work area. Since the ear is unable to pinpoint the location of these low-
frequency sounds, the LFE is not assigned to a spatial position.
Keyframe buttons: The keyframe buttons at the bottom of the panel allow you to add,
remove and navigate between keyframes. The Add symbol automatically switches to Delete
if you are positioned on an existing keyframe’s position.
ScoreFitter background music
Pinnacle Studio’s ScoreFitter automatically creates background music in the category of
your choice. Within that category, you select one of several songs, and within that song,
any of a number of versions. The list of versions available also depends on the duration of
background music you specify.
The ScoreFitter window. Select a Category, Song, and Version, then click the Add To
Movie button.
Sound and music 187
To create music for a par ticular set of clips, select those clips before clicking the Create song
button to open ScoreFitter. (To select your whole movie, use Edit > Select All or press
Ctrl+A.) The total length of the selected clips will determine the initial setting for the music
duration, but you can modify the value at any time by trimming the clip on the timeline or
by editing the Duration counter in the tool.
In ScoreFitter, choose a category, song and version from the lists provided. Each category
offers its own selection of songs, and each song its own selection of versions. Use the Preview
button to audition the song while the tool is open.
Enter a name for the clip in the Name field and adjust its duration with the Duration counter,
if desired. The music clip you create will be adjusted to fit exactly the duration you select.
When you have made your choice, click the Add to Movie button. Studio creates the new clip
on the active track beginning at the current time index (as shown by the timeline scrubber
and the preview frame in the Player).
The Voice-over tool
Recording a voice-over in Studio is as easy as making a telephone call. Just open the
Voice-over tool, click Record and speak into a microphone attached to your computer.
You can narrate as you watch the movie play so that your words match the action on the
screen. You can also use the tool as a quick way of capturing ambient music or home-made
sound effects via your microphone.
Before you can record audio using the Voice-over tool, you will need to connect a
microphone to the input jack of your PC sound board. Review the video scenes in your movie
and decide where you want the voice-over to begin and end. When you are ready, open the
Voice-over tool.
Select your starting point on the timeline of your project. You can do this by selecting a clip,
playing the movie and stopping it at the desired point, or by dragging the timeline scrubber.
Position the microphone for use and try speaking a test phrase to check your recording level
(see “Voice-over level” below). When you are satisfied, click the Rec button (which toggles to
a Stop button during recording).
A three-second countdown is displayed, then your movie begins to run in the Player. Perform
your narration, and click the Stop button when done.
Now you will be asked if you want to keep the recording. If you answer in the affirmative, the
voice-over clip will be added to your Library and will also be placed automatically on the
voice-over track on the timeline.
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The Voice-over tool, ready to go. Just click the Rec button, count to three along with the
software, then start talking.
Additional controls
Voice-over level: As you record, watch the peak level meter display to make sure that your
microphone is generating a strong signal but not overmodulating. Watch this meter to make
sure your recording levels get neither too high nor too low. The indicator changes color from
green (0-70% modulation), through yellow, to red.
Filename: With this text field you can preset the file name used for voice-over audio files.
The first file is given the name you specify; if you leave it unchanged, later files are given a
numeric suffix – e.g. ‘Voice-over (1)’ – that increases with each take.
Location: Clicking on the folder icon lets you navigate to a new file system folder for storing
voice-over clips.
Adjust the recording level slider as necessary to stay in the right range. The slider is located
immediately below the peak meter. Generally, you should try to keep your audio peaking in
the yellow (71-90%) and out of the red (91-100%).
Mute all audio: The existing sounds on your movie soundtrack are sometimes distracting
when you are trying to record a voice-over. This check box allows you to switch off timeline
audio completely during recording.
Using Audio Ducking to automatically adjust volume
Audio ducking is used to automatically lower the volume of one track so that you can hear
another track better. For example, if you have a video project that includes music and
voiceover, you can use audio ducking to automatically decrease the music volume when the
narrator is speaking. You can adjust the threshold that triggers “ducking” and you can adjust
by how much the volume of the background track will drop.
Sound and music 189
To apply Audio Ducking
1In the Timeline, select the track that you want to “duck” (to selectively lower the audio
level), and click the Audio Ducking button on the toolbar.
2In the Audio Ducking dialog box, choose the main track that you want to hear from the
Master Track box.
3Adjust the following controls:
• Ducking Level — determines the volume decrease. Higher numbers result in a lower
volume.
• Threshold — determines the master track volume level that will trigger a volume
decrease for the other track(s). You will likely need to experiment with different settings
to achieve the results you want.
• Attack — determines the time it takes to lower the volume to the Ducking Level
setting after the Threshold is met.
• Decay — determines the time it takes to return to the regular clip volume from the
Ducking Level
If you want to apply ducking to all non-Master audio tracks, enable the Apply to entire
Timeline option. If you want to apply ducking to the selected track only, enable Apply to
selected clips.
In this example, the top track is a voiceover track that was set as the Master Track.
Ducking was applied to the music track on the bottom to selectively lower the music
volume whenever the narrator was speaking on the voiceover track, as indicated by the
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blue waveform. The green line represents the volume level and shows where the volume
changes occur.
To remove Audio Ducking
• In the Timeline, right-click a track that has Audio Ducking applied, and choose Remove
Ducking.
11
Disc projects 191
Disc projects
In a disc project, you can go beyond the old idea of creating a movie to be viewed in strict
sequence from beginning to end. Now the audience themselves can decide which parts of
the production to view, and in what order.
Disc authoring is the process of designing and creating the structure that allows this
interaction. Pinnacle Studio provides automated features that make authoring easy while still
giving you full control.
This section contains the following topics:
•MyDVD disc projects
• Author tab (legacy)
• Menu templates (legacy Author tab)
• Disc menus (legacy Author tab)
• Adding disc menus (legacy Author tab)
• Previewing disc menus (legacy Author tab)
• Menu editing on the timeline
• Timeline menu markers (legacy Author tab)
• Authoring tools (legacy Author tab)
• The Chapter Wizard (legacy Author tab)
• The Menu Editor (legacy Author tab)
• Menu buttons (legacy Author tab)
• The Disc Simulator (legacy Author tab)
MyDVD disc projects
You can output your Pinnacle Studio projects to disc by exporting to MyDVD. MyDVD is an
easy disc authoring application that uses templates to help you create professional-looking
disc projects that include menus, and music. For more information, see “Output to MyDVD”
on page 238.
You can add chapter markers in Pinnacle Studio that will appear in your MyDVD project.
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To create a disc project
1Do one of the following:
• Choose File > New > Disc to start a new disc project.
• For an existing movie project, with the project open in the timeline, on the timeline
toolbar, click the Open Author toolbar button
2Build your disc project using the same controls and techniques that you would for a
movie project.
3Click the Export to MyDVD button below the timeline toolbar to export your disc
project.
To add chapter markers to a disc project
1Ensure that your project is open in the Timeline and that the Open Author toolbar
button is enabled.
2Use the scrubber to move the to the frame where you want to add a chapter a marker.
3On the timeline toolbar, click the Create Chapter Marker button .
A marker appears in the bar below the timeline toolbar, above the timeline scrubber.
If you want to rename the chapter, type a new name in the chapter box on the timeline
toolbar.
If you want to delete a chapter marker, navigate to the marker using the arrow keys
beside the chapter name, and click the Remove Chapter Marker button .
Author tab (legacy)
Although it is recommended that you export your disc projects to MyDVD, if you have used
the Author tab in previous versions of Pinnacle Studio and want to re-enable this legacy
feature, in the Menu bar, choose Control Panel > Legacy Options. At the bottom of the
page, click the Enable button for the Legacy Authoring Mode.
Disc projects 193
The Author tab in Pinnacle Studio.
Menu templates (legacy Author tab)
You can choose menu templates from the Library panel (only in the Author tab), by choosing
the Disc Menus category from the Library navigation bar. You can preview menus and other
media in the Player panel and edit menu interactions.
Next below these is the timeline toolbar, with all the controls from the Edit tab timeline, plus
the additional controls necessary for creating disc menus. The area below the timeline
toolbar is shared by three separate navigation tools: the Menu List, where the your project’s
menus are stored, the Navigator, and the Storyboard.
Only one of the Navigator, the Storyboard, and the Menu List can be visible, or this area can
be hidden altogether The Navigation tool selector, near the left end of the timeline toolbar,
controls this area. Under the navigation area is the timeline for the media that will be the
primary content of your disc. All use the full width of the window.
Disc menus (legacy Author tab)
The essential feature that makes disc authoring possible is the menu. A particular disc may
have one, a few or many menus, each consisting of a still image or a short video loop. Areas
within the menus, called buttons, can be selected by the viewer to activate other content on
the disc.
Some buttons cause playback to resume from specified locations, called chapters, on the
timeline of your production. These chapter buttons often show a thumbnail frame or video
194 Pinnacle Studio
loop as a clue to their content. If a return marker is encountered during playback, it will send
the viewer back to the menu at that point.
Other buttons cause a transfer to another menu, or to another page of the same menu.
Multipage menus, with each page displaying several chapter buttons along with
automatically-managed navigation buttons, facilitate productions of almost any size.
However, there is a limit of 99 on the total number of chapters and return markers allowed
in a single production.
The Menu List
Unlike timeline clips, the menus in your production are not bound to a particular time offset.
Instead, a disc player will loop the menu until user interaction is received.
Because menus exist ‘outside of time’, Pinnacle Studio provides the Menu List, a special area
above the Disc Editor timeline to accommodate the menus in your project. Dragging a menu
from the Library into the Menu List makes it available for use in your project.
Designing menu interactivity
A disc production may contain just one menu, or it may have many. Each menu contains
graphically distinct areas, generically called ‘buttons’, that can be activated by the viewer,
perhaps using the navigation keys on a DVD remote control.
The behavior of disc menu buttons can be set up using controls in the Disc Editor window.
Alternatively, you can invoke the Chapter Wizard to create and configure a set of buttons
automatically according to your chosen settings.
Activating a button either starts your movie playing back from a chosen point, or transfers
control to another menu with its own buttons. The possible targets for menu buttons are:
•A timeline location: Upon activation, playback resumes from a chosen frame. The
location, and the content found there, are referred to as a ‘chapter’ of your movie.
•Another menu: Buttons can link to any menu in the Menu List.
•Another page of the same menu: Multipage menus always include next and previous
buttons for navigating between their pages.
Automatic page creation
As you insert new chapter links into a multipage menu, additional pages are created
automatically as needed. These appear in the Menu List alongside those already in the
project. A connector graphic links pages belonging to the same menu. To insert new linked
chapters, use either the Insert Link button on the toolbar, or the Chapter Wizard.
Disc projects 195
A main menu and its matching multipage menu in the Library Player.
Next and Previous: It is the presence of the special next and previous buttons that causes a
menu to support the multipage behavior. To create a multipage menu from an existing main
menu, simply add buttons of both these types. Likewise, deleting either or both of the next
and previous buttons from a multipage menu removes the automatic features.
Multipage menus in the Menu List
The icons of multipage menus are connected in the Menu List by a special graphic. It shows
that the menus are linked, which is to say that you can navigate from one page within the
menu to another by means of the next and previous buttons.
Splitting and joining: To unlink neighboring menu pages from each other, click the
connector graphic between them. The graphic is removed. Pages to the left of the mouse
remain with the original menu, while those to the right form a new, separate menu (with a
new background color for its menu icons). Click in the gap between neighboring multipage
menus to regroup them into a single menu.
Sorting chapters: A time-saving tool meant primarily for multipage menus is the sort button
that appears with the Chapter Wizard button to the right of the menu’s last page. When you
have been working on a menu for a while – adding, deleting and rearranging chapters,
perhaps even while editing the movie itself in parallel – you are likely to find that the chapter
buttons are no longer in timeline order across the set of pages. Unless you want a custom
order for some reason, the remedy is a single click on the sort button.
Pages from a multipage menu. The connector graphic shows that navigation within
these pages is provided by Next and Previous buttons. The Sort button (top right, under
pointer) arranges the chapter buttons in timeline sequence.
196 Pinnacle Studio
Adding disc menus (legacy Author tab)
The disc menus section of the Library contains a collection of menus for a variety of occasions
and in a spectrum of visual styles. Each menu comprises a background picture, a text title,
and a set of navigation buttons appropriate to the menu’s purpose.
To add a disc menu to your production, in the Library, choose the Disc Menus category, and
drag a menu to the Menu List. To edit the actions assigned to the menu’s buttons, you can
use the authoring tools provided on the timeline in conjunction with the Player, or get some
automated help from the Chapter Wizard. To modify the appearance of a menu (or create
one from scratch) you will use the Menu Editor.
Menu types
Each menu design in the Library has two variations: main and multipage.
Main menu: In most productions, the first menu seen by the viewer is of this type. Main
menus usually contain buttons with the default captions Play Movie and Scene Selection; you
can change these if you like. Although the buttons’ link targets are also up to you, it helps
your audience if you stick to convention. For instance, the Play Movie button is normally
configured to start playing back your movie from the beginning, and Scene Selection
typically switches to a subsidiary menu, one with links to the ‘chapters’ of your movie.
Multipage menu: A scene selection menu often needs to provide more of these chapter
buttons than will fit on a single screen. To solve this problem, Pinnacle Studio supports
multipage menus, which have additional buttons just for navigation between menus. The
behavior of these buttons is built in. A pair of next and previous buttons lets the view move
between pages within the same menu; while a home button causes a transfer to the project’s
first menu.
Tip: To display the main menus side-by-side with their matching multi-page menus in
the Library, right-click in the gray area next to a menu and choose Sort by > Name.
Menu buttons
The number of chapter buttons per page varies from one menu design to another, so one
criterion for selecting a menu is the number of clips you want it to handle. But if you want a
different number of buttons on a particular menu, you can add or delete buttons in the Menu
Editor, which is launched by clicking the Edit button on the Player. See “The Menu Editor
(legacy Author tab)” on page 203 for details.
Menus with fewer buttons usually have more space for captions; those with many buttons
will have to settle for abbreviated captions or none at all. Whether you need captions, and if
Disc projects 197
so whether they should be simple (“Chapter 1”) or descriptive (“Cutting the Cake”) is a matter
of your authoring style and the content of your movie.
Unlinked menus and buttons
Only the first menu in the Menu List is automatically available to the user (and then only if
there is any content on the timeline to serve as the initial chapter). Menus added later do not
become part of your production’s menuing system until you link them with the first menu.
The link may be indirect, involving one or more intermediate menus, but until it exists the
menu is an unreachable island. Such a menu is indicated by the symbol in the bottom
right-hand corner of its Menu List icon thumbnail.
A special indication is also given in the Player for menu buttons that have not yet been linked
either to a timeline location (a chapter) or to another menu. A linked button shows which
chapter (e.g. ‘C1’) or menu (e.g. ‘M1’) it connects to. An unlinked one shows a question-mark
icon instead. (If the button indicators are not visible, click the show/hide chapter numbers
check box below the Player.)
Previewing disc menus (legacy Author tab)
The Disc Editor, like the Movie Editor, includes a Player for previewing Library assets and
timeline clips. For a general introduction to the Player, please see “Previewing edits in the
Player” on page 44.
The special functions provided by the Player when viewing menus in the Menu List are
described here. Clicking a menu in the Menu List puts the Player into Menu input mode and
previews the selected menu. You can also switch to that mode directly while any menu is
selected by clicking the Menu tab above the Player screen in the Disc Editor.
Special controls also appear at the bottom of the Disc Editor Player.
Menu Edit button: Creating or modifying the design and layout of disc menus is the
task of the Menu Editor.
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With Menu selected as the Player input mode (top), the Player provides interactive
zones on the preview screen for assigning chapter links. Here ‘C1’ shows a chapter link
has been assigned to the Play Movie button; the ‘?’ over the Scene Selection button
shows that it is not currently assigned.
Show Link Numbers checkbox : Check this box to cause link numbers to be displayed
in the preview over every button in the menu. The link numbers match the format and color
of the timeline chapter flags.
Disc Simulator button : This button invokes the Disc Simulator window where you can
preview your project with full interactivity to make sure your menus are behaving as
expected.
Burn Disc button : When you are ready to test your project on an actual disc, click this
button (or Export at the top of the screen) to invoke the Exporter, which will guide you
through the process of ‘burning’ your movie onto an optical disc.
Link indicators
As seen in the illustration above, when a menu with unlinked chapter buttons is previewed,
those buttons are indicated by red question marks rather than a chapter number. Except
perhaps for an unused subset on the final page of a multipage menu, all the chapter buttons
on your menus should link to your movie.
Menu editing on the timeline
Developing a project for optical disc, such as DVD, in Pinnacle Studio’s Disc Editor gives you
lots of opportunities for putting your creative stamp on the production.
Every aspect of a disc menu – the details of its visual appearance, the linking of its on-screen
buttons, the precise timing of its ‘chapters’ – can be edited in Pinnacle Studio. For the visual
Disc projects 199
aspects, you will turn to the Menu Editor, but the linking of buttons and the timing of
chapters are both controlled within the Disc Editor itself.
For an overview of the Disc Editor interface, please see “Disc projects” on page 191.
Timeline menu markers (legacy Author tab)
The chapter buttons on a disc menu can be individually linked to any point on your movie’s
timeline. In the Disc Editor, those points are indicated on the timeline by chapter markers on
the Chapter Track, which is a specialized timeline track that materializes above the other
tracks when a first menu is added to your movie. (The track is removed again if all menus are
deleted.) The caption of a chapter marker consists of the letter ‘C’ followed by the chapter’s
sequence number in its menu.
Return markers, which mark automatic exit points from the timeline back to a disc menu, are
also shown in the Chapter Track. The caption of a return marker is the letter ‘M’ with the
sequence number of the target menu.
Regardless of the length of your production, you are limited to a combined total of 99
chapter buttons and return markers.
The color of chapter and return markers matches the Menu List icon color of the menu to
which the markers are assigned. Markers can be repositioned on the timeline by dragging.
See “Timeline editing of chapter and return markers” on page 201 for details.
Dropping a menu onto an empty Menu List causes a chapter marker to be inserted at
the start of your movie’s first clip (provided it has one) as the target of the menu’s Play
Movie button. A return marker, marking an exit back to the menu, is placed at the end
of the movie.
Authoring tools (legacy Author tab)
In the Disc Editor, the timeline toolbar provides a number of authoring tools that you can use
directly without switching windows or views.
Tools on the Disc Editor toolbar.
Create link: This button links the currently-selected chapter button in the Player to the
location of the timeline scrubber.
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Insert link:
This button facilitates work with multipage menus by moving all existing button
links (starting at the currently selected chapter button in the Player) one position towards the
end.
In a multipage menu, the act of inserting a link may begin a chain reaction by forcing an
existing link onto the next page, a link from there onto the page following, and so on to the
final page, which itself will be created if necessary.
Remove link: Clicking on this button will remove the link that exists between the button
on the menu and the chapter marker on the Chapter Track. An ‘unlinked’ chapter marker
will remain on the Chapter Track. This unlinked chapter can be manually linked by drag-and-
drop to another button on the Menu Preview, or it may remain as an unlinked chapter, in
which case, during playback, it will work to jump through your disc using the jump button
on your remote control. You may also right-click on one or more chapter markers and choose
Remove Selected Link.
Button cycle: By clicking on the left and right arrows of this control, you can
scroll through available buttons and make them active for editing. Click on the
button caption to edit it. Buttons also may be selected by clicking the button links in the
Player when a menu is previewed.
Set thumbnail: Clicking this button generates a thumbnail image of the frame at the
timeline scrubber position, and displays it on the menu button selected in the button
cycle control if it is of the Thumbnail type. For more information about menu button types,
please see “Menu buttons (legacy Author tab)” on page 204.
Create unlinked chapter: Unless the timeline scrubber is exactly positioned at a chapter
or return marker, clicking this button will add a chapter marker to the Chapter Track, but
will not link it to any menu. An unlinked chapter can also be created by double-clicking in
the Chapter Track area just above the other timeline tracks.
The unlinked chapter can later be manually linked by drag-and-drop to a button on the
Menu Preview if that’s what you want. However, an unlinked chapter also serves a useful
purpose in its own right: during playback, it designates one of the points to pause at when
browsing a DVD with the jump button on the remote control.
Remove chapter: When the timeline scrubber is positioned at a chapter, the Create
unlinked chapter button takes on the opposite function, and a modified symbol.
Clicking on it will remove both the chapter marker and the link that binds it to a menu, if it
has one. You can also remove chapters with the Delete Selected Chapter context menu
command when one or more chapter markers are selected. To remove the links from chapter
markers, leaving them unlinked but still on the Chapter Track, use Remove Selected Links
from the same menu.
Create return: Unless there is already a marker at the timeline scrubber position, this
button will add a return marker to the Chapter Track.
Disc projects 201
A return marker is active during viewing only if playback commenced from the same menu
the marker is associated with. (On the timeline, the marker color should match that of the
associated menu’s icon in the Menu List.) When playback reaches the frame associated with
an active return marker, it will jump back to the associated menu.
Delete return: If there is a return marker at the scrubber position, the Create return
button converts to Delete return, with an appropriately changed symbol.
The Remove chapter button, and the Delete selected chapter context menu command, can
both also be used to delete return markers.
Timeline editing of chapter and return markers
Chapter and return markers are tied to particular frames on your timeline at which playback
will be launched from a disc menu (chapters) or at which playback again gives way to the
originating menu (returns). Both types of marker can be dragged with the mouse to change
the location at which they take effect in the movie.
When you are previewing a menu, dragging a chapter marker from the Chapter Track to a
button on the Player will relink the button. The reverse operation, dragging a button from
the Player to a point on the Chapter Track, is an alternative method of creating a new chapter
marker.
A project that contains one or more disc menus must have a return marker permanently
positioned at the end of the Chapter Track. This guarantees that any chapter played on the
disc will encounter a valid return. The final return marker can thus not be deleted.
The Chapter Wizard (legacy Author tab)
When a multipage disc menu has been dragged from the Library into the Menu List, a
Chapter Wizard button is displayed at the top right corner of the menu icon. Clicking on this
button will open the Chapter Wizard window.
Why use the Chapter Wizard?
The Chapter Wizard provides a fast way to create chapters for your movie. Chapter markers
will be added to the Chapter Track on the Disc Editor timeline to show where each chapter
begins. With the Link chapters to menu buttons option (see below), each chapter will be
represented by one chapter button on a series of automatically- generated menu pages;
these pages are linked into a series by next and previous buttons.
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By activating chapter buttons when the menu is viewed, the viewer is able to play the movie
from any of the provided starting points.
The Chapter Wizard is great for setting up slide shows and scene selection menus. If you are
archiving video to disc, you can use it generate a menu that will serve as a scene catalog. The
series of menu pages created can be arbitrarily long. Its length depends on how many
chapters are created and on how many chapter buttons are provided in the menu’s page
design.
Incidentally, the Chapter Wizard does nothing that you could not do yourself using the
available disc authoring tools within the Disc Editor (and they remain available for tweaking
the generated menu afterwards). Its purpose is to speed your creative process by taking over
much of the routine work that setting up a multipage menu entails.
Using the Chapter Wizard
The Chapter Wizard controls are grouped into three horizontal s. When you have configured
the controls to your satisfaction, click OK. The Chapter Wizard will carry out its work of
creating new chapters for your production, complete with markers on the timeline and (by
default) an automatically-generated set of menu pages with as many chapter buttons as
necessary.
Place chapters at
This is the uppermost panel in the Chapter Wizard. The two options here can be used
separately or together.
Optimal positions: When this box is checked, the Chapter Wizard creates chapters at a
selected interval along the timeline, but will adjust the chapter to a nearby clip boundary
Disc projects 203
when one is available. The desired average chapter length is specified in seconds. The initial
value is based on the length of your movie. To adjust it, either click directly on the number
and type, or drag horizontally within the text box.
Timeline markers: This option assumes that you have prepared timeline markers to indicate
to the Chapter Wizard particular places in your movie to which a chapter link must be
created.
Apply to
The second panel in the Chapter Wizard provides options that control the scope of the
wizard’s operation.
Whole movie: Chapter markers will be created throughout the entire movie.
Selection: Chapter markers will be placed only within the range from the beginning of the
first selected clip to the end of the final one.
Options
The third panel offers two final choices, which may be set independently.
Link chapters to menu buttons: When this option is selected, as many pages will be added
to the menu as are needed to accommodate buttons for all of the created chapters. Without
this option, the chapter markers are created on the timeline in the ‘unlinked’ state, and no
menu pages are created.
If you want to link an unlinked marker to a menu button, drag it to the button while
previewing the menu in the Player. Even if you leave it unlinked, the chapter marker will still
serve as an available resumption point when the viewer is skipping through the disc with the
jump button on the remote control.
Return after every chapter: Checking this option will add a return marker at the end of each
chapter. By default, the markers are placed so that each chapter will play up to the start of
the chapter following, then return to the originating menu. To change the menu that a return
marker is linked to, drag the marker to the menu icon in the Menu List. Remember, however,
that the return marker will only be active when playback was launched from the menu to
which the marker is linked.
The Menu Editor (legacy Author tab)
The Menu Editor shares most of its controls and usage with the Title Editor (see “Titles” on
page 155). The present section focuses on features particular to the Menu Editor.
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Starting the editor
To open a menu in the Menu Editor, either click the Edit button on the Player while
previewing the menu, or double-click it in the Menu List.
As with the Title Editor, when the Menu Editor opens, one line of text is already highlighted.
To edit it, just start typing. To start editing a different line, click inside its text box and highlight
the characters you want to change. To stop editing text, click on an empty area of the
window.
The button cycle
One feature that differs between the Menu Editor and the Title Editor is the button cycle, a
control also present in the Disc Editor. In both cases it is located on the right side of the
toolbar, just above the timeline. Click the left and right arrows on the control to step through
the active buttons in the menu, and make one available for editing.
Note: If you only want to edit text for the buttons on your menu, you do not need to
enter the Menu Editor at all; instead, edit the button name directly in the button cycle
control of the Disc Editor.
Menu buttons (legacy Author tab)
Any visual element of your disc menu can be used as a ‘button’ that links to other content in
your movie. Elements designated ‘Not a button’, on the other hand, have no linking behavior.
Button types
A menu button’s type is the only factor that determines its behavior. Its text and appearance
should almost always be consistent with that behavior in a well- authored disc production,
but they don’t affect it. Five button types are available.
Normal: This type of button lets your text, image or shape serve as a link to any chapter
marker on your disc project timeline, or to a menu in your Menu List.
Thumbnail: This variation on the Normal button type allows a thumbnail from your timeline
to be displayed on the button.
Previous and Next: These button types automatically handle navigation between the pages
of multipage menus in the Menu List. During playback, the buttons are hidden automatically
when their targets do not exist (on the first and last pages of the multipage set). Because
their behavior is fixed, it is not possible to link these buttons to chapter markers.
Root: A button of this type links to the first menu in the Menu List. Its behavior cannot be
changed.
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Buttons for multipage menus
If you add both a Next and a Previous button to any menu, it can serve as a multipage menu.
If either button type is absent, the menu cannot be used in the multi-page mode.
Button presets
Click the Buttons tab at the top of the Menu Editor to view the available categories of
premade menu buttons. Select a button and it will appear in the middle of the preview area,
where it can be dragged to the desired position.
The three categories reflect the button types discussed above. The Navigation category
includes all buttons of the Previous, Next and Root types.
General Buttons: These images are intended for use with Normal buttons, which may be
linked to any chapter marker on your timeline.
Navigation Buttons: These designs are meant for Next, Previous and Root buttons with
hard-wired navigation.
Thumbnail Buttons: These include a thumbnail area where a timeline clip can be previewed.
Button settings
The Button Settings panel is to the right of the Menu Editor preview.
The Button Settings panel is part of the Menu Editor.
The Disc Simulator (legacy Author tab)
To preview your project after setting up its menus, click the play button at the bottom of the
Player. This activates the Disc Simulator window.
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When the Disc Editor Player is previewing a menu in your project’s Menu List, a button
(bottom center) is provided for testing your project in the Disc Simulator.
Provided the project is built correctly, the simulator should open at the main menu, with ‘Play
Movie’ and ‘Scene Selection’ links ready for the viewer to use.
To move from link to link within the preview, use the DVD navigation buttons on the bottom
right or click the links directly in the preview.
Take the time to verify all the chapter and menu links your production includes. Every desired
user interaction should be checked: slip-ups are frustrating for the viewer, and easily avoided.
In the Disc Simulator, you use a control set similar to that found on a DVD remote
control. Menu interactions and playback can be fine-tuned and fully tested before you
burn the project to disc.
Once you are happy with the project, it can be exported as a movie file, saved to a disc image
file, or burned to a disc. See “The Exporter” on page 231 for more information.
12
The Importer 207
The Importer
Pinnacle Studio lets you incorporate many kinds of media into your video productions.
When these are stored externally to your computer – on a camcorder tape, say, or a
memory stick from your digital camera, or a cloud-based service – they must be transferred
to local storage before you can use them.
The file-based assets you can use in Pinnacle Studio – including video, photographic and
audio media, and Pinnacle Studio projects themselves – must be imported from a source
such as a local hard drive into the Library before they can be used.
This section contains the following topics:
• Using the Importer
• Import sources
•The Mode area
• Compression settings for Capture Video
• Scene detection settings for Capture Video
• File name for imported files
• Selecting assets for import
• Selecting files for Import
• Customizing the browser
•Scan for assets
• Import from DV or HDV camera (Capture Video)
• Import from analog sources
• Import from DVD or Blu-ray Disc
• Import from digital cameras
• Stop motion
• Snapshot
• MultiCam Capture
Using the Importer
The very first step in importing is to open the Studio Importer by clicking the Import button
at the top left of the screen.
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The Importer consists of a large main area that includes source tabs along the top of the
Importer, and a number of smaller areas. Your choice of input source in turn determines the
rest of the Importer display. Above all, the set of controls and views offered in the main area
for preview, browsing and selecting material depends on the chosen import type.
Studio Importer
Importing can be regarded as a four-step process:
1Select the import source from the tabs along the top of the page.
2Confirm or adjust the import settings.
3Select material to import from the chosen source.
4Initiate the import operation.
At this point, Studio begins transferring the requested audio, video and pictorial material
from the source device to your hard drive (if necessary), using the locations set in the Import
to area. The media are then immediately added to the Library. (See “The Library” on page 13.)
This transfer process is variously called ‘capturing’, ‘importing’ or ‘downloading’, depending
on the media involved and the method of transfer. Because most audiovisual recordings now
are stored in digital form from the start, transfers can typically be achieved with no loss of
quality. Only when transferring from analog or tape-based sources (e.g. VHS, Hi8 or DV tape)
is there still a ‘capture’ process, often involving conversion to digital form. The terms ‘import’
and ‘importing’ can be used to signify all methods of bringing images and sound into the
Library for use in your productions.
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Importing stereoscopic 3D content
Pinnacle Studio will recognize content as stereoscopic 3D and mark it as such for files with
the following properties:
• MTS: MVC, SBS50, SBS100 (if H264 stream markers are present)
• WMV: Multistream, SBS50, SBS100, TAB50, TAB100 (if metadata tags are present)
• MP4, MOV with H264: SBS50, SBS100 (if H264 stream markers are present)
• MPO: Multistream
• JPS, PNS: SBS50, SBS100
If Studio has not correctly identified your 3D media, choose the correct setting from the
Stereoscopic 3D dropdown in the Adjustments group of Corrections tools. Please see
“Adjustments” on page 110 for details.
Import sources
The actual selection of material to be imported takes place in the main area of the Importer.
Each import source uses the main area somewhat differently.
The photos, music and video footage or projects you want to import may reside on a variety
of device types and technologies. The supported import sources include:
• All types of auxiliary file-based storage media, including optical drives, memory cards
and USB sticks (see “Import from file” on page 215). Click the My computer tab to select
individual files for import from drives connected to the computer.
• Click Scan For Assets to import all files of specific types from a set of one or more
directories.
• DV or HDV video cameras using an IEEE-1394 (FireWire) connection. See “Import from
DV or HDV camera (Capture Video)” on page 219. Devices are listed by name on the
Import page by their device names (e.g. “DV Device”). Select the applicable one.
• Analog video cameras and recorders (see “Import from analog sources” on page 222).
Any analog capture hardware on your system is listed by name (e.g. “Pinnacle Systems
710-USB”).
• DVD and Blu-ray discs. See “Import from DVD or Blu-ray Disc” on page 223.
• Digital still cameras. See “Import from digital cameras” on page 224.
Some sources are chosen from a sub-list of actual devices that appears when you click the
main source entry.
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Single-frame import
Studio provides two special modes for importing single frames, rather than continuous
footage. These modes are:
•Stop motion: Create an animated film by importing one frame at a time from a live
video source. See “Stop motion” on page 224.
•Snapshot: Import individual images from tape or from a live source like a webcam. See
“Snapshot” on page 228.
Adjusting audio and video levels
To access the controls, select the source, then click the more button beside the source
name. This opens the Input Levels window.
The Input Levels window lets you adjust a number of video and audio parameters. The
Hue slider (fourth from left) is not used with PAL sources.
Although you can also adjust these levels with the appropriate correction from the Edit tab,
setting them correctly for capture can save you from having to worry about color correction
later on.
Setting your audio options correctly as you capture will help in achieving consistent volume
levels and quality.
Particular capture devices may offer fewer options than are shown and discussed here. For
instance, with hardware that doesn’t support stereo captures, an audio balance control will
not appear.
Video: Choose the type of video you are going to digitize by clicking the appropriate source
button (Composite or SVideo). The five sliders allow you to control the brightness (video
gain), contrast (ratio of lightest to darkest), sharpness, hue and color saturation of the
incoming video.
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• The hue slider can be useful for correcting unwanted color shifts in NTSC material; it is
not available when capturing from a PAL source.
• The saturation slider regulates the ‘color saturation’ – the amount of color – in the image.
(An image with zero saturation has only black, white and gray tones.)
Audio: The sliders on the right side of the panel let you control the input level and stereo
balance of the incoming audio.
Working with import folders and subfolders
Until you specify otherwise, the Importer uses the standard document folders for video,
music and pictures within your Windows user account, and a default folder for your Pinnacle
Studio projects.
The folders you choose for each asset type, whether default or custom, serve as base
locations for your imported files. In order to manage your file-based assets effectively, you
can also specify either a custom subfolder name or a method of automatically- generating
a name based on either the current date or the creation date of the imported material.
For example, if you set your main video folder to “c:\vid”, and your subfolder naming method
to “Current month”, any video you import will be transferred to a folder with a name like
“c:\vid\2017-10”.
Fill-level indicator: This bar graph shows for each import destination how much room is left
on the storage device. The first part of the bar represents space already occupied on the
device. The colored extension shows how much room will be required by any currently-
selected media files or project files awaiting import.
Note: If a destination device reaches 98 per cent full during import, the operation is
halted at that point.
To select an import folder and subfolder
1From the Import tab window, in the Save to area, click the folder icon beside the Save to
box.
2In the Choose folder window, navigate to the folder you want, and click OK.
3In the Subfolder box, choose one of the following options:
• No subfolder: With this option, the files you import will be stored in the base folder.
• Custom: When you choose this option, an in-place edit box appears. Enter the name of
the subfolder in which to store your next import or imports of the asset type.
• Today: Your imports will go to a subfolder named with the current date, in the format
“2017-10-25”.
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• Creation date: Each imported file will be stored in a subfolder named with the creation
date of the asset, in the same format as above. When multiple assets are brought in as
part of a single import operation, this may entail creating or updating multiple
subfolders.
• Current month: This is the same as the Today option but without the day portion, e.g.
“2017-10”.
Note: If you want to reset your folder and subfolder to the default settings, click the
Reset to Default button.
The Mode area
The Mode area of the Importer provides a place to adjust the options offered by several
import sources.
DV / HDV import options
The options for DV and HDV import are in three groups.
Presets: The Presets group offers two standard configurations for video and audio
compression, and a custom setting that lets you fine-tune compression parameters. For
more information, see “Compression settings for Capture Video” on page 213.
The fixed presets are:
• DV: This provides full-quality DV capture, using about 200 MB of disk space per minute of
video.
• MPEG: MPEG compression produces smaller files than does DV, but requires more
computational horsepower to encode and decode. This could result in slower performance
on older computers.
Scene detection: When the scene detection feature is enabled, your footage is divided up
on import into ‘scenes’ that can be displayed and manipulated separately in the Library. This
greatly simplifies the task of locating material of interest during editing. For more
information, see “Scene detection settings for Capture Video” on page 214.
Stop at tape end: This option tells Pinnacle Studio whether to automatically stop capturing
if a blank area of tape is encountered. A blank area – one without timecode striping –
indicates virgin tape. Provided you have avoided leaving any blank spots during shooting (by
slightly overlapping neighboring shots), this option allows for unattended capture.
Import options for analog media
The options for analog import are similar to those just discussed for digital sources.
The Importer 213
Import options for file-based assets
Import Mode: This option determines whether the media file or project file is physically
copied from the source location to the target folder of the local hard drive (as specified on
the Import to area.) If Copy is selected, the file is copied. If Link is selected, the file is not
copied and a link is created in the Library to the file in its original location.
It is strongly recommended that files on network drives be copied to the local hard drive.
Delete original: When this option is enabled, the original copies of the files you import will
be deleted after copying. This option is handy if you are using the Importer to consolidate
your assets and don’t want your hard drive cluttered with redundant copies.
Ignore duplicates: This option helps you deal with redundant media files or project files you
already have, by telling the Importer not to import extra copies of files that may be
differently-named but are apparently identical.
Import options for stop-motion capture
In stop-motion animation, a series of individual frames is captured from a live video source.
Depending on your plans for the stop-motion sequence, you can instruct the Importer to
integrate the individual frames into a movie (Stop Motion Project), or simply import each
frame as a picture (Photo), or both.
Compression settings for Capture Video
The options provided for both DV / HDV and analog import include compression
preferences. If you select either of the DV and MPEG presets, you can review the actual
settings used. Editing the settings here automatically selects the “Custom” preset.
Because some options are contingent on others, not all will be visible simultaneously.
To choose Capture Video compression settings
1From the Import tab, click Capture Video.
2In the Settings area, choose an option from the Presets.
3Click the arrow to the left of Presets to expand the settings area.
4Choose any of the following Video Settings:
• Compression Codec: Use this dropdown list to select the codec you want to use.
• Framesize: This line shows the dimensions of the captured video.
• Quality, Data rate: Some codecs present quality options in terms of a compression
percentage (Quality), and others in terms of the required data transfer rate in KB/sec
(Data rate).
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5Choose any of the following Audio Settings:
• Record audio: Clear this checkbox if you are not planning to use the captured audio in
your production.
• Compression: This dropdown shows the codec that will be used to compress the
incoming audio data.
Scene detection settings for Capture Video
The options provided for both DV / HDV and analog import include access to this window
for configuring scene detection preferences.
Automatic scene detection is a key feature of Studio when working with DV and HDV sources.
As video capture proceeds, Studio detects natural breaks in the video and divides it up into
scenes.
Scenes can be independently viewed and managed in the Scenes view in the Library.
Depending on which capture device you are using, automatic scene detection is carried out
either in real time during capture, or as a separate step immediately after capture is
completed.
To choose scene detection settings
1From the Import tab, click Capture Video.
2In the Scene detection area, click ON if you want to use scene detection.
3Click the arrow to the left of Scene detection to expand the settings area, and choose
one of the following options:
• Automatic based on shooting time and date: This option is available only when you
are capturing from a DV source. Studio monitors the time stamp data on the tape
during capture, and starts a new scene whenever a discontinuity is found.
• Automatic based on content: Studio detects changes in the video content, and
creates a new scene wherever there is a large change in the images. This feature might
not work well if the lighting is not stable. To take an extreme example, a video shot in a
nightclub with a strobe light would produce a scene each time the strobe flashed.
• Automatic every X seconds: Studio creates new scenes at an interval you choose. This
can be useful for breaking up footage that contains long continuous shots.
• Manually, by pressing spacebar: Select this option if you want to monitor the entire
capture process and decide for yourself where scene breaks should occur. Press the
Space key each time you want to insert a scene break during capture.
The Importer 215
File name for imported files
The File Name box is where you specify the names under which your imported media files
or project files will be stored.
Each type of input source has a default filename assigned by Studio. For instance, the default
filename when importing a Snapshot is “Snapshot”. To change it, click in the space and type
the name you want.
The Importer never overwrites an existing file when importing. If a file with the same name
as the target name already exists, a sequence number is added to the name of the incoming
file.
When importing from file-based assets, additional file naming features are available. By
default the naming formula for a file-based input is given symbolically as “[original].[ext]”,
meaning that the original filename and extension are used.
Selecting assets for import
Each source supported by the Importer has its own appropriate set of controls for selecting
the material to be imported. When you click the source type, the main area of the Importer
configures itself appropriately with the controls you need.
Import from file
There are two methods for importing media files and project files from file-based storage
media including local hard drives, optical drives, memory cards and USB sticks:
• Select the My computer tab to select specific asset files or groups of files for import.
• Select the Scan For Assets tab to select one or more folders and import all assets of the
desired types that are found in those folders.
Selecting files for Import
When you select My computer, the job of selecting the files to import belongs to the folder
and asset-file browser in the main area of the display.
The folder and file browser
The left hand column of the browser is a hierarchical view of all folders on all file-storage
devices attached to your computer. These devices include hard drives, optical disc drives,
memory cards and USB sticks.
Navigation in this “folder tree” is similar to that in Windows Explorer and other programs.
Only one entry in the folder tree can be highlighted at a time. Any media files or project files
216 Pinnacle Studio
contained in that folder are immediately listed in the larger, right-hand division of the
browser. You can preview files on the spot, and earmark those you intend to import by
checking the box at the top right of corner of each file icon.
Previewing media and project files
Previewing audio and video: The file browser includes built-in previewing for all supported
asset types. Click the play button in the center of video, audio, and project file icons to
preview the assets they represent. For quick viewing, video files play back within the icon
frame itself. Click anywhere on the icon to halt playback; otherwise the entire file is
previewed.
Full-screen photo preview: To view a digital photo or other picture file at full-screen
resolution, double-click its icon, or click the full-screen button in the toolbar beneath the
browser.
Scrub preview: Audio, video and project file icons provide a scrubber control immediately
below the file icon. Click and drag the scrubber knob to manually review any part of the file.
The mouse pointer changes to a two-headed horizontal arrow when it is correctly positioned
for scrubbing.
Marking files for import
To mark asset files one at a time for importing, click the checkbox at the top right corner of
the file icon. This box is checked automatically when you browse to a new folder for all the
files on display.
The Importer 217
Click the checkbox to mark or unmark the file.
Marking multiple files: The browser also provides a method of checking or unchecking a
group of highlighted files simultaneously. To highlight an individual file, simply click on its
name or its icon; the highlighted state is indicated by an orange border. To highlight
additional files, click icons in conjunction with either of the Shift and Ctrl keys, as follows:
• Click while pressing Ctrl to add or remove the highlighting from one file without
affecting the others in the group.
• Click while pressing Shift highlights the clicked icon and all those between it and the
previously clicked icon, inclusive. Highlighting is removed from any icons not within the
range.
A group of four highlighted image file icons. Marking or unmarking any one will affect
the whole group.
You can also highlight a range of icons directly with the mouse, by dragging out a rectangle
that intersects the icons you want to include. Click the first icon and move to the last one
before releasing the mouse button.
Having highlighted some icons you want to import, click the checkbox of any one of them
to mark or unmark the entire group at once.
Check All and Uncheck All: Click these buttons along the bottom of the file browser to mark
for importing either all or none of the asset files listed in the current folder. The buttons do
not affect any files currently selected in other folders.
Use the Check All button to mark all asset files in the current folder.
218 Pinnacle Studio
Each time a file is added to or removed from the list of those to be imported, the file browser
updates the count in the selection status indicator at the bottom right of the display.
Customizing the browser
Several controls allow you to configure the file browser appropriately for your display
hardware and requirements.
Close the folder tree: To maximize the space for viewing files, click the left-pointing double-
arrow icon at the top of the folder tree scroll bar. This collapses the folder tree to a vertical
bar down the left-hand side. At the top of the bar is the right-pointing double- arrow that
will reopen the tree. The name of the current folder is also shown.
Filter the file list: Another way to optimize your use of the file area is to limit the files shown
to include only one asset type. This is the function of the asset filter dropdown at the bottom
left of the browser. By default, all supported media file and project file types appear in the
browser, but you can limit the view to picture files, audio files, video files or project files by
your selection here. To see exactly which file types are included in a selection, hover on the
item for a second or two to pop up the list.
Hovering over the Audio files option brings up a list of file types from which audio
import is supported.
Zoom slider: A final tool for managing screen real estate is the zoom slider at the bottom
right of the browser. Move the slider leftwards to reduce, or rightwards to increase, the size
of the preview images in the file browser.
Full-screen photo: To preview a selected photo on the full monitor screen, click the Full
Screen button .
Set preview volume: To set the playback volume of audio and video clips for previewing,
hover the mouse pointer in the area of the audio/mute button in the bottom bar of the file
browser. A volume slider will appear beside the button. Drag the knob up and down to
control the volume. Click the audio/mute button itself to toggle audio muting.
The Importer 219
Scan for assets
When you select Scan For Assets, a hierarchical folder view is displayed, much like the one
shown for My computer.
Since you are selecting folders rather than files to be scanned, the media files and project
files contained in the folders are not shown. A checkbox appears next to each name in the
folder tree, and four pop-up lists are offered on the toolbar.
These lists offer a menu of file types to import in each category: Video, Photo, Audio and
Projects. By default, the file extensions on each menu are all checked, meaning that all the
appearing file types will be included in the import operation. Uncheck the file extensions for
any types that you do not wish to import.
To start importing, mark all the folders from which you want to import files. Use the file-type
lists just discussed to narrow the range of incoming file types, if desired.
When selections have been made, click the Scan and Import button. This will import all files
of the selected types in the chosen directories.
Import from DV or HDV camera (Capture Video)
To prepare for importing digital video, switch on your DV or HDV device in play mode, click
Capture Video, and select your device in the Source drop-down menu above the preview
area.
You will also need to make sure that your destination folder, compression presets, and other
options are set up in the other panels the way you want them. (See “Import sources” on
page 209.)
Previewing video
The video currently playing on the source device should now be visible in the preview area
of the display. Along the right edge of the video preview is a scale showing the moment- by-
moment audio level.
220 Pinnacle Studio
When a DV or HDV source is selected, the central area of the Importer provides controls
for previewing and importing the taped material.
Below the preview image is a row of controls for automating capture by setting mark-in and
mark-out points. For more information, see “Recording video and audio” on page 221.
Another row of controls, the transport bar, serves as your navigation console for the source
device.
The transport bar for DV and HDV import, with (from left) jog controls and timecode
readout, transport buttons, a shuttle control, and an audio button with a pop-out slider
for controlling the preview volume.
The current timecode indicator shows your playback position according to
the timecode recorded onto the tape when it was shot. The four fields represent hours,
minutes, seconds and frames respectively. To the left of the indicator is a pair of arrow
buttons; use these to jog the position one frame back or frame forward at a time.
From left to right, the transport buttons are play/pause, stop, rewind and
fast forward. These buttons relay commands to your camera. Using them is equivalent to
using the camera’s onboard controls, but typically more convenient.
Drag the orange needle on the shuttle control to the left or right to
change the playback position in the reverse and forward directions respectively. The motor
speed increases as you drag the needle further off center. When you release the needle, it
homes to the center position and pauses playback.
Set preview volume: To set the playback volume for previewing, hover the mouse pointer
in the area of the audio/mute button in the bottom bar of the file browser. A volume slider
will appear beside the button. Drag the knob up and down to control the volume. Click the
audio/mute button itself to toggle audio muting.
The Importer 221
Mark-in, mark-out: The mark in and mark out timecode fields above the ends of the
transport bar indicate the planned starting point and ending point of a video capture.
Note: DV and HDV sources are also suitable for snapshots.
Recording video and audio
The Importer supports two approaches to selecting a range of video to be imported.
In the manual approach, you simply watch the preview playback and press Start Capture at
the start of the desired footage. When you reach the end of the segment, press Stop
Capture. If you have continuous timecode on the source footage, and have set Stop at tape
end to ‘Yes’ in the Mode panel, you can walk away and leave the Importer to switch off when
the input is exhausted.
The automatic method of capture is good for setting the endpoints of your capture (the
“mark-in” and “mark-out”) points with single- frame precision, and for unattended importing
that should halt before the end of the recorded material.
Sometimes you may want to use set the mark-in time and leave mark-out blank. When you
click Start Capture the Importer will locate your start time then capture until you tell it to
stop (or at tape end).
You can also set a mark-out time and leave the mark-in time blank. When you click Start
Capture import will begin immediately, and end automatically at the mark-out point.
Entering a duration and entering a mark-out time are equivalent. Whichever you specify, the
Importer calculates and displays the other one automatically.
Note: Before starting the import operation, verify that the settings in the Settings area
and other settings (see “Import sources” on page 209) have been configured correctly.
To capture manually with the Start Capture and Stop Capture buttons:
1Make sure that the mark-in and mark-out points are not set. If needed, use the button
associated with the field to clear it with one click.
2Manually start playback of the source tape before the desired starting point of the
capture.
3Click the Start Capture button when the starting point is reached. The button caption
changes to Stop Capture.
4At the end of the segment click the button again. The captured material is stored in the
Library.
222 Pinnacle Studio
5Manually halt playback (unless automatic shutoff is in effect as noted above).
To capture automatically by setting mark-in and mark-out points:
1Use the time counter controls to set the mark-in and mark-out values – the start and end
points of the desired footage.
To set the mark-in point, either enter a value directly into the start field, or navigate to
the desired point and click the Start button. A similar approach can be used to set the
mark-out point.
2Click Start Capture. Studio positions the source device to the mark-in point and
automatically begins recording.
3When the mark-out point is reached, import is terminated and the source device is
stopped.
4The captured material is stored in the Library.
Import from analog sources
To record analog video (e.g. VHS or Hi8) you need a converter that connect to your computer
and that has the required video and audio connections. This is also the case when recording
from analog sound sources, such as a record player. Currently supported devices include
Pinnacle products such as 500/510-USB, 700/710-USB and DVC 100, and webcams based on
DirectShow technology.
To prepare for importing from an analog source, switch on the device and select it by name
in the Source drop-down menu above the preview area. Also choose the applicable input
(e.g. “Video Composite” or “Video SVideo”). If you wish to tweak the incoming analog signal
prior to digitization, click the more button beside the Source drop-down menu. This
provides access to the Input Levels window. (See “Adjusting audio and video levels” on
page 210.)
Before starting the capture, make sure that your destination folder, compression presets, and
other options are set up in the other panels as you want them. (See “Import sources” on
page 209.)
To capture from an analog source:
1Verify that the input device is connected (e.g. “Video S-Video”).
2Start the playback device just before the point at which you would like capture to begin.
Video and audio previewing should now be active. (If not, check the cabling and the
converter installation.)
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3Click the Start Capture button to start recording.
The button caption changes to Stop Capture.
4At the end of the segment click the button again. The captured material is stored in the
Library.
5Halt the source device.
To capture for a specified duration:
1Verify that the correct input is connected (e.g. “Video S- Video”).
2Enter the desired capture duration in the Duration time-counter control below the video
preview.
3Start the playback device just before the point at which you would like capture to begin.
Video and audio previewing should now be active. (If not, check the cabling and the
converter installation.)
4Click the Start Capture button to start recording.
The button caption changes to Stop Capture.
5The capture operation will stop automatically after the desired duration has been
captured. You may also stop the capture manually by clicking the Stop Capture button.
Import from DVD or Blu-ray Disc
The Importer can import video and audio data from DVDs and BDs (Blu-ray discs).
Note: Blu-ray authoring is not included by default. To add it, choose Help > Purchase
Blu-ray, and follow the steps to complete the purchase. If you have already purchased
Blu-ray authoring, but need to reactivate it, see “Restore Purchase in the Control Panel”
on page 251.
To import from a disc
1From the Import tab, click DVD.
2To begin, insert the source disc in its drive and select it in the Source drop-down menu
above the preview area.
If you have more than one optical drive, choose the correct device among those listed.
Note: Copy-protected media cannot be imported.
3Before starting the capture, make sure that your destination folder and file name are set
the way you want them (see “Import sources” on page 209).
Note: Because large files can be involved when importing from optical discs, selecting
the correct import directory is important. In particular, ensure that the designated
storage location has sufficient space available (see “Import sources” on page 209).
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Import from digital cameras
Like optical disc drives, the media on digital cameras is accessed through the computer’s file
system. The camera may appear on the source list as a removable disk drive. Previewing,
selecting and importing are the same as for ordinary file-based assets (except that the folder
view starts in the closed position).
Stop motion
The Stop Motion function of the Studio Importer lets you create animated films by stitching
together frames grabbed from a live source, such as a video camera, webcam or DSLR. The
result of your Stop Motion import will be a collection of captured images, and a project file
created from the images.
To prepare for Stop Motion import, make sure the camera is switched on and connected to
your computer, then select the Stop Motion tab from the Import tab from panel of the
Studio Importer. (See “Import sources” on page 209.) Before starting to capture, make sure
that your destination folder, options and file name are set up in the other panels the way you
want them.
If your source equipment is functioning correctly, you should have a live preview in the
central area of the Importer window.
When you are ready to capture an image, you can click the Capture Frame button. A
thumbnail of the grabbed frame is added to the Image Tray at the bottom of the window.
Since this is a stop motion sequence, after each image is captured you will generally make
small changes to the scene you are shooting in order to create the illusion of motion from
frame to frame.
To make your task of gauging the movement easier, you can use alignment tools (line, grid,
or circles). You can also use Onion Skin Mode, a mode that uses a ghosting effect whereby
The Importer 225
successive frames are shown simultaneously in translucent layers so that the differences can
be clearly seen.
The number of images shot so far and the duration of the video (based on the number of
images, rounded off) are displayed to the right below the control bar.
You can also import images that you have already captured for stop motion by clicking the
Import File button below the control bar.
Project Settings
You can choose from the following settings for your stop motion project:
•Aspect Ratio: Set to Standard (4:3) or Widescreen (16:9)
•Resolution: Set to NTSC Standard or PAL Standard
•Frame Rate: Higher frame rates result in better quality, but require more image captures.
•Image Duration: Set the duration for each image you capture according to frames. The
higher the number, the less images you need to capture, but the results might be less
smooth.
The Stop Motion control bar
This bar provides transport and other functions for Stop Motion import. From left to right:
•Video and Frames indicators: These let you switch between previewing the live video
feed and previewing the captured frames in the Image Tray. You can review – and if
necessary replace – particular frames without having to undo other work.
•Auto Capture: The Auto Capture button toggles the feature on (orange icon) or off
(white icon). Click the arrow for Auto Capture to specify the settings (Capture Interval
and Duration).
•Navigation buttons: These buttons are for previewing your animation. They let you play,
go to start, go back one frame, or go forward one frame. A Loop Play button lets you
cycle the animation continuously.
•DSLR Capture: These optional controls can be used when you have a compatible DSLR
connected to your computer (at this time most Canon DSLRs are supported). The DSLR
Capture icon is orange when your DSLR camera connected. The arrow button lets you
access the DSLR Settings dialog box. Here you can control the DSLR. This ensures
consistent results across frames. The settings vary somewhat according to your camera
and camera mode. It is recommended that you set your camera to Manual mode.
•Auto Focus (AF), Manual Focus (MF) and Show Focus: These optional controls can be
used to adjust the focus for your camera in Pinnacle Studio when you have a compatible
DSLR camera connected to your computer (at this time most Canon DSLRs are
supported). Your camera lens needs to be set to AF to use these onscreen focus controls.
226 Pinnacle Studio
•Onion Skin Mode: The Onion Skin Mode button toggles the feature on (orange icon)
or off (white icon). Click the arrow for Onion Skin Mode to specify the settings. The first
slider (Original-Onion skin) shows the difference in transparency between the original
and successive frames. The Frames slider controls the number of frames, in addition to
the current one, that will display onscreen. Experiment to find the settings that work best
for your movie.
The number of images shot so far and the duration of the film (based on the number of
images, rounded off) are displayed to the right below the control bar.
Using the Image Tray with Stop Motion
When you click Capture Frame (button displays below the Stop Motion control bar), the
Image Tray opens and displays the images that you capture. You can view the start time for
each image (time displays above the thumbnail). You can click a thumbnail to choose the
frame. You can delete the frame by clicking the red trash icon above the thumbnail. You can
also insert a frame to the right of the selected thumbnail by clicking Capture Frame. Note:
You must be in Video mode to capture frames (click Video on the left side of the control bar).
Alignment tools
Gauging movement in stop motion projects can be tricky. In addition to the Onion Skin Mode
described above, you can use the following tools:
•Line: Drag across the screen to set a line with nodes that mark intervals. Look for the pink
node to find the suggested alignment for your next capture.
•Grid: Displays a grid overlay onscreen
•Circles: Displays a circle pattern onscreen
The interval for the nodes, grid lines, or circles is determined by the Time across setting. The
value (seconds) determines how many suggested captures to make, as indicated by the
space between intervals. You can use the alignment tools to create smooth even motion, or
The Importer 227
to help you gauge how much you need to move the subject to speed up or slow down the
movement.
Exporting the animation
When you have added all the frames you want to the animation, click one of the following
options:
•Export to Library: Converts the frames to an .axps file and imports both the .axps file
and the collection of images to the Library. Similar to an .axp file, an .axps file is a project
file that lets you easily reopen the project in the Stop Motion mode of the Importer so
that you can continue to work on the project at another time. It references the project
files.
•Edit in Timeline: Imports the frames to the Library and add the project to the Timeline
(Edit mode) for further editing.
How to create a stop motion project in Pinnacle Studio
The steps below guide you through a basic workflow for a stop motion project. Before you
start, it’s best to have all your materials ready and have your shooting area set up with the
lighting you need. If you are using a DSLR that is supported in Pinnacle Studio, set your
camera to Manual mode. A tripod is recommended.
To create a stop motion project
1If using an external camera to capture your stop motion project, ensure that the camera
is plugged into your computer and is on, ready to capture photos. Set the camera to
manual mode.
2In Pinnacle Studio, click the Import button (to the right of the Author button). The
Studio Importer window opens.
3Click Stop Motion.
Supported cameras that are connected to the computer and switched on are listed
below Stop Motion. Click a camera name and do one of the following:
• On your camera, manually choose the best settings for your stop motion scene and
adjust the focus (can set the lens to MF to focus manually).
• If you have a compatible camera (most Canon and Nikon DSLRs are supported), in the
control bar below the preview area, click the arrow beside the Camera button. In the
DSLR Settings dialog box, choose your camera from the drop-list, and choose the
settings for your camera, using the Preview screen as a guide. Make any adjustments
you want and click OK. You can then focus the camera manually or set the lens to AF
mode, and in Pinnacle Studio, enable Show Focus to display the onscreen controls.
Click Auto Focus or Manual Focus. For Auto Focus, drag the rectangle to the area of
228 Pinnacle Studio
focus. The camera will automatically adjust the focus. For Manual Focus, click the plus
or minus symbol on the preview screen until the subject is in focus.
4Choose your Project Settings, and if you want to change the default destination for your
project files, in the Save to area, navigate the location you want.
5When you know what kind of motion you want to make, you can choose from different
types of alignment tools and set the Time across setting (value is time marked in
seconds).
6When you have the subject set up, click Capture Frame.
7Move your subject the way you want, and continue capturing an image for each
movement. If you are making a series of simple movements, you can set up Auto
Capture.
8When you are ready to review the frames, on the control bar, click the Play button to
review the movie. To reactivate the Capture Frame button if you want to add more
frames, click Video in the control bar.
9When you are finished, click the Import to Library or Edit in Timeline button.
If you want to save the project without exporting to the Library, click the Save button
beside Project Name. You can click the Open button (beside Save) to access the saved
project.
Snapshot
The Snapshot function of the Import tab is used to record individual frames (still images)
from cameras or players connected to the system. To prepare, make sure the source device
is switched on, then from the Import tab, click Snapshot, and choose the device from the
Source drop-down menu above the preview area.
Before starting the capture, make sure that your destination folder and file names are set up
in the other panels as you want them. For more information, see “Import sources” on
page 209. Now start your camera, or roll your tape, and start monitoring the embedded
preview display in the central area of the Importer window. Click the full-screen button at the
right-hand end of the transport bar to preview on the full monitor screen.
When you want to capture an image as it goes by, click the Capture Frame button.
A thumbnail of the grabbed frame is added to the Image Tray at the bottom of the window.
The Importer 229
Capturing snapshots in the Importer. While previewing live or taped video in the central
area of the window, use the Capture Frame button to grab still images. Grabbed frames
accumulate in the Image Tray at the bottom of the window until you click the Import
Captured Frames button to transfer them to the Library.
Capture as many additional frames as are required. The Importer adds each one in turn to
the collection growing in the Image Tray. In the course of capturing, you can change tapes,
re-aim your camera, and so on as you see fit. The source video doesn’t need to be
uninterrupted as long as there is signal present when you actually click the Capture Frame
button.
Using the Image Tray
For on-the-spot review of a frame you have already grabbed, click the thumbnail of any but
the most recent frame in the Image Tray. This switches the preview display from the video
source to the captured file, and activates the File indicator. You can also activate the indicator
by clicking it directly.
Click any thumbnail in the Image Tray to review images already grabbed.
To delete a captured frame, select it in the Image Tray, then click the trash-can icon that
appears in the top right corner of the thumbnail.
To switch back to previewing video after reviewing files in the Image Tray, click the Live
indicator beneath the preview display.
230 Pinnacle Studio
Importing the frames
When you have grabbed all the frames you want from the video source, click the Import
Captured Frames button. The Importer adds the grabbed images to the still images section
of the Library.
MultiCam Capture
MultiCam Capture™ is video capture software that makes it easy to capture yourself, make a
screen recording, and present demos or products—all at the same time. Plug in your
cameras, press record, and let MultiCam Capture transform your computer into a capture
hub that synchronizes all sources automatically for professional results.
To use MultiCam Capture in Pinnacle Studio
1In Pinnacle Studio, click the Import tab.
2Click MultiCam Capture.
Note: You might need to scroll to find the MultiCam Capture option if your application
window isn’t set wide enough to show all the options.
The MultiCam Capture application launches.
3Follow the instructions for the MultiCam Capture application to prepare for your project
(click the question mark icon, then the Help tab to view the user guide).
4In the Save As area, ensure that you mark the Pinnacle Studio Project check box, and
capture your project.
5In Pinnacle Studio, go to the Library Project Bins category to find your project.
6Right-click the project and choose Open in Multi-Camera Editor. For more information
on the Multi-Camera Editor, see “Multi-Camera Editing” on page 257.
13
The Exporter 231
The Exporter
One of the great things about digital video is the large and growing number of devices that
can make use of it. Studio lets you create versions of your movie for whatever video viewers
your audience will be using, from mobile phones to HDTV home theaters.
This section contains the following topics:
• Exporting your project
• Export options and settings
• Output to disc or memory card
• Output to file (Format or Extension)
• Output to a device
• Output to MyDVD
• Export to animated GIF
• Exporting movies with transparency to alpha channel video
Exporting your project
When you have finished editing your project, open the Exporter by pressing clicking the
Export tab at the top of the screen. With a few clicks you can tell the Exporter everything it
needs to know to output your movie or asset in the format that best fits your requirements.
Note: To export directly from the Library without using the Exporter, please see
“Exporting directly from the Library” on page 22.
The Exporter will ensure that your project is complete before it is exported. If there is any
missing media, your project cannot be exported until the media is either relinked or deleted
from the project. For more information, see “Missing media” on page 16.
232 Pinnacle Studio
The Export tab lets you access output options as needed for the chosen output type. The
name of the project appears above the Player, while the estimated file size and
remaining space is provided below the preview area.
To export from the Export tab
1Set the Destination for your exported files by clicking the browse button and choosing a
location.
2In the File Name box, type a file name.
If you want to set some automatic post-export actions, click After Export Actions and
choose the options you want.
3Do one of the following:
• To export the project using the timeline settings, enable the Same as Timeline check
box.
• To choose new settings for export, from the dropdown menu on the left, choose
Format, Extension, Device, or Web.
4From the dropdown menus that appear for your export project, choose the options you
want. Presets are available in most cases, or you can customize the settings by clicking
the Edit Preset button . You can then click the Save Preset button to save your
custom settings as a new preset.
5If you want to export only a section of the movie, use the trim controls in the playback
control area of the player window.
6Click Start Export to export your project.
The Exporter 233
Export options and settings
Preparing your movie for output
Before your movie is completely ready for output some preprocessing will usually be
required. In general, Pinnacle Studio will need to ‘render’ (generate video frames in the
output format) any transitions, titles, disc menus and video effects you’ve added to your
movie. Any files generated during the rendering process are stored in the auxiliary files
folder, whose location you can set in the application settings window.
Create between markers
For output to file, you have the option of exporting only a selected portion of your movie.
In the Exporter Player area, adjust the trim markers to indicate which part of the movie you
want to export.
Set the Mark In and Mark Out calipers to export a segment of the timeline.
Output to disc or memory card
For information about creating discs, see “Disc projects” on page 191. Whether or not you
have a disc burner, Studio can also create a ‘disc image’ – a set of files containing the same
information as would be stored onto the disc – in a directory on your hard drive. The image
can subsequently be burned onto a disc or transferred to a flash memory card. Please note
that if you activate the Author tab in Pinnacle Studio, a Disc page is added to the Export tab.
Note: Blu-ray authoring is not activated by default. To activate it, choose Help >
Purchase Blu-ray.
234 Pinnacle Studio
SD card, Memory Stick and Built-In Media
AVCHD 2.0 disc structures can be written to flash memory cards, such as SD cards or Memory
Sticks, or even to devices with built-in media support (e.g. camcorders with AVCHD 2.0
support).
Output to file (Format or Extension)
Choose whichever format matches the needs of your audience and the details of their
viewing hardware.
The size of the output file depends on both the file format and the compression parameters
set within the format. Although compression settings can easily be adjusted to produce small
files, heavy compression comes at the expense of quality.
The detailed settings for most formats can be adjusted by choosing the Custom preset and
clicking the Advanced button. Other presets load settings designed for typical situations.
If you are exporting a stereoscopic 3D project, an S3D menu will appear, offering various 3D
formats, or the option of exporting your project in 2D.
As a convenience after output has completed, the Exporter provides shortcuts for opening
Windows Media Player and the QuickTime Player. To view your output file as soon as you
have created it, click the icon representing the player of your choice.
Below is a list of some of the formats.
3GP
Pinnacle Studio can generate movies in this widely-used file format using your choice of
MPEG-4 or H.263 video compression, along with AMR audio compression. The format is
adapted to the comparatively modest processing and storage capabilities of mobile phones.
The list of presets for this file type offers two frame sizes in either encoder. Choose Small, at
176x144, or Very Small, at 128x96.
Audio only
Sometimes a movie’s soundtrack can stand alone without visuals. Live entertainment
footage, and video recordings of interviews and speeches are instances in which an audio-
only version might be desirable.
Pinnacle Studio lets you save your soundtrack in wav (PCM), mp3 or mp2 format.
Click the preset that best meets your needs; or choose Custom, then click the Advanced
button to open the Advanced Settings panel.
The Exporter 235
Transport Stream (MTS)
Transport Stream (MTS) may contain video in MPEG-2 or H264/AVC compression. Its
applications include HD playback on AVCHD-based camcorders, AVCHD disc, or Blu-ray disc.
Click the preset that best meets your needs; or choose Custom, then click the Advanced
button to open the Advanced Settings panel.
AVI
Although the AVI file type for digital video is itself widely supported, the actual coding and
decoding of video and audio data in an AVI file is performed by separate codec software.
Studio supplies a DV and an MJPEG codec. If you wish to output your movie as an AVI in
some other format, you can use any DirectShow-compatible codec installed on your PC, as
long as that codec is also installed on the PC that will play your movie.
Click the preset that best meets your needs; or choose Custom, then click the Advanced
button to open the Advanced Settings panel.
DivX
This file format, based on MPEG-4 video compression technology, is popular for video files
disseminated over the Internet. It is also supported by a range of DivX-compatible hardware
devices, from DVD players to portable and handheld units.
Click the preset that best meets your needs; or choose Custom, then click the Advanced
button to open the Advanced Settings panel.
DivX Plus HD
This file format, based on H264 video compression technology, is popular for HD video files
disseminated over the Internet.
Click whichever of the quality presets matches your needs; or choose Custom, then click the
Advanced button to open the Advanced Settings panel.
Flash Video
Studio supports output in Flash Video (flv) format, version 7. Virtually all current web
browsers are able to display this popular format, which has been widely adopted by social
networking sites and news sites.
236 Pinnacle Studio
Click the quality preset that matches your needs; or choose Custom, then click the Advanced
button to open the Advanced Settings panel.
Image
A frame of your video project can be exported as an image, a JPG, TIF or Custom. If you select
the Custom option, use the Advanced button to open the Advanced Settings panel.
You can also choose GIF to create an animated GIF file. For more information, see “Export to
animated GIF” on page 239.
Image sequence
A section of your video project can be exported as a series of images, one per frame. The
video selected must be at least one second long. Each second of video will generate between
25 and 60 images, depending on the frame rate setting.
The images can be TIF, JPG, TGA, or BMP, in a variety of sizes. If the project is in stereoscopic
3D, you will be offered S3D formats for output.
QuickTime Movie (MOV)
This is the QuickTime file format. It is particularly suitable when the movie will be played on
the QuickTime player.
The presets provide a variety of size and encoding options.
MPEG
MPEG-1 is the original MPEG file format. MPEG-1 video compression is used on VideoCDs,
but in other contexts it has given way to newer standards.
MPEG-2 is the successor format to MPEG-1. Whereas the MPEG-1 file format is supported
on all Windows 95 and later PCs, MPEG-2 and MPEG-4 files can only be played on PCs with
appropriate decoder software installed. Several of the MPEG-2 presets support HD (High
Definition) playback equipment.
MPEG-4 is another member of the MPEG family. It offers image quality similar to MPEG-2
but with even greater compression. It is particularly suitable for Internet use. Two of the
MPEG-4 presets (QCIF and QSIF) create ‘quarter-frame’ video sized for cell phones; two
others (CIF and SIF) create ‘full-frame’ video suitable for handheld viewers.
Custom presets: With all MPEG variants, Custom lets you configure movie output in detail
by clicking the Advanced button to open the Advanced Settings panel.
The Exporter 237
Real Media
Real Media movie files are designed for playback on the Internet. Real Media movies can be
played back by anyone around the world who has the RealNetworks RealPlayer software,
which is a free download from www.real.com.
Click the Advanced button to configure your output with the Advanced Settings panel.
Windows Media
The Windows Media file format is also designed for streaming Internet playback. The files
can be played on any computer where the Windows Media player – a free program from
Microsoft – is installed.
Click the Advanced button to configure your output with the Advanced Settings panel.
Output to a device
Studio can create movie files that are compatible with a range of devices, including the ones
listed below.
• Apple
• Microsoft Xbox and Xbox One
•Nintendo Wii
•Sony PS3 and PS4
•Sony PSP
If you are exporting a stereoscopic 3D project, you will be offered the 3D formats compatible
with the selected device.
Apple
Studio supports exporting files that are compatible with popular Apple devices like iPod,
iPhone and iPad, and Apple TV as well.
The file format used for iPod and iPhone compatible devices is based on MPEG-4 video
compression technology. The combination of powerful compression with a small 320x240
frame size produces very small output files relative to the more expansive formats. The three
quality presets select different data rates, each providing a different balance of quality and
file size.
Apple TV as well as iPad compatible files are based on the H.264 video compression
standard. Output frame size is either 960x540 for Apple TV (first generation) or 720p (later
generations).
238 Pinnacle Studio
Microsoft Xbox and Xbox One
Microsoft Xbox presets allow you to create files for full-screen playback on your Xbox. Two
formats are available: DivX SD based on MPEG-4 video compression technology, and WMV
HD.
Nintendo Wii
Pinnacle Studio can generate files for playback on your Nintendo Wii with the support of
both AVI and FLV output formats.
Sony PS3 and PS4
You can export files to your PlayStation by selecting the Sony PS3 or Sony PS4 export type.
Studio supports the following file formats: Full size, which is in DivX file format at 720 x 400,
and HD 1080/60i.
Sony PSP
Studio allows you to export files which are compatible with the popular Sony PlayStation
Portable devices. Output files are based on MPEG-4 video compression technology.
As with the iPod-compatible type, the combination of powerful compression with a small
320x240 frame size produces very small output files relative to other formats.
Output to MyDVD
MyDVD is an easy disc authoring application that uses templates to help you create
professional-looking disc projects that include menus, and music. For more information
about MyDVD, see the Help available in the MyDVD application.
MyDVD opens automatically when you export to a MyDVD project. You can also open
MyDVD by clicking the Pinnacle MyDVD shortcut on your desktop or by searching for
Pinnacle MyDVD on your Start screen or Start menu.
To access export options for MyDVD projects, you must choose Export to MyDVD from the
Edit tab timeline.
The Exporter 239
The export settings for MyDVD projects.
To export to a MyDVD file
1After you create and edit your project in the timeline of the Edit tab, click the Open
Author Toolbar button on the timeline toolbar.
If you want to add any chapters before exporting, use the chapter controls on the
timeline toolbar. For more information, see “To add chapter markers to a disc project” on
page 192.
2Click the Export to MyDVD button above the track headers.
The Export tab becomes active.
3In the Export Settings area, choose the settings you want and click Start Export.
The project is rendered and Pinnacle MyDVD opens your project file.
Export to animated GIF
You can use precise tools in Pinnacle Studio to create animated GIFs. Animated GIFs are
simple, Web-friendly animated files that are typically under 10 seconds long. Although
traditionally used for simpler graphics due to their limited color palette (256 colors), the color
range can be optimized for a broader range of images (Pinnacle Studio uses dithering to
optimize color). GIFs also support transparency.
In Pinnacle Studio, the easiest way to create a quick animated GIF is to use markers in the
Export tab to precisely choose the portion of the project (a single video, or a more complex
project) that you want to convert to GIF. Then, choose the settings that will produce the size
and quality you need, and export. Any titles or effects that you have added to that portion
240 Pinnacle Studio
of the project will be exported to the final GIF file. The resulting single file comprises of a
series of GIF images that produce the animation.
To export to an animated GIF
1After you create and edit your project in the timeline of the Edit tab, click the Export tab.
2Set the Destination for your exported files by clicking the browse button and choosing a
location.
3In the File Name box, type a file name.
4Ensure that the Same as Timeline check box is not marked.
5From the dropdown menus, moving from left to right, choose Extension, then *.gif, and
Image.
6From the Preset dropdown menu, choose the option you want. You can customize the
settings (including Image Size, Frames/sec, GIF Quality, and Loop Play) by clicking the
Edit Preset button . You can then click the Save Preset button to save your custom
settings as a new preset.
7To export only a section of the project, use the trim controls (Mark In and Mark Out) in
the playback control area of the player window.
8Click Start Export to export your project.
Note: The Estimated file size displays below the player window. Adjust the settings
and length to ensure that the final file size is suitable for where you want to host the
animated GIF file.
The Exporter 241
Exporting movies with transparency to alpha channel video
Alpha channel video supports transparency, allowing you to save animated logos, lower-
third graphics, and other objects and animations as video files that you can share and reuse
as overlays in other video projects. For example, if you create a series of videos, you can
overlay the start of each video with an animated title that identifies you or your company as
the creator of the series. Pinnacle Studio uses the CineForm MOV format for alpha channel
support.
The black area represents the transparent area in this alpha channel video.
To export to an alpha channel video
1After you create and edit your project that has transparent areas in the timeline of the
Edit tab, click the Export tab.
2Set the Destination for your exported files by clicking the browse button and choosing a
location.
3In the File Name box, type a file name.
4Ensure that the Same as Timeline check box is not marked.
5From the dropdown menus, moving from left to right, choose Format, then CineForm.
6From the Preset dropdown menu, choose an MOV option. You can customize the
settings (including Size, Frames Per Second, and Quality) by clicking the Edit Preset
button . You can then click the Save Preset button to save your custom settings as
a new preset.
7To export only a section of the project, use the trim controls (Mark In and Mark Out) in
the playback control area of the player window.
8Click Start Export to export your project.
242 Pinnacle Studio
14
Setup and preferences 243
Setup and preferences
Pinnacle Studio’s central configuration window is called the Control Panel. You can choose
setup options and other preferences in the Control Panel.
This section contains the following topics:
• About the Control Panel
•Legacy Options
• Audio Device Setup
•Event Log settings
• Export and Preview settings in the Control Panel
• Import settings in the Control Panel
•Keyboard shortcut settings
• Project Settings in the Control Panel
• Startup Page settings
• Storage Locations settings
• Reset and Backup settings
• Restore Purchase in the Control Panel
244 Pinnacle Studio
About the Control Panel
The Pinnacle Studio Control panel is a central configuration window for the application.
The pages of Control Panel settings are described in this chapter.
To open and navigate the Control Panel
1From the Pinnacle Studio main menu, choose Control Panel.
2In the Control Panel window, click a category from the list on the left side of the window.
The corresponding page displays on the right side of the window.
3Choose the settings your want.
Legacy Options
The Legacy Options page includes Watchfolders and Legacy Authoring Mode settings.
Watchfolders
Watchfolders are folders on a hard drive or other storage medium that are monitored by
Pinnacle Studio. When the contents of a watchfolder change, the Library is automatically
updated.
Setup and preferences 245
When you use watchfolders, a Library Media branch is added to the Asset Tree in the Library.
You will also see a Library Media branch if Pinnacle Studio detects a library from a previous
version of Pinnacle Studio (you must enable watchfolders if you want to continue populating
this branch).
You can create as many watchfolders as you wish and optionally set them up to watch for
only one media type (video, image or audio) instead of all three, the default.
To designate a folder on your system as a watchfolder, click the Enable button, and then the
Add Folder button below the watchfolders list, and navigate to the folder you wish to add.
To cancel watchfolder behavior, select the folder in the list and click the Remove Folder
button.
Click the Apply button to direct the Library to update its catalog in light of the watchfolder
changes.
Legacy Authoring Mode
You can enable or disable the legacy Author tab for Pinnacle Studio. The Author tab
provides disc authoring features and provides access to Library Disc Menus content. Click
the Enable button to restore the Author tab.
Audio Device Setup
This setup page provides the parameters available for recording devices (such as
microphones) that are connected to the computer. Click the device name to access the
Windows settings dialog for the device.
Event Log settings
Messages are logged in this window during certain operations, such as importing a number
of files. You can check here for details about any problems that may have occurred during
these operations.
Export and Preview settings in the Control Panel
These settings affect the representation/display of video.
Quality: These options control the quality of video previewing throughout the application.
•Best Quality: Provides previewing at full resolution – the resolution at which the project
will ultimately be exported. Under this option there may be dropped frames during
playback on slower systems.
246 Pinnacle Studio
•Balanced: At this setting, the recommended one for ordinary use, some quality
optimizations are omitted for the sake of a faster preview. In most cases the difference is
barely noticeable.
•Fastest Playback: The preview is optimized in favor of processing efficiency, which may
be helpful on a slower system.
Show full-screen preview on: Select the computer monitor (if more than one is available)
on which you want the full-screen preview to be displayed.
Show external preview on: Select from a list of available devices and signal outputs (if any).
External preview standard: Select the TV standard of the connected video monitor.
Playback Optimization
Optimization threshold: The optimization threshold determines how much rendering is
done when you preview your project. It can be set anywhere from Off (0) to Aggressive (100).
Whether a particular timeline ‘slice’ will be rendered depends on the amount of computation
needed to prepare the effects and transitions that are used, and on the value of the
optimization threshold. If this value is set all the way to Aggressive, Pinnacle Studio will pre-
render all transitions, titles, disc menus and effects even when the output would have been
previewable; this can considerably delay playback.
If optimization threshold is set to Off (zero), on the other hand, the yellow and green
markings that indicate rendering progress are not displayed; instead, all effects are played
back in real time. However, this can result in reduced playback quality (lost frames, ‘jerky’
playback) if the number and complexity of effects outstrips the available processing capacity
of the system.
Render while play: When the Automatic setting is used, the application decides on the basis
of system information whether real- time rendering can be done during playback. If the Off
setting is used, rendering is disabled during playback but resumes when playback is stopped.
Third-party Codecs: Lets Pinnacle Studio use third-party codecs that are installed on your
computer so you can work with additional video formats. Note: Some third-party codec
packs might cause crashes or errors in Pinnacle Studio.
Hardware Acceleration
When activated, this feature shifts part of the processing load from the CPU to auxiliary
hardware, such as the GPU (Graphics Processing Unit) of your graphics card. The level of
support for hardware acceleration depends on the type of CPU and graphics card on your
computer.
Setup and preferences 247
• Most NVidia cards support the CUDA architecture. When this is accessible, the GPU is
used to assist with H.264 decoding.
• Machines equipped with a recent Intel CPU having the Intel Quick Sync Video feature
can use it for rapid decoding and encoding of H.264 and H.264 MVC material.
To choose Hardware Acceleration type
1From the Pinnacle Studio main menu, choose Control Panel >Export and Preview.
2In the Hardware Acceleration area, choose an option from the Type dropdown.
Stereoscopic
Default 3D Viewing Mode: This setting selects the default for stereoscopic 3D content
throughout Pinnacle Studio. See 3D viewing mode switcher for more information. Please see
“Choosing what to display in the Library” on page 29 for more information.
•Left eye or Right eye: The preview for stereoscopic content can be set to show only its
left or right eye view.
•Side By Side: In Side By Side preview mode, you can monitor the individual 2D images
for both sides at the same time.
•Differential: Rather than the image content itself, the differences between the left and
right frames are displayed. Identical areas show as neutral gray.
•Checkerboard: Right and left eye views alternate in adjacent cells of a 16x9 grid.
•Anaglyph: An Anaglyph stereoscopic preview is suitable for viewing with red-cyan
stereoscopic glasses.
•3D TV (Side by Side): This mode is to be used with a 3D – capable second monitor or
projector.
•3D Vision If your system is 3D Vision capable and stereoscopic 3D is turned on in your
driver settings, any stereoscopic content will be previewed in 3D Vision by default.
No stop when activating 3D Vision: This setting is available when Studio is run on a PC with
a 3D Vision- capable system which has stereoscopic 3D turned on in the driver setting. By
default, the No stop when activating 3D Vision setting is set to off. When turned on, playback
will automatically stop wherever a 3D Vision preview is being activated or deactivated during
playback.
Import settings in the Control Panel
The default options for the Pinnacle Studio Importer may be set here; however, you can
adjust or override them in the Importer at the time of importing.
248 Pinnacle Studio
Folder options: View or set the default storage locations for media and projects that are to
be physically copied during import; unlike linked imports, including the Library’s Quick
Import feature, which simply link to existing files without relocating them. The folder
locations are initially set to the user’s music, video and images folders as configured in
Windows, and to the default folder for saving Studio projects.
After locating and selecting the folder you want to serve as the base folder, you can
optionally set up a subfolder:
•No subfolder: With this option, the files you import will be stored in the base folder.
•Custom: When you choose this option, a Custom Project Subfolder box will appear. Click
it to enter a name for the Subfolder for that media type.
•Today: Your imports will go to a subfolder named with the current date, in the format
“2017-10-25”.
•Creation date: Each imported file will be stored in a subfolder named with the creation
date of the asset, in the same format as above. When multiple assets are brought in a
single import operation, this may mean creating or updating multiple folders.
•Current month: This is the same as the Today option but without the day portion, e.g.
“2017-10”.
•Scene detection: This sets the default detection method for scene detection. “Scene
detection settings for Capture Video” on page 214.
•Stop motion: This sets the default import method for the frames you capture with the
Stop Motion feature. See “Stop motion” on page 224.
Keyboard shortcut settings
Studio provides both an extensive default set of keyboard shortcuts and a means of
customizing them. The Keyboard page of the Control Panel lists all commands to which
shortcuts can be applied, together with their currently-assigned shortcuts where applicable.
The commands are grouped by section.
In the top right corner of the page, you can type a command into the search box to find
shortcuts or you can enable the Search Shortcuts check box to search for existing shortcut
key combinations (to avoid duplicating a shortcut).
To add a keyboard shortcut
1From the Pinnacle Studio main menu, choose Control Panel >Keyboard.
2Select the target command.
3Click in the Press shortcut keys edit box.
4Press the keys for the desired shortcut. If the shortcut is currently is already in use, the
Shortcut currently used by dropdown list will show any conflicting commands.
Setup and preferences 249
5Click the Assign button to assign the entered shortcut to the selected command.
Adding a shortcut does not delete associations between a particular keyboard sequence and
other commands it gives access to. In fact, it is possible for different commands to use the
same shortcut provided they occur in different contexts. For instance, Ctrl+L is the default
shortcut for two commands, Timeline > Lock Track and Media Editor > Rotate Left; which
one is activated depends on what part of Pinnacle Studio you are currently using.
To delete a shor tcut:
1From the Pinnacle Studio main menu, choose Control Panel >Keyboard.
2Select the target command.
3Choose the shortcut to delete from the Shortcuts for selected command dropdown list.
4Click the Remove button.
Restoring defaults
Controls are also provided that allow you to restore the default keyboard configuration
either for the currently-selected command (the Reset Current button) or for all commands
at once (the Reset All button).
Project Settings in the Control Panel
On this page of the Pinnacle Studio Control Panel, you can select your default settings for
new projects, titles and transitions.
New movie project format: Select a resolution (such as PAL or HD 1920x1080i), as the
default for every newly created timeline. Alternatively, let the first clip placed on the timeline
define the format for the project with the option Detect format from first clip added to
project. The format for the current timeline may be changed at any time while editing, by
using the timeline settings located at the left end of the timeline toolbar.
Detect format from first clip: Detects the format from the first clip added to the project. If
the format cannot be detected, the New movie project format is applied.
Default durations: Set the default durations of titles, images, and transitions when they are
first brought to the timeline. (Once there, of course, the clip length can be trimmed as
required.)
Transition Mode: Lets you choose between Maintain Timeline Sync (recommended) and
Overlap Clips (legacy mode). For more information, see “Transitions” on page 95.
Ruler zooming: When this option is checked, dragging horizontally on the time-ruler zooms
the timeline in and out. In this mode, you will need to drag directly on the scrubber handle
250 Pinnacle Studio
to scrub or to reposition the playhead. When ruler zooming is turned off, you can click
anywhere on the ruler to move the playhead. In either case, zooming may also be performed
by using any of:
• The Plus and Minus keys on the numeric keypad
• The Navigator at the top of the timeline
• The scrollbars under the previews
Activate trim mode by clicking near cuts: Turn this on to launch trim mode by clicking. If
this setting is off, trim mode can be activated with the Trim Mode button on the timeline
toolbar.
Montage scaling: Sets the default method for fitting content to the montage templates:
None (no scaling), Fit, or Crop.
Startup Page settings
You can determine which workspace tab displays when you launch the application. By
default, the Welcome tab is open.
Storage Locations settings
This page allows you to set where to save media and projects you create with Pinnacle Studio.
You can separately specify locations for each of the following file types:
• Studio Movie Projects
• Studio Disc Projects
•Titles
•Menus
• Template
•Restore Project
This folder is used both for project packages that have been unpacked for further work
and for projects imported from Studio for iPad.
• Render Files
This folder is for the temporary files produced while rendering items requiring intensive
computation, such as video effects.
The changes made here apply only to future file operations; any existing files remain in their
current locations.
Delete render files: You can delete render files to save space without concern over
permanently losing data. Note, however, the files will be recreated the next time your project
needs to be rendered.
Setup and preferences 251
Reset and Backup settings
You can use Reset to return your version of Pinnacle Studio to its default state (sometimes
called “factory default”).
You can use Backup and Restore to backup your Control Panel settings and Library index at
any time—before you reset, when you change systems or versions of the application, or
simply to protect your settings and Library index at regular intervals. After you backup your
Library index or Control Panel settings, you can restore them at any time.
To reset Pinnacle Studio to the default state
1Save any open projects that you want to keep, and backup any settings you want to
preserve.
2From the Pinnacle Studio main menu, choose Control Panel.
3In the Control Panel window, choose Reset and Backup.
4In the Reset to Default Settings area, click the Reset button, and then click OK and
restart the application.
To backup your Library index or Control Panel settings
1From the Pinnacle Studio main menu, choose Control Panel.
2Click Reset and Backup in the directory to display the corresponding page.
3Do one of the following:
• Click Backup Library
• Click Backup Control Panel Settings
4In the Backup window, type a file name, and click Save.
To restore your Library index or Control Panel settings
1From the Pinnacle Studio main menu, choose Control Panel.
2Click Reset and Backup in the directory to display the corresponding page.
3Do one of the following:
• Click Restore Library
• Click Restore Control Panel Settings
4In the Restore window, choose the backup file that you want to apply, and click Open.
Restore Purchase in the Control Panel
You can restore purchases that you have made through Pinnacle Studio. For example,
purchases need to be restored if you move Pinnacle Studio to a new system.
252 Pinnacle Studio
To restore purchases made in Pinnacle Studio
1From the Pinnacle Studio main menu, choose Control Panel.
2Click Restore purchase in the directory to display the Restore purchase page.
3Click the Restore button, and click OK.
15
MultiCam Capture Lite 253
MultiCam Capture Lite
Record computer actions and mouse movement by using the MultiCam Capture Lite screen
capture feature in Pinnacle Studio. This feature lets you create videos that require
visualization in a few easy steps. You can also define the capture area for more emphasis and
focus or integrate voice-overs. You can capture audio from your computer system and
microphone and capture Webcam footage. You can then import your footage and use the
standard editing tools or the MultiCam Editor. For more information, see “Multi-Camera
Editing” on page 257.
This section contains the following topics:
• Starting a screen capture project
• Recording your screen
Starting a screen capture project
To open the Screen Capture window
• Click the MultiCam Capture Lite program icon or select MultiCam Capture Lite from
the programs list in Start menu.
254 Pinnacle Studio
Workspace
You can control the recording as well as choose settings for your recordings in the
Settings window.
The Source window lets you choose between capturing your computer screen, your
webcam, or both. You can also choose settings for your sources.
Recording your screen
Before taking the actual screen capture, make sure to configure the settings of the video first.
To configure your video
1In the Settings window, specify the following details:
• Project Name — Enter a name for your project. This will be used in the video
filenames.
MultiCam Capture Lite 255
• Save To — Lets you specify the location where you want to save the video file.
Note: Screen captures are saved to your Documents folder (...Documents/Pinnacle
Studio Screen Capture/23.0) by default. Click to add a new folder and change the
location where the file is saved.
• Save As — Enable the Video Files check box, the Pinnacle Studio Project check box,
or both.
To record your screen capture
1In the Source window, choose the settings your want on the Settings tab.
2In the Settings window click Start / Resume Recording to start the screen capture.
All activities inside the specified capture area are recorded. Screen capture starts after
the countdown.
Note: You can press F10 to stop and F11 to pause or resume the screen capture.
3In the Settings window Stop Recording to finish your screen capture.
Note: Note: The screen capture is added to the custom folder that you have specified
and you can add it to the Pinnacle Studio Library.
256 Pinnacle Studio
16
Multi-Camera Editing 257
Multi-Camera Editing
The Multi-Camera Editor lets you create professional-looking video compilations from
footage of events that have been captured on different cameras, from different angles.
The easy multi-view workspace lets you edit on the fly, as the video clips play back
simultaneously—up to *six cameras. With a simple click, you can switch from one video clip
to another in the same way a broadcast studio switches from one camera to another to
capture a different angle or element of a scene.
Footage can be captured on a wide range of video recording devices, such as action
cameras, drone cameras, DSLRs, or smartphones. You can also include audio captured
independently on a microphone.
*Number of cameras depends on the version of the software you have.
This section contains the following topics:
• The Multi-Camera Editor workspace
• Basic steps in multi-camera editing
• Importing video and audio clips into the Multi-Camera Editor
• Synchronizing video and audio clips in multi-camera projects
•Choosing an audio source for your multi-camera project
• Editing multiple clips to create a multi-camera compilation
• Adding picture-in-picture (PIP) in the Multi-Camera Editor
• Managing multi-camera source files
• Saving and exporting your multi-camera project
• Using Smart Proxy for a faster, smoother editing experience
The Multi-Camera Editor workspace
The image below identifies the main features of the Multi-Camera Editor.
258 Pinnacle Studio
Toolbar, playback, and other controls
The controls found in the workspace are listed below.
The main toolbar includes the following controls:
Camera Number — Lets you set the multi-view pane to show four or six cameras,
depending on your version of the software.
Source Sync Type — Lets you synchronize the clips. For more information,
see “Synchronizing video and audio clips in multi-camera projects” on page 260.
Main Audio — Lets you select a preferred audio source. For more
information, see “Choosing an audio source for your multi-camera project” on page 261.
or Split Clip — Lets you split a clip into segments. For more information, see “To split
a clip in the Multi-Camera Editor” on page 264.
Set/Remove Marker — Lets you add markers on the Camera tracks for editing
purposes, such as audio syncing.
Rotate Left and Rotate Right — Let you rotate clips in the Camera tracks before you
add them to your Multi-Camera track or your PIP track. Note: Only unlocked tracks can be
rotated.
Transition and Duration — Lets you apply a transition between clips in the
Multi-Camera track and set the duration for the transition. For more information, see “To add
a transition between multi-camera segments” on page 264.
The main preview pane includes the following controls:
Multi-view pane Main preview pane
Timeline
Multi-Camera and PIP tracks
Source Sync Type
Main Audio Scrubber
Toolbar and playback
Multi-Camera Editing 259
Playback bar with Home, Previous Frame, Play, Next Frame, and End
buttons.
Loop — Lets you play the selected track continuously by looping back to the start when
it reaches the end.
Set Volume — Lets you adjust the audio volume for playback.
Timecode control — Lets you view and set the time/frame that appears in the
main preview pane and where the scrubber is set in the timeline. Click the arrows or a click
number value to set a time/frame.
The timeline includes the following controls:
Source Manager — Lets you add and remove clips. For more information, see
“Managing multi-camera source files” on page 265.
Show/Hide Audio Waveform View — Lets you view the audio waves for Camera and
Audio tracks.
Lock/Unlock — Appears on individual tracks. Locking tracks is recommended after
you synchronize them.
Include/Exclude from Synchronization — Lets you determine which tracks are
included in the synchronization process.
Mute/Unmute — Lets you turn the audio off (mute) or on (unmute) for the selected
audio track.
Zoom to Timeline — Located in the lower left corner of the timeline, this control lets you
expand or compress your project so you can view the whole project in the timeline.
Zoom Level slider — Drag the slider or click the Zoom in (plus sign) or
Zoom out (minus sign) to change the zoom level for your project. This is particularly helpful
when editing individual segments in the Multi-Camera track.
The following general controls appear in the upper-left corner of the application window:
Settings — Lets you access the Proxy Manager and Save As. For more information, see
“Using Smart Proxy for a faster, smoother editing experience” on page 266 and “To save your
multi-camera project” on page 266.
Undo and Redo — Lets you undo or redo most actions.
Basic steps in multi-camera editing
The following steps provide a basic overview of the multi-camera editing process.
1Import the video and audio clips that you want to use into the Pinnacle Studio Library.
2Choose the clips in the Library and import them into the Multi-Camera Editor, using a
special import window that lets you assign the clips to “Camera 1”, “Camera 2”, etc...
260 Pinnacle Studio
3Synchronize the clips across the timeline. You can do this automatically if all the clips
have audio, but there are a range of methods you can use for synchronization.
4Choose the audio you want to keep (if you are using the original audio). You can choose
a separate audio track as well.
5Start building your multi-camera compilation. You can play all the clips simultaneously,
and in the multi-view pane, click the “Camera” that you want to show. You can switch
clips as many times as you like. The selected footage displays in the main preview pane.
You can then review your project in Multi-Camera track and fine-tune it.
6Exit the Multi-Camera Editor to further refine and output the project using Pinnacle
Studio.
Important! It’s recommended that you finish your multi-camera editing before you exit the
Multi-Camera Editor. Changes that you make to your project in another editor might not
be supported if you re-open the project in the Multi-Camera Editor. This means that some
changes will be reverted.
Importing video and audio clips into the Multi-Camera Editor
The first step in creating a multi-camera project is to import your clips into the Multi-
Camera Editor. In most cases, this will be a selection of clips from the same event that have
been imported to the Pinnacle Studio Library.
You can work with up to six video clips at one time and include up to two independent audio
clips.
To import video clips into the Multi-Camera Editor
1In the Pinnacle Studio Library, select all the clips you want to use.
2On the timeline toolbar, click the Multi-Camera Editor button .
3In the Multi-Camera Import window, type a name in the Project Name box.
4Verify the clips in the project clip list in the right pane.
If you want to reorder the clips, drag a clip to a new position in the list.
If you want to add more video or audio clips, choose the track you want in the Library
pane, and drag it to the project clip list.
If you want to remove a clip, right-click a clip and choose Remove.
5Click OK.
Synchronizing video and audio clips in multi-camera projects
You can synchronize your video and audio clips so that they are all aligned to the same
moment in time. The easiest way to do this is to let the Multi-Camera Editor analyze the
audio for each of the clips and sync the clips automatically. If your recordings are planned,
Multi-Camera Editing 261
you can use a special audio signal, such as clapping your hands (similar function to using a
clapper board in professional shoots). Some events have natural audio cues that help the
sync process, such as music performances or sporting events with a start signal.
You can also synchronize the clips by using markers, shooting time, or you can adjust them
manually by dragging the clips in the timeline to the timecode you want. For example, you
could use a common visual element, such as a flash to sync videos manually. These methods
are helpful if your video footage doesn’t include audio or the audio waveforms within the
clips are difficult to sync, or you simply prefer to align the clips manually.
In some cases you might need to use a combination of the synchronization options,
depending on your source footage.
To synchronize video and audio clips in the Multi-Camera Editor
1After importing your clips to the Multi-Camera Editor, choose one of the following
options from the Source Sync Type drop-list on the toolbar:
• Audio — Click the Sync button next to the drop-list to synchronize the clips in the
timeline. Note: Your video clips must include audio to use this option.
• Marker — Select a clip in the timeline, play the clip or scrub to the position you want
by using a visual cue, and click the Set/Remove Marker button on the toolbar to
add a marker. After a marker has been added to each clip, click the Sync button on
the toolbar to align the clips according to the markers.
• Shooting Date/Time — Click the Sync button to synchronize the clips according
the shooting date and time as indicated by the metadata recorded by the camera.
Note: The clocks must be in sync on the cameras to get accurate results.
• Manual — In the timeline, drag each clip to the position you want by using a visual
cue.
Note: If there are clips that you want to exclude from the synchronization process, click
the Exclude from Synchronization button on the corresponding track. Click the
button again (Enable for Synchronization ) to include the track.
Tip: After you synchronize your clips, you can use the Lock buttons on the
individual tracks to ensure that the tracks stay synchronized during the editing process.
Choosing an audio source for your multi-camera project
After you import and synchronize your clips in the Multi-Camera Editor, you can make some
decisions about the audio for your project. For example, if you have four video clips, and they
all include audio, it is recommended that you listen to each clip individually, and choose the
one that has the best sound quality. You can also choose to use a separate audio clip.
262 Pinnacle Studio
Other options let you use the audio from all clips, none of the clips, or switch audio (Auto)
when you switch cameras, a choice you might make to take advantage of the audio captured
with sport or other action footage.
By default, the audio for Camera 1 is selected.
To choose an audio source for your multi-camera project
1With your clips displaying in the Multi-Camera Editor timeline, on the toolbar, click the
Main Audio box and choose a Camera or Audio clip. Click Play to listen the quality
of the audio for each clip.
2Choose the Camera or Audio clip that you want to use for your project. The audio from
all other tracks will be muted.
Other options include:
• Auto — Switches the audio to match the clip that you are playing
• None — No audio is included in the multi-camera project. You can add your audio in
Pinnacle Studio, after you leave the Multi-Camera Editor.
• All Cameras — Plays audio from all clips, simultaneously
Tip: If you plan to edit the audio in Pinnacle Studio after you exit the Multi-Camera
Editor, please note that the setting you choose in Main Audio determines what tracks
will be available as audio tracks in Pinnacle Studio.
Editing multiple clips to create a multi-camera compilation
After you import and synchronize your clips in the Multi-Camera Editor, and choose your
audio settings, you can start editing your clips to create a multi-camera compilation. The
multi-view pane in the Multi-Camera Editor helps make this task fun and easy. Much like a
DJ switches and blends tracks to create a new music compilation, the Multi-Camera Editor
lets you visually switch between video tracks and blend them together with transitions.
If you notice that playback is slow or lacks smoothness, you can check the Smart Proxy
settings. For more information, see “Using Smart Proxy for a faster, smoother editing
experience” on page 266.
After you build your basic compilation using the multi-view pane and the main preview pane,
you can fine-tune your project in the Multi-Camera track and take advantage of editing
features, such as transitions and a clip splitting tool. Note that some types of edits, such as
rotating a clip, must be done in the individual Camera tracks before you add the clips to your
compilation in the Multi-Camera track.
Multi-Camera Editing 263
To create a multi-camera compilation
1With your clips in the Multi-Camera Editor timeline, click the Play button below the
main preview pane.
Footage from all cameras can be viewed simultaneously in the multi-view pane.
2To start building your project, as the videos play in the multi-view pane, click the preview
for the camera that you want to show.
The footage from the selected camera displays in the main preview pane.
The multi-view pane appears to the left of the main preview pane. Footage from all
cameras can be viewed simultaneously in the multi-view pane.
3To switch cameras, click a different camera preview in the multi-view pane. You can
switch cameras as many times as you like. You can review your project in the Multi-
Camera track.
The Multi-Camera track in the timeline displays the camera segments in your
compilation.
If you want to adjust the zoom level for the Multi-Camera track, drag the zoom level
slider in the lower left corner of the timeline.
4After you have completed a first pass using the multi-view pane, you can refine the
timing for a switch in the Multi-Camera track by playing your project or scrubbing to
the position that you want to edit, clicking a camera segment and dragging the edge
until the frame where you want the switch to occur appears in the main preview pane.
To switch a segment in the Multi-Camera track to a different Camera, right-click the
segment and choose a different Camera from the context menu or click the camera
preview in the multi-view pane.
264 Pinnacle Studio
To add a transition between multi-camera segments
1In the Multi-Camera track, click a segment.
2On the toolbar, click the Transition button . The button has a yellow outline when
active and a transition icon (“AB”) appears in the timeline
If the button is grayed out, gently drag the edge of a segment by a small amount to
reactivate the button.
A Crossfade transition is applied by default.
3On the toolbar, type a time in the Duration box for the transition.
Tip: You can add black or blank segments to your project. You can change a
segment that is already in the Multi-Camera track to a black or a blank by right-
clicking the segment and choosing Black or Blank. You can apply a transition
between a video segment and a Black segment. To add a black or blank segment
while playing your project, instead of clicking a camera preview in the multi-view
pane, click the Black (B) or Blank (0) swatch to the right of the camera previews.
To split a clip in the Multi-Camera Editor
1In the timeline, select a clip in the Multi-Camera or PIP track and click Play or drag the
scrubber to the position where you want to make the cut.
2Click the Split Clip button.
Note: Splitting a clip is useful when you want to replace part of a segment with a
different camera, essentially adding another switch.
Adding picture-in-picture (PIP) in the Multi-Camera Editor
You can add a picture-in-picture (PIP) effect to your multi-camera project. PIP lets you play
a video in one area of the screen while the main video plays in the background.
Multi-Camera Editing 265
The image above illustrates the concept of picture-in-picture (PIP).
To add a picture-in-picture (PIP) effect to your multi-camera project
1After you create your multi-camera compilation in the Multi-Camera track, click the Play
button or scrub to the position in the Multi-Camera track where you want to add a
PIP effect.
2In the timeline, click the circle on the PIP track to activate the track.
The circle will have a red fill when active .
3In the multi-view pane, click the preview for the Camera you want to use.
The segment is added to the PIP track.
4To set the end point for the segment, in the PIP track, click the end of the segment and
drag it to the position you want in the timeline.
5To choose a corner for the PIP, click the Change PIP Position button on the PIP
track and choose the position you want.
The PIP position can be seen in the main preview pane.
Managing multi-camera source files
You can use the Source Manager to add and remove video and audio clips from tracks in
your multi-camera project. You can also view information about the clips, such as the
duration of the clip, clip location, and you can lock or unlock tracks.
To add, remove or manage clips with the Source Manager
1In the upper left corner of the timeline, click the Source Manager button .
2In the Source Manager dialog box, do any of the following:
• Click the Lock/Unlock button for a track to unlock a track for editing or to lock a track
to prevent editing.
266 Pinnacle Studio
• To add a clip to a track, select a track, click the Add Clips button , navigate to the
clip you want to add, and click Open. The clip appears in the numbered list for the
track.
• To delete clips from a track, select a track, in the list of clips for that track, mark the
check box next to the clips that you want to delete, and click the Delete button .
Saving and exporting your multi-camera project
When you finish building your multi-camera project, you can save it so that it can be edited,
exported, and shared from Pinnacle Studio.
Important! It’s recommended that you finish your multi-camera editing before you exit the
Multi-Camera Editor. Changes that you make to your project in another editor might not
be supported if you re-open the project in the Multi-Camera Editor. This means that some
changes will be reverted.
To save your multi-camera project
• Click the OK button at the bottom of the window to save your project to the current
name (as indicated in the upper-right corner of the window). This also closes the Multi-
Camera Editor.
If you want to rename your project, before you exit, click the Settings button ,
choose Save As, and type a name in the Project name box.
Your multi-camera project appears in the Pinnacle Studio Library.
To open your multi-camera project (.mcam) in Pinnacle Studio, in the Edit workspace,
drag your multi-camera project from the Library to the Timeline. By default, the project
appears as a composite clip. To expand the clip to work with individual tracks, right-click
the clip in the Timeline and choose Edit Movie.
Using Smart Proxy for a faster, smoother editing experience
The main purpose of Smart Proxy is to provide a more fluid editing and previewing
experience when working with large, high resolution video files.
Smart Proxy creates lower resolution working copies of larger source files. These smaller
files are called “proxy” files. Using proxy files speeds up editing of high resolution projects
(for example, projects that have HDV and AVCHD source files).
Proxy files are source-dependent rather than project-dependent. In other words, proxy files
can be shared among different projects.
When you render a video project, the original, high-quality video source files are used.
Multi-Camera Editing 267
You can use the Smart Proxy Manager to enable or disable Smart Proxy, change the default
resolution threshold that enables Smart Proxy, and access the Smart Proxy File Manager
and Smart Proxy Queue Manager to manage existing and future proxy files.
To enable or disable Smart Proxy
• Click the Settings button > Smart Proxy Manager > Enable Smart Proxy.
Note: The Smart Proxy feature is enabled by default if the computer’s hardware can
support the feature.
To set the resolution threshold and location for Smart Proxy files
1Select Settings > Smart Proxy Manager > Settings.
2In the Smart Proxy dialog box, set a resolution threshold for the creation of proxy files and choose a proxy folder.
To manage proxy files
1Select Settings > Smart Proxy Manager, and choose one of the following options:
• Smart Proxy File Manager — Lists the source and proxy files. You can use this
manager to delete proxy files you no longer need.
• Smart Proxy Queue Manager — Lists source files for which proxy files will be
generated (according to the current settings)
268 Pinnacle Studio
17
3D Title Editor 269
3D Title Editor
You can use the 3D Title Editor to create three-dimensional titles and objects for your movie
projects. You can control the look of the text as well as how it moves across the screen. For
example, you can create a metallic gold title that spins on and off screen or you can create
a stone-textured title where each letter or word scales and moves independently. You can
also use preset objects or create your own 3D objects.
For information about standard (2D) titles, see “Titles” on page 155.
This section contains the following topics:
• 3D Title Editor workspace
• Creating and editing 3D titles
•3D objects
3D Title Editor workspace
The 3D Title Editor window consists of the following components:
270 Pinnacle Studio
Areas of the 3D Title Editor: 1. Presets panel; 2. Player panel; 3. Settings panel; 4. Timeline panel;
5. Object List (Layers); 6. Timeline toolbar
1Presets panel: Lets you get started quickly with ready-made Text Objects and styles,
including lighting, camera, and material options.
2Player panel: Lets you view your 3D text and work interactively with it to set position,
orientation, and more. Use the playback controls to preview your 3D title.
3Settings panel: Customize your text by choosing settings for Text, Color, Texture, Bevel,
Opacity, Lights and more.
4Timeline panel: Lets you add, edit, and remove keyframes for the text object properties.
You can also add and delete text object layers, access the Object List, and use the tools
and controls on the Timeline toolbar. The scrubber in the Timeline panel is synchronized
with the Player panel.
5Object List: If you have multiple text objects in your project (separate words or letters,
for example), you can choose which object you want to display in the timeline by using
the Object List drop-down menu above the keyframe headers. The name of the layer is
determined by the text that you type in the Text Settings box.
6Timeline toolbar: Lets you type specific values for keyframes and switch between Move,
Rotate, and Resize modes so you can make interactive changes in the Player panel. You
can also add or delete text object layers from the timeline.
Creating and editing 3D titles
Here are the basic steps for creating a 3D title:
3D Title Editor 271
1Choose a preset text object or work with the default text object.
2Modify the settings for the text object to get the look you want.
3In the Timeline panel, start setting keyframes so you can apply changes to the style and
movement of the text.
4Preview your project in the Player panel, adjusting settings and keyframes to get the
effect you want.
5Click OK to return to the main application, where your 3D title appears on the timeline.
Experimenting is a good way to learn what is possible in terms of text styles and movements.
To create a 3D title
1In Pinnacle Studio, do one of the following:
• Click the Create 3D Title button in the timeline toolbar.
• In the Library panel, choose the Title > 3D Title category, drag a title to the timeline,
and double-click it.
The 3D Title Editor opens.
2In the Settings panel, replace the default text by typing your text in the Text Settings
box.
If you want to have more than one text object (so you can apply different properties to
letters or words), in the Presets panel, choose Objects > Text Objects, and click a preset
thumbnail for each object that you want to add, using the Text Settings box to type the
final text for each object. At any point, you can select a specific text object for editing by
clicking the object in the Player panel.
3In Text Settings area of the Settings panel, format the text by using any of the spacing,
alignment, font, and size options.
4To determine the properties for your title in the starting position, in the Timeline panel,
click the name of the property that you want to adjust and do one of the following:
• For Position, Orientation (Rotate), and Scale (Resize), drag in the Player panel or for
precise settings, type values in the X, Y, and Z boxes on the Timeline toolbar.
• For Color and Opacity, in the Settings panel, adjust the settings in the Color and
Opacity areas.
If you want to adjust the Texture, Bevel, Lights, or Camera settings for the title, adjust
the settings in the corresponding area or in the Presets panel, choose presets from
Scene and Object Style. These settings do not have keyframes.
5In the Timeline panel, set any additional keyframes (for example your end point
keyframes), and set the properties you want for each keyframe.
If you simply have a start and end keyframe, a gradual change is applied between the
two keyframes. Set more frequent keyframes for faster changes.
6Use the playback controls in the Player panel to preview your 3D title.
272 Pinnacle Studio
7When you are finished editing your 3D title, click OK to close the 3D Title Editor
window. Your title is inserted in the Timeline.
3D objects
You can add 3D (three-dimensional) objects to your video projects in the same way that you
can add 3D text.
To add a 3D object
1In Pinnacle Studio, click the Create 3D Title button in the timeline toolbar.
The 3D Title Editor window opens.
2Do one of the following:
• In the Presets panel on the left, open the Objects section and choose an object from
one of the following categories:
•Extruded Objects
•Lathe Objects
• In the Timeline, click one of the following buttons on the toolbar :
•Add Graphic
•Add Lathe
•Add Geometric
3In the Settings panel, adjust the settings you want.
If you want to perform advanced editing to the shape of the object, click the Edit Object
button, and in the editor window that appears, use the tools available to modify the
shape of the object.
4Modify the object’s properties and movement the same way you would for 3D text. For
more information, see “Creating and editing 3D titles” on page 270.
Color correction and color grading 273
18
Color correction and color
grading
Pinnacle Studio includes a collection of color adjustment tools that let you correct the color
in video clips or let you get creative with color grading to achieve a specific mood or look.
The color controls available in Pinnacle Studio depend on the version of the application you
have.
This section contains the following topics:
• Using the Color controls
•Tone Curve
• HSL Tuning
• Color Wheel
• Video scopes
Using the Color controls
When you making color adjustments, you have access to the Color Grading view in the Player
panel.
In addition to creating your own creative look, you can import LUT profiles (lookup table).
In many cases, you can achieve good results using the Basic controls, but the other color
correction and color grading tools offer more precise control. Sometimes it is a matter of
preference, sometimes it is a matter of one tool providing an easier way to get a specific
result.
Video Scopes
Video scopes offer a way of evaluating the tone and color of your video clip by displaying
the color data for the clip in different visual representations. Because the information is data-
based, scopes can help you adjust color and tone without relying solely on the color
calibration of the screen that you’re working with. For more information about Video scopes,
see “Video scopes” on page 276.
To access color correction and color grading controls
1Select a clip in the Timeline.
274 Pinnacle Studio
2Open the Editor panel, click Color, and choose one of the following options:
• Basic
• Tone Curve
• HSL Tuning
• Color Wheel
To apply a LUT Profile
1Select a clip in the Timeline.
2Open the Editor panel, click Color > Basic.
3At the bottom of the Basic Settings area, click the drop-down menu beside LUT Profile,
and choose a LUT profile or click Browse and navigate to the file you want to apply.
Tone Curve
The Tone Curve lets you perform color and tonal corrections by adjusting either individual
color channels or the composite (RGB) channel.
The x-axis of the graph represents the original tonal values (from highlights on the right, to
shadows on the left); the y-axis of the graph represents the adjusted tonal values (from dark/
less color at the bottom, to light/more color at the top).
The diagonal line on the graph is what you adjust to create your “curve”. Moving the curve
up and to the left lightens the clip and increases the color in any channel; moving the curve
down and to the right darkens the clip or decreases the color of a given channel. If you have
a clip with a blue cast, for example, you can decrease the blue in the image by selecting the
Blue channel and moving the curve down and to the right.
You can add one or more nodes to the curve, to give you more precise control over the areas
that you want to adjust.
To adjust color and tone with Tone Curve
1Open the Editor panel, click Color > Tone Cur ve.
2Below the curve graph, select one of the following color channel options:
x-axis
y-axis
Color correction and color grading 275
• RGB — lets you edit the red, green, and blue channels in a combined histogram
• Red — lets you edit the red channel only
• Green — lets you edit the green channel only
• Blue — lets you edit the blue channel only
3Drag points on the graph to adjust the relationship between the Input levels (the
brightness of the original pixels) and the Output levels (the brightness of the corrected
pixels).
4If you want to add a point to the curve, click along the line where you want to add the
point.
Note: At any point you can reset the curve by clicking Reset All.
HSL Tuning
HSL (Hue, Saturation, Lightness) is a powerful color adjustment tool that lets you interactively
adjust colors in a clip. This lets you target specific colors.
The interactive control (white cursor) on the Color Grading view in the Player panel lets
you drag in the image to adjust specific colors. The original source clip colors appear on
the left.
To adjust color with HSL Tuning
1Open the Editor panel, click Color > HSL Tuning.
2Click one of the following tabs:
• Hue
• Saturation
• Lightness
3Do one of the following:
• Click the interactive color tool , in Player panel ensure that the Color Grading
view is displayed, and drag across a color in the clip that you want to adjust. Dragging
to the left, moves the corresponding sliders to the left; dragging to the right, moves the
corresponding sliders to the right.
• Adjust the individual sliders to set the values you want.
276 Pinnacle Studio
Note: You can return to the original clip settings by clicking Reset All. You can also reset
an individual slider by double-clicking the label for the slider.
Color Wheel
The Color Wheel feature lets you adjust the tone of your image by adjusting the slider next
to the Color Shift (applies to all areas of the image), Highlights, Midtones, or Shadows wheel.
The wheels let you adjust the colors for specific areas of exposure in the image. For example,
you could apply a blue cast to the shadow areas of video clip.
To adjust the tone or color of a clip with the Color Wheel
1Select a clip in the Timeline.
2Open the Editor panel, click Color > Color Wheel.
3To adjust the brightness of the clip, drag the slider to the left of the Color Shift (entire
image), Highlights, Midtones, or Shadows wheel. Dragging the slider up increases
brightness for the corresponding areas of the selected video frame. Dragging the slider
down decreases brightness.
4To adjust color, drag the color indicator circle (in the middle of the color wheels) to set a
color for the corresponding areas. For example, to remove a blue color cast from dark
areas of a video clip, drag the color indicator for the Shadows wheel towards the yellow
side of the circle.
Video scopes
Pinnacle Studio offers the following video scopes to help you evaluate the color and tone
information in your video clips. As you make color adjustments, the information on the
scopes changes, so you can evaluate the impact of the change in the Color Grading view in
the Player panel or by using the color data depicted in the video scope.
Waveform
A waveform scope displays the chrominance in a video clip using a graph where the vertical
axis represents intensity, from zero at the bottom to 100% at the top.
Color correction and color grading 277
A Waveform scope shows the distribution of colors from zero intensity at the bottom to
100% intensity at the top
Vector - Color (Vectorscope)
Vectorscopes have been used by video professionals for a wide range of purposes, including
evaluating if the color intensity of video footage was within standard broadcast range. The
circle of the color vector scope displays chrominance (color intensity), from zero intensity at
the center of the circle, to 100% intensity towards the edge of the circle. The circle is divided
into color areas, making it easy to see the color dispersion for the currently selected frame
in the video clip. Small grids towards the edge of the circle are used to mark the intensity
limit — pixels that appear beyond the targets are not considered broadcast safe.
Selective Vectorscope: This feature is often used to identify and correct skin tone in a video.
By using a brush to select skin tones in a video frame, you can use the vectorscope to ensure
that the skin tones are aligned along the skin tone line.
Histogram
A histogram lets you display the tonal and color range of a video. Evaluating the distribution
of pixels for a selected frame in your video lets you determine if there is a color cast or in the
case of underexposed footage, it can help you determine if there is enough image data in
the shadow areas to correct the imbalance.
Skin Tone Line
278 Pinnacle Studio
The histogram displays the distribution of pixels for the clip, from dark (shadows) to
light (highlights) along the horizontal axis.
RGB Parade
The RGB Parade scope lets you view the red (R), green (G) and blue (B) components of your
video clip in a graph, where the vertical axis represents zero intensity (bottom) to 100%
intensity (top).
RGB Parade lets you evaluate the colors relative to each
To display a video scope
1Select a clip in the Timeline.
2Open the Editor panel, and click Color.
3Enable the Show Video Scope check box at the top of the panel.
4From the drop-down menu, choose one of the following videoscopes:
• Waveform
• Vector - Color
• Histogram
• RGB Parade
Color correction and color grading 279
To use Selective Vectorscope to display and correct skin tone
1Select a clip in the Timeline.
2Open the Editor panel, and click Color.
3Enable the Show Video Scope check box at the top of the panel.
4From the drop-down menu, choose Vector - Color.
5Below the vectorscope, click Selection Brush.
6In the Color Grading preview, drag the brush across the areas of skin.
The colors selected by the brush display on the vectorscope.
7Use any of the following controls below the vectorscope to adjust the selected area:
Note: Depending on the app window size, you might need to scroll (horizontal) to see
all the controls.
• Eraser: In the preview, drag over the area you want to remove from the selection.
• Brush Size: Drag the slider to adjust the diameter of the Selection Brush or Eraser.
• Clear Selection: Use this button to clear all brushstrokes and redo your selection.
The Selective Brush mode was used to brush over skin areas in the preview
(brushstrokes outlined in yellow). On the left, the vectorscope shows that the selected
skin colors appear directly on the skin line
8Using the Skin Tone Line as a guide (skin tones should fall along the line), make any color
adjustments.
9When you are finished adjusting the colors, click Clear Selection to deactivate Selective
Vectorscope mode (yellow Selective Vectorscope is Active label disappears) and to
return to viewing all clip colors in the vectorscope.
Skin Tone Line
280 Pinnacle Studio
19
Appendix A: Troubleshooting 281
Appendix A: Troubleshooting
Before you begin troubleshooting, take some time to check your hardware and software
installation. To review the system requirements, see “System requirements” on page 299.
Update your software: We recommend installing the latest operating system updates for
Windows.
Free space: Make sure you have 10 GB or more on your boot drive for paging.
Check your hardware: Ensure that all installed hardware is functioning normally with the
latest drivers, and is not flagged as having a problem in Device Manager (see below). If any
devices are flagged you should resolve the issue before starting the installation.
Get the latest drivers: We also highly recommend installing the latest drivers for your
graphics card. Each time it is launched, Pinnacle Studio verifies that cards support DirectX.
Opening Device Manager: The Windows Device Manager, which lets you configure your
system’s hardware, has an important role in troubleshooting.
The first step in accessing Device Manager is to right-click on My Computer, and then select
Properties from the context menu. This opens the System Properties window. The Device
Manager button is listed on the left panel.
Ensure that all installed hardware is functioning normally with the latest drivers, and that
nothing has been flagged in Device Manager with the yellow exclamation mark icon
indicating an error condition. In the case of a driver problem that you cannot resolve yourself,
contact the device manufacturer or your computer vendor for assistance.
This section contains the following topics:
• Contacting support
•Forums
• Compatibility with past content
• Capture hardware compatibility
• Serial number information
Contacting support
Learn about all of your support options on our website:
www.pinnaclesys.com/support
282 Pinnacle Studio
Most common issues are already documented in our Knowledgebase and we encourage
you to use this option first. To search the support Knowledgebase effectively, please include
the name of the product in your query.
Forums
Please visit our discussion forums to join the conversation on Pinnacle Studio. Scroll down
the forum list to find the forum in your language:
http://forums.pinnaclesys.com/forums/default.aspx
Compatibility with past content
Much, but not all, of the additional creative content from previous versions Pinnacle Studio
can be used directly in the current version of Pinnacle Studio, as can many content offerings
from third-party providers. Some of these are included in the product itself. A few of the
third-party content packages require a paid upgrade to work with Pinnacle Studio. For some
others, no compatible version has been released. For more information, visit the
Knowledgebase available from www.pinnaclesys.com/support.
Capture hardware compatibility
Pinnacle Studio has been tested and found to work successfully with a wide variety of video
capture hardware. However, some older devices are not supported.
Supported hardware
The following capture devices will work with all versions of Pinnacle Studio.
USB-based
•710-USB
•510-USB
•700-USB
•500-USB
• MovieBox Deluxe
•DVC-90
•DVC-100
•DVC-101
•DVC-103
•DVC-107
• DVC-130 (no 64-bit drivers available)
• DVC-170 (no 64-bit drivers available)
Appendix A: Troubleshooting 283
PCI-based
• 700-PCI (Pinnacle Studio Deluxe 2)
• 500-PCI (Pinnacle AV/DV)
•Any 1394 card
Unsupported hardware
The following list of hardware came with older versions of Studio and is no longer in warranty
or supported.
•DC10
•DC10 Plus
•MovieBox DV
•Dazzle
™ DVC 80, 85
•Linx
•MP 10
•S400
Serial number information
For a product that you downloaded, the serial number is shown on the confirmation page at
the end of the ordering process, and in the confirmation email sent at that time.
If you own a physical copy of the product, the serial number is shown on either the inside or
the outside of the DVD case, if one is included; and on the outside of the paper sleeve
otherwise.
If you have lost your serial number and have registered your software, visit http://
apps.pinnaclesys.com/cdb/register/getserialnumbers.aspx.
General troubleshooting
Here are some further avenues to explore if you are having trouble running the application.
1Restart the computer: Unstable software behavior of undetermined cause can often be
fixed by resetting the system. This is almost always a good place to start when
troubleshooting.
2Wait a few minutes: If Pinnacle Studio still won’t launch, wait a few minutes to let it
finish launching. On some computers it may take a little while for the launch to complete.
3Update Studio: When troubleshooting any problem, it is always best to use the latest
version of the software if possible.
4Disconnect capture hardware: If possible, unplug any capture hardware and try
launching Pinnacle Studio again. If you can’t launch with your webcam plugged in, try it
284 Pinnacle Studio
unplugged, and vice- versa. You may have to set the webcam up in the same way every
time you launch Studio.
5Download and reinstall hardware drivers: During the Studio software launch process
we do check that you have a DirectX compatible graphics and sound card. Download
and reinstall the latest version of the driver for the graphics card that is on your system. If
you need assistance with this step, please contact the graphics card manufacturer.
6End background tasks: There are a couple ways to accomplish this. One is to use start-
up management software to assist in eliminating unnecessary programs that launch on
Windows start- up. Many shareware and freeware programs of this type have been
created. Use an Internet search engine such as Google or Yahoo to search for ‘startup
managers’. We don’t endorse any particular one, but recommend you try a couple to see
which one works best for you.
Alternatively, you can also use the Microsoft System Configuration Utility (msconfig),
which is part of Windows, to disable start-up programs.
Whichever route you take, we recommend disabling all programs and then re-enabling
them one at a time until the conflicting program is located.
7Reinstall: If all of the above fail, you may want to try uninstalling Pinnacle Studio from
the Control Panel “Programs and Features” list. Once it is uninstalled, reinstall
Pinnacle Studio and try launching again.
20
Appendix B: Videography 285
Appendix B: Videography
To shoot good video, then create from it an interesting, exciting or informative movie, is
something anyone with a little basic knowledge can achieve.
Starting from a rough script or shooting plan, the first step is to shoot your raw video. Even
at that stage, you should be looking ahead to the editing phase by making sure you will have
a good set of shots to work from.
Editing a movie involves juggling all your fragments of footage into some kind of harmonious
whole. It means deciding on the particular techniques, transitions and effects that will best
express your intent.
An important part of editing is the creation of a soundtrack. The right sound – dialog, music,
commentary or effect – can work with the visuals to create a whole greater than the sum of
its parts.
Pinnacle Studio has the tools you need to create professional-quality home video. The rest
is up to you – the videographer.
This section contains the following topics:
• Creating a shooting plan
• Editing a video project
• Rules of thumb for video editing
• Soundtrack production
• Giving your project a title
Creating a shooting plan
It is not always necessary to have a shooting plan, but it can be very helpful for large video
projects. The plan can be as simple or as complex as you like. A simple list of planned scenes
might be enough, or you might also want to include some notes regarding detailed camera
directions or prepared dialog. The really ambitious can go all the way to a full-fledged script
in which every single camera angle is described in detail along with notes about duration,
lighting and props.
286 Pinnacle Studio
Draft of a simple shooting plan
Editing a video project
Using varying perspectives
An important event should always be shot from varying perspectives and camera positions.
Later, during editing, you can use the best camera angles alone or in combination. Make a
conscious effort to tape events from more than one camera angle (first the clown in the
circus ring, but then also the laughing spectator from the clown’s point of view). Interesting
events can also take place behind the protagonists or the protagonists may be seen in a
reverse angle. This can be helpful later when trying to establish a sense of balance in the
movie.
Close-ups
Don’t be stingy with close-ups of important things or persons. Close- ups usually look better
and more interesting than long shots do on a television screen, and they work well in post-
production effects.
Long shots / Semi-long shots
Long shots provide the viewer with an overview and establish the scene of the action.
However, these shots can also be used to tighten longer scenes. When you cut from a close-
up to a long shot, the viewer no longer sees the details, and it is thus easier to make a
Title: Jack on the kart track
No. Camera angle Text / Audio Duration Date
1Jack's face with helmet, camera
zooms out
“Jack is driving his first race...”.
Noise of engines in the background.
11 sec Tue.
06/22
2 On the starting line, driver's
perspective; low camera position.
Music is played in the hall, noise of
engines.
8 sec Tue.
06/22
3 Man with a starting flag is
accompanied into the scene to
the start position. Camera stays,
man goes out of the scene after
start.
“Let's go...”.
Carry out the start, add starting
signal.
12 sec Tue.
06/22
4 Jack on the start position from the
front, camera follows, shows Jack
up to the bend, now from behind.
Music from the hall no longer
audible, fade up same music from
CD over noise of engines.
9 sec Tue.
06/22
5...
Appendix B: Videography 287
chronological jump. Showing a spectator in a semi-long shot can also provide visual relief
from the main action, and the opportunity of a transition away from the action if desired.
Complete actions
Always shoot complete actions with a beginning and an end. This makes editing easier.
Transitions
Cinematic timing requires some practice. It is not always possible to film long events in their
entirety, and in movies they often have to be represented in severely abbreviated form.
Nonetheless, the plot should remain logical and cuts should almost never call attention to
themselves.
This is where the transition from one scene to the next is important. Even if the action in
neighboring scenes is separated in time or space, your editorial choices can make the
juxtaposition so smooth that the viewer bridges the gap without conscious attention.
The secret to a successful transition is establishing an easily-felt connection between the two
scenes. In a plot-related transition, the connection is that of successive events in an unfolding
story. For example, a shot of a new car might be used to introduce a documentary about its
design and production.
A neutral transition doesn’t in itself imply a story development or a change of time or place,
but can be used to smoothly connect different excerpts from a scene. For example, cutting
away to an interested audience member during a podium discussion lets you then cut back
unobtrusively to a later point in the same discussion, omitting the part between.
External transitions show something apart from the action. For example, during a shot inside
the marriage registry, you might cut to the exterior of the marriage registry, where a surprise
is already being set up.
Transitions should underscore the message of the film and must always fit the respective
situation, in order to avoid confusing viewers or distracting from the actual story line.
Logical sequence of action
The shots strung together during editing must interact appropriately in relation to the action.
Viewers will be unable to follow the events unless the story line is logical. Capture viewer
interest from the very beginning with a fast-paced or spectacular start and maintain that
interest until the very end. Viewers can lose interest or become disoriented if scenes are
strung together in a manner that is illogical or chronologically false, or if scenes are too hectic
288 Pinnacle Studio
or short (under three seconds). There should be some continuity of motif from one scene to
the next.
Bridging the gaps
Make an effort to bridge the gaps from one filming location to another. You can use close-
ups, for example, to bridge chronological jumps, zooming in on the face, then back out after
a few seconds onto a different scene.
Maintain continuity
Continuity – consistency of detail from one scene to the next – is vital in providing a satisfying
viewing experience. Sunny weather does not fit with spectators who opened their umbrellas.
Tempo of cuts
The tempo at which a film cuts from one scene to the next often influences the message and
mood of the film. The absence of an expected shot and the duration of a shot are both ways
of manipulating the message of the film.
Avoid visual disjunctions
Stringing together similar shots in succession may result in visual disjunctions. A person may
be in the left half of the frame one moment and in the right half of the frame the next, or
may appear first with and then without eyeglasses.
Do not string together pan shots
Pan shots should not be strung together unless they have the same direction and tempo.
Rules of thumb for video editing
Here are some guidelines that may be helpful when you come to edit your movie. Of course,
there are no hard and fast rules, especially if your work is humorous or experimental.
• Do not string together scenes in which the camera is moving.
• Pans, zooms, and other moving shots should always be separated by static shots.
• Shots that follow one another should be from different camera positions. The camera
angle should vary by at least 45 degrees.
• Sequences of faces should always be shot alternately from varying angles of view.
Appendix B: Videography 289
• Change perspectives when shooting buildings. When you have similar shots of the same
type and size, the picture diagonal should alternate between front left to rear right and
vice versa.
• Make cuts when persons are in motion. The viewer will be distracted by the ongoing
motion and the cut will go almost without notice. In particular, you can cut to a long shot
from the middle of the motion.
• Make harmonious cuts; avoid visual disjunction.
• The less motion there is in a shot, the shorter it should be. Shots with fast movements
can be longer.
• Long shots have more content, so they should also be shown longer.
Ordering your video sequences in a deliberate manner not only permits you to produce
certain effects, but even enables you to convey messages that cannot or should not be
shown in pictures. There are basically six methods of conveying messages through cuts. Let’s
look at each in turn.
Associative cuts
Shots are strung together in a certain order to trigger associations in the mind of the viewer,
but the actual message is not shown. Example: A man bets on a horse race and, in very next
scene, we see him shopping for an expensive new car at a car dealership.
Parallel cuts
Two actions are shown in parallel. The film jumps back and forth between the two actions;
making the shots shorter and shorter until the end. This is a way of building suspense until
it peaks. Example: Two different cars drive from different directions at high speed toward the
same intersection.
Contrast cuts
The film purposely cuts unexpectedly from one shot to another, very different shot, in order
to point up the contrast to the viewer. Example: A tourist lying on the beach; the next shot
shows starving children.
Substitutionary cut
Events that cannot or should not be shown are replaced by other events (a child is born, but
instead of childbirth, the blossoming of a flower bud is shown).
290 Pinnacle Studio
Cause and effect cuts
Shots are related by virtue of cause and effect: without the first shot, the second would be
incomprehensible. Example: A man fights with his wife and, in the very next shot, is seen
sleeping under a bridge.
Formal cuts
Shots that vary in content can be strung together if they have something in common – the
same shapes, colors, or motions, for example. Examples: A crystal ball and the earth; a yellow
raincoat and yellow flowers; a falling skydiver and a falling feather.
Soundtrack production
Soundtrack production is an art, but it is an art one can learn. Of course, it is no easy task to
create a superb narration, but short, informative comments are often very helpful for the
viewer. Whatever narration there is should sound natural, expressive and spontaneous, not
wooden or stiff.
Keep comments brief
A general rule applicable to all commentary is that less is more. Pictures should speak for
themselves, and things that are evident to viewers from the pictures require no comment.
Preserve original sounds
Spoken commentary should be mixed with both the original sounds and the music in such
a way that the original sounds can still be heard. Natural sound is part of your video footage
and should not be cut away altogether if at all possible, because video without natural sound
can easily seem sterile and lacking in authenticity. Frequently, however, the recording
equipment captures noises from aircraft and cars that do not appear in the scene later.
Sounds such as these, or loud wind noises, which can be distracting or annoying, should be
masked, filtered or replaced with appropriate narration or music.
Select appropriate music
Appropriate music adds a professional finishing touch to your movie and can do a lot to
reinforce the message of a video. The music selected, however, should always be appropriate
to the message of the film. This is sometimes a time-consuming matter and a challenge, but
greatly appreciated by the viewer.
Appendix B: Videography 291
Giving your project a title
The title should be informative, describe the contents of the movie, and arouse interest. If it’s
also a striking turn of phrase, so much the better.
When it comes to presentation, the Title Editor gives almost unlimited scope for creative
visuals. It’s one place in your production where you’re not tied to the reality of actual footage,
so you can let your fancy run free.
Of course, the ultimate goal is to communicate, so some basics almost always hold true. For
instance, a concise title in a large, legible font is likelier to get its message across than one
that is over- decorated or too long.
Title colors
The following combinations of background and text are easy to read: white with red, yellow
with black, and white with green. Exercise caution with very white titles on a very black
background. Some video systems are unable to handle contrast ratios in excess of 1:40 and
are unable to reproduce such titles in detail.
Time on screen
As a rule of thumb, a title should be displayed long enough to be read twice. Allow about
three seconds for a title with ten letters. Allow an additional second of on-screen time for
every five additional letters.
‘Found’ titles
Besides postproduction titles, natural titles like directional signs, street signs or title pages of
local newspapers also create interesting possibilities.
292 Pinnacle Studio
21
Appendix C: Keyboard shortcuts 293
Appendix C: Keyboard shortcuts
The tables below display the default hotkey assignments in Pinnacle Studio. Keys can be
individually remapped in the Pinnacle Studio Control Panel. The defaults can also be
restored there, either individually or for all the shortcuts at once. For more information, see
“Keyboard shortcut settings” on page 248.
The terms Left, Right, Up and Down in the tables refer to the arrow (cursor) keys.
General shortcuts
Ctrl+4 Close focused window
Ctrl+5 Open Title Editor (from Movie Editor)
Ctrl+6 Open Exporter
Ctrl+ I Open Importer
Ctrl+S Save project, title or menu
Alt+F4 Close application
Shift+F10 Access context menu
Ctrl+Z Undo
Ctrl+Y Redo
Ctrl+A Select all
Shift+Ctrl+A Deselect all
Ctrl+C Copy to clipboard
Ctrl+V Paste from clipboard
Ctrl+X Cut to clipboard
End Go to end
Home Go to beginning
Alt+Enter Play using full screen
Esc Exit full-screen viewing, or close
Delete Delete without copying to clipboard
Double-click Open appropriate editor (Media, Titler, Project, Montage
etc.)
F1 Open context sensitive help
Library shortcuts
Ctrl+N New collection
Numbers 1-5 Rate selected clip(s)
Number 0 Remove rating from selected clip(s)
Page Up Scroll up a page
294 Pinnacle Studio
Page Down Scroll down a page
Arrow keys Navigate thumbnails—up, down, left, right
Delete Delete selected clip and / or media
F7 Show / hide tagging interface
Playing and transport shortcuts
Spacebar Play and pause
Shift+Spacebar Loop playback
Alt+Enter Play using full screen
Esc Exit full-screen viewing
J Fast reverse (hit multiple times for faster playback)
K (or Shift K) Pause playback
L Fast forward (hit multiple times for faster playback)
Shift+L Slow forward (hit multiple times for slower playback)
Shift+J Slow reverse (hit multiple times for slower playback)
Right (or X) Step forward 1 frame
Left (or Z) Step back 1 frame
Shift+Right (or Shift+X) Step forward 10 frames
Shift+Left (or Shift+Z) Step backward 10 frames
D (or Page up) (or Ctrl+Left) Jump backward to cut
F (or Page down) (or Ctrl+Right) Jump forward to cut
Ctrl+I Jump to mark in
Ctrl+O Jump to mark out
. (period) Jump to next marker
, (comma) Jump to previous marker
Importer shortcuts
Enter Stop Motion: Capture Frame (when capture frame is
open)
Right Expand folder in tree
Left Collapse folder in tree
Arrow keys Navigate up, down. left, right
Ctrl+A Check all
Ctrl+Shift+A Uncheck all
F4 Start Import
Library shortcuts
Appendix C: Keyboard shortcuts 295
Edit tab shortcuts
A (or I) Mark in
S (or O) Mark out
Shift+I Clear mark in
Shift+O Clear mark out
Shift+U Clear mark in and out
Scroll Lock Audio Scrub On/Off
E (or Home) Go to start
R (or End) Go to end
P Toggle Magnetic Snapping
; (semicolon) Split clip(s) at scrubber position
M Add/Delete marker
. (period) Jump to next marker
, (comma) Jump to previous marker
Ctrl+. (period) Open Marker list
Delete Delete selected clip(s) from timeline
Double-click on clip in timeline Open media editor for clip
B Send preview clip to the primary track on the
timeline (at scrubber position)
H Swap Preview between timeline and source
Ctrl+5 Open Title Editor
F5 Show/Hide Audio Mixer
F7 Create Song
Numeric pad + Zoom in the timeline
Numeric pad - Zoom out the timeline
[ (left bracket) Zoom out on the timeline
] (right bracket) Zoom in on the timeline
Ctrl+[ Fit timeline to window
Ctrl+] Show every frame (zoom in)
Alt Provides the alternate behavior when editing on the
timeline (insert/overwrite)
TTrim Mode On/Off
Right Trim 1 frame right (with trim open)
Left Trim 1 frame left (with trim open)
Shift+ Right Trim 10 frames right (with trim open)
Shift+ Left Trim 10 frames left (with trim open)
Ctrl+Click on trim Add second trim point to the same track
296 Pinnacle Studio
Shift+Click on trim Open similar trim point on all tracks
Tab Cycle focus on open trim points
Editor shortcuts
Numbers 1-8 Choose an effects category
Double-click slider Return slider to default
Alt+Enter Play using full screen
Esc Exit full-screen viewing
Title Editor shortcuts
Shift+Left Expand character selection left
Shift+Right Expand character selection right
Shift+Ctrl+Left Same as Shift+Left (expand by word)
Shift+Ctrl+Right Same as Shift+Right (expand by word)
Ctrl+B Toggle bold
Ctrl+I Toggle italic
Ctrl+U Toggle underline
Ctrl+A Select all
Ctrl+D Deselect all
Spacebar With timeline area selected: Start and stop playback
Edit tab shortcuts
Appendix D: The installation manager 297
22
Appendix D: The installation
manager
The Pinnacle Studio Installation Manager looks after the job of installing Pinnacle Studio
and any additional content included in your purchase of the application.
This section contains the following topics:
• Before you begin installing
• Upgrade Installation
• Launching the Installation Manager
• Registration
• Supporting installations
• The installation Welcome Screen
• Common controls
• Installing plugs-ins and bonus content
•System requirements
Before you begin installing
For a trouble-free installation of Pinnacle Studio, we recommend a number of preparatory
steps.
Begin by confirming that your computer meets the minimum system requirements for the
product. Note that some operations, such as AVCHD encoding, have more stringent
requirements. For more information, see “System requirements” on page 299.
Next, ensure that your Pinnacle Studio serial number is available. For a downloaded copy of
the application, you will find this information in your order confirmation mail; you can also
retrieve it from your customer account. If you obtained your copy of Pinnacle Studio on disc,
the serial number will be found on the DVD sleeve. We recommend that you keep a record
of your serial number in a safe place.
On some systems, it may be advisable to disable antivirus protection before installing
Pinnacle Studio.
Note: Pinnacle Studio can be installed on a system containing a previous installation:
both versions will coexist.
298 Pinnacle Studio
Upgrade Installation
If a qualifying previous version of the software is currently installed on the computer, the
Installation Manager will automatically recognize its presence and permit the upgrade.
Launching the Installation Manager
If you bought Studio from an Internet store as a downloadable file, the Installation Manager
will start when you run the executable program you downloaded. (Even before you do so,
consider making a copy of the downloaded files to a back-up location like a DVD or an
external hard drive.)
If you bought Studio on a DVD disc, the Installation Manager will autostart on most systems
when that disc is inserted. If it does not launch automatically on your computer, please locate
and run the file “Welcome.exe” in the root directory of the DVD.
Registration
Your first launch of the Installation Manager begins by displaying an input form for activating
and registering your product. Registering makes it possible to streamline product support
for problems like losing your serial number.
Supporting installations
The application requires a number of Windows software components, including the .NET
Framework, to be present on your system. The Installation Manager determines
automatically if the components are available, and installs them if necessary. Such supporting
installations require additional time, but the main Pinnacle Studio installation will resume as
soon as they have completed, even if the system was restarted in the process.
The installation Welcome Screen
The Welcome Screen lets you choose between two styles of installation:
Standard Installation installs the application and all available plug-ins. It is recommended
for most users.
The Customized Installation option lets you choose to install only a subset of the add-ons
available.
Common controls
Some controls are available under either installation method:
• The Change installer location button lets you specify the folder that contains the
installation files you want the Installation Manager to handle. You will only need to use it
Appendix D: The installation manager 299
if you have moved the installation files after first use. The button opens a folder browser
that lets you point the Installation Manager to the new location.
• The links provided under Learn while installing give access to information on just about
any Studio-related topic.
Installing plugs-ins and bonus content
As described above, the Installation Manager can optionally install a rich variety of content
in addition to the Pinnacle Studio application itself. In a Standard Installation, all available
add-ons and plug-ins are installed. In a Customized Installation, you can choose exactly
which items to install.
Even if you elect not to install particular content items during the initial installation of the
application, you may return to the Installation Manager at any time to update your
installation.
System requirements
In addition to your Pinnacle Studio software, an efficient editing system requires certain
levels of system performance as noted below.
Remember too that while specifications are important, they do not tell the whole story. For
instance, the proper functioning of hardware devices can also depend on manufacturer-
supplied driver software. Checking the maker’s web-site for driver updates and support
information can often be helpful in solving problems with graphics cards, sound cards and
other devices.
Operating system
A 64-bit operating system is recommended if you are planning to edit HD material.
RAM
The more RAM you have, the easier it is to work with Pinnacle Studio. You will need at least
1 GB of RAM to achieve satisfactory operation, and we highly recommend 2 GB (or more). If
you work with HD or AVCHD video, the recommendation rises to 4 GB.
Motherboard
Intel Pentium or AMD Athlon 2.4 GHz or higher – the higher the better. AVCHD editing
demands a more powerful CPU. The minimum recommendation ranges up to 2.66 GHz for
300 Pinnacle Studio
editing 1920- pixel AVCHD video. A multi-core system like Core i7, Core i5 or Core i3 is
recommended.
Graphics card
To run Studio, your DirectX-compatible graphics card needs:
• For typical use, at least 128 MB of onboard memory (256 MB preferred).
• For HD and AVCHD, at least 256 MB (512 MB preferred).
The hard drive
Your hard drive must be capable of sustained reading and writing at 4 MB/sec. Most drives
are capable of this. The first time you capture, Studio will test your drive to make sure it is
fast enough. Video files are often quite large, so you also need a good amount of available
hard drive space. For instance, video in the DV format fills 3.6 MB of hard drive space per
second of footage: a gigabyte every four and a half minutes.
For capture from video tape, we recommend using a separate hard drive to avoid
competition between Pinnacle Studio and other software, including Windows, for use of the
drive.
Video capture hardware
Studio can capture video from a variety of digital and analog sources:
• All types of auxiliary file-based storage media, including optical drives, memory cards
and USB sticks.
• Files from drives connected to the computer.
• DV or HDV video cameras using an IEEE-1394 connection.
• Analog video cameras and recorders.
• DVD and Blu-ray discs.
• Digital still cameras.
Pinnacle Studio™ 25 User Guide
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