Pinnacle Studio 7.0 User's Guide 7 E

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Pinnacle Studio
USER'S GUIDE

Pinnacle Studio
User’s Guide
GB
July 2001
41001030
© Pinnacle Systems Inc. 2001
All rights reserved.
No part of this manual may be reproduced or transferred to other media without explicit written
permission from Pinnacle Systems Inc., Braunschweig, Germany.

All brand or product names are trademarks or registered trademarks of their respective holders.

This manual is printed on chlorine-free paper using environmentally safe ink.
Pinnacle Systems Inc. has written this manual to the best of its knowledge, but does not guarantee that the
programs/systems will fulfill the desires of the user.
No warranty is made as to the specifications of features.
Pinnacle Systems Inc. retains the right to make alterations to the content of the manual without the
obligation to inform third parties.
All tenders, sales, supply and manufacturing contracts from Pinnacle Systems Inc., including consultancy,
installation and other contractual performance are subject exclusively to the General Sales and Delivery
Terms of Pinnacle Systems Inc.

Contents
CHAPTER 1: OVERVIEW

EQUIPMENT REQUIREMENTS
ABBREVIATIONS AND CONVENTIONS

2
4

CHAPTER 2: THE STUDIO INTERFACE

CAPTURE
EDIT
USING THE PLAYER
THE MOVIE WINDOW
THE TOOLBOXES
MAKE MOVIE

5
8
9
11
15
20

CHAPTER 3: A TOUR THROUGH STUDIO

ADDING VIDEO SCENES, TRANSITIONS AND A TITLE
ADDING SOUND
MAKING A MOVIE

21
30
32

CHAPTER 4: CAPTURING VIDEO

CAPTURE HARDWARE
DV CAPTURE OPTIONS
THE CAPTURE WINDOW
CAPTURING DV VIDEOTAPES
NON DV-CAPTURE

34
35
38
39
40

CHAPTER 5: USING THE VIDEO ALBUM

SELECTING AND OPENING A CAPTURED VIDEO FILE
WORKING WITH THE VIDEO ALBUM
REVIEWING VIDEO SCENES IN THE ALBUM

43
43
44

CHAPTER 6: USING AND ADJUSTING SCENES IN
YOUR MOVIE

WORKING WITH SCENES
TRIMMING SCENES
SPLITTING AND COMBINING CLIPS
TRIMMING VIDEO SCENES WITH THE CHANGE CLIP PROPERTIES TOOL
EDITING AUDIO AND VIDEO SEPARATELY
SPLIT EDITS
ADJUSTING VIDEO PROPERTIES OF SCENES
ADJUSTING PLAYBACK SPEED OF SCENES

User's Guide

49
50
54
55
59
61
63
64

CHAPTER 7: CREATING AND USING STILL IMAGES
THE FRAME GRABBER
TRIMMING STILL IMAGES

CHAPTER 8: ADDING AND USING TRANSITIONS
THE TRANSITIONS ALBUM
ADDING TRANSITIONS TO YOUR MOVIE
TRIMMING TRANSITIONS
AUDIO TRANSITIONS

CHAPTER 9: CREATING TITLES AND GRAPHICS
THE TITLEDEKO USER INTERFACE
LET’S MAKE A TITLE
SELECTING TEXT AND OBJECTS
FORMATTING TEXT AND OBJECTS
LAYERS
TRANSFORMING TEXT AND OBJECTS
USING AND MODIFYING STYLES AND LOOKS
THE BACKGROUND
TRIMMING TITLES AND GRAPHICS

CHAPTER 10: ADDING SOUND EFFECTS AND MUSIC
SELECTING AND PREVIEWING AUDIO CLIPS IN THE ALBUM
PLACING AUDIO CLIPS ON THE TIMELINE
CREATING BACKGROUND MUSIC
CREATING A VOICE-OVER
ADJUSTING AUDIO VOLUME
ADJUSTING AUDIO LEVELS
TRIMMING AUDIO CLIPS

Studio

65
68
70

72
74
75
76
78

79
80
83
91
92
95
95
96
98
100

102
103
103
105
107
109
110
113

CHAPTER 11: MAKING YOUR MOVIE

115

CONNECTING THE CAMERA…
OUTPUTTING TO A CAMERA/VIDEO RECORDER...
CONNECTING THE TV SET/VIDEO MONITOR
OUTPUT YOUR MOVIE TO VIDEOTAPE
SAVE YOUR MOVIE AS AN AVI FILE
SAVE YOUR MOVIE AS AN MPEG FILE
SAVE YOUR MOVIE AS A REALVIDEO FILE
SAVE YOUR MOVIE AS A WINDOWS MEDIA FILE
SHARE YOUR MOVIE VIA THE INTERNET

115
117
117
118
119
121
123
124
126

APPENDIX A: SETUP OPTIONS

CAPTURE SOURCE/CAPTURE FORMAT TAB SETTINGS
EDIT TAB SETTINGS
CD/VOICE-OVER TAB SETTINGS
MAKE TAPE SETTINGS
MAKE AVI FILE TAB SETTINGS
MAKE MPEG FILE TAB SETTINGS
MAKE REALVIDEO TAB SETTINGS
MAKE WINDOWS MEDIA TAB SETTINGS

APPENDIX B: TIPS AND TRICKS
GENERAL INFORMATION
HARDWARE
SOFTWARE
INCREASING THE FRAME RATE
STUDIO AND COMPUTER ANIMATION
SMART CAPTURE TIPS (DV ONLY)
CLIP NAMING CONVENTIONS

APPENDIX C: TROUBLESHOOTING
INSTALLATION
OPERATION

APPENDIX D: USEFUL HINTS

I
V
VI
VII
VIII
X
XI
XIV

XVI
XVI
XVI
XVIII
XIX
XX
XX
XXI

XXII
XXII
XXIV

XXVII

VIDEO EDITING AND CAPTURING

XXVII

APPENDIX E: GLOSSARY

XXXIII

APPENDIX F: LICENSE AGREEMENT

XLII

INDEX

User's Guide

iii

About the User’s Guide
This manual explains how to use the Pinnacle Studio Software.
Subheadings

In the margins are subheadings to help you quickly find your way through
this manual.
Important text passages are marked with the “notepad” and this format.
Numbers mark step by step instructions:
1. Start Windows.
Bullets mark instructions for optional steps the order of which is not
important.
• Connect the board to the camcorder.
All keyboard commands appear in this font:
Setup
Menus, commands, options, or buttons which the user can select are written
in italics.

Studio

Chapter 1:
Overview
Pinnacle Studio lets you use your personal computer as a complete video
capture and editing system. Studio gives excellent results without
expensive dedicated video editing equipment. Creating videos with Studio is
an easy three-step process.
First, record your video to your PC hard drive.
Next, arrange the video scenes in order. Drag and drop transitions,
titles and still images. Complete your movie with sound effects, background
music and voice-overs.
Create your final videotape or digital movie.

Interactive Editing with Instant Preview
With Studio, you can quickly assemble movies on the fly using an intuitive,
interactive interface. Using the Instant Preview window, you can also play
your movie in preview quality any time during editing. Just drag and drop
video scenes, transitions, titles and audio (effects, background music and
voice-overs). Then click the Play button to play the movie.

Studio creates professional-quality scene transitions such as fades, dissolves
and wipes. Studio uses some of the same Emmy award-winning technology
found in Pinnacle Systems’ professional editing equipment.
Use TitleDeko to make simple or elaborate titles, or mix still images with
your video. Adding voice-overs is a breeze—just pick up the microphone,
click a button and start speaking. Audio effects, such as applause or sound
tracks from an audio CD can be added easily using the Studio point-andclick interface. The SmartSound feature creates custom background music
quickly and easily—choose the type of music and its length, and it appears
on the sound track.

Chapter 1: Overview

On-Line Help
On-line help is right where you need it, when you need it, while you’re
working in Studio.
• Standard On-Line Help. Click the Help button in the Studio main menu
bar, or press F1 to display the table of contents page of the standard
help topics. Click Help > Help Topic > Index if you want to search for
a specific topic, or command.
• Tool Tips. To find out what a button or other Studio control does,
pause your mouse pointer over it and a Tool Tip appears explaining its
function.

EQUIPMENT REQUIREMENTS
In addition to your Studio software, here is what you need to make a
Studio editing system.

Computer
•
•
•
•
•
•
•
•
•
•

Studio

Pentium II 300 or higher or equivalent
Microsoft Windows 98 Second Edition, Windows Millennium,
Windows 2000 or Windows XP
DirectX compatible graphics card
DirectX compatible sound card
64 MB of RAM (128 MB recommended)
CD-ROM drive
Speakers
Mouse
A microphone, if you want to record voice-overs
200 MB of free hard disk space to install software. Your hard drive
must be capable of a sustained reading and writing at 4 MB/sec. All
SCSI and most UDMA drives are capable of this. The first time you
capture at full quality, Studio will test your drive to make sure it is fast
enough. DV-format video occupies 3.6 MB of hard disk space for
every second of video, so four minutes of DV video will require almost
900 MB of hard disk space. If disk space is a concern, use
SmartCapture to capture your video at Preview-quality. This feature
uses much less disk space. An entire tape can fit in as little as 360
megabytes (See Chapter 4 Capturing Video for more information).

Video Capture Hardware
Studio can capture video using a variety of devices, including
•

Pinnacle Studio DV or other OHCI-Compliant IEEE1394 (also known
as FireWire, DV or iLink) port connected to a DV or Digital8
camcorder or VCR

•

Pinnacle Studio PCTV or other Connexant 848/878-based PCI TV
Tuner/board

•

Pinnacle Studio DC10plus or Studio AV analog MJPEG capture board

•

Pinnacle USB Video Capture cable (included in Studio Online and
Studio Action) or other DirectShow compatible USB capture device

•

USB Video Cameras/WebCams

Video Equipment
Studio can capture video from:
•

Any DV or Digital8 Camcorder or VCR.
Requires Pinnacle StudioDV or other OHCI-compliant 1394
(FireWire) port.

•

Any analog (8mm, Hi8, VHS, SVHS, VHS-C or SVHS-C) camcorder
or VCR.
Requires Pinnacle Studio DC10plus, or Pinnacle Studio PCTV or other
PCI TV Tuner card or Pinnacle USB Video Capture cable or other
DirectShow compatible USB capture device

Studio can output video to:
•

Any DV or Digital8 Camocorder or VCR
Requires Pinnacle Studio DV or other OHCI-compliant 1394 port.
Camcorder must be enabled to record from DV Input.

•

Any analog (8mm, Hi8, VHS, SVHS, VHS-C or SVHS-C) camcorder
or VCR.
Requires Pinnacle Studio DC10plus or Studio AV.
Output to analog camcorders or VCRs is possible using a Pinnacle
Studio DV or other OHCI-compliant 1394 (FireWire) port if your
DV or Digital8 camcorder or VCR can pass a DV signal through to its
analog outputs (see your camcorder manual, or Chapter 11 Making
Your Movie, for more information).

Chapter 1: Overview

ABBREVIATIONS AND CONVENTIONS
This guide uses the following conventions to help organize the material.
Terminology
Studio: Studio refers to the editing software.
DV: The term DV refers to DV and Digital8 camcorders, VCRs, and tapes.
1394: The term 1394 refers to OHCI compliant IEE1394, FireWire, DV or
iLink interfaces, ports and cables.
Analog: The term analog refers to 8mm, Hi8, VHS, SVHS, VHS-C or
SVHS-C camcorders VCRs and tapes, and to Composite/RCA and S-Video
cables and connectors.
Dialog Box and Window Names
Names of buttons, dialog boxes, windows and related items are written in
italics so you can find them in the text faster.
Example: Click the Accept button in the TitleDeko window.
Choosing Menu Commands
The right angle bracket symbol (>) denotes the path for hierarchical menu
items. For example, to create Background Music, the instruction would be
Example: Select Toolbox > Generate Background Music
Keyboard Conventions
Key names are spelled with initial caps. A plus sign denotes a key
combination.
Example: Press Ctrl + A to select all the video scenes in the Album
window.
Brackets denote keys that do not have names printed on them.
Example: Press the [Spacebar] to display the tool.
Mouse Clicking
When a mouse click is required, the default is always a left-click unless
specified.
For example: Right-click and select TitleDeko.

Studio

Chapter 2:
The Studio Interface
This chapter is an orientation to the Studio user interface, and describes the
main areas of the screen and the controls you’ll be using most often.
Detailed descriptions are found in later chapters.
As described earlier, you make a movie in three steps: Capture, Edit and
Make Movie. These modes are represented by three buttons under the main
menu bar, and are ordered in the sequence used to make a movie: Capture
the video, edit the video, and then make the movie by recording a videotape
or saving as a digital video file.

CAPTURE
With Studio, Capture is the process of recording video from your video
source to your PC’s hard drive. The tools and controls you see in Capture
mode are different depending on whether you are capturing from a DV
source or an analog source.
If your video source is analog, you will connect to your computer hardware
with a composite or S-Video cable. Your Capture screen will look like this:

If you are capturing from a DV camcorder or VCR connect to a 1394 port,
the capture screen looks like this:

Chapter 2: The Studio Interface

There are two major differences between the two Capture modes:
1. You have can control the tape transport of a DV camcorder or VCR.
2. You can modify audio and video levels as you make an analog capture.
In both cases as the Capture process proceeds, the Album is populated with
video scenes and the Player shows the incoming video. Concurrently, the
Diskometer monitors the free space on your hard drive. See Chapter 4 for
detailed information on capturing video.

The Player during Capture Mode
During capture the Player shows you the incoming video, and the Counter
displays an accurate running length of the video being captured.

Diskometer
The Diskometer tells you how much hard drive space is available in both
graphical and numerical form. The Diskometer also indicates the duration of
video that can be captured in the available disk space. The duration of video
that will fit in the available disk space is dependant on the Capture quality.
Capture quality settings are selected using the Quality preset buttons in the
Diskometer, or by choosing Custom Settings. See Chapter 4 for more
information.

Studio

Camcorder Controller
Note: Camcorder control is only available with a DV camcorder connected
to a 1394 port.

Use the Transport controls to view your tape, or seek to the location on the
camcorder tape at which capture is to begin. You can capture the entire tape,
or start capture at any point. The Start/Stop Capture button in the
Diskometer begins and ends the capture process. The Counter window
displays the current position of the camcorder tape, along with the current
transport mode of the camcorder.

Chapter 2: The Studio Interface

EDIT
When you first launch Studio, it opens in the Edit mode, because you use
Edit most often. To return to the Edit mode from Capture mode or Make
Movie mode, click the Edit button on the Movie window menu bar.
The Edit mode display includes three main areas: the Album, the Player, and
the Movie window.

In addition, multilevel Undo and Redo buttons are located in the upper right
corner along with the Help button. Clicking Undo repeatedly steps you back
through the previous changes you made. It is essentially unlimited. You can
feel free to experiment with editing because you can always Undo your way
back to where you started.

The Album
The Album contains five tabs that access sections for Video Scenes
Graphics

, Transitions

, Frame Grabs

Click on the tabs to see their contents.

Studio

, and Sound Effects

,
.

The Player
The Player displays a preview of the movie, or shows what is selected in the
Album. During Edit, the Player displays a preview of the movie at your
current position. The Player also offers controls to navigate the movie you
are editing.

USING THE PLAYER
The Player consists of two main areas, the Preview window and the
Playback controls. The Preview window displays the video at the current
position. The Playback controls allow you to play the video, or go to an
exact position within it.

Preview
window

Playback
controls

Player scrubber

Jog
buttons

Current position counter

The Preview Window
The Preview window is a central point of focus in Studio because you use it
so often. It displays moving video during play. It also displays still images
and titles at your current position, or when you select a scene in the Album
or clip in the Movie window, or if you advance via single frames. The
Preview window is also used in functions such as capture and trimming.

Chapter 2: The Studio Interface

The Playback Controls

➨
The buttons and controls in the Preview window let you navigate.
Play/ Pause. The Play button previews the movie from the
current position. Once preview begins, Play becomes a Pause button. When
paused, the scene or clip on which Preview stopped becomes the selected
scene.
Fast Reverse. Plays the movie in fast-reverse mode at 10x the normal
speed.
Fast Forward. Plays the movie in fast-forward mode at 10x the
normal speed.
Go To Beginning. Moves scrubber to the first frame of your movie.

Jog Buttons
Click the Jog buttons to step the movie forward and backward by
frames.

Player Scrubber
Use the Player scrubber to quickly traverse forward and backward through
the movie. The Player scrubber shows at a glance your relative position
within a movie. Regardless of actual movie length, the scrubber bar
represents the entire length of the movie. The left edge is the beginning.
As you move the scrubber, the Preview window shows the current position
of the movie.
The ability of the Preview to display continuous video depends on the speed
of your computer. If you move the Player scrubber slowly, the Preview
window display plays smoothly. As you increase the rate at which you move
the scrubber, the Preview window will jump frames. The point at which it
does so is dependent on your specific hardware.

Studio

The Counter
The Counter seeks to and displays the current position within the movie,
and also lets you select the exact point at which to start play. To seek to or
play from an exact point, click on the number you wish to change and type a
new value.
Frames
Seconds
Minutes
Hours

• Step through the field: Tab or Left/Right cursor keys
• Increment or decrement field values: Up/Down cursor keys. Hold the
Up/Down key to continuously increment/decrement

THE MOVIE WINDOW
The Movie window menu bar contains several important controls and
displays. The Toolbox buttons in the upper-left open the Video Toolbox and
the Audio Toolbox , which are discussed in greater detail in the next section.

Video Toolbox

Audio Toolbox

To the right of the Toolbox buttons is the project file name, along with an
area that displays messages about the action you are performing. To the
right of the Message Display area are the Clip Split and Clip Delete buttons.
To the far right are three view selection buttons.
Clip Split/Delete

The Clip Split and Clip Delete buttons allow you to select a clip in any of
the Movie Window views, and Split or Delete the clip as a whole, or a
selected portion of audio only or video-only.

Chapter 2: The Studio Interface

The Movie window has three views: Timeline, Storyboard and Text. You
switch between them by clicking the View Selection buttons in the upper
right corner of the Movie window menu bar.
Storyboard View

Storyboard
View

Timeline View

Text View

The Storyboard view shows the order of video scenes and transitions. It uses
thumbnail icons for quickly structuring a movie. You can choose Large or
Small thumbnails in the Setup > Edit option tab.

The Timeline view shows the position and duration of clips relative to the
Timescale. This view also displays the five tracks on which you can place
various types of clips: video scenes, original (or synchronous) audio,
transitions, title overlays/graphics, sound effects/voice-overs and
background music.

In the Timeline view, the Video track takes precedence over all other tracks
when trimming or deleting.
The Timeline view also offers the ability to „lock“ any of the four tracks
(Video, Sync Audio, Title Overlays/Graphics, Sound Effects/Voice-overs,
or Background Music) independently of each other. This gives Studio
insert-edit and split-edit capability (see Chapter 6 for more information on
Split Edits). As your cursor rolls over the icons on the left edge of the
Movie Window, each displays as a button which can be clicked to lock that
particular track.

Studio

Text View

The list in the Text view shows the start and end times of clips, as well as
their duration. In addition, custom names for clips are visible in this view.

Current Position, Edit Line and Scrubbers
The current position is the frame shown in the Player Preview window. It is
also indicated by the Edit line in the Movie window. The current position
can be changed by moving Timeline scrubber.

When the Change Clip Properties tool is selected, a third Scrub button, the
Trim scrubber, is available for adjusting current position within the clip
during trimming.
Chapter 2: The Studio Interface

Clip Placement Feedback
Studio gives you feedback about your actions as you place clips in the
Movie window when it is in Timeline view.
The Status Line

The Status line is an area on the left of the Movie window menu bar that
displays messages as you place clips and perform other actions in the Movie
window.

Placement
Symbols

Studio does not allow you to create combinations that cause problems. The
mouse pointer symbols and the colors of the vertical Placement lines
indicate what you can and cannot do. For example, if you attempt to drag a
sound onto the Video track, the Placement lines turn red, the plus sign
becomes an unavailable symbol, and the Status line tells you, ”Only scenes,
graphics and transitions on the video track.”
Green Placement lines with a copy sign
mean OK; red Placement lines
with the unavailable sign
mean you cannot perform the action.

Studio

THE TOOLBOXES
The Toolboxes provide a convenient point-and-click interface to add clips to
the movie and adjust existing clips. The controls in the Toolboxes can also
be accessed via the main menu bar and other ways. Studio provides a
separate Toolbox for Video clips and for Audio clips.
These Toolboxes are available only in Edit mode, and are opened and closed
with the buttons at the left of the Movie window menu bar.

Select Video or Audio Toolbox by moving your cursor over the icons. As
you do so, the individual buttons become highlighted, indicating an Open
button. Click the Open button of your choice. The Album is replaced by the
Toolbox, which contains two main areas:
•

Tool Selector buttons in a panel on the left. Clicking these displays
the corresponding tools.

•

The currently selected tool on the right. Double-clicking on a clip in
the Movie window also displays the corresponding tool.

All the Tool Selector buttons, except the top, display tools with dedicated
functions. The top button (Change Properties of Clip) displays the
appropriate change tool for the type of clip selected.

Chapter 2: The Studio Interface

The Video Toolbox

Change Clip
Properties

Titles and
Graphics

Studio

The Change Properties tool adjusts the start and end times of any clip. This
is also called trimming. The tool also allows you to type in descriptive
names.

Titles and graphics are created and trimmed in this tool window.

Grab Frames

This tool takes a snapshot of a single frame. You can use it in your movie,
or save it for use in other applications.

Adjust
Color/Add
Visual Effect

This tool adjusts the visual components of the selected clip: Hue, Saturation,
Brightness and Contrast. It also applies any of four filters to the selected
clip: Blur, Emboss, Mosaic or Posterize. The Default button immediately
restores the clip to its original state.

Vary Playback
Speed

The left-hand slider in this tool window allows you to vary the playback
speed of a clip, from five times normal speed down to one-tenth normal
speed. The right-hand slider allows you to repeat frames in a selected clip
from zero (no strobe effect) to fifty repeated frames, The clip length remains
the same, so Studio replaces frames from the clip with the repeated frames.

Chapter 2: The Studio Interface

The Audio Toolbox
Audio Change
Clip Properties

This tool adjusts the start and end times of any Audio clip, and allows you
to type in descriptive names. This is also called trimming.

Change Volume

This tool gives you a master audio level control for all three audio tracks
(original audio—audio captured with video—sound effects, and music). It
also enables you to mute any or all of the tracks, and add real-time volume
fades to any of the tracks.

Record Voiceover

Recording a voiceover is a snap—all you do is click the Record button and
begin speaking into your microphone.

Studio

Add Audio CD
Music

You can easily add audio tracks from an audio CD, and control their length,
disk name, and track names.

Create
Background
Music

The Create Background Music tool lets you add or trim background music.
Studio offers a powerful background music generator. Just choose a style,
song, and version and Studio will create a musical soundtrack that matches
the duration of your movie.

Chapter 2: The Studio Interface

MAKE MOVIE
The Make Movie mode allows you to make final videotapes of your movies,
as well as digital versions that are saved to disk. As the make movie process
proceeds, the Timeline scrubber advances across the Movie window, and
the Preview window shows the clip currently being recorded.

Making Videotapes

Just as the Capture screen changed with your installed capture hardware, so
too does the Make Movie screen display depend on your capture hardware.
Making a videotape is possible only with a Pinnacle Studio Dv or other
1394 board, a Pinnacle Studio DC10plus, or a Pinnacle Studio AV.

Making Digital Movies

You can also make digital movies (either MPEG1, MPEG2, or AVI) or
streaming video (RealVideo or Windows Media files) to email to your
friends or to put on a Web page. You can choose by clicking the appropriate
button located just to the left of the Status window. To the right of the Status
window is the Diskometer, which gives you a convenient way to monitor
the amount of space on your hard drive versus the amount of space used in
saving the digital movie file.

Studio

Chapter 3:
A Tour through Studio
The previous chapter gave you an overview of the Studio interface. This
chapter steps you through your first production. You don’t need to hook up
any video equipment to make your first movie. All the files you need are on
the Install CD-ROM, including a sample first production.
In this tour, you’ll learn how to use the user interface to edit movies. Once
you know the basics, learning the details is much easier.

About Capturing Video
Normally, the first step in making a movie would be to capture video.
However, This tour is designed so you can install Studio and use it
immediately without installing video capture hardware or connecting a
camcorder or VCR. Consequently, you will skip capturing video in the tour.
Instead, the Studio Install CD contains pre-captured video called A Day at
the Zoo. Chapter 4 explains how to capture video.

ADDING VIDEO SCENES, TRANSITIONS AND A TITLE
Take a Peek
First, take a quick look at a partially completed movie to give you a better
idea of the movie you are going to build in the next few steps. Studio is
open on your computer:
1. Select File > Open Project from the main menu bar.
2. Navigate to the folder
C:¥My Documents¥Pinnacle Studio¥My Projects
3. Select the file “Sample1.stu”

Chapter 3: A Tour through Studio

Studio loads the file and displays the following screen.

4. Click the Go To Beginning button in the Player, then click the Play
button and watch the movie play in the Preview window.

Using the Video Scenes Album
What Is a Video
Scene?

After Studio transfers video, it subdivides the video into smaller units called
“scenes”. Scene detection is based on a sophisticated algorithm, called
SmartCapture, which knows when the incoming video changes enough to
indicate a scene change.
1. Select File > New Project from the main menu bar (or Ctrl + N) to start a
new movie and clear the Movie window.
2. Verify that the Movie window is set to the Storyboard mode. If not, click
.
the Storyboard View button
3. Click on the first video scene in the Album, and then click the
Play/Pause button on the Player.
The transferred video scenes play sequentially in the Preview window.
You also hear the Audio track from your speakers. As the scenes play,
they are highlighted in purple. In addition, a progress indicator at the
bottom of each scene thumbnail in the Album indicates your current
position. Click the Play/Pause button if you want to stop.
4. Select the indicated scene.

Studio

5. Click-hold the selected scene, and drag it from the Album to the
Storyboard.
Your Storyboard should now look like this:

6. Continue to drag scenes to the Storyboard as shown in the following
diagram.

Note that the last three scenes are moved as a group. To select a group of
scenes, highlight the group by clicking on each scene while holding down
the Ctrl key.
You can also “lasso” a group of scenes by clicking and holding the mouse
button outside a scene, then dragging diagonally across the scenes you wish
to grab.

Chapter 3: A Tour through Studio

Adding Transitions
In this step, you will add several transitions. Your movie will fade up from
black at the beginning. Successive scenes will contain a Dissolve, a Wipe
and a Slide.
1. Click the Transitions tab

at the left side of the Album.

The Album displays the Transitions section.
2. Click on the first transition (Fade) to select it.

The Player Preview window shows an animation of the transition effect.
3. Drag the Fade transition in front of the first scene on the Storyboard.
4. Click the Play button on the Player to view the results.
The screen fades up from black as the video commences. To view the
effect again, click Go To Beginning and Play again. To view the effect
slowly, click the Go To Beginning button again, and click-hold the One
Frame Forward button
.
Now you’ll add two more transitions matched to the content of the video
contained within each scene.
5. In succession, drag the Slide Down Left and Dissolve transitions in front
of the second and third scenes.

The beginning of your Storyboard should appear as follows.

6. Preview your video by clicking the Go To Beginning and Play buttons.
When you click the Play button, you’ll see an instant preview of your
movie.

Studio

Using the Timeline View
The Storyboard view is handy for quickly laying out a movie. To make finer
adjustments, use the Timeline view.
To display the Timeline and adjust the Timescale
1. Click the Timeline view button
in the Movie window menu bar.
At first, the scenes on the Timeline appear very close together.

The default Timescale assumes a two-minute movie length. Our example
is short; the scale needs adjustment to make the scenes easier to work
with.
2. Position your pointer on the Timescale, until the pointer becomes a clock
symbol with left and right arrows indicating you may adjust the time
scale.

Click-drag the Timescale to the right and expand the Timescale as shown
below. Try slowly moving it right and left a little at a time to become
accustomed to the “rubber-band” feel.

Chapter 3: A Tour through Studio

To Scrub the Timeline
Scrubbing is a term that refers to manually previewing the movie by sliding
the Timescale scrubber back and forth. It is very useful to quickly view
portions of the movie, and to go to any point on the Timeline.
1. Click the Timeline button
Timeline view.

if the Movie window is not in

2. Experiment by moving the scrubber left and right. A vertical bar that
moves with the scrubber and is called the Edit line and indicates current
position.

To add a Scene in Timeline view
1. Click on the Video Scene tab in the Album to display the video scenes.
2. Drag the first scene from the right Album page to the end of the Timeline.

If you try to drop a scene or other clip on the wrong track (or another
inappropriate location) Studio changes your mouse pointer to the
unavailable symbol
, and does not let you drop it. In addition, the
Placement lines turn red and the Status line displays a message such as
“Must drop between clips”. For a more detailed explanation, see the section
Clip Placement Feedback in Chapter 2.

Studio

You may need to learn the feel by gradually moving to the right until the
cursor comes into contact with the right edge of the Movie window.

Drag a little more to the right, and the Timeline slides to the left, providing
room into which you may now drop the scene by releasing the mouse button.

Adding an Overlay Title
To add a title or still image, you’ll use an integrated title editor program
called TitleDeko. While doing the following steps, remember that Studio
has unlimited Undo. If you encounter different results than the example,
Undo your way back.
To create a title
1. Double-click on the Title Overlay track below the video scene.

When you finish the title, Studio places it at the point on the Timeline where
you double-clicked.
2. A mini-application named TitleDeko opens with an interface for creating
titles. You might want to take a moment to orient yourself by mousing
over the various buttons to see the Tool Tips (or see a graphic of the
TitleDeko window in Chapter 9).

Chapter 3: A Tour through Studio

3. A text I-Beam cursor awaits text entry. Type the words: At the Zoo.

Next, you will change the type size and apply a new style to it.
4. Press Ctrl + A (Select All). The text is surrounded by a selection box
with handles on its sides. You must select an object before you can
modify it.
5. To display a sample of Styles, select View > Preset Styles. The Style
window appears to the right of the Preview window. Scroll down to
number 9, and click it.
6. The style characteristics are applied to the text.

7. Click the Move/Resize Tool button
. To resize the text, position the
cursor on the lower right handle while pressing the Control key to
proportionally shrink the text.
Next, you’ll center the text in the lower-third of the frame.
8. Click the Justify Grid button

Studio

9. In the grid, click the Bottom-Center

button.

Your title appears as follows:

10. Finally, select the Accept button
TitleDeko window.

located in the top right corner of the

Studio places the title under the first video scene, because that is where you
double-clicked on the Title Overlay track to launch TitleDeko.

Trimming the Title
You trim titles (or any other still image) just like you trimmed the video
scene previously. The one exception is that you always see a left-right arrow
because a still image can always be made longer, whereas a video scene
contains a finite number of video frames.
Keep the screen as it is—the next step is adding transitions to the title
overlay you just created.

Adding a Title Transition
There will be times when you wish to have text move through your video
from the bottom of the frame to the top of the frame. This is called a Roll.
Other times you may wish text to move horizontally through your frame,
This is called a Crawl. Studio now offers you the option in TitleDeko
through this drop-down menu.

You can create rolls and crawls of any length, and control their speed
through the frame by simply varying the size of the TitleDeko clip in the
Timeline View. Chapter 9 describes in detail how to create Rolls and Crawls.

Chapter 3: A Tour through Studio

ADDING SOUND
About Studio Audio Capabilities
Studio offers audio capabilities that let you add WAV files and audio tracks
from CDs to your movie. You can also easily record voice-overs, and
automatically generate background music
To add a WAV sound
1. Click the Sound Effects tab

2. The Album displays the section for Sound Effects. The page is populated
with sound files.
3. Click on any sound icon to hear a preview.
4. Click-hold on the WAV file Seagulls and drag it to the Sound Effects
track. Release the mouse button and the sound clip appears on this track.

Note: If your cursor displays an unavailable sign, you are not over the
correct track and need to move the pointer a little lower. The Status line tells
you what you need to do.
5. Click Go To Beginning and Play buttons to preview the movie. As the
camera reveals the Café sign drives up, you hear the seagulls.

Studio

Creating Background Music
With SmartSound, you can create background music with a few mouse
clicks. SmartSound automatically creates a song that matches the length of
the scenes you select in the movie. Regardless of the length, the resulting
music always has a proper beginning and ending.
The first step in creating background music is to tell Studio how long you
want it to be. The easiest way to do this is to select the scenes over which
you want the music to play.
1. Select a range of scenes over which you want the background music to
play. In this case, it will be the entire movie. Click on the first scene, hold
down the Shift key, and click on the last scene.
2. Click the Audio Toolbox button
in the upper left corner of the Movie
window menu bar. The Audio Toolbox opens.
3. Click the Create Background Music button

You are prompted to insert the Studio Install CD, which is where the
sound files are located, unless you elected to copy these to your hard
drive during installation. After you insert the CD, the Create Background
Music tool is displayed.
4. Select the Style (Country/Folk), Song (The Great West) and Version (The
Theme).
5. Click the Preview button to hear the resulting background music. Click
again to stop.
6. Click the Add to Movie button.
An audio clip containing the background music is placed on the
Background Music track.

7. Preview the movie by clicking the Player Go To Beginning
buttons.

and Play

CONGRATULATIONS. YOU HAVE MADE YOUR FIRST STUDIO MOVIE. NEXT,
YOU WILL OUTPUT YOUR MOVIE.

Chapter 3: A Tour through Studio

MAKING A MOVIE
Now that you have scripted your movie, Studio offers a variety of ways you
can output it.
• Output to videotape (this is dependent on your hardware For detailed
information also see chapter 11, Making Your Movie)
• Save as a digital movie
In this section, you will make a digital movie—a quick and easy process.

Saving as a Digital Movie
You can save your Studio movie as a digital file if you want to use your
movie in a multimedia presentation on your computer, send it to a friend via
email, or post it on a Web page. Digital movies can also be brought into
other video applications as clips.
Studio can save digital movies in four formats:
• AVI
Standard Video For Windows format, can play back on any PC with a
standard codec like Indeo. AVI files can be relatively large.
• MPEG-1 or MPEG -2
Smaller in size than AVI, an MPEG-1 file can be played by most players,
including the Microsoft Windows Media Player, available as a free
download from www.microsoft.com. MPEG-2 files offer better quality
than MPEG-1, but require special player software
• RealVideo
For streaming on the Internet, this format plays back with the popular
RealVideo Player.
• Windows Streaming Media
Also for streaming on the Internet, this format plays back with the
popular Windows Media Player

Studio

To make and play a digital movie
1. Click the Make Movie button

the main menu bar.

The Make Movie window is displayed along with the Tape, AVI, MPEG,
Stream and Share buttons. Click the MPEG button to the left of the
Status window.

The Create MPEG file button appears below the Status window.
2. Click the Create MPEG file button.
3. When you do so, Studio opens a dialog box where you name and save
your file. The default is
C:¥My Documents¥Pinnacle Studio¥My Projects.
4. When you click the OK button, Studio begins rendering the MPEG file,
and its status is shown by the progress bars, which appear in the Player
window.

5. To view the results, use the Windows Explorer to navigate to the folder
in which you saved your original Studio movie. Double-click on
the .mpg file.
The Microsoft Windows Media Player launches automatically and plays
the MPEG movie.

Chapter 3: A Tour through Studio

Chapter 4:
Capturing Video
CAPTURE HARDWARE
Studio can capture analog and digital video from the following sources,
depending on your hardware:
•

A DV or Digital8 camcorder connected to a Pinnacle Studio DV or
other 1394 port

•

A camcorder or VCR connected to a Pinnacle Studio DC10plus or
Pinnacle Studio AV

•

A camcorder or VCR connected to a Pinnacle USB Video Capture
Cable or other DirectShow compatible video capture device.

•

A camcorder or VCR connected to a Pinnacle PCTV or other TV-Tuner
PCI board

•

USB video cameras or webcams

To select the video capture device you wish to use:
1. Click the Settings button

2. Select the Capture Source tab
3. Select the capture device from the drop-down list
and click OK

The controls and options displayed in Capture mode vary depending on the
capture hardware you select. If you are using a DV camcorder connected to
a 1394 port, please refer to the section headed DV Capture Options
immediately below.
If you are using an analog device with either a composite video or S-Video
input to your hardware, please refer to the section headed Non-DV Capture
in chapter 4.

Studio

DV CAPTURE OPTIONS
The following section describes Capture using a DV camcorder and a 1394
port. Studio offers two choices for capture settings: Preview quality, or Full
quality.

SmartCapture: Preview-quality capture
SmartCapture is a unique feature of Studio. SmartCapture is only available
when you are capturing from a DV camcorder or VCR using a 1394 port.
This is because SmartCapture relies on DV timecode, and the 1394
standard’s ability to transmit tape transport commands (Play, Fast Forward,
etc) to the camcorder. It allows you to capture a digital videotape in a
reduced quality file so that you use minimal hard drive space. Using
SmartCapture, you can capture an entire tape onto your hard drive, instead
of picking and choosing which video clips to capture. You can use this
Preview-quality video to build and preview your movie. When you are
ready to make your finished movie, Studio will recapture the scenes
included in your movie at full DV quality. Studio will control your
camcorder to seek to and capture the desired video clips. The reduced
quality of the preview video, therefore, has no effect on the quality of your
finished movie. These Preview-quality scenes are denoted in the Album
with a yellow background.
Continuous Time Code
For SmartCapture to work well, your digital tape must have a continuous
DV time code. Studio can not capture through breaks in the time code. If
your camcorder has a time code striping feature, then stripe your tape first.
If not, then there are two ways to ensure that your tape has continuous time
code.
1. Put a tape into the camcorder, put the lens cap on, and press record. This
will record black through the entire tape and create a continuous time
code source track.
2. If you don’t have time to record black throughout your entire tape, then
make sure that when you are recording your footage from beginning to
end without stopping. If you do start and stop while shooting, then
before you begin a new shot, rewind your camcorder a few frames so
that there will not be a blank spot between shots.
SmartCapture can still be used with camcorders that do not have continuous
timecode However, rather then capturing an entire tape, SmartCapture will
stop each time a break in timecode is detected. To continue capturing, cue
the tape to the beginning of the next video segment and click Start Capture.

Chapter 4: Capturing Video

Analog tapes and Digital8 Camcorders
SmartCapture requires DV timecode. Analog tapes (Hi8 and 8mm) do not
have DV timecode even when played in a Digital8 camcorder. As a result, it
is not possible to use SmartCapture with analog tapes played in a Digital8
camcorder. To use your analog tapes with Studio, either capture them at full
quality, or copy them to DV tape.
Naming conventions
If you capture multiple segments from the same tape, we strongly
recommend you use the following naming convention. For each capture file
that originates from the same tape, use a name that starts with the same
word.
For example, if you have a tape that contains three different activities all
shot on your vacation, then you would call the captures, Vacation:picnic,
Vacation:sailing, Vacation:soccer. Following this convention will greatly
reduce the number of times you will have to switch tapes during the Make
Tape process.

Full-quality capture
This is a high resolution capture. Your camcorder compresses and stores
video on the tape at 3.6 MB/s, which is broadcast quality video. With full
quality capture, the video data is transferred directly from the camcorder
tape to your PC hard drive with no changes or additional compression. Due
to the high quality, capturing at this setting does take up a lot of disk space.
You may want to pick and choose small segments to capture instead of the
entire tape. You can calculate the amount of disk space you will need by
multiplying the length of your video in seconds by 3.6 MB/s.
For example:
1 hour of video = (60 seconds x 60 minutes) = 3600 seconds.
3600 seconds x 3.6 = 12,960 MB or 12.9 GB of hard drive space.

To capture at full quality, your hard drive must be capable of a sustained
reading and writing at 4 MB/s. All SCSI and most UDMA drives are
capable of this. The first time you capture at full quality, Studio will test
your drive to make sure it is fast enough.

Studio

About Automatic Scene Detection
SceneDetection is a key feature of Studio When Studio captures the digital
version of your tape to your hard drive, it automatically detects natural
breaks that occur in that video. For example, the Studio software knows
when you stopped shooting one scene and began reshooting. Studio
automatically creates a new icon for each scene it detects. The way Scene
Detection operates depends on the options you select. The Scene Detect
Options are found at Setup > Capture Source, and present three choices:
•

Automatic based on video content
Studio detects changes in the video content, and creates a new scene
wherever there is a large change in the images. Hint: Don’t use this
feature if the lighting is not stable. For example, a video shot in a
nightclub with a strobe light would produce a scene each time the strobe
light flashed.

• Create new scene every X seconds
Studio manually creates a new scene every X seconds where X is a
number you choose. This is useful if you are capturing a tape that
contains long continuous shots.
•

Manual: press [space bar] to create a new scene
Select this choice if you want to watch the entire capture process and
manually hit the space bar whenever you want a new scene created.

Audio and Video Levels
With DV Capture, you are using audio and video which are compressed into
a DV file format as they are being recorded, right in the camera. When you
transfer that file through a 1394 port to your computer, you are not able to
adjust audio or video levels.
In Studio‘s Edit mode, you can use the Color Toolbox‘s video correction
tools (Hue, Saturation, Brightness, Contrast, and more) to adjust video
levels. Use the Volume toolbox to adjust audio levels. These tools allow you
to adjust individual clips rather than make global adjustments on all video
you capture.

Chapter 4: Capturing Video

THE CAPTURE WINDOW
First, you must be in the Capture mode. Click the Capture button
in the Movie menu bar. The Capture window is displayed in the following
illustrations, and is composed of three areas: the Album, the Preview
window, and the Diskometer.

The Diskometer
The bottom half of the Capture window contains the Diskometer. The
Diskometer shows the amount of space on your hard drive that’s already in
use, and how much space is available for the current capture. It also shows
which capture settings you are using.
With DV Capture, you are using audio and video which are compressed into
a DV file format as they are being recorded, right in the camera. When you
transfer that file through a 1394 port to your computer, you don’t adjust
audio or video levels.
In Studio‘s Edit mode, you have the Color Toolbox providing video
correction tools (Hue, Saturation, Brightness, Contrast, and more), tools you
can use on individual clips rather than globally on all the video you capture.

Space remaining
on current disk drive
Time remaining at
current capture setting
Capture settings

Studio

Folder
Browser

The default location for captured video is
C:¥My Documents¥Pinnacle Studio¥Captured Video.
To save newly captured videos to a different location, click the File Cabinet
button
to display a Browse for Folder window. Then, using standard
Windows conventions, direct Studio to a different folder.

Disk Space

Disk space availability is indicated in two ways. A Disk Space pie chart
shows used and available space. In addition, the Diskometer also shows the
amount of capture time available at the current capture setting.

Transport
Controls

Use the Transport controls to control your camcorder remotely rather than
using the buttons located on the camcorder itself.

CAPTURING DV VIDEOTAPES
The following sections explain what happens during capture, and guide you
through a capture session from start to finish.
To capture a DV videotape
1. Verify that your DV camcorder or VCR is connected to your PC’s 1394
port. 1394 ports are bi-directional.
2. Click the Capture button
in the Movie menu bar. The
Capture Mode interface is displayed.
3. Select Capture setting—remember that Full-quality capture uses a
substantially greater amount of disk space than does Preview quality (for
a more detailed explanation of the Capture settings, refer to the beginning
of this chapter).
.

4. Click the Start Capture button
The Capture Video dialog box is displayed.

5. Type in a name for your source video (remember the naming convention
we suggested if you capture in Preview-quality). Next, enter the duration
for this capture, if desired.
Note that Windows 98 and Millenium have limitations on maximum file
size. For FAT16 disks the limit is 2 GB. For FAT32 disks the limit is 4GB.
Studio calculates the duration of the video that fills the maximum allowable
file in the desired quality, and displays this as the maximum duration for
this capture.

Chapter 4: Capturing Video

6. Click the Start Capture button
in the Capture Video
dialog box. Your camcorder will start to play automatically.
During Capture, the Preview window displays the incoming digitized
video that is being saved to your hard drive.
button to end capture at a point
7. Click the Stop Capture
you select (the Start Capture button toggles to a Stop Capture button
while you are capturing video).
Studio automatically stops capturing if your hard drive fills up or when
the duration you entered is reached.
Studio will perform Automatic Scene Detection based on your setting in
the SmartCapture Options dialog box (Setup > Capture Source).

NON DV-CAPTURE
The follwing section describes capture from Non-DV sources. Studio can
capture video from the following Non-DV sources:
•

A camcorder or VCR connected to a Pinnacle StudioDC10plus or
Pinnacle Studio AV

•

A camcorder or VCR connected to a Pinnacle USB Video Capture
Cable or other DirectShow compatible capture device

•

A camcorder or VCR connected to a Pinnacle PCTV or other TV Tuner
PCI board

•

USB video cameras or web-cams

•

If you are using a a DV camcorder and 1394 port, please refer to to the
section headed “DV Capture”.

Capture Options
The controls and options displayed in Capture mode vary depending on your
capture hardware. The following section describes those controls and
options.
Note: if your hardware does not support a particular control or option, it will
not be displayed.

Quality Options
Studio offers three pre-set quality choices; Good , Better and Best quality,
and a Custom option. The video capture settings, including picture size,
frame rate, compression characeristics and quality, for each of the pre-sets
depend on the capabilities of the capture hardware being used. Keep in mind
that the higher the quality, the more disk spce is required. Choose the
Custom pre-set to select you own video cpature settings. For more
information on video capture settings see in Appendix A.

Studio

Audio and Video levels
Studio provides slide-out Option trays for video and audio capture options
to suit either your work style or your specific equipment configuration. This
section provides a summary. See Appendix A for more information.
Capture options affect both the video and audio you are digitizing. This is a
critical point in the non-linear editing process, since you are locking in the
brightness, contrast, hue and saturation values of each clip you digitize. This
becomes significant when you mix different video sources within a single
project.
Although you will have the option of adjusting video properties in Edit
mode, setting your video options correctly as you capture will save you
from time-consuming scene-to-scene color correction.
Setting your audio options correctly as you capture will ensure consistent
volume levels and quality.

Video Options
First choose the type of video you wish to digitize by clicking the
appropriate Source button (S-Video or composite video). The slide-out
Video Options tray then allows you to control the brightness (video gain),
contrast (black level), sharpness, and color saturation of each video clip
digitized.

Audio Options
You can digitize the audio that accompanies your video by clicking the
Audio Capture On button. If your clip is video only, click the Audio Capture
Off button. The slide-out Audio options tray includes settings for Input
Level and Balance.

Chapter 4: Capturing Video

To capture non-DV video:
1. Verify the source video is connected to your hardware’s Composite or
S-Video input.
2. Verify that your camcorder or VCR’s audio output is connected to the
audio input of your capture device. If your capture device does not have
an audio input, your camcorder or VCR’s audio output should be
connected to the audio input of your PC sound board.
3. Click the Capture button in the Movie menu bar. The Capture Mode
interface is displayed.
4. Select a Quality pre-set—the higher the Quality, the larger the captured
files.
5. Click the Start Capture button . The Capture Video dialog box is
displayed.
6. Type in a name for your source video. Next, enter the duration for this
capture.
Please, note that Windows 98 and Millenium have limitations on maximum
file size. For FAT16 disks the limit is 2 GB. For FAT32 disks the limit is
4GB. Studio calculates the duration of the video that fills the maximum
allowable file in the desired quality, and displays this as the maximum
duration for this capture.
7. If you’re capturing video from a camcorder or VCR, press the Play
button on the camcorder or VCR.
8. Click the Start Capture button in the Capture Video dialog box.
9. During capture, the Preview window displays the incoming digitized
video that is being saved to your hard drive.
10. Click the Stop Capture button to end capture at a point you select (the
Start Capture button toggles to a Stop Capture button while you are
capturing video).
Studio automatically stops capture if your hard drive fills up or when the
duration you entered is reached.
Studio will perform Automatic Scene Detection based on your setting in
the SmartCapture Options dialog box (Setup > Edit > Capture Source).

Studio

Chapter 5:
Using the Video Album
SELECTING AND OPENING A CAPTURED VIDEO FILE
Captured source video files are stored on your hard drive. They are selected
and opened with standard Windows file/folder navigation tools found at the
top of the left Album page.
To open and select a captured video
1. If the Video Scenes section of the Album is not already on top, click the
Show Video tab

on the left edge of the album.

The Album flips to the Video Scenes section and displays file navigation
tools in the upper left corner.

2. Select a video from the dropdown list or press the File Cabinet button
to navigate to a different folder.
The Album is now populated with the detected scenes from your
captured video. Each scene is denoted by an icon of the first frame of the
scene.
Note: If you have captured Preview-quality video using a DV camcorder
and your IEEE/1394 port, the scenes are denoted in the Album outlined with
a dotted white line.

WORKING WITH THE VIDEO ALBUM
Scenes are displayed in the order in which they were captured. This order
cannot be changed in the Album, but scenes can be assembled in the movie
in any order.
The Album offers a number of shortcuts when displaying video files.
•

Clips captured in Preview quality display outlined with a white dotted
line in the Album. Clips captured at full DV quality do not show the
white dotted outline.

Chapter 5: Using the Video Album

•

When clips are placed in the Movie Window, a green checkmark
appears in the upper-right of the Album’s icon.

•

When you delete a clip from the Movie Window, the green checkmark
disappears from the Album icon.

•

When you Play a clip from the Album, a progress bar appears at the
bottom of that file’s Album icon.

•

Your Album automatically creates additional pages to hold image
icons. At the top of the right-hand Album page, Studio shows you how
many pages are in your Album and your current page number.

Click an arrow to move forward or back through the pages.

REVIEWING VIDEO SCENES IN THE ALBUM
Scenes are displayed in the order in which they were captured. This order
cannot be changed in the Album, but scenes can be assembled in the movie
in any order.
To view captured video starting from a selected scene
1. Click on the first scene to select it.
The Preview window displays the first frame of the selected scene.
2. Click the Play button in

the Preview window.

The Preview window now plays the scenes in the Album. Progress is
indicated in three ways.
•

Studio highlights the scenes successively as they are played.

•

The Player scrubber in the Preview window shows the current point
of play relative to the entire movie.

Each Scene window contains a Progress indicator that shows the point of
play relative to that scene. As the movie continues to play, the Progress
indicator travels from scene to scene.

Studio

Displaying Scene Start and Length
As you move the pointer over scenes, the pointer changes to a grabber
symbol. If you pause momentarily on the scene, the start time and length is
displayed. If you leave the grabber on the scene, the display persists for
several seconds.
Note that the start time is the time code from the original source video
in minutes, seconds, and frames.

Selecting Scenes
Studio offers a variety of ways to select scenes in the Album and in the
Movie window. Selection techniques follow standard Windows conventions.
A highlighted border indicates selected scenes. You can use combinations of
these techniques.
• Choose Edit > Select All from the menu bar, or press Ctrl + A to select all
the scenes in the Album, including subsequent Album pages not visible.
• Shift-click to select a range of continuous scenes.
• Ctrl-click to select discontinuous selections.
• Click-hold-drag to marquee to an area.
• Press the arrow keys to navigate through the Album grid.

Combining and Subdividing Scenes
After previewing your scenes, you might want to combine or subdivide
some into larger or smaller units. Both techniques are easy, and are similar
to each other.
To combine scenes in the Album
1. Select the scenes to be combined.
2. Right-click on one of the scenes.
3. Choose Combine from the pop-up menu, or select Album > Combine
Scenes from the main menu bar.
The selected scenes are combined into one. Only selected adjacent scenes
are combined. Furthermore, they are joined in the order in which they
appear in the album, regardless of the order in which they were selected.
Album order proceeds across rows and then down the page. To revert,
press Ctrl + Z, or click the Undo button.

Chapter 5: Using the Video Album

If you marquee two or more discontinuous sets of scenes using the shiftdrag technique, each set of adjacent scenes is combined, but the two sets
are not combined with each other.
To subdivide scenes in the Album:
1. Select the scenes to be subdivided.
2. Right-click on one of the scenes.

3. Choose Subdivide from the pop-up menu, or select Album > Subdivide
Scenes from the main menu bar.

The Subdivide Selected Scenes dialog box appears.
4. Choose the length of the subdivided scenes by typing in a value.
The smallest increment of subdivision is one second. Any video
remaining after subdivision is added to the last scene.
5. Click OK.
A progress bar appears, the scene is subdivided, and new scenes are
added to the Album. To revert, press Ctrl + Z, or click Undo.
Note: You can subdivide these scenes still further, provided they retain a
minimum duration of one second.

Studio

Re-Detecting Scenes
If you combine or subdivide scenes and later decide that you’d prefer to
revert to their original state, you may re-detect any scene or selection of
scenes. The detection results are identical to those that resulted from
opening the captured video.
To re-detect scenes
If you have subdivided scenes, you must first recombine them. Even if you
cannot remember exactly what you did and recombine more than is
necessary, the detection process will restore the original scene sequence.
1. Select any scenes you have subdivided, right-click on one of the selected
scenes, and chose Combine Scenes from the pop-up menu.
2. Select the resulting scenes that you wish to re-detect.
3. Right-click on any of the selected scenes and choose Detect Scenes from
the pop-up menu.
The following window appears as Studio redetects the scenes and
repopulates the Album with the original scenes.

To Change thumbnails in the Album
1. Select the scene to be changed.
2. Use the Player control to find the frame you wish to be the thumbnail.
3. Right-click on the scene and choose Reset Thumbnail from the pop-up
menu.

Adding Comments to Scenes
Studio offers the ability to add custom names to scenes as they appear in the
Album, then sort and display scenes by these names. The default view for
the Album is the Icon view.
Studio offers a “Details View” option for Album scenes (currently at Album
> Details View) which displays each scene by icon and time code.
Left-click on the selected clip’s icon and a text field appears, allowing
custom naming or comments for that specific clip.

Chapter 5: Using the Video Album

Additionally, you have the option to select Album scenes by comment. Use
Album > Select By Comment to open this dialog box:

Entering a keyword into the text field and clicking OK highlights all Album
scenes containing that keyword. In this example, the keyword is 3-shot:

Finding Scenes
Studio offers simple and convenient tools to locate scenes in your Project
and in the Album.

Studio

•

Right-click on any scene in your Project and select Find Scene In
Album. The requested scene is highlighted in blue in the Album.

•

Right-click on any scene in your Album and select Find Scene in
Project, and Studio highlights in blue the requested scene (or scenes) in
the Project.

Chapter 6:
Using and Adjusting Scenes in
Your Movie
WORKING WITH SCENES
Studio provides a variety of video cues regarding the scenes in a Movie or a
captured video file
• Clips captured at full DV quality display icons with gray borders, while
clips captured in Preview quality display outlined with a white dotted
• When clips are placed in the Movie Window, a yellow checkmark
appears in the upper-right of the Album’s icon.
• When you delete a clip from the Movie Window, the green checkmark
disappears from the Album icon.
• Right clicking on a scene in the Abum and choosing Find Scene in Movie,
will highlight any occurrences of the scene in the Movie Window
• Right clicking on a scene in the Movie Window and choosing Find Scene
in Album will highlight that scene in the Album
• When two contiguous scenes from capture file are placed in sequence in
the Movie Window, the border between the scenes is displayed as a
dotted line.

Adding Scenes To Your Movie
There’s more than one way to add a scene to your movie:
• Drag a clip from the Album and drop it into the Movie window
• Copy a clip from the Album or the Movie window, select another clip in

the Movie window and replace it with the copied clip by Ctrl+V or rightclicking and selecting Paste.

Chapter 6: Using and Adjusting Scenes in Your Movie

Working with Multiple Video Capture Files
For some projects you may want to combine scenes from separate source
tapes, or scenes from the same tape captured as separate video clips. Studio
makes this easy:
1. Drag and drop scenes from the first captured video clip into the Movie
Window.
2. Using the drop-down list or the File Cabinet button, open the second
captured video clip. Studio displays only your current clip in the Album,
although previous clips remain in the Movie Window until they are
deleted.
3. Drag and drop scenes from the second captured video clip into the Movie
Window. Continue in this manner until you have all desired scenes in the
Movie Window.

TRIMMING SCENES
Video scenes and other clips that are too long can be trimmed to remove the
excess. Unlike traditional trimming processes, no data is lost: Studio sets
new start and end points for the clip in the Movie window, but does not alter
the original Album scene. This means you can always reset scenes to their
original state, or select different trim points.
Studio offers two ways to trim.
•

Directly on the Timeline

•

With the Trim tool.

The basic process involves selecting a point near the beginning of the scene
to which you want to trim (the In point). Once this point is selected, the
Trim command trims the excess from the beginning of the scene to this new
point. Trimming from the end (the Out point) works the same way.

Trimming on the Timeline using Handles
The quickest way to trim is by dragging the edges of scenes directly onto
the Timeline, without accessing any menus. Watch the Preview window as
you trim, so you can find the frame on which you want to end or begin.

Studio

To trim a single scene on the Timeline
The following exercise shows how to trim scenes directly on the Timeline
by trimming the end of the first scene.
1. Delete all but one scene from the Timeline. If no scenes are on the
Timeline, drag one to it from the Album.
2. Fine adjustments are easier when the time scale is expanded. Expand the
time scale so the scene resembles the following illustration.
Position the pointer anywhere on the Timeline except directly over the
Edit line. The pointer becomes a clock symbol; click-drag it to the right
to expand the Timescale.

The illustration above shows maximum expansion. Each tick mark
represents a single frame.
3. Position your mouse pointer over the right edge until it becomes a leftarrow.

4. Click-drag to the left. The Preview window shows the current frame. As
you trim, the frame displayed in the Preview window becomes the last
frame and your arrow becomes a left-right arrow.
Release the mouse button. The scene is now trimmed.

Chapter 6: Using and Adjusting Scenes in Your Movie

To trim with more scenes on the Timeline
When more than one scene is on the Timeline, you first need to select the
scene to be trimmed.
1. Select File > New Project to open a new file, or simply delete all the
scenes from the Timeline (press Ctrl + A, then Delete).
2. Drag the first two scenes from the Album onto the Timeline. (If you are
using A Day at the Zoo, note that the Timescale is relatively short.)
3. To expand the Timescale, right-click in the time ruler. Choose 30
seconds from the pop-up menu.
4. Select the right-hand scene. Your Video track should now look like this:

Note that the last frame of the first scene is displayed in the Preview
window. As long as the right scene remains selected, you can continue to
trim more video by dragging the edge to the right again, or restore some of
the trimmed video by dragging the edge to the left.
5. Select the second scene. Move your cursor over the left edge of the
second scene until it becomes a right arrow.

6. Drag the left edge of the second scene to the right.

Studio

7. Release the mouse button. The left edge of the second scene snaps back
against the right edge of the first scene.

The beginning of the second scene is now trimmed. The first frame of the
second scene is displayed in the Preview monitor.

Troubleshooting Tips
If you are having difficulty manipulating the edges of scenes, try the
following.
• Verify that the scene you wish to trim is selected, and that it is the only
scene selected.
• Expand the Timescale until it is easier to make fine adjustments.
• Be careful not to expand the Timescale too far. If that does happen,

scenes will appear very long. Undo enough times until the scale is
restored, or use the scale tool to reduce the Timescale.

Contiguous Clips
Clips that are adjacent on your source video will appear with a vertical
dotted line between them when in the Timeline View of the Movie Window.
This is for ease of tracking, and does not affect how you manipulate clips in
the Movie Window.

Chapter 6: Using and Adjusting Scenes in Your Movie

SPLITTING AND COMBINING CLIPS
If you want to insert another scene (or a still image or graphic) into the
middle of a clip, you can split any clip in the Video track of the Timeline
View into two parts, and then insert the new item.
To split a clip in the Timeline View of the Movie window
1. Place the clip in the appropriate track of the Movie window.
2. Choose the split point.
You may use any method that adjusts the current position, such as
moving the Timeline scrubber, clicking Play and then Pause, or changing
the Counter.
3. Right-click within the clip you wish to split, and select Split Clip from
the drop-down menu. OR
4. Make certain your scrubber displays the Edit Line where you wish to
split the clip, and click the Razorblade Tool.
The clip is split at the point of the current position.
Restoring a
Split Clip

To restore a split clip you can Undo, replace it, or use the Trim tool.

To restore a split clip:
• First try to Undo. Even if you performed other actions after you split the
scene, the multilevel Undo allows you to restore the split scene.
• If you elect not to Undo other actions as well, you can replace both halves

of the split clip with an original from the Album, or . . .
• Delete one half of the split clip, and trim out the other.

To combine clips in the Movie window:
Select the clips you wish to combine, then right-click and choose Combine
Clips. This feature works only with clips which were originally contiguous
in your source video, or previously split in the Movie Window.

Studio

The Razorblade (Split Clip) Tool
The Razorblade Tool
sits above the righthand portion of theTimescale.
It offers instantaneous splitting of scenes as they play in the Album or in the
Movie Window. Simply select a scene and use your [Space] bar to Start and
Stop the scene. As you do so, notice the Razorblade icon becomes active.
Click the Razorblade and you immediately split the scene. The Razorblade
then becomes inactive until you move the Scrubber or Play another scene.

The Trashcan (Delete Clip) Tool
The Trashcan Tool
sits just to the right of the Razorblade Tool. It
provides a quick means of deleting any clip or clips selected in the Movie
Window. Keep in mind that this tool deletes the selected clip from the
Movie Window, but not from the Album.

TRIMMING VIDEO SCENES WITH THE CHANGE CLIP
PROPERTIES TOOL
The Change Clip Properties tool provides a convenient place to perform
trimming functions for any type of clip, including video scenes. It includes
the benefits of the prior two methods in that you can perform precise and
fast trimming. As you work, you receive visual feedback. Once you have
completed a trim, you can preview the scene to make sure you like it, and
reset it if you don’t.
Click the buttons at the left of the Movie window menu bar to open and
close the Video or Audio Toolbox, or double-click on the video or audio
clip in the Movie window.

Chapter 6: Using and Adjusting Scenes in Your Movie

Orientation to
the Change
Video Clip
Properties Tool

Start/End Trim
Scene Preview
Windows

When trimming video scenes, the Change Video Clip Properties tool is
configured as shown in the following illustration. On the left and right are
two Preview windows, showing the beginning and ending frames. In
between these is a set of Transport controls that play the scene as you are
working. A set of Trim Calipers is found at the bottom. At the top are a
Name field on the left, and Duration field on the right.

The Trim Scene Preview windows show the first and last frames of the
scene. Before you trim, they display the first and last frames of the original
scene in the Album. As you trim, they display frames of the new start and
end.
At the bottom of the Trim Scene Preview windows are several controls for
etting trim points. The left and right Trim To buttons with bracket symbols
trim the start and end to the current frame shown on the Player. The Counter
displays the current start/end time. You can also manually type in values on
the Counter to set new trim points. The Up/Down arrow buttons
increment/decrement the current position by single frames.

The Player Window During Trimming
During trimming, playback is controlled from the Toolbox, and the Preview
Player controls are not displayed.

Studio

Using the Movie Window Scrub Slider
A convenient way to rapidly move to the general area you want to trim is to
use the Timeline scrubber in the Movie window. As you move it, the Trim
scrubber and Player scrubber track its movements.

Transport Controls
Between the Start/End Preview windows, are a set of Transport controls.

From left to right their functions are as follows.
•

Click the left-most button

•

Click the second button

•

plays the scene, and changes to a Pause button
The third button
during play. The Player stops when you click it a second time.

to go to the untrimmed start of the scene.
to go to the new trimmed start time.

As you play, the Trim scrubber moves from one segment to the next so you
can accurately review the trimmed and untrimmed portions.

•

to loop the scene continuously, at
Click the right-most button
which point its function changes to Pause.

Chapter 6: Using and Adjusting Scenes in Your Movie

Trim Calipers
The Calipers provide a fast way to make accurate trims, and provide instant
graphical feedback on how much you have trimmed. Slide the left and right
markers to the point at which you want the scene trimmed. Move the Trim
scrubber to scrub the trimmed scene.

Duration Counter
This Counter shows the length of the scene, and operates in the same way as
other counters in Studio. However, changing its value manually increases or
decreases the scene length by adding or subtracting from the end of the
scene.

Scene Name
You can give your scene names that are more meaningful to you by typing
them in the Name Field. These names are visible only when the Movie
window is in Text view.

Tool Tip: to see the new name, move the cursor over the thumbnail in the
Album or in the Movie Window

Resetting Trimmed Scenes
You can Undo if you don’t like the results of a trim, or you can manually
reset the trimmed scene.
• Use one of the following ways to reset a trimmed scene.
• Drag the scene edge directly on the Timeline until it stretches no further,
or drag the Trim tool to the end
• Use the Trim tool to drag the Caliper to the end
•

Studio

Use the Trim tool, but click
to go to the clip start; then, click
under the first frame preview window to set the start frame

EDITING AUDIO AND VIDEO SEPARATELY
Up to this point we have discussed the editing of clips consisting of video
locked to its audio component. Studio now offers the ability to edit either
video or audio separately by locking and unlocking selected tracks.

Locking Tracks
In the Timeline View, roll your cursor over the five track indicators on the
left edge of the window. You can click on any or all of the icons and lock
each track individually. A locked track is immediately grayed out in the
Timeline view, and cannot be selected in either the Storyboard or Text view.
Drag, drop, and trim video and audio clips separately as you choose to lock
and unlock individual tracks.

Locking the Title Overlay track will keep an overlay or transition’s original
duration while you trim audio and video clips.

Without locking Title Overlay, trimming the video clip above it would trim
the overlay or transition.

Insert Editing
Using the Timeline View of the Movie Window, Studio supports audio and
video insert editing. Here’s a quick example:
Elizabeth is eating lunch, explaining the differences between an African
elephant and an Asian elephant. The video is a waist-shot of her as we listen
to her explanation. We will insert our video-only clip of the African
elephant precisely where Elizabeth describes the size and shape of the
animal’s ears.
Previewing Elizabeth’s voice track, we determine the In and Out points of
our video insert.

Chapter 6: Using and Adjusting Scenes in Your Movie

1. Lock the original sound (also called “sync sound”) track by clicking on
the audio icon at the far left of the Timeline View. The icon remains
depressed and the track changes color.
Select Elizabeth’s video clip

2. Position the Scrubber at the point you want the insert to start and use the
Razorblade Tool to split the scene. Repeat this for the point you want the
inesrt to end.

3. Delete the video clip between the two cuts you just made.

4. Drag the elephant clip from the Album into the hole in the video track
that you’ve just opened up.

Note: If the inserted clip’s duration is greater than that space you created
its end will be trimmed to fit the space.
When you Play the sequence, you now see the African elephant when
Elizabeth describes the shape of its ears, then back to Elizabeth as she
continues talking. This technique also applies to audio inserts, where you
would lock the video track, open up the audio track, and drop in a new audio
clip.

Studio

SPLIT EDITS
An advanced editing technique involves changing the In points of
synchronous audio or video from adjacent clips in the Movie Window. This
is known generically as a “split” edit, and specifically as either an “L-cut”
(where video precedes its sync audio) or a “J-cut” (where audio precedes its
sync video). These examples will demonstrate both types of split.
First, the L-cut. Elizabeth is seated at lunch, describing to the children the
trumpet of a bull elephant. The next clip is the elephant on-camera with a
rousing trumpet, demonstrating Elizabeth’s description. The most common
transition would be to cut from Elizabeth to the bull elephant:

Next, you make the editorial decision to cut from Elizabeth fifteen frames
earlier, but keep her audio while we first see the bull elephant. Notice that
the shape of Elizabeth’s icon and her audio track roughly form the
letter ”L“—hence the term ”L-cut.“

Studio makes it easy to perform split edits. To perform the L-cut:
1. Expand the Timeline so you can count fifteen frames.

Chapter 6: Using and Adjusting Scenes in Your Movie

2. Select the right-hand clip and trim the elephant fifteen frames to the left.

3. Lock the video track and select the left-hand clip of Elizabeth. Drag the
right-hand edge of her audio clip 15 frames to the left.

4. Unlock the video track.

When you Play your movie, you now see Elizabeth describing the elephant
and we cut to the elephant fifteen frames before it trumpets.
Your final editorial decision is to hear the elephant’s trumpet while
Elizabeth remains on-camera, for twenty frames, then cut to the bull. Notice
that the icon of the elephant and its associated audio track approximate a
“J.”

To perform this edit:
1. Expand the Timeline so you can count twenty frames.
2. Select the left-hand clip and trim Elizabeth twenty frames to the right.
3. Lock the video track and trim the elephant’s audio twenty frames to the
left.

Studio

4. Unlock the video track.
When you Play your movie, you now hear Elizabeth describing the elephant
and we hear the trumpet twenty frames before we see the elephant.

ADJUSTING VIDEO PROPERTIES OF SCENES
Studio provides video property effects that you can Preview in real time,
and which allow you to adjust eight video parameters for each clip or stillframe in your Movie Window. Using the Color/Visual Effects Toolbox
,
you can adjust settings for:
•

Luminance (Brightness and Contrast)

•

Chrominance (Hue and Saturation)

•

Style (Blur, Emboss, Mosaic, and Posterize)

The Color/Visual Effects Toolbox also has a dropdown menu for selecting
four global Color Types. In addition to All Color (the original color of the
video clip) you can select Black and White, Single Hue, or Sepia.

Hue
This is the distinction between colors; the attribute of colors that permits
them to be classed as red, green, and blue. Moving the slider to the left will
take fleshtones toward red; moving to the right takes them toward green.

Saturation
This is the quantity of pure color, which is diluted when mixed with white.
Moving the slider to the left decreases the amount of color; moving to the
right increases the amount of color.

Brightness
This is the relative intensity of a picture, without regard to color

Contrast
The range of light and dark values in a picture or the ratio between the
maximum and the minimum brightness values. Moving the slider to the left
lowers contrast, and displays mainly as shades of gray, while moving the
slider to the right increases contrast and displays as blacks and whites with
very little gray.

Blur
This is an effect akin to defocussing a camera. Studio offers 10 steps of Blur.

Chapter 6: Using and Adjusting Scenes in Your Movie

Emboss
This ia an effect which emulates the look of an emboss, meaning to raise in
relief from a surface. Studio offers 10 steps of Emboss.

Mosaic
This is an effect which breaks an image into increasingly larger colored
squares as you move the slider to the right. Studio offers 64 steps of Mosaic.

Posterize
This is an effect transforming a normal video image into a collage of
flattened single-colored areas, without graduations of color and brightness.
Studio offers 7 steps of Posterize.

ADJUSTING PLAYBACK SPEED OF SCENES
This tool
allows you to vary the speed of any video clip from onetenth normal speed to five times normal speed.. Set the slider to the speed
you wish to apply to the clip. Notice that the clip changes length in the
Movie Window as you vary its speed.
Conversely, you can size a clip to a specific duration in the Timeline view
of the Movie Window (as long as it is between 1/10th and 5 times the clip’s
original duration). Just select the clip with the Change Speed Toolbox open,
when you drag
and your cursor changes to the Speed Change cursor
the right edge of your clip.
If your clip has motion which looks choppy when slowed down, you have
the option of smoothing the motion by interpolating frames (that is, creating
intermediate frames).

Studio

Chapter 7: Creating
and Using Still Images
You can import images—such as photographs or drawings in most standard
formats—and video frames, which can be grabbed with the Studio Frame
Grabber. Titles are also a type of still image, and may themselves contain
imported images and grabbed frames.
Still images can be placed on the Video track or the Title Overlay track. Still
images on the Title Overlay track are superimposed on top of the video.
When you place a still image in the Movie window, a copy of the image file
is imported into the Studio project. This makes the Studio project more
transportable; however, changes to the original image file are not reflected
in the Studio project. If you change the original image, replace the image in
Studio.

Full-Screen Images
A full-screen image is one that is placed on the Video track, and fills the
entire screen, replacing the video. When the preceding video clip ends,
Studio plays the still image clip. The visual effect is that the video ends, and
is replaced by the graphic until the next video clip or still image begins.
A Full-screen Title Replaces the Video:

Overlay Images
An overlay image is placed on the Title Overlay track and is superimposed
on top of the moving video, without replacing the video.
An Overlay Appears on Top of the Video:

Chapter 7: Creating and Using Still Images

To add a full-screen still image
Still images such as photographs, clip art and so on are added from the
Photo/Frame Grab section of the Album. Titles are added from the Title
section of the Album. You’ll add a title from TitleDeko.
1. Select File > New Project from the main menu bar to clear the Movie
window.
2. Click the Show Videos tab
scenes onto the Timeline.

3. Click the Show Titles tab

on the Album, and drag two video

on the Album.

The Album Titles section is displayed.
4. Drag your title in between the two video scenes.

5. Click the Play button in the Player to preview the movie.
Don’t clear the Movie window yet, because we will be adding an overlay
image later.

About the Overlay Process
Overlays are created in two ways. The primary method is through the title
editor TitleDeko; however, you can also import a still image file. TitleDeko
is covered in Chapter 9. This chapter explains importing graphics as
overlays.
An overlay still image appears to have a solid background, yet—when you
place it on the Title Overlay track—the background disappears, allowing the
video to show through. How does Studio do this?
Controlling
Transparency
for Still Images

Studio

For still images placed on the overlay track, Studio uses the color of the topleft pixel of the image to determine the transparent color. All pixels that
match this color are assigned Opacity of 0% (fully transparent or clear).
Because these pixels become transparent, the pixels of video behind them
show though.
This function works well for still images that have consistent solid
background colors. However, if you find that your particular overlay image
background color does not work well for this, change the color Studio uses
for the background. You can use an image-editing program, like Photoshop
or PaintShop Pro to change the top-left pixel to the desired color.

Note that graphics imported into TitleDeko are not given transparent
backgrounds.

Also note that graphics imported into TitleDeko, through the Import Image
button

, are not given transparent backgrounds. However, if you click

the Show Photos and Frame Grabs tab
on the left side of the album,
and navigate to the folder in which your desired image is stored, you can
drag it down to the Title track and it will have a transparent background.
Again, the top left pixel color determines which color is transparent.
To add an overlay still image
The Titles section of the Album should still be open. If not, click its tab.
1. Drag a still image from the Album to the Title Overlay track under the
first video clip on the Timeline.

2. Play the movie to see the overlay effect.

The top-left pixel of the overlay image is black, so Studio makes all the
black pixels in the overlay image transparent, allowing the video to
become visible in the background.

Chapter 7: Creating and Using Still Images

THE FRAME GRABBER
The Frame Grabber can capture a still image from any video source, and
save it in many standard graphic formats. You can use the grabbed frames in
other software applications, manipulate them in image editing software, or
re-insert them back into your movies as still images. You can also import
them into title images with the title editor, TitleDeko.
About Grabbing
Images

You can choose a frame to grab from one of two sources:
• From a movie (a captured video file already on your hard drive)
• From video input (live camera or other video source)
After you grab the frame, the Frame Grabber offers two options for using it:
• Add To Movie (add it to the Video track)
• Save To Disk (save it to your hard drive as a graphic file)
Adding it to the Video track places the grabbed frame before the video clip
that is currently selected. When you save to your hard drive, a fullresolution image is stored. You can save the file in most standard graphic
formats.

Using the Frame Grabber Tool
Use the Frame Grabber tool in conjunction with the Player. Open the
Toolbox and click the Frame Grabber button. Play the movie or source
video until you see the frame you want, and grab the frame, which is
displayed in the Preview window. Once the frame is grabbed, you can add it
to the movie or save it to disk.

Studio

Transport Controls
If your source video is a DV camcorder or VCR connected to a 1394 port,
Studio provides convenient on-screen transport controls. Locate the frame
you wish to grab using these controls.

From left to right, the Camcorder Transport controls are: Stop,
Rewind/Review, Play, Fast Forward, and Pause. You can also use the Frame
Reverse/Forward buttons to search through a camcorder tape at different
speeds to locate the specific frame you wish to grab. Refer to Chapter 4
more a more detailed explanation of Transport controls.
Reduce Flicker
If the source video of the frame grab contains a large amount of motion, the
grabbed frame may show flickering, which can be reduced or eliminated by
clicking the Reduce Flicker checkbox. Because Reduce Flicker reduces
resolution, you are given the option of turning it on or off.
To grab a frame from a movie and add to a movie
1. Select File > New from the main menu bar to clear the Movie window.
2. Drag a few video scenes from the Album onto the Video track and select
the one in front of which Studio is to place the grabbed frame.
3. Click the Open Video Toolbox button
Grabber
button

and then the Frame

. The Frame Grabber tool is displayed in the Toolbox.

4. Verify you are feeding your source video to Studio.
5. Select From Video Input.
6. Play the source video to the frame you wish to capture.
7. Press Pause to stop the source video on your desired frame.
8. Click the Grab button.
9. Click the Add to Movie button.
Studio places the grabbed frame on the Video track of your movie in
front of the video clip you selected.
Continue on to the next example without making any changes to Studio.

Chapter 7: Creating and Using Still Images

To grab a frame from a movie and save it
Saving a grabbed frame is a nearly identical process, except you click the
Save to Disk button instead of the Add to Movie button.
1. Select the From Movie button.
2. Use the Player control to locate the frame you wish to grab.
3. Press Pause to stop the movie on your desired frame.
4. Click Grab.
5. Click the Save to Disk button.
A Save File dialog box appears.
6. Choose the file folder in which to save the image. Give the file a name
you’ll recognize later by typing in a name in the file name box. Save the
file.
7. The default file type is BMP. To choose another file type, click the pulldown arrow to drop down the file type list. Scroll down to select a file
format.
8. Choose the resolution for the image (we recommend 640 x 480).
9. Click the Save button.

TRIMMING STILL IMAGES
Still images are trimmed in one of two ways:

Trimming on
the Timeline
Using Handles

•

Directly on the Timeline

•

With the Change Clip Properties tool

Trimming still images directly on the Timeline works like trimming scenes
on the Timeline: grab the left or right edge and drag.

Trimming with the Change Clip Properties Tool
Double-click on the image while in Timeline view to display the Change
Clip Properties tool. Because there is little about a still image that can be
changed, the Change Clip Properties tool offers only two options for still
images.

Studio

•

To set the length the still image is displayed, change the counter in the
Duration counter.

•

To give the image a custom name, type the name in the Name field.

•

For titles, the Edit Title button is enabled. To edit a title, click this
button. The title editor, TitleDeko, opens with that title in its editing
window, ready for you to make changes. Click the Accept button when
you are finished. The revised title appears in the Movie window.

Adjusting Still Images Properties
The same tool used to adjust video properties (See Chapter 6) can be used to
adjust Still Images, including titles.
Using the Color/Visual Effects Toolbox

, you can adjust settings for:

•

Luminance (Brightness and Contrast)

•

Chrominance (Hue and Saturation)

•

Style (Blur, Emboss, Mosaic, and Posterize)

Chapter 7: Creating and Using Still Images

Chapter 8:
Adding and Using Transitions
This chapter explains transitions, and shows you how to add them to your
movie.
Transitions are placed on the Video track between two video clips, between
full screen graphics, or between a combination of these clip types.
Transitions can also be placed on the Title Overlay track, to bring titles on
and off the screen. Transition types include 3D transitions (Hollywood FX),
Fade, Dissolve, Wipe, Slide and Push. Studio offers numerous variations of
Wipe and Slide transitions. For all transitions, except Fade, you can set the
duration and direction to suit each movie’s specific requirements. The only
variable for Fade is duration.
To select the Transitions section of the Album, click the Transitions
tab.
The following example illustrates a Slide Right

transition.

Transition Types and their Uses
Transitions are used based on the content of the video and what you are
trying to do with your movie. Properly used, transitions let you subtly
reinforce the meaning of the movie and how it plays without the audience
becoming aware that a transition is employed. If you watch professionally
produced video on television, you’ll see many ways to improve your own
tapes. Generally, it is advisable to refrain from overusing transitions that
tend to cause abrupt changes or otherwise draw attention to them. There’s a
big difference between a subtle Dissolve from one clip to the next, and
employing a heart-shaped Wipe.

Studio

In the project file sample1.stu you already find some transition effects to
look at. The following picture shows an example for the use of several
different transition effects.

Cuts
A cut is the absence of a transition, producing an immediate shift from one
scene to the next. Depending on the content you have, this can be very
useful.
Fades
This transition fades the first portion of the video clip up from a black
screen, or fades the last of the clip down to a black screen. If Fade is used
between clips, the video clip that is playing fades down. The incoming
video clip then fades up (this is sometimes referred to as a crossfade). The
Fade transition is the first transition in the Transition section of the Album.
Fade is typically used when there is a large break in the continuity.
Examples include fading up from black at the beginning of your movie, or
down to black at the end. It also can be used to indicate a new section has
started. For example, a movie of a play might benefit from fading down to
black at the end of one act, and then fading up from black as the next act
opens.
Dissolves
A Dissolve is a gradual change between one video clip and another. The
Dissolve is a widely used transition that avoids abrupt cuts from one clip to
the next. Unless you intentionally want a cut, which can also be considered
a type of transition, consider a Dissolve. While a short Dissolve can take the
edge off a cut, a long Dissolve is useful to suggest the passage of time.
Wipes
A Wipe appears as if the incoming video clip is wiping over the current
video using one of many directions or patterns.
Slides
A Slide appears as if one video clip is sliding over the previous clip.

Chapter 8: Adding and Using Transitions

Pushes
A Push appears as if a new video clip is pushing the current clip off the
screen.
Hollywood FX for Studio 3D Transitions
Pinnacle Systems Hollywood FX offer an impressive array of 3D transitions
and effects. These dramatic effects are ideal for opening sequences, sports
or action footage or music videos. Hollywood FX’s quality is outstanding,
and satisfies professional expectations, while still being easy-to-use.
Studio includes 16 unique effects from Hollywood FX Basic for Studio. In
addition, Studio includes demo versions of more than 80 other FX that you
can preview from within Studio (the demo FX are watermarked with a
Pinnacle "P" logo). If you like the demo FX, you can purchase the
Hollywood FX Plus for Studio add-on by clicking the e-commerce link
within Studio.
Hollywood FX Plus for Studio includes full unwatermarked versions of all
the demo FX in Studio, as well as the Easy FX editor that lets you
customize all of your Hollywood FX, by giving you control of settings
like reversing the flight direction, rotating the direction of flight 360
degrees, turning on/off shadows, shine and lighting and turning on/off
anti-aliasing for smooth edges.

THE TRANSITIONS ALBUM
Dropdown Tab
Select the type of transition you wish from the dropdown at the upper left of
the Transitions Album. Studio gives you 74 Standard Wipes, 52 Alpha
Wipes,16 Hollywood FX three-dimensional transitions and 84 demo
(watermarked) Hollywood FX three-dimensional transitions.

Displaying Transition Type
As you move the cursor over the transition icons in the Album, the cursor
changes to a grabber symbol. If you pause momentarily on the icon, the
transition type is displayed. If you leave the cursor on the transition, the
display persists for several seconds.

Studio

Previewing Transition Effects
Select a transition icon and watch the Player Preview window. The Player
demonstrates the effects of the transition using the conventions of “A” and
“B” where A represents the current clip and B the new clip.

To see a detailed view, stop the Player and use the Frame Reverse/Forward
buttons to step through the effect one frame at a time.

ADDING TRANSITIONS TO YOUR MOVIE
Transitions are placed on the Video track by dragging them from the Album
just as you would add any other item. You can do this in any view. To
quickly add transitions, the Storyboard view can be useful.
Transitions are also trimmed like any other clip. See Chapter 6 for details on
trimming clips.
To add a transition
The following example shows how to select and place transitions, and how
they look in your movie.
1. Select File > New Project to clear the Movie window.
2. Click the Storyboard View button in the Movie window menu bar (you
can also use Timeline View).
3. Click the video scene Album if it is not already selected.
4. Drag at least six scenes onto the Storyboard.

5. Click the Album Transitions tab.
6. Click-hold on the Fade In or Out transition and drag it in front of the first
scene on the Storyboard.
Release the mouse button. The transition and the first clip are selected.
Play the movie to see the Fade effect.

Chapter 8: Adding and Using Transitions

7. Next, add the remaining transitions as indicated.

Previewing Transitions in Your Movie
One of Studio’s features is the ability to preview transitions in the Player
window. Just drag and drop a transition into the Movie Window, click the
Play button (or hit your [Space] bar) and watch how the transition works
with your material.
You can also preview transitions by scrubbing through them in the Preview
Player or on the Timeline of the Movie Window.
Because Hollywood FX are complex 3D transitions, Studio uses the 3D
accelerator hardware on your graphics board for real-time previews. If you
have 3D acceleration, select it in Setup > Edit.
If you don’t have hardware 3D acceleration, Studio uses software
acceleration. Due to the complex nature of these 3D transitions, previews
work differently than with 2D transitions:
When you preview in the Player Window, your movie plays in real time
with reduced resolution (this affects preview only—when you Make Movie
your transition is rendered at full resolution and frame rate).
When you preview with the scrubber and hold down the Alt key, the
transition plays at full resolution but—depending on your PC’s
capabilities—may not play in real time. Again, this affects preview
playback only. When you Make Movie the transition is rendered at full
resolution and frame rate.

TRIMMING TRANSITIONS
Transitions are trimmed in one of two ways:
• Directly on the Timeline
• With the Transitions Trim tool.
Trimming On The Timeline
Trimming transitions directly on the Timeline works in a similar fashion as
trimming Scenes on the Timeline: Select the transition, and then grab the
left or right edge and drag.

Studio

Using the Trim Transitions Tool
The Trim Transitions tool works in a similar fashion as the Trim Scenes tool
described in the previous chapter, with a few minor exceptions.
Because they are so similar, this section covers only the differences.
Select at least two scenes from A Day at the Zoo and drag them to the
Timeline or Storyboard. Then, drag a transition in between two of them. The
example below illustrates the Trim Transitions tool applied to a Slide Right
transition.
To display the Trim Transitions tool, double-click on the transition or select
the transition and click the Toolbox button.

The Start Frame, End Frame, Trim Scrubber and Transport controls, as
well as the Name and Duration fields, work identically to their counterparts
for the Trim Scenes tool.
Next, click-drag the Trim scrubber to the center. As you move the Trim
scrubber, notice that the incoming video appears to slide diagonally from
lower left to upper right in the Preview window.
Reverse Direction Checkbox
You can change the direction of some transitions by checking the Reverse
Direction checkbox.

Chapter 8: Adding and Using Transitions

AUDIO TRANSITIONS
Clips dragged into the Movie Window have synchronous video and audio.
When played, video and audio cut from one clip to the next. When a
transition is placed between two clips, audio always crossfades as in this
illustration:

The only exception to this convention is the Fade In/Fade Out transition
which takes the audio completely out then back in again:

Studio

Chapter 9:
Creating Titles and Graphics
TitleDeko is an integrated title editor program that allows you to quickly
and easily create professional quality titles and graphics. Titles can contain
words, shapes, background colors, and photos or graphics imported from
other programs. Text and graphics can scroll vertically—like closing credits
in a motion picture—or crawl horizontally like a TV news bulletin.

How Titles Are Created
TitleDeko appears in a separate window with its own user interface. It
creates titles that are inserted into your Studio movie. You can also save
titles separately for use in other Studio movies.
You create a title in the TitleDeko window. You type in text, apply a style,
and complete it by resizing, repositioning, rotating, or by adding shapes or
button (green check mark,
pictures. When you’re done, click the Accept
upper right corner) and the title is automatically inserted into the
Studio Movie window.

Launching TitleDeko
You can launch TitleDeko in three ways. The manner in which you launch
TitleDeko determines if the title is an overlay or full screen (you can change
this later).
Launching from the Movie Window
For an overlay title, double-click on the Title Overlay track where you want
the title to appear. For full-screen titles, right-click on the Video track.

Launching from the Video Toolbox
Click the Video Toolbox
button to open it, then click the Title
button. This displays the Title tool. Click either the Title Overlay
or Full Screen Title
button.
Launching from the Main Menu Bar
Choose Toolbox > Create Title, then click either the Title Overlay
or Full Screen Title
button to launch
TitleDeko.

Chapter 9: Creating Titles and Graphics

THE TITLEDEKO USER INTERFACE
TitleDeko is a separate application with its own user interface that offers
menus, windows and toolbars.

TitleDeko Window
TitleDeko windows follow standard Windows conventions—you can open,
close, move and resize them.

Studio

•

The Menu Bar provides menus of commands and other choices (not
shown in illustration). Frequently used commands have Toolbar buttons.

•

Toolbars containing Tool Groups that can be ”torn off” or rearranged.

•

A Preview window that shows a what-you-see-is-what-you-get
(WYSIWYG) view of your work along with lines denoting a “video safe”
area which will always be visible in your final movie.

•

A Preset Styles window that shows the style presets that can be applied
to text and other objects. You can modify the presets and create new
ones.

•

A Status line that provides information about the tool in use, text cursor
coordinates, whether movement is set to coarse or fine, and so forth.

Tool Functions
At the top and sides of TitleDeko are two Toolbars that offer fast access to
frequently used TitleDeko functions. In addition, all functions can be
selected via the menus. Frequently used functions also have keyboard
shortcuts.
New, Open and Save Files; Cut, Copy and Paste
,

These are standard Windows functions.

Typographical Characteristics
Before you can change typographical characteristics, select the text you
want to change. Click the drop-down list arrows to choose a typeface and its
size

. To preview the typeface before you select

it, click the Typeface Browser button
, and then choose the face you
want from the browser window. To make text bold, italic and/or underline,
click the respective button

TitleDeko Motion

By default, TitleDeko creates static pages of text and graphics (select Still)
which can be brought on and off the screen using Studio’s transition effects.
TitleDeko also allows you to create moving titles, such as rolling credits
(select Roll) and text that scrolls across the screen (select Crawl).
When you select either Roll or Crawl, a scroll bar appears at the right edge
of the TitleDeko window, and you can create multiple pages of text and/or
graphics which will move either vertically from bottom to top of frame
(Roll), or move horizontally from right to left of frame (Crawl).

Chapter 9: Creating Titles and Graphics

Look Browser / Edit Looks
Click the Look Browser button to display a window that contains all
the preset looks. Clicking on a specific look applies a set of appearance
attributes to the selected object.
Click the Edit Look button to modify the currently selected look. There
are numerous fine adjustments that are explained in greater detail later.
Grid / Horizontal / Vertical Alignment Browsers
Alignment browser tools are active depending on whether the selected
object is text or a non-text object (such as a circle). For example, you can
right-align a circle, but you can’t justify it like text by spreading out the
words and letters.
Click the Justification Grid button for a browser that gives you a fast
way to align objects.
To change the horizontal or vertical alignment and/or justification
of text characters, click the respective button and choose the type of
alignment you wish. Note that some alignments also work on objects.
Undo / Redo
Click Undo to undo the last action. Undo will undo multiple levels
of action, limited only by available memory. Redo undoes the last Undo.
Accept / Reject Title
Accepts or rejects the title or overlay and returns you to Studio.
Move / Scale, Rotate / Skew
Depending on how you select the text or object, these tools have
different functions. The cursor will change to show the active function.
Text Kerning / Leading
Spreads text lines vertically (leading—rhymes with “bedding”), or
words and letters horizontally (tracking), or adds/removes space between
individual letters and words (kerning).
Add Rectangle, Ellipse
Click to add these shapes. Hold the Ctrl key down while drawing
the shape to constrain the shape to a square or circle.
Insert Picture
Click to insert an image from your hard disk or other media. Pictures
are treated like objects in that you can scale, skew, and size them. Please
note that pictures get a transparent background only if they contain an alpha
channel (e.g., a 32-bit .bmp).

Studio

Replace Background
Allows you to make adjustments to the color, opacity and other details
of the background, or select a picture to be used as the background.

Additional Menu Commands
Coarse / Fine
From the main menu bar, select Transform > Coarse or Fine to change the
increments used in moving the cursor via the keyboard.
Make Full Screen
From the main menu bar, select Layer > Make Full Screen to enlarge a
picture to fill the screen.
Find, Find Next and Replace
From the main menu bar, select Edit > Find, Find Next or Replace to
perform text search and replace functions analogous to those of a word
processor.

LET’S MAKE A TITLE
On the following pages, you’ll find three title examples. Example 1 is nearly
identical to the one in Chapter 3, A Tour Through Studio. If you’ve already
completed this example, just open the sample file “Sample1.stu” and
continue with Example 2. The subsequent examples build on this basic title
to show more advanced TitleDeko features.
Example 2 demonstrates how to move titles with transitions.
Example 3 demonstrates creating a Crawl.
Example 4 enhances the text in a number of ways including resizing,
rotating and skewing. In addition, this example adds a shape behind the text
to which a style is applied.
Example 5 demonstrates inserting a picture and changing the background
color.

Example 1
Creating a Basic Title
1. Drag the first video scene from the Album onto the Video track.
2. Double-click on the Title Overlay track below the first video clip.
When you finish the title, Studio places it at the point on the Timeline
where you double-clicked.

Chapter 9: Creating Titles and Graphics

3. TitleDeko launches and a text I-Beam cursor awaits text entry. Type the
words: A Day at the Zoo.

Next, you will change the type size and apply a new style to it, but you
must first select the text.
4. Press Ctrl + A or use your mouse to click-drag over the text to select it.
The text is now surrounded by a selection box with handles on its sides.

5. A sampling of styles is displayed in the window to the right of the textentry window. (If the Preset Styles window is not visible, select View >
Preset Styles.) Scroll down to number 9 and click it.

Studio

6. The style characteristics are applied to the text.

7. Click the Move/Resize tool button
. To resize the text, press Ctrl + A
to select it, then position the cursor on the lower right handle while
pressing the Shift key to proportionally shrink the text.

8. To center the text, click the Horizontal Justify button
pop-up choices. Click the Center button

to display its

9. Your title is centered, and appears as follows.

Chapter 9: Creating Titles and Graphics

10. To create a title that rolls text vertically through the frame from bottom
to top, like the credits at the end of a movie, select Roll from the Motion
dropdown in TitleDeko’s Toolbar. If you wish you may type additional
lines of text. The TitleDeko window will scroll to accept as many line of
text as you add.

11. Finally, select the Accept button
(the green check mark). Your title
now rolls from bottom to top of frame when you Preview the movie. (for
more details on text motion, see Rolls and Crawls in Example 3).
You return to Studio from TitleDeko. Studio places the title under the first
Video Scene where you double-clicked on the Title Overlay track to launch
TitleDeko.
To preview your title click the Play button in the Player. The text will roll
up the screen. The roll speed of the text is inversely proportional to the
duration of the title on the timeline. The longer the duration, the slower it
rolls, and vice versa.

Studio

Example 2
Using Transitions with Titles
You can use Rolls and Crawls to bring graphics and titles on- and off-screen.
You can also add transitions to bring your title on and off the screen. To add
a transition to a title:
1. Double-click on “A Day at the Zoo” in Title Overlay track to open the
TitleDeko window.
2. Choose Still from the dropdown menu in the Toolbar.
3. Click Accept

4. Click the Transitions tab

on the Album.

Drag and drop two Slide Right transitions onto the Title Overlay track
before and after the title overlay.

Preview the movie, and watch how the title slides in from the left, pauses
for a moment, and then slides off to the right. You can use combinations of
transitions and Roll/Crawl modes to introduce text into your movies.
TitleDeko lets you experiment because it’s so easy and quick to see how a
combination works with your clip.

Example 3
Creating Rolls and Crawls
As explained earlier in this chapter, Rolls are pages of text that move from
bottom to top of screen, while Crawls are pages that move from right to left
of screen in a single line. This example will show how to create a Crawl
because it’s somewhat less intuitive than creating a Roll.
1. Double-click on the Title Overlay track of the Timeline View to open
TitleDeko.
2. Choose Crawl from the dropdown menu.
3. Type “Now is the time for all good men to come to the aid of their
country.”
4. Click Accept. Click Play in the Preview window.
The text crawls from right to left across the bottom-third of the screen. You
may speed up or slow down the crawl speed by shortening or lengthening
the title clip in the Timeline view.
Chapter 9: Creating Titles and Graphics

Note. To position Crawl text other than in the lower-third of the screen:

5. After choosing Crawl from the dropdown and entering your text in the
TitleDeko window, reposition your text I-beam cursor in its original
upper-left position with the Ctrl + Home command.
6. Select Transform > Move from the TitleDeko Toolbar.
7. Use Alt + [Down Arrow or Up Arrow] to slide the initial line of text to
the screen position where you wish the crawl to run.
8. Click Accept

Example 4
Modifying the Text
In this example, you enhance the title created in Example 1 by rotating and
skewing the text. You don’t need to follow this example exactly. Feel free to
experiment.
1. Click the Move/Resize button
. Select the text and position the cursor
anywhere within the text or on the border (except on the handles) so the
cursor is a Move symbol that looks like a cross. Experiment with moving
the text.

2. Next, click the Rotate/Skew button

. Rotate the text.

, Style 9 applied
,
3. In the following illustration, the text was rotated
resized
, and finally skewed by grabbing the upper right handle with
the Rotate/Skew tool
.

Studio

4. Next, click the Rectangle button. A white rectangle appears. Click the
Move/Resize button and resize the rectangle like this:
. Click
the Rotate/Skew button, grab the upper right handle and skew the
rectangle until it looks like this
. Position the Rotate/Skew
cursor over the shape and rotate it to match the text angle. Click the Style
8 icon. Move the shape over the text and select Layer > Send to Back
from the menu bar.

Example 5
Inserting a Picture and Replacing the Background
This example shows how to insert a picture and change the background
color. A picture can be a photograph, a frame of grabbed video or a drawing
(see Chapter 7: Creating and Using Still Images).
1. While in TitleDeko, select File > New to clear the Preview window and
start a new title.
2. Click the Insert Picture button
. A standard Windows file dialog box
appears. Navigate to a picture, and double-click it.
3. The picture appears in the Preview window.

4. To change the background color, click the Replace Background button
. Click the Background is a Color Gradient radio button.

Chapter 9: Creating Titles and Graphics

5. To change the gradient, click in each of the boxes. The Color Picker
window appears. Choose the desired color. In this case, the top two and
bottom two boxes were made the same color to create a ”ramp” effect
that goes from light at the top to dark at the bottom.

6. Finally, add text that complements the picture.

YOU ARE NOW FINISHED WITH THE EXAMPLES. THE REMAINDER OF THIS
CHAPTER DISCUSSES THE FINE POINTS OF TITLEDEKO.

Studio

SELECTING TEXT AND OBJECTS
TitleDeko is character-oriented. You can select individual characters, words,
lines or pages to change their position, size, or style. Consequently, text
selection feels a little different than in other software, particularly word
processors.
To select all text characters or objects
Type several lines of text, then try the following selection methods until text
selection seems comfortable
• Choose Select All from the Edit menu, or press Ctrl + A, or click-drag
across the text with your mouse. A transparent blue selection box with
handles appears around all of the text.

To select a single word or object
• Double-click the word or object. Or, use the arrow keys to move the
cursor to the beginning or end of the word, then hold Shift and press the
right or left arrow.

A darker transparent blue selection border with handles appears around
the word or object.
To select a random section of text spanning more than one line
• Drag across, then down or up the text, or diagonally.
Or, position the cursor at the beginning or end of the desired selection area,
and press arrow keys while holding the Shift key. Also, the Tab key moves
the cursor from one word to the next.
Selected text within blocks is denoted by a darker transparent blue selection
border with handles as shown in this illustration. The entire block is
surrounded by a selection border with handles.

Chapter 9: Creating Titles and Graphics

To deselect text or objects, click anywhere outside the selected area.

FORMATTING TEXT AND OBJECTS
You can format text and objects by choosing a style with preset attributes,
or manually by adjusting attributes such as boldness, size, typeface and
spacing.
To select and change the typeface, click the down arrow and choose the
typeface from the drop-down list, or click the Typeface Browser button
for a graphical display of typefaces, and double-click the one you want.

To change the point size of text, type a new value into the Size field or click
the arrow buttons

To change text to bold, italic and/or underline, select the text to be
changed. For bold, italic and underline, click the corresponding button in
the Editor menu bar, or use the shortcuts Ctrl + B, Ctrl + I, and Ctrl + U.

Applying Looks to Text and Objects
One of TitleDeko’s most powerful features is its library of preset looks.
Looks include color, texture and transparency attributes that are applied to
the face, edge and shadow of objects. With a click of the mouse you can
instantly change the appearance of an object from glowing purple neon to
blue metallic.

Studio

To select and change looks, click the Look Browser button
. The Looks
browser graphically displays the looks you can pick. Just double-click the
look you want.

Justifying Text
Justification operates differently in a video character generator than in a
word processor. TitleDeko uses justification controls to position all objects,
including rectangles and ellipses, as well as text. You can Justify objects via
menu selections, buttons, keyboard shortcuts and keypad shortcuts.
Justification Buttons
Three buttons provide access to the same functions: Justify
Justify
, and Vertical Justify
.

, Horizontal

The Justify button provides the same Bottom, Middle, Top functions as does
the Justify menu, and also has Left, Center, Right controls for each. Click
the Justify button to display a grid that resembles a Tic-Tac-Toe grid. To use
the grid, select the text or object, and click the button that indicates how you
want the text justified, or where you want the object positioned.
7

Top
Left

Top
Center

Top
Right

Middle
Left

Middle
Center

Middle
Right

Bottom
Left

Bottom
Center

Bottom
Right

0
Justification
Off

The numeric keypad also emulates the functions of the grid, and thus offers
a quick way to position or justify text and other objects, which is
particularly useful if you have many repetitions to do. Hold down the Ctrl
key, and press one of the numbers on the numeric keypad to quickly justify
text (and objects). Notice that the position of the marker in the grid button
changes, as do the Horizontal and Vertical Justification buttons.
,
The Horizontal and Vertical Justify buttons display controls to
manipulate text and objects in those directions. In addition, these buttons
also contain Full and Spread functions that apply only to text. Select the text
or object, click the button that indicates how you want the text justified or
where you want the object positioned. The choices are obvious except for
Full and Spread.
Chapter 9: Creating Titles and Graphics

Full Horizontal, Full Vertical and Spread Justification

Full horizontal justification makes the text flush—or even—with both the
left and right sides of the text field box, except for the last line of text which
remains left justified. Full vertical justification makes the text flush—or
even—with both the top and bottom of the text field box. Spread
justification makes all lines of text flush with both the left and right sides of
the text field box, including the last line.

Tools and Selection Handles
Three buttons (Move/Resize, Rotate/Skew, Kerning/Leading) have dual
functions depending on the handle you select. The current function is
denoted by cursor shape. The following text explains these cursor shapes
and how they function on text and other objects. The following section,
Transforming Text and Objects, explains how to access the dual functions of
these tools.
When you select an object, handles appear on the corners and midpoints as
shown in the illustration on the left. In the case of Rotate and Skew, a single
handle appears in the upper right corner as shown on the right.

Studio

Kerning / Leading Tool
This multifunction tool is used to change several characteristics. The
associated cursors appear only on the handles.
appear only on the handles.

Note: The Kerning and Leading cursors
Kerning

Kerning is adjustment of the space between words and letters. Kerning is
typically used for very large letters. Some characters in combination with
each other produce spacing that is visually unpleasing.
To kern text, click the Kerning/Leading button, select the characters to kern,
hold down Alt and press the right/left arrows to increase/reduce the space
between selected characters. Or, use the cursor
to drag the handle at
either side of the selected text.

Leading

Leading (rhymes with “bedding”) is the amount of space between lines of
text. To change the leading, click the Kerning/Leading button, select the text,
and use the cursor
to drag one of the handles above or below the text
block.

LAYERS
Layers allow you put one object in front of another. To move a layer
forward or backward, select the object. From the Layer menu, choose one of
the menu commands such as Layer > Send Back One Layer, or press its
command key equivalent Ctrl + [-].

TRANSFORMING TEXT AND OBJECTS
Move / Resize Tool
Moving
Resizing

The Move cursor
indicates moving is enabled. It appears everywhere
on the selection box except at the handles.
Corner handles
control height and width together; middle handles on
the right or left
control width only; and middle handles on the top or
bottom control height only. Hold down Shift while dragging a corner handle
to constrain the aspect ratio during scaling.
In the following example, the word in the center has not been changed. The
widths of the words on the left and right are narrowed and expanded
respectively.

Chapter 9: Creating Titles and Graphics

➧

Rotate / Skew Tool
Rotating
Skewing

The Rotate cursor
indicates rotating is enabled. It appears everywhere
on the selection box, except at the upper right handle.
The Skew cursor
appears only when you position it on the upper right
handle. Use the Skew function to make objects appear slanted.

USING AND MODIFYING STYLES AND LOOKS
About Looks and Styles
As you have seen, applying a look changes the appearance of text and
objects. A look consists of a face, edge and shadow. Each of those has a
variety of parameters you can also adjust.
A style includes a look, plus any other formatting or transformations that
can be applied to text or objects. For example, styles can include typeface,
size, and rotation, in addition to a look.
Applying Looks to Text and Objects
To select and change looks, click the Looks button
. The Looks browser
graphically displays the looks you can pick. Just double-click the look you
want.

Editing Looks
To create your own custom effect, change the detail attributes of the current
look. You cannot save your changes in the Looks browser. However, you
can save them as part of a style.
The look details (face, edge and shadow) each have its own set of attributes
such as color, size and blur, which you change to create a custom look. The
face is the font rendered in the current attributes. The edge is an additional
line around the face, and the shadow is an offset second image of the face
and the edge.
Select View > Look Editor, or click the Edit Current Look button. The Look
Editor window appears, with a tab for each of the three details.
The Details and Attributes
Most of the Attribute controls are obvious, so the following does not explain
those in depth. In addition, a small preview window in the lower left corner
shows your adjustments, which makes it easy for you to experiment.

Studio

Face, edge and shadow details have several items in common:
•

Choice of solid or gradient colors. These operate the same as described
later in this chapter in the section on Backgrounds.

•

A Blur slider, which varies the fuzziness of the face, edge or shadow
detail. You can adjust the slider, or type in a precise number.

Face, edge and shadow details differ in these respects:
•

The face detail has a checkbox that turns off the face altogether, leaving
only the edge and shadow.

•

The edge detail allows adjustment of the edge size or thickness, either
with the slider or by typing in a precise value.

The shadow detail also allows you to change the direction of the
imaginary light source that creates the shadow.

Chapter 9: Creating Titles and Graphics

Accessing the Style Window
Styles are accessed in the Style window.
To display the Styles window, select View > Preset Styles from the menu
bar. The Styles window contains graphic representations of 24 preset styles.
To select a style, click on it.

Creating your own Styles
You can replace any of the 24 preset styles with a style of your own. Create
text or an object with the attributes you want for your new style. Next, rightclick on the preset style you wish to replace. Select Deposit Current Style
Here.

THE BACKGROUND
Backgrounds fill the screen behind all the text and objects. Full-screen titles
always have an opaque background. Overlay titles have either no
Background—in which case the text and objects appear directly on top of
the video—or a semi-opaque background that the video shows through.

Replace Background Window
You control all aspects of the background with the Replace Background
window.

Studio

Transparent Backgrounds
Select this to create an overlay with no background. This is the default
choice for overlay titles.
Solid Color Backgrounds
Selecting this creates a background consisting of a single color. In the case
of an overlay title, this background could be semitransparent.
Gradient Backgrounds
Gradient backgrounds consist of two or more colors that are blended
smoothly together. In the case of an overlay title, each color can have its
own level of opacity.

To make the top a single color that merges into a single color at the bottom,
choose the same color for both of the top buttons and a different color for
the bottom pair of buttons.
Picture Backgrounds
To use a picture as the background, type in the path name, or click the
Browse button, navigate to the directory that contains the file, and choose
the file.

Selecting Colors and Opacity
Colors
To select color and opacity for a solid or gradient background, click on the
corresponding Color button. The Color Picker appears. Except for opacity,
the choices in this screen are self-explanatory and conform to Windows
Color Picker standards.

Chapter 9: Creating Titles and Graphics

Opacity
The following illustrations show that, as you adjust the opacity slider down
from 100%, the background becomes increasingly transparent.

TRIMMING TITLES AND GRAPHICS
Titles and graphics are trimmed in one of two ways: directly on the
Timeline, or with the Transitions Trim tool.

Trimming on the Timeline Using Handles
Trimming titles directly on the Timeline works in a similar fashion as
trimming scenes on the Timeline: grab the left or right edge and drag.
If you are having difficulty manipulating these edges, refer to Chapter 6,
Using and Adjusting Scenes in Your Movie, for a detailed explanation of
trimming on the Timeline.

Trimming with the TitleDeko Tool
To display the TitleDeko tool, select the title and click the Toolbox button.

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The two functions you can perform in the TitleDeko Trim tool are changing
the duration or end point, and renaming the image.
The duration is changed by entering new values in the Duration fields, or by
clicking the Up/Down arrow buttons. You can use the Player to preview the
effect, but you must use the Duration fields. You can also type in a custom
name for the image (the default name is whatever text you create in the
TitleDeko window). This name appears in the Text View of the Movie
window.

Locking the Title Overlay Track
In the Timeline View, roll your cursor over the five track indicators on the
left edge of the window. You can click on any or all of the icons and lock
each track individually. A locked track is immediately grayed out in the
Timeline view, and cannot be selected in either the Storyboard or Text view.
Locking the Title Overlay track will keep an overlay or transition’s original
duration while you trim audio and video clips.

Without locking Title Overlay, trimming the video clip above it would trim
the overlay or transition.

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Chapter 10:
Adding Sound Effects and
Music
Studio accesses and plays common digital audio file types. For example,
you can add audio files stored on your hard disk in WAV or MP3 format, or
import audio directly from an audio CD. In addition, the audio track of all
video clips is captured along with the video, and is always available.
Studio also provides some exciting additional features. To complement your
movie, you can record voice-overs and other audio directly from your
computer, and automatically create any length and type of background
music.
Audio clips are selected and placed on their tracks in the same manner as
video clips. Once an audio clip is placed on its track, you edit it as you
would a video clip. You can lock it in place, or move its location on the
Timeline, adjust the volume, and trim from the beginning or end.

Overview of the Timeline Audio Section
The Movie window contains three tracks on which you may place audio.

Video Scene Audio Track
This contains the audio portion of video scenes, referred to in this manual as
original or synchronous audio because it was originally recorded with the
video, and is synchronous with the video track.
Sound Effects and Voice-over Track
The most common uses for this track are voice-overs and sound effects;
however you can place any WAV or MP3 file on this track, containing any
type of content. Examples include sound effects such as applause, or music
saved in WAV or MP3 format.
Background Music Track
Use this track to include music from audio compact disks (CDs) and
SmartSound background music. Although SmartSound will always be
background music, the CD audio can be any type of audio. You can also
place WAV or MP3 files on this track.

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SELECTING AND PREVIEWING AUDIO CLIPS IN THE ALBUM
Selecting Audio Clips in the Album
Studio offers a variety of ways to select audio clips in the Album. You can
Shift-click to select contiguous clips, Ctrl-click for noncontiguous selections,
area select with the lasso, and use combinations of these techniques. In
addition, you can use the arrow keys to navigate through the Album grid.
Selection techniques follow standard Windows conventions.
Selected audio clips are highlighted.

Previewing Audio Clips
You will probably want to preview the audio effects before placing the clips
on the Timeline to get a better feel for their length and how they fit in with
your movie. Any audio clip in the Album can be previewed. After you select
a clip (or clips), they play automatically.

PLACING AUDIO CLIPS ON THE TIMELINE
WAV and MP3 files are placed from the Album whereas CD music, voiceovers and SmartSound background music are added via their Toolbox tools.
The following two sections explain both techniques.

Placing Audio Files from the Album
Place WAV or MP3 audio clips on their tracks the same way you would
drag a scene from the Album.
To place an audio file on the Voice-over and Sound Effect track
1. Click the Sound Effects Album tab
2. The Album displays the section for Sound Effects. The page is populated
with sound files (if you chose to install them).
3. Place your pointer on the CarHorn sound icon. After one second, a popup displays a small window letting you know that CarHorn is a WAV file
0.12 seconds long.
4. Click on the CarHorn sound to preview it.

5. Drag the clip to the Voice-over and Sound Effect track. The clip remains
selected.

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6. To hear the sound again, click the Play button.

Placing other Types of Audio Using the Toolbox
To Place a CD sound track on the Background Music track
1. Select File > New Project to open a new file so the Movie window is
empty.
2. Click the Audio Toolbox button

, then the Background Music button

in the Tool Selector area.
The Name and Track field contain nothing. The CD Title drop-down lists
contain Untitled (please put an audio CD in CD drive) until you insert a
CD, type in the CD name and select a track. Subsequently, Studio
remembers the CD name and track number.

3. Type in a name for the CD, or click the down arrow button in the CD
Title drop-down list and choose a CD you have previously named.
4. Click the down arrow button in the track drop-down list and select the
track you wish to place in your movie. You can select a portion of the
track by trimming it using the Trim Calipers. For more information on
trimming audio clips, see Trimming Audio Clips at the end of this
chapter.
5. Click the Add to Movie button.
The CD track is placed on the Timeline. Note that you can place the
audio CD music clip at any point on the Timeline by first positioning the
Timeline scrubber at that point. If no clip is selected, the CD music is
placed at the beginning. In the following example, the second scene was
selected before clicking the Add to Movie button, and the clip was placed
at that point on the Timeline.

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6. To hear the sound clip when it is on the Timeline, click the Play button
on the Player, or double-click the sound clip and click the Play button in
the CD Music Tool.

CD Recording Options
Depending on your CD drive, Studio offers a number of recording options.
The choices are found in the CD/Voice-over tab (Setup > CD/Voice-over):

The default method is digitally ripping from your CD to Studio, where the
audio is transferred digitally. If you have an older CD drive and can’t rip,
Studio lists alternate options based on your audio board.

CREATING BACKGROUND MUSIC
SmartSound combines a style of music along with a specific type to produce
an appropriate background sound track.
SmartSound consists of two main software components: the program built
into Studio for choosing and controlling music creation, and the sound files
themselves. Because the sound files are large (around 250 MB), the default
install does not include them. If you didn’t install them, and you find
yourself using this feature a lot, you can install these files any time for more
convenient access, or continue to use them directly from the CD to conserve
drive space.

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To create background music with SmartSound
1. Select the clips to which you which you want the SmartSound added.
2. Click the Audio Toolbox button
, then the Create Background Music
button
in the Tool Selector area.
The SmartSound window appears.

3. Choose a style, song and version from the lists.
To try this out, pick the default style Classical, song Four Seasons and
version Fresh Air. The number of versions that appears depends on the
duration of the selected clips. By increasing duration, more versions may
appear in the window.
4. Choose the length of the music in seconds, if you want it to be longer or
shorter than the clips you selected.
The SmartSound clip is placed on the CD Audio track.

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CREATING A VOICE-OVER
Studio makes voice-overs as easy as a telephone call. Just open the Voiceover Recorder and speak into the microphone. You can narrate as you watch
the movie play so your words are in sync with the action on the screen. You
can also use the recorder to record other sounds with your microphone.
Before you can record audio into Studio, you need to connect a microphone
to the input jack of your PC sound board.
To record a voice-over
Before you begin recording, review the video scenes in your movie and
decide when you want the voice-over to begin and end. To see how
recording operates, you can practice the following example without using
the microphone.
1. Select Toolbox > Record Voice-over from the main menu bar or click the
Voice-over button

in the Toolbox.

The Voice-over Recording window appears. Note that the Recording
lamp is not lit.

2. Select the point on the Timeline at which the voice-over is to begin.
You may do this by selecting a clip, playing the movie and stopping it at
the desired point, or moving the Timeline scrubber.
Note: You must have at least one video clip in the Timeline to record a
voice-over.
3. Pick up the microphone and move your cursor over the record button,
which will turn red. Click the Record button—it toggles to a Stop button.
The unlit Recording lamp changes to Standby, then a 3-2-1 countdown so
you are prepared. (Even if you don’t start speaking exactly on cue, you
can always reposition the beginning of the voice-over clip on the
Timeline.)

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4. When the Recording lamp lights and the movie begins playing, begin
speaking. As you speak, watch the movie so you can stay in sync.

5. When you are finished, click the Stop button

The lamp goes out, and the voice-over clip is automatically placed on the
Voice-over track of the Timeline.
6. Review your voice-over by clicking on it and clicking the Play button.

Voice-over Level
The record level for a voice-over is set when you record the voice-over, and
cannot be changed; however, you can adjust the playback volume at any
time. Record level is set with the Recording Level slider on the right of the
Voice-over window. To the right of this slider is a level meter.

Watch this meter to make sure your recording levels don’t get too high or
low—the indicator changes color from blue (0-70% modulation), through
yellow, to red. Generally, you’ll want to keep your audio peaking in the
yellow (71-90% modulation) and out of the red (91-100% modulation).

Editing Voice-overs
Edit the voice-over in the same way as any other audio file. You can
reposition the voice-over clip on the Timeline, adjust the volume, and trim
the beginning or end.

Voiceover Recording Options
You can adjust factory-preset values for recording quality. This section
provides a brief summary. See Appendix A for detailed information.
To access these options select Setup > CD/Voice-over from the main menu
bar.

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Voice-over recording options include a list generated by Studio, and based
on your particular sound card. This list details the multiple ways you can
connect a microphone to your sound card. The list will look like this
example only if you have a Yamaha sound card.

Choose from this list, then connect your microphone in the manner
indicated (Line In, Mic In, etc.)
Voice-over Recording Options also include Channels and Sample Rate
adjustments. These options control the quality of voice-overs or other
recorded audio. Set them at the highest quality level you anticipate needing,
but keep in mind that increasing quality requires more disk space.

ADJUSTING AUDIO VOLUME
Anatomy of an Audio Clip
An audio clip icon on the Timeline has several parts. Clip length is denoted
by the vertical bars. The actual content of the audio is indicated by the
waveform. A continuous type of sound, such as a car engine, would have
many pulses packed closely together. A staccato sound has sets of pulses
spaced apart.
Two other lines indicate the normal and adjusted audio levels. The normal,
or unadjusted, audio level of 0 dB is the gray line; adjusted audio is the red
line.

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Cursors
The following cursors indicate the operations you can perform.

ADJUSTING AUDIO LEVELS
Audio levels of individual clips can be adjusted directly on the Timeline, or
in the Volume window. Each technique offers its own advantages.
Adjusting on the Timeline gives you a good sense of time versus volume,
whereas the Volume window facilitates adjusting the relative volumes of the
tracks with respect to each other.

Adjusting Audio Clip Volume on the Timeline
The audio level can be adjusted directly within the clip. Use the pointer to
move the red line that represents the audio level.
To raise or lower volume
1. If you do not have an audio clip on the Voice-over and Sound Effect track,
place one there now.
2. Select the clip. Note that the unadjusted (0 dB) Volume Level line is
displayed.
3. Position the pointer over the Volume line until it becomes an Up/Down
arrow.

4. Click-drag the line up to increase the volume.

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5. When you release the mouse button, Studio places a volume adjustment
handle at the point where you release the button.
6. Play the sound to hear the effect of your adjustment.
You can adjust existing points using the same method.
To reset volume level
Right-click within the audio clip you adjusted. Choose Remove Volume
Changes from the menu. All adjustment points are removed.

Adjusting Audio Levels with the Volume Tool
The Volume tool offers a greater degree of adjustment functionality
organized into one convenient location. The Volume tool operates in a
similar way to a traditional audio mixer.

You can control the volume of the individual tracks with respect to each
other—on the fly or with playback stopped. In addition, you can fade the
audio in or out at any point. The Volume tool also displays the volume with
meters similar to those on stereo equipment.
Tracks are indicated by the symbol in the upper left corner of each section.
Specific volume is controlled by clicking on the Volume sliders and
adjusting them up or down. Global volume is controlled by grabbing the
indicator on the dial and rotating the dial (8’clock position is full off, and 4
o’clock position is full up).

Note: Use Global volume to raise or lower a track in its entirety, including
the ramps and fades made with the Specific volume slider.

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See How It
Works

First, populate the Timeline by dragging several video scenes and WAV
sound effects onto their tracks. Add a section of background music or a CD
audio track to its track. Your Movie window should be similar to the
following example.

Click the Player Play button
. There is a jumble of sound as the three
Audio tracks play over each other. The meters indicate the volume of each
track. To unclutter the sound, experiment with adjusting the volume levels.
As you make adjustments, you can hear the results, and see the effect in the
Audio Level Adjustment line within the clip that is on the track you are
adjusting.
Static Volume
Adjustment

Next, try static adjustment. Click the Timescale in the Movie window to
activate the Timeline scrubber. Experiment by moving the scrubber
left and right. Notice how the various displays in the Volume tool and
Player Preview windows change.
Stop at a point on the Timeline. The displays freeze. Now make volume
adjustments using the Volume sliders. Note the effect in the Audio Level
Adjustment line within the clip itself. An adjustment point is added and the
line level is changed.

On-the-Fly
Volume
Adjustment

First try making adjustments on the fly. Click the Play button
, and—as
the Movie plays—click on the Video clip Specific Volume slider and pull it
down to the bottom. The background music predominates. When you come
to a point in the movie where you want to hear the Video clip audio, raise
the slider.
Note that adjustment points are added and the line level is changed to match
the way you moved the Volume slider.

Muting a track

Fade In and
Fade Out
Buttons

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Any or all of the three audio tracks can be muted with the Volume tool.
Simply click the track indicator, and it toggles to an “off”
position as
it mutes that track and places a red line across the bottom of the audio clips
in that track.
Below each Volume slider is a set of Fade buttons that contain ramp
symbols
. Clicking these produces a Fade In or Out at the current
position of the movie. To see this effect, scrub to a location within the
movie, click one of the buttons, and note the result in the corresponding
Audio Level Adjustment line.

Note: the duration of these fades is variable from zero to fifty-nine seconds,
and is selected in the Setup >Edit tab under Volume Fades.

You may notice that sometimes the Fader buttons are grayed out, which
means a Fade is not possible at this point because the scrubber is at the
beginning or end of a clip.
Global Volume
Dials

Once you have made specific volume decisions on each track, you can raise
and lower any track’s overall volume by using that track’s Global volume
dial.

TRIMMING AUDIO CLIPS
Audio clips are trimmed in one of two ways:
• Directly on the Timeline
• With the Audio Trim tool.

Trimming on the Timeline
Trimming audio clips directly on the Timeline works in a similar fashion as
trimming scenes on the Timeline: grab the left or right edge and drag.

Trimming with the Audio Tools
The Trim Audio tool works the same way as the Trim Video Scenes tool
described in Chapter 6, with the following exceptions.
To display the Trim tools for audio, double-click on the audio clip, or select
the transition and click the Trim button in Toolbox tool selection area.
Whereas the Trim Scenes tool shows the start/end video frames, the Trim
Audio tool shows the audio clip. In the case of a WAV file audio clip, a
waveform that represents the sound is displayed.

The controls for the WAV Trim tool operate in exactly the same way as
those for the Video Scenes Trim tool. The only difference is that a

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waveform of the WAV file is displayed instead of the Start/End video
frames.
For CD music, the CD and track names are displayed instead. As with the
WAV Trim tool, the controls operate the same way as in the Video Scenes
Trim tool.

The Trim tool display for background music is a slight variation: The
Background Music tool is displayed, except that the Trim Tool button is
selected. As with the Transition Trim tool, the only adjustments you can
make are the duration and name. Duration is changed by entering new
values in the Duration fields, or by clicking the Up/Down arrow buttons.
Trimming does not remove music. Rather, it generates a new song of the
desired length that has a proper beginning and end.

You can also type in a custom name for the music. This name appears in the
Text view of the Movie window.

Locking Audio tracks
Studio allows you to lock any or all of the three audio tracks in the Timeline
view of the Movie window. When you lock an audio track, you still have
the ability to trim, insert, or delete clips on the remaining tracks. You may
lock audio tracks two different ways:

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•

Click on the track intentifier icon at the far left of the window. The icon
remains indented and the track darkens.

•

In the Volume Tool, click the track identifier icon at the top of each
track. The icon remains detented with a line through it, and a red line
appears across the bottom of all clips in that track.

Chapter 11:
Making Your Movie
Studio gives you a variety of ways to share your video creation. This
chapter explains how to:
• Attach a DV camcorder or a DV VCR
• Connect a VHS or S-VHS (analog) camcorder or VCR
• Connect a TV set or video monitor
• Output your movie to videotape
• Save your movie as an AVI file
• Save your movie as an MPEG file
• Share your movie via the Internet..
• Save your movie as a Windows Media or RealVideo file.

CONNECTING THE CAMERA…
... with an IEEE 1394 cable
After the software application installation is complete, connect your DV
video device to your PC. You can connect any DV video device (camcorder
or VCR) with an IEEE-1394 DV connector.
To connect your DV camcorder/VCR to your PC, use an i.LINK cable (4pin to 6-pin) as illustrated here.

4-pin connects to the
DV camcorder / VCR

6-pin connects to your
computer's 1394 port

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1. Connect the 6-pole plug of the i.LINK cable to the 1394 connector of
your computer (i.e. StudioDV, StudioDVplus). The connector is
normally to be found on the rear of your computer.
2. Next connect the i.LINK cable to the DV device.
Connect the 4-pin connector of the i.LINK cable to the DV IN/OUT or
the DV OUT connector of your DV camcorder/VCR. Next, switch the
camcorder/video recorder to VTR mode.

Please note: many of the PAL devices sold Europe are equipped with a DV
output only and do not support the recording of DV data back onto video
tape. On these devices the DV connection is labeled DV OUT (and not DV
IN/OUT).

... with analog audio/video cables
If you want to transfer your video to the computer using analogue
connections, to do this you will need a capture device for analogue video in
your computer, e.g. Studio Online, Studio PCTV or Studio DC10plus
(supported by Studio Version 7.04 onwards).
Connect the recording device (camera or VCR) using a composite or S-VHS
lead. (Studio Online is fitted with a composite input only).
Please refer to the user manual that came with your video capture card/TV
card and contact the manufacturer for further information.

Note: If your video recorder only has a single audio output, plug it into the
left channel (white color code).

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OUTPUTTING TO A CAMERA/VIDEO RECORDER...
... with an IEEE 1394 cable
If your 1394 device has a DV input, all you need is a 1394 connection
between the 1394 device and the camera/recorder.

... with analog audio/video cables
If you have a Studio product, which has an analogue (TV or video) output,
e.g. Studio DVplus or DC10plus (supported by Studio Version 7.04
onwards), proceed as follows:
Connect the video outputs of the capture card to the inputs of the video
recorder and the audio outputs of the sound card (or the Studio DVplus,
depending upon which hardware you are using) to the audio inputs of the
video recorder.

CONNECTING THE TV SET/VIDEO MONITOR
To view the recorded footage, a TV set or a video monitor must be attached
to the DV camcorder/VCR.
Please note: Not every DV camcorder supports this function of
simultaneous output to TV!
Some camcorders have an integrated display, in which case you do not need
to attach a video monitor. If you don’t wish to connect a TV set or video
monitor to your DV camcorder/VCR, you can always use Studio’s
Preview window.

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OUTPUT YOUR MOVIE TO VIDEOTAPE
Click the Make Movie button
on the main menu bar. The
portion of the screen above the Movie window changes to display the Make
Movie window, with the controls needed to make a videotape or digital
movie.
Check that your camcorder/VCR is connected and ready to record your
movie.
• If your movie includes clips that were captured clips in Preview-quality,
Studio will prompt you to load your source tape(s) in your DV
camcorder/VCR. Studio will re-capture those clips at full resolution.
• Studio then renders any transitions and titles you’ve added to the movie.
• When Studio has completed its batch capture and Intelligent Rendering,
the Status window will indicate that your movie is ready for output.
Here are the steps to make your movie.
1. Click the Make Tape file button
here:

to bring up the controls shown

2. Click the Create button
3. If you have used Preview-quality clips, this is when Studio displays a
dialog box prompting you to insert the original DV tape(s) into your DV
camcorder/VCR.
Studio then re-captures full DV-quality clips to replace the Previewquality clips. It’s good practice to slide the record-inhibit tab on your
master tapes to “Save” to ensure there’s no accidental recording over
original material.
Note: Studio relies on continuous, uninterrupted time code to re-capture
these clips. If your original tapes have discontinuous time code (i.e., time
code re-zeros at a location other than the beginning of your tape), you must
manually cue to the portion of the tape which holds the clip(s). Studio will
then perform an accurate re-capture of the clip(s) and provide you with trim
handles. You can see the extra frames by opening any re-captured clip with
the Change Clip Properties tool.

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4. Studio begins Intelligent Rendering, which renders only the parts of your
movie where you have added effects (wipes, dissolves, title overlays,
etc.). Intelligent Rendering saves you time and disk space.
Intelligent Rendering is entirely automatic, except that you may be asked
to insert audio CDs which are part of your movie. During Intelligent
Rendering, Studio gives you complete feedback on the status of the
process. It tells you what part of the Intelligent Rendering process it is
performing via messages in the Status window.
A message in the Status window will inform you that Intelligent
Rendering is complete, and Studio will prepare for output to your
camcorder or VCR. This takes a few seconds.
You can terminate the Intelligent Rendering process at any point by
clicking the Cancel button. Once you do, however, you cannot continue.
If you wish to record a finished videotape of the same movie, you need to
start from the beginning.
5. Verify that the camcorder/VCR is powered on, and that you have inserted
a tape cued to where you wish to begin recording. You now have two
options:
If you want to record your movie on a DV tape, Studio gives you the
option to automatically Start and Stop Recording on your DV
camcorder/VCR. For this purpose, click the button Settings… (to the
right of the Create button) and then activate the corresponding check box
under Output Options. Then click the Play button underneath your Player
window.
If you want to record your movie on a standard (VHS or S-VHS) tape,
put your VCR into Record, then click the Play button in the Player
window and watch your movie output through your DV device to
videotape.

SAVE YOUR MOVIE AS AN AVI FILE
In some instances, you may wish to output your movie in AVI file format.
Generally, AVI files are larger and not as high quality as MPEG files. But
AVI files can be edited, and AVI files will run on Windows 3.1 computers.
If you choose to save your movie as an AVI file, Studio gives you control
over several CODEC settings. Files can be greatly reduced; however, do
keep in mind the trade-off between file size and quality: the more you
compress, the more you reduce quality. Both video and audio compression
are adjustable. Video compression adjustments include frame size, frame
rate, and data rate/compression. For audio, you can select a single channel
(that is, monaural) and adjust the sampling rate.
The default CODEC included with Studio D is the Studio DV CODEC. If
you wish to output your movie in another format, you can use any Video for
Windows-compatible CODEC installed on your PC, as long as that CODEC
is also installed on the PC which will play your digital movie.

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The Studio application lets you turn your current project into an AVI file.
Use the following steps.
1. Click the Make Movie button
2. Click the Make AVI File button

on the main menu bar.
.

. Verify that the Include Video and
3. Click the Settings button
Include Audio checkboxes are selected.

Options are provided for turning these off because you may want to make
an AVI audio-only file to save the sound as an AVI for import into
another program. You also might not want to include audio in a video,
such as a small Web page animation, and can reduce the file size by
eliminating audio. Under each option is the compression setting currently
in effect. The Make AVI File Setup Options are detailed in Appendix A.
4. Check the Diskometer to make sure you have enough drive space.

5. Click the Create AVI file button
your AVI file.

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. Type in a name for

The default directory in which your file will be saved is
C:¥My Documents¥Pinnacle Studio¥My Projects.
Click OK to start the AVI file creation process. To create the AVI file,
Studio will decode each frame of MPEG video, render whatever titles and
effects are present, and compress the resulting frame using the CODEC you
specified in the Setup Options Control Panel.
This is generally a slow process; actual time depends on the speed of your
computer and the length of your video.
Checking your
Results

Once your movie has been rendered, you can review the results using the
Windows MediaPlayer. You can launch the Windows Media Player by
clicking on the button

to the left of the Settings button.

SAVE YOUR MOVIE AS AN MPEG FILE
The MPEG file format is supported on all Windows 95, Windows 98, and
Windows NT PCs. Generally, MPEG files are smaller and of higher quality
than AVI files. To convert your movie to an MPEG file, click the Make
MPEG file button

to bring up the controls shown below.

Step #1: Check your settings.
1. Click the Settings button

to bring up the Options Tab.

2. Choose the Preset which meets your need. For more information on the
Custom preset, see Appendix A.

Chapter 11: Making Your Movie

121

Step #2: Click the Create MPEG File button

Type in a name for your .mpg file. The default directory in which your file
will be saved is
C:¥My Documents¥Pinnacle Studio¥My Projects
You can change this to place your movie anywhere you’d like.

Step #3: Click OK.
When you click the OK button in the Create MPEG File dialog box, Studio
begins making the MPEG file. You can see the progress of Studio by the
progress bars which appear in the Player window.

Step #4: Checking Your Result.
When Studio is finished rendering, you are ready to play your movie. To the
left of the Settings button are two additional buttons
the Launch
Windows Media Player button and the Send Email button.

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SAVE YOUR MOVIE AS A REALVIDEO FILE
With RealVideo, you can save your movies for playback on the Web. You
can share those movies with anyone around the world who has the popular
RealNetworks® RealPlayer® software, available free for the download
from www.real.com.
Click the Stream button, to bring up these controls:

Click the RealVideo

button.

Step #1: Check your settings
Click the Settings button

to bring up the RealVideo options tab.

See Appendix A for a description of the Make RealVideo Setup Options.
Step #2: Click the Create Web file . . . button
Type in a name for your .rm file. The default directory in which your file
will be saved is
C:¥My Documents¥Pinnacle Studio¥My Projects.
You can change this to place your movie anywhere you’d like.
Step #3: Click OK.
When you click the OK button in the Create Web file . . . dialog box, Studio
begins making the .rm file. You can see the progress of Studio by the
progress bars which appear in the Player window.

Chapter 11: Making Your Movie

123

Step #4: Checking Your Result.
When Studio is finished rendering, you are ready to play your movie. To the
the Playback
left of the Settings button are two additional buttons
by RealPlayer G2 button and the Send Email button. Send Email opens a
Choose Profile dialog box which asks for your email Send name, then
accesses your email program and attaches your new movie as a RealVideo
file, ready for viewing.

SAVE YOUR MOVIE AS A WINDOWS MEDIA FILE
With Windows Media you can save your movies for streaming playback on
the Web. You can share those movies with anyone around the world who
has the popular Windows Media Player software, available free for the
download from www.microsoft.com.
Click the Stream button, to bring up these controls:

Click the Windows Media

button.

Step #1: Check your settings
Click the Settings button
options tab.

to bring up the Windows Media

See Appendix A for a description of the MakeWindows Media Setup
Options.

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Step #2: Click the Create Web file . . . button
Type in a name for your . wmv file. The default directory in which your file
will be saved is
C:¥My Documents¥Pinnacle Studio¥My Projects.
You can change this to place your movie anywhere you’d like.

Step #3: Click OK.
When you click the OK button in the Create Web file . . . dialog box, Studio
begins making the .wmv file. You can see the progress of Studio by the
progress bars which appear in the Player window.

Step #4: Checking Your Result.
When Studio is finished rendering, you are ready to play your movie. To the
left of the Settings button are two additional buttons
the Playback
by Windows Media button and the Send Email button. Send Email opens a
Choose Profile dialog box which asks for your email Send name, then
accesses your email program and attaches your new movie as a Windows
Media file, ready for viewing.

Chapter 11: Making Your Movie

125

SHARE YOUR MOVIE VIA THE INTERNET
Studio makes it easy to share your movie on the Internet. Click the Share
button to bring up the controls shown below:

1. By default, Sharing displays the first frame of your movie on your
personal MyStudioOnline web page. An icon of that frame appears
above the Set Thumbnail button. If you want another frame of your
movie to appear, use the Playback controls in your Player to find the
frame of your choice, then click the Set Thumbnail button.
2. Click the Share My Video button to begin the process of sharing your
movie. Studio Online will start rendering your movie to a new file.
Note: Your Studio Online video sharing account allows you to store up to
10MB (about 5 minutes) of video online. If your movie is too large to fit
into your allotted space, a message will appear alerting you. In this case,
reduce the file size of your movie by reducing the duration of the movie.

3. If this is your first video to share, Studio Online uses your Internet
connection to open the log-in page of Pinnacle Systems’ video-sharing
web site. Sign up for your personal account by answering the on-screen
questions.
4. Studio Online then uploads your movie to the web site, where it is
converted to RealVideo and Windows Streaming Media formats.
5. Your browser opens to your personal MyStudioOnline page where you
choose a “video postcard” template to display your video, and then send
emails to family and friends, inviting them to view your creation.

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Appendix A:
Setup Options
Options are provided to adjust certain factory-preset default values. The
default values work well for the vast majority of situations and hardware.
However, you may wish to modify them to suit either your work style or
your specific equipment configuration.

The Studio Setup Options Dialog Box
Choosing Setup from the Main Menu accesses the options dialog box. The
Options dialog box is subdivided by functions: the Capture, Edit, and
CD/Voice-over function tabs

and the Make Movie function tabs

Once you change an option, it remains changed for all subsequent Studio
sessions. There is no master reset. If you want to return to the factory preset
values, use the information in the following sections.

CAPTURE SOURCE/CAPTURE FORMAT TAB SETTINGS
The Capture Options tab is divided into three areas: Capture devices, Scene
detection, and Data rate. Changes affect the entire capture. If you want to
change only one capture session, make sure you reset the values before the
next session.

Appendix A: Setup Options

Capture device Options
Video
Studio senses which capture device you have connected to your hardware,
and will display that device as a default in your Option Tabs (e.g., USB
Webcam, PCTV, DV camcorder, etc.).
Audio
Studio senses if you’re capturing from a DV device, or from an analog
device (with analog, Studio shows which sound card you have installed, and
what options you have for capturing audio).
TV Standard
Choose the standard that is compatible with your capture device and your
TV monitor or video monitor (NTSC or PAL). NTSC is the standard used in
North America and Japan. PAL is the standard used in most other places.
Capture Preview
Choose whether you will capture at full quality or Preview quality (if
Preview, you will select compression in the Capture Format Tab).
Scene detection during video capture
Automatic scene detection based on shooting time and date
This choice is available only with a DV source. Your DV camcorder records
not only images and sound, but also the time, date, and various camera
exposure settings (see your camcorder manual for more detail). This
information is termed data code, and is transferred through the 1394 link
along with video and audio (this option is not available with an analog
capture device).
This data code tells Studio when each new scene begins, and allows
SmartCapture to grab an icon of each new scene and display it in the Album.
Data code does not work if:
•

a blank (unrecorded) section of tape is being played back

•

the tape is unreadable due to tape damage or electronic noise

•

the tape was recorded by a camcorder without the time or date set

•

the tape is a copy of another tape

•

the tape was shot on an 8mm or Hi8 camcorder, and is being played
back on a Digital8 camcorder

Automatic scene detection based on video content
Studio will detect scenes based on the visual changes in the video. This is
especially useful if you are capturing analog material being played back on
a Digital8 camcorder.
Create new scene every X seconds
This choice is available only with a DV source. Studio will detect scenes
every X seconds, where X is a value between 1 and 9999 seconds (this
option is not available with an analog capture device).

Studio

Manual scene detection
This choice is available only with a DV source. Studio does not perform
automatic scene detection with this option. Rather, you have the choice of
watching the Capture process and manually creating a scene icon each time
you press the [Space] bar on your keyboard.
Data Rate
The DV format is fixed at a 5:1 compression ratio. The data transfer rate
needed to transfer real-time from the DV camcorder/VCR is approximately
3.6 MB/sec. The transfer rate of your capture drive must be at least 4
MB/sec to allow for any variations across the drive.
By clicking the Test Data Rate button, you can test your current capture
drive. Studio writes and reads a file of known length, and gives you a readout of the results in KB/sec (e.g., 4000 KB/sec = 4 MB/sec).
If you have attempted to capture DV scenes and your capture drive can’t
accept the DV data rate, a dialog box will inform you of the problem. You
have the option of choosing another drive, or adding one which meets the 4
MB/sec criterion.

Capture format Options
Studio will detect whether your capture device is DV or analog, and display
one of the following two tabs.
Capture quality for . . . (DV devices)

Full quality
As the tab reminds you, capturing full DV quality takes almost 200 MB of
disk space per minute of video. If you have copious disk space, the
advantage of this setting is that you won’t have to re-capture clips at full
resolution when you output your finished movie.

Appendix A: Setup Options

III

Preview quality
This is your option when disk space is at a premium. Studio offers you a
number of choices of Preview-quality capture, each with its own subset of
options:

Choosing Custom-Quality preview allows you to choose your own settings
for Preview Quality capture.

By default the List all codecs check box is not checked. The only codecs
that are listed are those that have been certified by Pinnacle Systems for use
with Studio Preview-quality capture.
When you choose Custom-quality preview and select List all codecs, all
codecs installed on your PC will be listed.
Note: Using codecs that have not been certified by Pinnacle Systems for use
with Studio Preview-quality capture may produce undesirable results.
Pinnacle Systms can not provide technical support for porblems associated
with the use of codecs that are not certified by Pinnacle Systems for use
with Studio Preview-quality capture.

Capture Quality for . . . (analog devices)

Studio

Studio offers four capture quality settings for analog devices:
•

Good—suitable for email and the Internet

•

Better—suitable for Video CD

•

Best—suitable for VHS

•

Custom—user-defined by optional choices

EDIT TAB SETTINGS
The Edit Options tab is divided into three areas: one for the quality of voiceover recordings, one for the size of storyboard thumbnails, and one for the
default durations of fades, transitions, and graphics.

Duration Options
Duration times are measured in seconds and frames. After 29 frames for
NTSC—or 24 frames for PAL—the counter increments to the next second.
Transitions and Graphics
This setting controls the duration a transition or still image will be visible,
unless you trim it on the Timeline or change the value of its Duration field
in the Change Clip Properties tool. Note that the default time values are
different: one second for transitions; four for graphics and still images, and
two for volume fades.. (deleted maximum duration’s – mi)
Volume Fades
This option changes duration values for the Volume Fade buttons
found in the Change Volume tool
in the Toolbox.
Specifically, it sets the amount of time audio volume is increased or
decreased from the current position to the new volume level. The maximum
duration is 59 seconds.

Appendix A: Setup Options

Hollywood FX
As explained in Chapter 8, Hollywood FX are complex 3D transitions. If
your graphics board has 3D acceleration, click the Use hardware
acceleration radio dial and you’ll experience real-time previews. If you
don’t have graphics acceleration, select the Use software acceleration radio
dial. You can preview your 3D transitions by holding down the Alt key and
scrubbing through the transition. Both choices affect preview playback only.
When you Make Movie, the transition is rendered at full resolution and
frame rate.

Storyboard Thumbnails
This is where you choose Large or Small thumbnails for the Storyboard
View icons in the Movie window.

CD/VOICE-OVER TAB SETTINGS

CD audio recording
Studio senses your audio board, and in the Input source dropdown list offers
the choices you have in transferring CD content. Of course, the highest
quality transfer is always digital (ripping the CD tracks).

Microphone
Studio senses your audio board, and in the Microphone dropdown list, offers
the possible choices you have to attach a microphone to your hardware.

Studio

MAKE TAPE SETTINGS

As with Capture, Studio automatically senses the hardware you have
installed, and configures the Make Tape Playback destination accordingly.
If you are printing (Making Tape) to a DV device, you have the option of
manually starting and starting the device, or choosing to perform the
operation automatically.
Here’s how you automatically print to your DV device:
1. Click the Make Movie button on the main menu bar. The portion of the
screen above the Movie window changes to display the Make Movie
window.
2. Click the Tape tab.
3. Click the Settings button. The Make tape Setup Options tab opens.
4. Check the Automatically Start and Stop recording box
automatic function

to enable the

With most DV Devices there is a small delay between the time they receive
the command to Record and the time it actually begins recording to the tape.
In Studio this is referred to as the Record delay time. This delay varies form
device to device so you may need to change this value for best results with
your particular device.
5. Click OK
6. Click Create
Studio renders your movie then sends the Record command to your DV
Device Studio outputs the first frame of your movie (without audio) to your
DV device for the duration entered for Record delay time, giving the
device time to thread tape and begin recording.
Hint: When you play back your tape, if the first part of you movie was not
recorded, you should increase the Record delay time setting. If your movie
starts with a still of the first frame you should decrease theRcord delay time
setting.

Appendix A: Setup Options

VII

Hint: If you wish to send black to your recording device during its Record
delay time, place a blank title in Studio’s video track just prior to the start of
your movie (a blank title is video black). If you wish to record black at the
end of your movie, place a blank title in your video track following the final
frame of your movie.

MAKE AVI FILE TAB SETTINGS
The Make AVI File tab options allow you to adjust compression settings.
You may do this because the files are too large, you want higher quality, or
you are creating them for a special purpose (such as Web files, where you
may want a specific frame size and other characteristics).
Compression settings are changed in the Settings dialog boxes.

Video Compression Settings
Compression

Choose the compressor (CODEC) that is most suitable for your intended use.
When making an AVI file, you’ll want to consider your intended viewer’s
computer platform, and what will most effectively play on that system.

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Width and Height

Width and height are measured in pixels. The default setting of 720 x 576
pixels is the resolution at which Studio captures. Decreasing width and
height greatly decreases file size because the amount of data decreases with
the size, but compression reduces the effect. As you adjust one parameter,
the other also changes to maintain a standard 4:3 video frame aspect ratio.
Quality/Data Rate

Depending on the CODEC being used, you can adjust the percentage of
quality or data rate with the slider. The higher the percentage you choose,
the larger the resultant file.
Frame rate

The default is 29.97 frames per second, which is the standard for NTSC
video (PAL default is 25 frames per second). You may want to set the frame
rate lower for applications such as Web video. Most Pentium-based
computers can play 352 x 240 at 15 frames per second smoothly. Higher
performance PCs will be bale to play back video with larger frame sizes and
higher frame rates smoothly.

Audio Compression Settings
Audio Settings
If you want to keep file sizes to a minimum, audio for many digital uses can
be set to 8-bit mono at 11 kHz. For a general rule, try 8-bit 11 kHz for audio
that is mostly voice-overs, and 16-bit stereo at 22 or 44 kHz for audio that is
predominantly music. By comparison, CD-ROM music is 16-bit stereo
sampled at 44 kHz. Another way to consider evaluating an audio
compression choice is that 11 kHz is comparable to AM radio quality,
22 kHz comparable to FM and 16-bit stereo, 44 kHz to audio CD quality.

Appendix A: Setup Options

Type

In most cases, you will choose either PCM (Pulse Code Modulation) or
ADPCM (Adaptive Delta PCM).
Channels

You may choose between 8- and 16-bit mono and stereo sound. Sound
quality and file size increases as when you add a second channel or increase
bit depth.
Sample Rates

Digital audio is produced by taking small discrete samples of the continuous
analog waveform—the more samples, the better the sound. For example,
audio CDs are recorded at 44 kHz, 16-bit stereo. Audio can be sampled at
11 kHz for most digital uses, particularly for voice-overs.

MAKE MPEG FILE TAB SETTINGS
This tab accesses the settings found in the Make MPEG File Settings dialog
box..
You can choose presets for a variety of applications. There are presets for
Internet playback, PC and multimedia playback and for burning your movie
to disc in Video CD, SVCDs and DVD formats.
The Custom preset allows you to select or deselect audio and/or video, and
independently vary your audio and video data rates.

Studio

Compression
You can choose either MPEG-1 or MPEG-2 compression. MPEG-2 offers
higher resolution and higher quality than MPEG-1
Note: MPEG-2 files require special player software. If you do not have an
MPEG-2 player installed on your PC you will not be able to play MPEG-2
files.
Width and Height
Width and height are measured in pixels. Decreasing width and height
greatly decreases file size because the amount of data decreases with the
size, but compression reduces the effect. The maximum resolution for
MPEG-1 is 384 x 288. The maximum resolution for MPEG-2 video is 720 x
576.
Data Rate
You can adjust the data rates for audio and video speratley using the
sliders. Higher data rates yield higher quality, at the cost of larger files.
Audio Settings
Sample Rate
Digital audio is produced by taking small discrete samples of the continuous
analog waveform—the more samples, the better the sound. MPEG supports
two sample rates – 44.1kHz and 48 kHz.
Data Rate
You can adjust the data rates for audio and video speratley using the
sliders. Higher data rates yield higher quality, at the cost of larger files.

MAKE REALVIDEO TAB SETTINGS
This tab accesses the RealVideo file options, which determine how files are
created for the popular RealNetworks® RealPlayer® G2 player, free for the
download from http://www.real.com.

Appendix A: Setup Options

Title, Author and Copyright Fields
These three fields are used to identify each RealVideo clip, and are encoded
into the clip so they are not visible to the casual viewer.

Keywords
This field accepts up to 256 characters, and allows you to encode keywords
into each clip. This is typically used to identify the clip for Internet search
engines.

Web Server
To use the RealServer option, the ISP hosting your Web page must have a
RealServer installed. If you are unsure, contact your ISP for confirmation,
or use the Standard option.
•

The RealServer option allows you to create a file that can be streamed
from a RealNetworks RealServer. The RealServer supports a special
feature that senses the connect speed of the viewer’s modem, and adjusts
its transmission to match this rate. Choosing this option allows you to
select multiple “target audience” data rates (up to seven options can be
selected).

Hint: the file created will grow in size with each rate you select, meaning it
will take more time for you to upload the file to the Web server. Select only
those target audiences you think you’ll actually use.
•

The HTTP option allows you to optimize playback for one of the six
Target audience options listed.

Note: GeoCities provides RealServers to their Homesteaders.

Target Audience
This selects the target audience modem connect speed. The lower the speed,
the lower the quality of the video. If you wish your viewers to be able to
view your movie as it loads, you should select a target audience rate that
matches their modem speed.
When you select a specific target audience, you are actually specifying a
maximum bandwidth for your RealMedia stream at the selected target
audience. Bandwidth, measured in kilobits per second (Kbps), is the amount
of data that can be sent through an Internet or network connection during a
set period of time. Standard modems are commonly referred to by the
bandwidth they are able to receive—for example, 28.8 and 56 Kbps.

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In addition to these standard audiences, you can record clips for connection
speeds of 100 Kbps, 200 Kbps, or higher. These higher bandwidths,
however, are generally more typical for audiences that use corporate Local
Area Networks (LANs) or Digital Subscriber Line (DSL) modems.
If you want to keep file sizes to a minimum, audio for many digital uses can
be set to 8-bit mono at 11 KHz. For a general rule, try 8-bit 11 KHz for
audio that is mostly voice-overs, and 16-bit stereo at 22 or 44.1 KHz for
audio that is predominantly music. By comparison, CD-ROM music is 16bit stereo sampled at 44.1 KHz.

Video Quality
These are choices you make between image quality and frame rate. These
are choices you make between image quality and frame rate.
•

Normal: recommended for mixed content clips to balance video motion
and image clarity.

•

Smoothest Motion: recommended for clips that contain limited action,
such as newscasts or interviews, to enhance overall video motion.

•

Sharpest Image: recommended for high-action clips to enhance overall
image clarity.

•

Slide Show: with this option, video appears as a series of still photos
and provides best overall image clarity.

Audio Quality
Audio Quality: This drop-down menu lets you choose the characteristics of
your audio track. Studio Online then uses this information to select the best
audio compression used to create your RealVideo file. Voice Quality creates
the smallest file, and Instrumental Music Stereo creates the largest file.

Video Size
These three choices allow you to automatically re-size your movie. The
smaller the resolution, the lower the data rate needed for your target
audience.

Appendix A: Setup Options

XIII

MAKE WINDOWS MEDIA TAB SETTINGS

Title, Author and Copyright Fields
These three fields are used to identify each Windows Media clip, and are
encoded into the clip so they are not visible to the casual viewer.

Description
This field accepts up to 256 characters, and allows you to encode keywords
into each clip. This is typically used to identify the clip for Internet search
engines.

Playback Quality
Choose the playback quality of your movie based on the target platform—
the capability of the computer(s) which will play your movie. Your audio
and video parameters are displayed when you make your choice.

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Markers for Media Player “Go To” Bar
The Windows Media Player plays your movie once it’s compressed. You
have the option of including “tabs” or “clip markers” as you compress.
These markers allow viewers to go directly to the beginning of any clip (if
you choose not to name your clips, Studio names them automatically with
the Project Name and the clip’s original time code start numbers):

To access the “Go To” bar in the Player, go to View in the Toolbar, then
Options > Custom Views and select the Go To box.

Appendix A: Setup Options

Appendix B:
Tips and Tricks
GENERAL INFORMATION
To ensure the correct control of the camera it is important that your DV tape
has a constant time code without gaps.
If your camcorder has a time code striping feature, then stripe your tape first.
If not, then there are two ways to stripe your tapes. The first is to put a tape
into the camcorder, put the lens cap on, and press Record. This will record
black throughout the entire tape and create a continuous time code source
track. If you don’t have time to record black throughout the entire tape, then
make sure that when you are recording your footage you record throughout
the entire tape, from beginning to end without stopping. If you do start and
stop while shooting, then before you begin a new shot, rewind your
camcorder a few frames so that there will not be any blank spots between
shots.

HARDWARE
To use Studio effectively, your hardware should be optimally prepared and
configured.
It is recommended that you UDMA IDE drives as they provide reliable
video transfer performance with Studio. We highly recommend you capture
to a hard disk other than the disk upon which Windows and the Studio
software is installed.
Since recording video sequences in the DV format requires approximately a
3.6 MB per second data transfer rate, your hard disk should maintain a
performance level of at least 4 MB/s. Higher transfer rates will insure
reliability.
You can calculate the amount of hard drive space you’ll need for your video
using the 3.6 mg/sec value.
For example:
1 hour of video = (60 seconds x 60 minutes) = 3600 seconds.
3600 seconds x 3.6 = 12,960 MB or 12.9 GB of hard drive space.

Due to their automatic internal calibration, standard hard disks regularly
interrupt the continuous data stream in order to recalibrate themselves.
During capture, this is not apparent since images are temporarily stored in
memory. But during playback, only a limited number of images can be
temporarily stored in this manner.

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Studio

For smooth playback, a continuous data stream—with no interruptions—is
required. If not, the image will “jerk” at regular intervals, even though all
frames are present and even if the hard disk is very fast. A/V-rated drives do
not have this problem.

Preparing your hard disk
Prior to capturing video, you should:
• End task on background applications. Before opening your Studio
product, hold down the Ctrl and Alt keys on the keyboard, then hit
Delete. This will open the Close Program window. Click on the
individual applications listed in the Close Program window and select
End Task. Do this for all applications listed in Close Programs EXCEPT
Explorer and Systray.
• Click on Start > Programs > Accessories > System Tools > ScanDisk.
Make sure Thorough is checked, and click Start (this may take awhile).
• After scandisk is done, click on Start > Programs > Accessories > System
Tools > Disk Defragmenter (this may take awhile).
• Turn off Energy saving features (Point your mouse on your desktop, right
click, and select Properties > Screensaver > (under Energy… Settings).
Make sure everything under Settings for… power schemes is set to Never.
General Note: Video Editing programs do not multi-task very well. Do not
use any other program while making movie (videotape or CD) or capturing.
You can multi-task while editing.
When working with some UDMA hard disks, the playback may “jump”
when an AVI file is played back at higher data rates. This can be traced
back to the fact that the hard disk carries out a recalibration while reading
the file, thus interrupting playback.

RAM
The more RAM you have, the easier it is to work with Studio. You will
need at least 64 MB of RAM to work with the Studio application, we highly
recommend 128 MB (or more) of RAM

Motherboard
You should use at least a Pentium II 300 system.

Appendix B: Tips and Tricks

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SOFTWARE
Color depth adjustment
1. 16 bit color depth is recommended.
2. Point your mouse on your desktop, right click, and select Properties
Settings.

3. Under Colors, choose High Color (16-bit).
The overlay settings effect only the display on the computer monitor, while
recorded sequences will always appear in full color and resolution at the
video output.

Windows 98
To improve system performance under Windows 98, you can make the
following modifications.
Hard disk settings
1. Go to Start > Settings > Control Panel > System. Click on the
Performance tab, then File System, then Troubleshooting tab.
2. Click to the left of Disable write-behind caching for all drives option to
select it and click OK.
3. Under the Hard-disk tab, set the Read-ahead optimization option to None.
4. Insure that DMA is enabled for your hard disk (see Apppendix C,
Troubleshooting for instructions on enabling DMA
CD-ROM drive setting
Under Windows 98, you can specify automatic notification for a CD-ROM.
1. Select Start > Settings > Control Panel > System > Device Manager.
2. Click on CD-ROM.
3. Click on your CD-ROM drive name.
4. Select Settings > Options.
5. Deactivate Auto insert notification.
Do not operate an enhanced IDE CD-ROM drive in parallel with an
enhanced IDE hard disk. This combination can lead to an unnecessary
reduction in the speed of your hard disk. Instead, use the second IDE
interface for your CD-ROM drive.

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Taskbar
Switch the clock on the taskbar off.
1. Right-click the mouse on the taskbar.
2. Select Properties.
3. Deactivate the Show Clock option.

INCREASING THE FRAME RATE
If your system is unable to achieve an adequate frame rate (25 fps for
PAL/SECAM, 29.97 fps for NTSC), try the following:

Deactivate network driver and applications
Network operations often cause interruptions during recording and playback.
We recommend not working in a network.

Audio recording
Record audio only when you actually need it, because sound requires a great
deal of processor time during video recording We recommend a PCI
Soundboard.

Digital video with audio
When recording digital video sequences with audio, remember that the
audio also takes up hard disk space:
• CD quality (44 kHz, 16 bit, stereo) requires about 172 KB/sec.;
• Stereo quality (22 kHz, 16 bit, stereo) approx. 86 KB/sec., and
• Mono quality (22 kHz, 8 bit, mono) still requires 22 KB/sec.
The better the sound quality. The highest quality (CD) is rarely required.
However, the lowest quality (11 kHz/8 bit, mono) rarely provides
acceptable audio sequences.

Appendix B: Tips and Tricks

XIX

STUDIO AND COMPUTER ANIMATION
If you are editing computer animation (i.e., Flics) with Studio or wish to
combine them with digital video, please note the following important
information:

Match frame sizes
Create your animations using the same frame size and image refresh rate as
your original video:
Quality

TV-Cropping

NTSC

PAL

Audio

Yes

720 x 480

720 x 576

44 kHz 16-bit stereo

Failure to do this will result in unnecessarily long rendering times and, after
the rendering, flaws may be visible when the animation is played back.

SMART CAPTURE TIPS (DV ONLY)
SmartCapture relies on continuous, uninterrupted time code to recapture
your clips. If your original tapes have multiple sections of discontinuous
time code, each section was captured as a separate file. Before it can
recapture your clips, Studio will prompt you to cue the tape to that section
where the clip is recorded.
To help you recognize the correct section of tape, the Preview window will
display an image of the first frame of that clip. When you have cued to the
correct section, Studio will recapture all required clips from that section. If
you followed the naming convention suggested in Chapter 4, Capturing
Video, Studio will proceed to the next section of tape and repeat the process
until all required clips from that source tape have been recaptured. Not
following the naming convention results in changing source tapes much
more often.
When Studio recaptures your clips, it will capture about 1 second of extra
footage at the start and end of your clip. Studio automatically trims each clip
to match the exact start and end points you chose for your movie, but this
extra captured footage allows you to adjust start and end points of each clip
if you happen to change your mind after recapturing. You can do this either
on the Timeline or by using the Change Clip Properties Tool.

Studio

CLIP NAMING CONVENTIONS
If you capture multiple segments from the same tape, we strongly
recommend you use the following naming convention:
For each capture file that originates from the same tape, use a name that
starts with the same word.
For example, if you have a tape that contains three different activities all
shot on your vacation, then you would name the captures:
Vacationpicnic
Vacationsailing
Vacationsoccer
Following this convention will greatly reduce the number of times you will
have to switch tapes during the Make Tape process.
Note: Digital8 camcorders allow playback of analog 8mm and Hi8 tapes.
Analog tapes do not contain DV time code, and as a result, cannot be used
for SmartCapture. You can, however, dub these tapes to Digital8, and
SmartCapture will read the new Digital8 time code, allowing batch capture
of 8mm and Hi8 footage.

Appendix B: Tips and Tricks

XXI

Appendix C:
Troubleshooting
Before you begin troubleshooting make sure of the following:
You have any Operating System updates for Windows 98. If not, go to
http://windowsupdate.microsoft.com/default.htm, and download them.
Ensure that all other installed hardware is functioning normally with the
latest drivers, and is not flagged in Device Manager (Start > Settings >
Control Panel > System > Device Manager). If any devices are flagged you
should resolve these issues before starting installation.

INSTALLATION
Problem
My computer crashes when I start Studio, or crashes during capture.
Solution
Some graphics boards only request 32 MB, while actually accessing 64 MB.
The system maps Studio directly behind the graphics boards, so that the
graphics driver is reaching into the Studio area. You must change the
graphics board mapping manually.
If the Studio memory area is located directly after one of the graphics
board’s memory areas, you must use the device manager to move the
graphics board memory resources to a different area. For example, the
current setting is
Graphics board:
Studio:

at F0000000-F1FFFFFF,
at F2000000-F2FFFFFF,

you must move the graphic board memory to, for example E0000000E1FFFFFF.
Proceed as follows to change the mapping for your graphic board’s memory
area:
1. Go to Start > Settings > Control Panel > System > Device Manager.
2. In Device Manager, click on the plus (+) sign to the left of Display
Adapters to open the submenu. The current graphics board is displayed.
3. Click once on your graphics board’s name and click Properties.
4. In the Properties window, click on the Resources tab.
5. Deactivate the Use Automatic Settings check box.
6. Click on a new memory range under the Resource type.
7. Click on the Change Settings... button.

XXII

Studio

Windows 98 must not indicate any other conflict in the Conflict Information
box. If it does, then you must select a different memory range.

8. Click OK to save your changes and exit Device Manager.
9. Restart Windows 98, so your changes take effect.
Problem
Windows 98 keeps trying to redetect the DV board on startup.
—OR
Studio gives the error message, “Studio can not initialize the video
capture device. Please restart windows and try again.”
—OR
Hardware not found during installation.
Possible cause
The PCI slot in which the hardware is installed was not assigned an IRQ in
the BIOS.
Solution
If you cannot explicitly assign an IRQ to the PCI slot in the BIOS, you must
define an IRQ as AVAILABLE for the PCI bus.
In this case, the hardware should be assigned a unique IRQ via the
corresponding PCI slot during installation.
1. Go to Start > Settings > Control Panel > System > Device Manager.
2. In Device Manager, click on Computer, then click on the Properties
button to display the system IRQs.
3. Look at setting (IRQ) 9,10,11,12, & 15. If there is a device listed on each
of them (not including IRQ for PCI steering), then remove one of the
devices or change the IRQ assigned to it. (To change an IRQ, refer to the
preceeding section for changing the memory addresses. Rather than
choosing a new memory range, choose a new Interrupt Request).
4. Open the submenus for 1394 Bus Controller, and Sound, video and game
controllers. If PCI Multimedia Video device, Texas Instruments OHCI
Compliant IEEE 1394 Host Controller, or 1394 DV camcorder exist,
click on it to highlight it, and then click Remove.
5. Restart Windows 98. The following message should appear during
startup:
New hardware component detected...

If this message does not appear during startup, install the hardware in a
different PCI slot. If this still does not solve the problem, either the
hardware is defective, or the video board is having problems with your
system’s motherboard.

Appendix C: Troubleshooting

XXIII

OPERATION
Problem
Images are missing from the recording, or the video is jerky.
Possible cause
Your hard disk’s transfer speed is too low.
Solution
When working with some UDMA hard disks, the playback may “jump”
when an AVI file is played back at higher data rates. This can be traced
back to the fact that the hard disk carries out a recalibration while reading
the file, thus interrupting playback.
This problem is not caused by Studio, but is the result of the manner in
which the hard disk operates and interacts with other system components.
There are several solutions you can use to increase the speed of your hard
disk:
1. End task on background applications. Before opening your Studio
product, hold down the Ctrl and Alt keys on the keyboard, then hit Delete.
This will open the Close Program window. Click on the individual
applications listed in the Close Program window and select End Task. Do
this for all applications listed in Close Programs EXCEPT Explorer and
Systray.
2. Click on Start > Programs > Accessories > System Tools > ScanDisk.
3. Make sure Thorough is checked, and click Start (this may take awhile).
4. After scandisk is done, Click on Start > Programs > Accessories >
System Tools > Disk Defragmenter (this may take awhile).
5. Turn off Energy saving features (Point your mouse on your desktop, right
click, and select Properties > Screensaver >(under Energy… Settings).
Make sure everything under Settings for… power schemes is set to Never.
6. Go to Start > Settings > Control Panel > System. Click on the
Performance tab, then File System, then the Troubleshooting tab.
7. Click to the left of Disable write-behind caching for all drives option to
select it and click OK.
8. Under the hard-disk tab, set the Read-ahead optimization option to None.
In general, this will result in an increase in the data transfer rate.
CAUTION: In some hard disks, this can result in a decrease in the write
rate!
General Note: Video Editing programs do not multi-task very well. Do not
use any other program while making movie (videotape or CD) or capturing.
You can multi-task while editing.

XXIV

Studio

Problem
Video Overlay does not work.
Solution 1
Your color depth may be set too high or too low. Set the color depth to 16bit.
1. Point your mouse on your desktop, right click, and select Properties >
Settings.
2. Under Colors, choose High Color (16-bit).
Solution 2
You may be using either a generic windows graphics card driver or an older
version of your graphics card. Your graphics card driver may also be corrupt.
Please contact your graphics card vendor to ensure you have installed the
most current driver properly. Reinstall your graphics driver with the help of
your video card manufacturer’s Technical Support, or go to their web site,
and download and install the latest driver.
Solution 3
You may not have Direct-X installed properly. Go to Start > Programs >
Studio > Help > DirectX Diagnostic Tool. Click on the Display tab and click
on the Test button next to Direct Draw. After running that test, run the
Direct 3D test. If your card fails these tests, please contact your graphics
card vendor for support on this.
Problem
The playback to the computer monitor is jerky, audio- or video-frames
are dropped.
Solution
1. If you are using Preview-quality, remember that that has no effect on the
quality of the final tape. When you make tape, Studio will go back to the
DV source and record full-quality video from it.
Problem
My DV device control is unavailable or unreliable.
Possible cause
You are not using Windows 98 Second Edition as an operating system, and
the Second Edition device drivers are more robust.

Appendix C: Troubleshooting

XXV

Problem
My batch capture is inaccurate.
Possible cause
You do not have continuous, uninterrupted time code on your source tapes.
SmartCapture needs continuous time code to accurately locate and recapture
your clips.
Solution
Make sure your source tapes have continuous, uninterrupted time code (see
Chapter 4, Capturing Video).
—or
Make sure you are cueing to the correct segment of tape which holds the
clip you are currently attempting to recapture (see Chapter 11, Making Your
Movie).

XXVI

Studio

Appendix D:
Useful Hints
VIDEO EDITING AND CAPTURING
All it takes to turn your raw footage into an interesting, exciting, or
informative film is a little basic knowledge.
By means of clever editing, you can also build tension in your private video
and captivate viewers with interesting special effects. Just the ability to
combine shots in different ways makes it possible to produce varying effects.
The right sound (whether original sound, commentary, ambience, or music)
if used intelligently, can further supplement the selected sequence of cuts
and support the intended effect of the images.
Even if editing makes or breaks a film, you should consider how your video
footage is going to be used while you are taping. Nothing is more frustrating
than discovering during editing that you are missing an important sequence,
or that one camera angle does not fit with the others.

Creating a Shooting Plan
It is not always necessary to have a shooting plan, but it can be very helpful
for large video projects. A shooting plan can be as simple or as complex as
you like. Starting with a simple list of the planned scenes, the possibilities
include detailed camera directions and scripted dialog, or even a full-fledged
script in which every single camera angle is described in detail along with
duration, lighting, text, and props.

Appendix D: Useful Hints

XXVII

Draft of a simple shooting plan:
Title: “Jack on the kart track”
No
Camera angle
Text / Audio
Duratio
.
n
1 Jack's face with
“Jack is driving his
helmet, camera
first race...”.
11 sec
zooms out
Noise of engines in
the background.
2

On the starting line, Music is played in
driver's perspective; the hall, noise of
low camera position. engines.
Man with a starting
flag is accompanied
into the scene to the
start position.
Camera stays, man
goes out of the
scene after start.
Jack on the start
position from the
front, camera
follows, shows Jack
up to the bend, now
from behind.
...

“Let's go...”.
Carry out the start,
add starting signal.

Music from the hall
no longer to hear,
add same music
from CD, noise of
engines.

8 sec

Date

Tue.
06/22

12 sec

Tue.
06/22

9 sec

Tue.
06/22

Editing
Using Varying Perspectives
An important event should always be shot from varying perspectives and
camera positions. Later, during editing, you can select and/or combine the
best camera angles. 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.

XXVIII

Studio

Long Shots / Semi-Long Shots
Long shots provide the viewer with an overview and establish the scene of
the action. However, these scenes 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 chronological jump. Showing a
spectator in a semi-long shot can also distract briefly from the specific
action.
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
transitions come into play. Transitions divert the viewer’s attention from the
action, enabling filmmakers to make chronological jumps, for example,
without the viewer being conscious of them.
A differentiation is made between plot-related transitions (e.g., a close-up of
an end product, the creation of which will now be shown in the film) and
neutral transitions (e.g., close-up of a motif that is only indirectly related to
the film; for example, showing an interested audience member during a
podium discussion. Since the actual speaker is heard but not seen, it will be
easy to cut to a point later in the speaker’s presentation).
Furthermore, there are also external transitions, which show something apart
from the action (during a shot inside the marriage registry, 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 storyline.
Logical Sequence of Action
The shots strung together during editing must interact appropriately in
relation to the respective action. Viewers will be unable to follow the events
unless the storyline 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 and/or become disoriented if
scenes are strung together in a manner that is illogical or chronologically
false, or if scenes are too hectic or short (under 3 seconds). Motifs should
not vary too much from the scenes that follow them.
Bridging the Gaps
Bridge the gaps from one filming location to another and use close-ups, for
example, to bridge chronological jumps; start with a close-up, for example,
and then after 7 to 8 seconds zoom to a semi-long or long shot and dwell on
this shot again for a while (again approximately 7 to 8 seconds).

Appendix D: Useful Hints

XXIX

Maintain Continuity
Continuity is important with regard to chronology and situations. 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 a particular 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 is shown 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
(These do not always apply to experimental films and video clips)
• 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.
• 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 other
words, you can cut to a long shot in 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 together 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:

XXX

Studio

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 (for 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 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).
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, winds up sleeping under a bridge).
Formal Cuts
Shots that vary in content can be strung together if they have something in
common, for example, the same shapes, colors, motions (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 find the narration in the right place, but short, informative
comments are often very helpful for the viewer. Narration should sound
natural. Commentary that is wooden or too carefully phrased usually sounds
unnatural and should be avoided whenever possible.
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.

Appendix D: Useful Hints

XXXI

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 less authentic. 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 are more distracting than anything
else, should be masked 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 it is well worth the
effort, since well-chosen music is usually greatly appreciated by the viewer.

Title
The title should be informative, describe the contents of the movie, and
awaken interest. With TitleDeko there are no limits to how creative you can
be. As a rule, you can let your fancy run free when designing a title for your
video. Here are a few tips on how to maximize the effectiveness of the title
for your video.
Use a Short, Clear Title
Titles should be short and in a large, highly legible font.
Title Colors
The following combinations of background and text are easy to read:
white/red, yellow/black, white/green. Exercise caution with white titles on a
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
Rule of thumb: The title should be on screen long enough that it can be read
twice. Allow about 3 seconds of onscreen time for a title with ten letters.
Allow an additional second of onscreen time for every 5 additional letters.
Besides postproduction titles, natural titles, such as directional signs, street
signs or title pages of local newspapers often also create interesting
possibilities.

XXXII

Studio

Appendix E:
Glossary

- Fr
Aa
Uw
Pi - Ph
Je -

Multimedia terminology contains computer and video terminology. The
most important terms are defined as follows.
Cross-references are indicated by .
ActiveMovie
ADPCM

Address

Aliasing

Anti-aliasing

Aspect ratio
AVI
Batch Capture

Blacking

BIOS

Software interface by Microsoft for the control of multimedia devices under
Windows. DirectShow, DirectMedia
Acronym for Adaptive Delta Pulse Code Modulation. It is a method of
storing audio information in a digital format, and is the audio encoding and
compression method used in CD-I and CD-ROM production.
All available saving positions in a computer are numbered (addressed). By
means of these addresses each saving position can be occupied. Some
addresses are reserved for special hardware components and may not be
used any longer. If two hardware components are using the same address,
this is called "address conflict".
An inaccurate display of an image due to the limitations of the output device.
Typically, aliasing appears in the form of jagged edges along curves and
angled shapes.
A method of smoothing out jagged edges in bitmap images. This is usually
accomplished by shading the edges with similarly colored pixels to the
background, thus making the transition less apparent. Another method of
anti-aliasing involves using higher resolution output devices.
The ratio of width to height in an image or graphic. Keeping the aspect ratio
means any change to one value is immediately reflected in the other.
Acronym for Audio Video Interleaved, standard format for digital video (&
Video for Windows).
This is an automated process which uses an Edit Decision List to locate and
re-capture specific clips from a videotape, usually at a higher data rate than
the clip was originally captured. A file under DOS in which commands
listed one below the other are executed in order from top to bottom.
The process of preparing a videotape for insert editing by recording video
black and continuous control track on the entire tape. If the recording deck
supports time code, then continuous time code will be recorded
simultaneously (also called Striping).
Basic Input Output System. Basic In- and Output commands saved in a
ROM, PROM or EPROM. The essential task of the BIOS is the control
of Input and Output. When the system has been started, the ROM-BIOS
carries out some tests. Parallel port, IRQ, I/O.

Appendix E: Glossary

XXXIII

Bit

Binary Digit. The smallest element of a computer’s memory. Among other
things, bits are used to record the color values of pixels in an image. The
more bits used for each pixel, the greater the number of available colors. For
example:
1-bit: each pixel is either black or white.
4-bit: each pixel can be any one of 16 colors or gray shades.
8-bit: each pixel can be any one of 256 colors or gray shades.
16-bit: each pixel can be any one of 65,536 colors.
24-bit: each pixel can be any one of 16.7 million colors.

Bitmap
Blacking

Brightness
Byte

CD-ROM
Channel

Clip
Clipboard

Closed GOP
CODEC

Color depth

Color model

Color saturation

XXXIV

Studio

An image format made up of a collection of dots or “pixels” arranged in
rows.
The process of preparing a videotape for insert editing by recording video
black and continuous control track on the entire tape. If the recording deck
supports time code, then continuous time code will be recorded
simultaneously.
Also “luminance”. Indicates the brightness of a video.
One byte corresponds to eight bit. With one byte, exactly one character
can be displayed (i.e. letter, number). The encoding is binary, this means in
"zeros" (0) and "ones" (1).
CD-ROMs are mass storage media for digital data, such as digital video.
CD-ROMs can only be read (ROM is a acronym for Read-Only Memory).
Classifications of information in a data file to isolate a particular aspect of
the entire file. For example, color images use different channels to classify
the color components in the image. Stereo audio files use channels to
identify the sounds intended for the left and right speakers. Video files use
combinations of the channels used for image and audio files.
Any media type that goes on the Storyboard or Timeline. Can be video
images, video scenes, images, or audio files.
A temporary storage area shared by all Windows programs used to hold data
during cut, copy, and paste operations. Any new data you place onto the
clipboard immediately replaces the existing data.
GOP
Acronym for Compressor/Decompressor, compresses (packs) and
decompresses (unpacks) image data. There are different compression
methods (software CODECs and hardware CODECs).
Number of bits delivering the color information for each pixel. In the blackand-white operation 1-bit color depth means 21=2 colors, 8-bit color depth
supply 28=256 colors, 24-bit color depth 16,777,216 =224 colors.
A color model is a way to mathematically describe and define colors and the
way they relate to each other. Each color models has a specific purpose; the
two most common color models are RGB and YUV.
Intensity of a color.

Complementary
Color

COM Port
Composite video

Compression

Cropping
Data rate

Data transfer
rate

DCT

DirectShow
DirectMedia

Complementary colors are opposite in value to primary colors. If you were
to combine a color with its compliment, the result would be white. For
example, the complimentary colors of red, green, and blue are cyan,
magenta, and yellow respectively.
A serial port located on the back of your computer for attaching modem,
plotter, printer, or mouse to a system.
Composite video encodes luminance and chrominance information into one
signal. VHS and 8mm are formats which record and playback composite
video.
A method for making files smaller in size on disk. There are two types of
compression: lossless and lossy. Files compressed with a lossless scheme
can be restored to their original state with no change to their original data.
Lossy schemes discard data during compression, so the file, when reopened
is slightly different.
Choosing the area of an image to be displayed.
Data per second, i.e. amount of data which a mass storage medium (hard
disk or CD-ROM) saves/plays back per second or the amount of data of a
video sequence per second.
The measurement of the speed at which information passes between storage
mediums, (ex. CD ROM or Hard Disk), and the display device, (ex. Monitor
or MCI device). Depending on the devices used, some transfer rates may
offer better performance than others.
Abbreviation for Discreet Cosine Transformation. Part of the JPEG image
data compression: The brightness and color information is saved as
frequency coefficient.
System extension by Microsoft for multimedia applications under Windows.
ActiveMovie.
System extension by Microsoft for multimedia application under Windows.
ActiveMovie.

DirectX

Direct (X) Extensions is a bundle of several system extensions developed by
Microsoft for Windows 95 (among others DirectDraw, Direct3D) to make
possible video and game acceleration.

Dissolve

A transitional effect in which the video is faded from one scene to the next.

Dithering

The number of colors is increased for the human eye artificially by the
application of color patterns.

Decibel

A unit of sound measurement that expresses the loudness of sound.

Digital8

Digital videotape format which records DV-coded audio and video data on
Hi8 tapes. Currently sold only by Sony, Digital8 camcorders/VCRs can play
Hi8 and 8mm cassettes.
Digital video stores information bit by bit in a file (in contrast to analog
storage media).
Acronym for Direct Memory Access.

Digital video
DMA

Appendix E: Glossary

XXXV

Driver

ECP

Edit decision list
(EDL)

EPP

EPROM

A file containing information needed to operate peripherals. The Studio
capture driver operates the Studio capture board, for example.
Digital videotape format for recording digital audio and video on ¼”-wide
Metal Evaporated tape. Mini DV tapes hold up to 60 minutes of content,
while standard DV tapes can hold up to 270 minutes of content.
Acronym for Enhanced Compatible Port. Enables an accelerated bidirectional data transfer via the parallel port, a slight data compression
may arise. EPP
A list of clips and effects in a particular order that will be recorded onto
your output tape or AVI file. Studio allows you to create and edit your own
edit decision list by adding, deleting and reordering clips and effects in the
Storyboard or Timeline view of the Movie window.
Acronym for Enhanced Compatible Port. Enables an accelerated bidirectional data transfer via the parallel port, is recommended for Studio
DV. ECP
Acronym for Erasable Programmable Read Only Memory. Memory chip
that after programming saves it's data without power supply. The memory
contents may be erased with ultraviolet light and can be re-written.

Fade To/From
Black

A digital effect that fades up from black at the beginning the clip or down to
black at the end of the clip.

Field

A frame of video consists of horizontal lines and is divided into two fields.
All odd lines of a video frame are Field 1. All even-numbered lines are Field
2.
The ways in which a computer stores images or information on a disk.

File format
Filters

Tools that alter data to produce special effects.

FireWire

Apple Computer’s trademarked name for the IEEE-1394 serial data protocol.

Frame

A single image in a video or animation sequence. If using full NTSC or
PAL resolution, one frame consists of two interlaced fields.
Frame rate defines how many frames of a video sequence are played in one
second. The Frame rate for NTSC video is 30 frames per second. The frame
rate for PAL video is 25 frames per second.)
The maximum size for displaying image data in a video or animation
sequence. If an image intended for the sequence is larger than the frame size,
it must be cropped or scaled to fit.
A number of periodically recurring processes (i.e. sound signals, images,
alternating voltage per unit of time, normally per second (Hertz).

Frame rate

Frame size

Frequency
GOP

XXXVI

Studio

In MPEG compression the data stream is divided into different sections
first, the so called GOPs (Group of Pictures), each containing several
frames. One GOP contains three types of frames: I-Frames, P-Frames and
B-Frames.

GOP size

The GOP size defines, how many I-, B-, or P-Frames (pictures) are included
in one GOP. Current GOP sizes are for example 9 or 12.

Hardware
CODEC

Compression method which creates compressed digital video sequences.
These video sequences need special additional hardware to be
recorded/played back and offer a better image quality than data compressed
with software CODECs.

Hi8

HiColor

Hue
HuffmanCoding
IDE

IEEE-1394

Image

Image
compression
Interlaced

Interleave

I/O

Improved version of Video8 using S-Video recorded on Metal Particle or
Metal Evaporated tape. Because of higher luminance resolution and wider
bandwidth, the result is sharper pictures than Video8.
For images, this normally means a 16-bit (5-6-5) data type that can contain
up to 65,536 colors. TGA file formats support images of this type. Other file
formats require prior conversion of a HiColor image into True Color. For
displays, HiColor normally refers to 15-bit (5-5-5) display adapters that can
display up to 32,768 colors.
Differentiation of colors with terms like red, yellow, orange.
Part of the JPEG image data compression. seldom occurring values receive
a long code, while constantly-occurring values receive a short code.
Acronym for Integrated Device Electronics. A hard drive-interface that
combines all drive control electronics on the drive itself, rather than on the
adapter connecting the drive to the expansion bus.
Developed by Apple Computers and introduced as FireWire, this is a serial
data transmission protocol with rates up to 400 Mbits/sec. Sony offers a
slightly modified version for transmitting DV signals named i.LINK,
providing transmission speeds up to 100 Mbits/sec.
An image is a reproduction, or picture of something. In this case, the term is
used to describe digitized pictures, consisting of pixels, which can be shown
on a computer display and manipulated by image enhancement software.
Method to reduce the amount of data of digital image and video files.
Interlaced describes the refresh method which the PAL and other TV
systems use: The PAL TV image consists of two image halves (fields) of
3121/2 lines each. The NTSC TV image consists of two image halves of
2421/2 lines each.
An arrangement of audio and video to promote smoother playback and
synchronization or compression. The standard AVI format equally spaces
audio and video.
Acronym for Input/Output.

IRQ

Interrupt Request. Interrupt in a running process of the computer. Interrupts
can be requested both by the hardware (i.e. keyboard, mouse) and the
software.

Irrelevance

Irrelevant (unimportant) information can be eliminated during the image
data compression, since the human eye does not realize that this information
is missing.
Appendix E: Glossary

XXXVII

JPEG
KByte
Key color

Key frame rate

Laser disk
Long shots

LPT
Luminance
M1V
MByte
Mark In / Mark
Out
MCI

Modulation
Motion-JPEG
(M-JPEG)
MPA

XXXVIII

Studio

Acronym for Joint Photographic Experts Group. Also refers to a standard
for compressing digital frames based on Discrete Cosine Transformation.
One KByte (Kilobyte) corresponds to 1024 Byte. The “K” always stands
for the number “1024”.
A color made transparent so that a background image can show through.
Most commonly used when overlaying one video sequence on top of
another, allowing the underlying video to display wherever the key color
appears.
A method to help in the compression of video files, which works by
assigning certain frames as key frames whose video data is completely
saved at the time of compression. The video data of any intervening frames
between two key frames is then only partially saved. On decompression
these partial frames reconstruct their data from the key frames (e.g. MPEG).
Medium which stores analog video. Information on laser disks can only be
read, but not changed.
Long shots later provide the viewer with an overview and establish the
scene of the action. However, these scenes can also be used later to shorten
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 chronological jump.
Showing a spectator in a semi-long shot can also distract briefly from the
actual action.
Parallel port
Brightness
MPEG file that contains video data only. MPA, MPG
One MByte (Megabyte) corresponds to 1024 KBytes or also 1024 x
1024 bytes.
In video editing, the mark in and mark out times refer to the starting and
ending time codes that identify the portions of clips to be included in the
project.
Media Control Interface. Developed by Microsoft as a means to play audio
and video data. It is also used to connect a computer to an external video
source such as a VCR or laser disc.
A method for the transmission of electrical information.
Video for Windows format for JPEG-compressed video sequences specified
by Microsoft.
MPEG file that contains audio data only. M1V, MPG

MPG

Acronym for Motion Pictures Experts Group. Standard for the compression
of moving images. Compared to M-JPEG, it offers 75-80% data reduction
with the same visual quality.
MPEG file that contains both video and audio data. M1V, MPA

MPV

MPEG file that contains video data only. MPA, MPG

MPEG

Non-interlaced

NTSC

PAL

Parallel port

Pixel
Port
Prime colors

QSIF

Quantization

Raster

Redundance
Run Length
Encoding
Resolution

Image refresh method, where the complete image is generated without
skipping lines. A non-interlaced image (like your computer monitor)
flickers much less than an interlaced image (like your TV).
Acronym for National Television Standards Committee; also, a color TV
standard created by this group in 1953 using 525 lines and 60 image fields
per second. NTSC is used in North and Central America as well as other
countries.
Acronym for Phase Alternation Line. Color TV standard developed in
Germany using 625 lines and 50 image fields per second. It is the
predominant European TV standard.
By the parallel port data is transmitted via a 8-bit data line. This means that
8 bit (1 byte) can be transmitted at the same time. This kind of
transmission is much faster than via a serial port, but it is very sensitive
over long distances. Parallel ports are indicated with LPT and a number (i.e.
LPT1).
Abbreviation for picture element. Pixels are the smallest elements of a
monitor image.
Electrical transfer point for the adaptation of audio, video or control data
between two devices. serial port, parallel port
The colors that are the basis of the RGB color model: red, green, and blue.
By varying how these colors are blended on screen, it is possible to create
any other color.
Quarter Standard Image Format. MPEG I format describing the
resolution which is 176 x 144 under PAL and 176 x 120 under NTSC.
SIF
Part of the JPEG image data compression. Relevant details are represented
precisely, less relevant details for the human eye are represented with less
precision.
The area of a video display that is covered by sweeping the electron beam of
the display in a series of horizontal lines from upper left to lower right (from
viewer’s perspective).
Redundant (superfluous) information can be eliminated during the image
compression. During decompression the images can be restored completely.
The RLE = Run Length Encoding method is part of the JPEG compression.
Repeating values are not saved individually but with a counter, which states
how often the values occurs in succession.
The number of pixels which can be displayed on the monitor horizontally
and vertically. The higher the resolution, the more details can be displayed.

Appendix E: Glossary

XXXIX

RGB

ROM
Scaling
Scene

One or more video clips that belong together thematically.

SCSI

Acronym for Small Computers System Interface. SCSI is used as hard disk
interface for high-performance PCs because of its high data rate. Up to eight
SCSI devices can be connected to a computer at the same time.
Acronym for Sequential Couleur à Mémoire. Color television transmission
system used in France and Eastern Europe developed on the basis of the
PAL system operating with 625 lines and 50 image halves per second.
By the parallel port data is transmitted via a 1-bit data line. This means that
during a transmission of 8 bit (1 byte) these bits have to be
transmitted one after the other. Thus, this kind of transmission is much
slower than via a parallel port. Serial ports are indicated with COM and
a number (i.e. COM2).

SECAM

Serial port

SIF
Single frame
Software
CODEC

Still-Video
S-VHS
S-Video

Time Code

Transition

Studio

Acronym for Red, Green and Blue, the basic colors of additive color mixing.
RGB describes the method used in computer technology where image
information is transferred by dividing it into the three basic colors.
Abbreviation for Read Only Memory. Memory chip that keeps it's data
without power supply after being programmed once. EPROM
Adaptation to the desired image size.

Standard Image Format. MPEG I format describing the resolution which
is 352 x 288 under PAL and 352 x 240 under NTSC. QSIF
A single frame is part of a series or sequence. When this series is watched
with enough speed, a "moving picture" is be created.
Compression method to compress digital video sequences which can be
played back without special hardware. The quality of these sequences
depends on the performance of the complete system. VHS quality is not
achieved.
Method of creating still images (or “freeze-frames”) from video.
Improved version of VHS using S-Video and Metal Particle tape to deliver
higher luminance resolution, resulting in sharper pictures than VHS.
With S-Video (Y/C) signals, the brightness (luminance or “Y”) and the
color (chrominance or “C”) information are transferred separately using
multiple wires, avoiding modulating and demodulating the video and the
resulting loss of picture quality.
The time code identifies the position of a frame in a video sequence with
respect to a starting point, (usually, the beginning of the clip). Its usual form
is Hours:Minutes:Seconds:Frames (e.g., 01:22:13:21). Unlike a tape counter
(which can be “zeroed” or reset at any point in a tape), time code is an
electronic signal written on a videotape, and is permanent once it is assigned.
Transitions divert the viewer’s attention from the actual action, enabling
filmmakers to make chronological jumps, for example, without the viewer
being conscious of them.

TrueColor
Twain driver

VCR
VHS

VISCA
Video8
Video CD

An image that contains enough color to appear ”true” to life. For an image,
this normally means 24-bit color, providing up to 16.7 million colors.
TWAIN defines a standardized software interface for communication
between graphics and/or capture programs and devices that supply graphical
information. If the TWAIN driver is installed, the capture function of the
respective program (i.e. MS Imagine) can be used to load images directly
from your video source into the graphics program.
The TWAIN driver supports 32-bit programs only and captures images in
24-bit mode.
Acronym for Videocassette Recorder.
Acronym for Video Home System. System commonly used for home VCRs
to record and play back images and sound using a 1/2" tape. VHS systems
use & composite signals consisting of brightness and color information.
A protocol used by several devices for controlling external video sources
from computers.
Video system using a 8 mm tape. Video8 recorders generate composite
signals.
CD-ROM standard with MPEG compressed videos.

Video decoder

Converts digital information into analog signals.

Video encoder

Converts analog signals into digital information.

Video for
Windows
Video scan rate

Wav
White balance

Y/C
YUV

Video for Windows is a Microsoft Windows system extension which
records, stores and plays back video sequences from hard disk (digital
video).
Frequency with which the video signal is scanned onto an image display.
The higher the video scan rate the higher the image quality and the less
noticeable the flicker.
File format for audio signals, generally also the file extension for audio files
(*.wav).
In an electronic camera the amplifiers for the three color channels red, green,
and blue are adapted to each other in a way that white image parts of a scene
are played without color cast and thus all colors within the color area of the
TV are played correctly.
Y/C is a signal consisting of two components: Y = Brightness information,
C = Color information.
Color model of a video signal where Y delivers the brightness information
and U and V the color information.

Appendix E: Glossary

XLI

Appendix F:
License Agreement
CAREFULLY READ THE FOLLOWING TERMS AND CONDITIONS
BEFORE USING THIS PROGRAM. USING THIS PROGRAM
INDICATES YOUR ACCEPTANCE OF THESE TERMS AND
CONDITIONS. IF YOU DO NOT ACCEPT OR UNDERSTAND THEM,
YOU SHOULD PROMPTLY RETURN THIS PRODUCT TO YOUR
VALUE-ADDED RESELLER OR DEALER.
The export and re-export of Pinnacle software products are controlled by the United States
Export Administration Regulations and such software may not be exported or re-exported to any
country to which the United States embargoes goods. In addition, Pinnacle software may not be
distributed to persons on the Table of Denial Orders, the Entity List, or the List of Specially
Designated Nationals.
By downloading or using an Pinnacle software product you are certifying that you are not a
national of any country to which the United States embargoes goods and that you are not a
person on the Table of Denial Orders, the Entity List, or the List of Specially Designated
Nationals.

Proprietary Property
The Studio program, Pinnacle Systems’ trademarks, product names, user manuals,
documentation and other support materials are either patented, copyrighted, trademarked,
constitute valuable trade secrets (whether or not they or any portion thereof may be copyrighted
or patented) or are otherwise proprietary to Pinnacle Systems. In addition, this program may
contain the proprietary property of others which has been licensed to Pinnacle Systems (such as
utility or plug-in software or programs, clip art and sample files).
The RealProducer is included under license from RealNetworks, Inc. Copyright 1995-2001,
RealNetworks Inc. “RealProducer,” “RealVideo,”
“RealServer,” and “Real” logo are
trademarks or registered trademarks of RealNetworks, Inc. All rights reserved. QDesign MPEG2 Layer II Fast Encoder/Decoder (c) 1996-2001 by QDesign Corporation. Windows Media is a
trademark of Microsoft Corporation . All other trademarks are the property of their respective
owners.
You agree not to remove any product identification or notices of the proprietary restrictions
from Pinnacle Systems’ products or manuals.

License and Prohibitions
You may:
(a) use the Studio program and accompanying written materials (“programming materials”) in
connection with a single computer. A copy of the program is being furnished to you along
with this license agreement. If you wish to use this program on more than one computer, you
must license additional copies of the program;
(b) use the program and accompanying written materials on a licensed computer network. A
“computer network” is any combination of two or more terminals or computers that are
electronically linked and capable of sharing the use of a single software program. A
“licensed computer network” is a computer network for which you have purchased from
Pinnacle Systems, or its dealer, sufficient copies of this program so that the number of
concurrent users of this program on the computer network at any given time is not greater
than that number of copies of the program so purchased;

XLII

Studio

(c) copy the program once only solely for backup purposes in support of your use of the
program so long as you prominently label the backup copy with the appropriate copyright
notice;
(d) use the program for your personal use or in your business or profession. Permitting
unauthorized users access to the program and program materials is a violation of this license
agreement; and
(e) transfer the program and license to another party if the other party agrees to accept the terms
and conditions of this agreement. If you transfer the program, you must at the same time
either transfer all copies to the same party or destroy any copies not transferred. If you
transfer possession of any copy of the program to another party, your license is
automatically terminated.

Prohibited Uses
You may not, without explicit prior written permission from Pinnacle Systems:
(a) use, modify or transfer the program, or copy the program in whole or in part, except as
expressly provided herein;
(b) reverse-engineer, decompile or otherwise recreate the program or hardware in whole or in
part;
(c) make copies of or distribute, for profit or otherwise, or authorize the copying or distribution
of the program, hardware, or materials related thereto, except as herein provided;
(d) make alterations to the program or merge it into any other software;
(e) grant sublicenses and leases or other rights in the program or program materials to others;
(f) make verbal or media translations of the program, in whole or in part, or of the program
materials;
(g) modify the program for use on non-compatible hardware;
(h) make telecommunications data transmissions of the program in whole or in part;
(i) distribute the program on either a permanent or temporary basis to others;
(j) make available any part of the program or program materials to any third party, other than
your own properly authorized employees; or
(k) make any alteration, modification, connection, disconnection, improvement or adjustment of
any kind to or use Studio except as explicitly contemplated in the enclosed programming
materials.
It is agreed that the violation by you of any of the prohibitions described above shall be a
material breach by you of this license agreement, and any attempt to sublicense, assign, or
transfer any of the rights, duties, or obligations under this agreement, except as expressly
provided herein, is void.

Term
The license is effective until terminated. You may terminate it at any time by destroying the
program together with all copies in any form. It will also terminate upon conditions set forth
elsewhere in this agreement or if you fail to comply with any term or condition of this
agreement. You agree that upon such termination you will destroy the program together with all
copies in any form.

Limited Warranty
The program is provided “as is” without warranty of any kind, either expressed or implied,
including but not limited to the implied warranties of merchantability and fitness for a particular
purpose, with the sole exception of defective diskette(s) and Studio described below. The entire
risk as to the quality and performance of the program is assumed by you. If the program proves
defective, you (and not Pinnacle Systems, its Licensors, or its dealers) assume the entire cost of
all necessary servicing, repair or correction.

Appendix F: License Agreement

XLIII

Program Warranty
Pinnacle Systems warrants to the original licensee that the diskette(s) on which the program is
recorded, shall be free from defects in material and workmanship only for a period of thirty (30)
days from the date of original purchase. If a defect covered by this warranty occurs during this
period, and it is returned to the dealer from whom it was purchased not later than five (5) days
after the end of such period, the dealer shall, at its option, either repair or replace the item. This
warranty is in lieu of all other express or statutory warranties, and the duration of any implied
warranty, including but not limited to the implied warranties of merchantability and fitness for a
particular purpose, is hereby limited to said thirty (30) day period.

Updates
Periodically Pinnacle Systems may introduce new versions or releases of the software. To
qualify for notification of the availability of these new versions or releases and their prices, you
must first complete and return the enclosed program registration card. All new versions or
releases which are provided to you shall become part of the program and shall be governed by
the terms of this license agreement.

Updates
Periodically Pinnacle Systems may introduce new versions or releases of the software. To
qualify for notification of the availability of these new versions or releases and their prices, you
must first print out, complete and return the program registration card. All new versions or
releases which are provided to you shall become part of the program and shall be governed by
the terms of this license agreement.

XLIV

Studio

Index

B
Abbreviations 4
Accept title 82
ActiveMovie XXXIII
ADPCM X, XXXIII
Adress XXXIII
Album 6, 8, 35, 38, 43, 47
Aliasing XXXIII
Aanalog audio/video cables 116, 117
Animation XX
Anti-aliasing XXXIII
Aspect ratio XXXIII
Attributes 96
Audio

Background 89
Background music 1, 31
Background Music
Creating

Options 41

Audio CD Music 19
Audio Clips
Anatomy 109
Placing on the Timeline
Previewing 103
Selecting 103

Capture button 42
Duration field [TitleDeko] 101
Start Capture button 42
Storyboard View button 22

103

Audio Compression IX
Audio Compression Settings IX
Audio Quality XIII
Audio recording XIX
Audio Settings IX, XI
Audio Track 102
Audio Volume 109
Author XII
Automatic scene detection II
Automatic Scene Detection 40
Automatic scene detection based on
video content II
AVI Compression settings VIII
AVI file 115

105

Background Music 19
Background Music Track 102
Batch Capture XXXIII
BIOS XXXIII
Bit XXXIV
Bitmap XXXIV
Blacking XXXIII, XXXIV
Bridging the Gaps XXIX
Brightness XXXIV
Buttons, checkboxes, fields, drop-downs,
sliders 114, 112, 108

Byte XXXIV

C
Camcorder 3
Camcorder Controller
Camera

Connecting 115

capture 5
button 42

Capture format Options III
Capture mode 8, 38
Capture Mode 5
Capture Quality II
Capture Quality for . . . (analog devices)
IV
Capture Tab Settings I
Capture Video dialog box 42
Captured Source File

Index

A-C

Selecting and Opening 43

Capturing Video 21, XVII
CD music 114
CD quality XIX
CD-ROM 2, IX, XIII, XVIII, XXXIII,
XXXIV, XXXV, XLI
CD-ROM drive 2, XVIII
Create new.scene every X seconds II
Change Clip Properties 13, 16
Change Clip Properties Tool 55, 70,
XX
Change Volume tool V
Channel XXXIV
Channels X
Clip V, XX, XXI, XXXIV
Clip Naming Conventions XXI
Clip Placement Feedback 14
Clipboard XXXIV
Clips
Splitting 54

Clock XIX
Clock symbol, timeline 25
Close-ups XXVIII
Coarse 83
CODEC 119, VIII, IX, XXXIV,
XXXVII, XL
Color depth XVIII, XXXIV
Color depth adjustment XVIII
Color model XXXIV, XLI
Color Picker 90, 99
Color saturation XXXIV
Colors XVIII, XXV, XXXII
COM Port XXXV
Comments XXXI
Complementary Color XXXV
Complete Actions XXIX
Composite video XXXV
Compression VIII, IX, XI, XXXV,
XXXVII, XL
Compressor (CODEC) VIII
Computer animation XX
Computer, minimum requirements for
2
Continuity XXX

D-D

Studio

Conventions 4
Copy 81
Copyright XII
Counter 10
Cropping XXXV
Current Position 13
Cursors 110
Cut 73, 81
Cuts
Associative XXXI
Cause and Effect XXXI
Contrast XXXI
Formal XXXI
Parallel XXXI
Substitutionary XXXI
Tempo of XXX

D
Data code II
Data rate I, XXXV
Data Rate III, IX, XI
Data transfer rate XXXV
DCT XXXV
Decibel XXXV
Default Options
Changing

Details 96
Dialog boxes, windows and menus
Capture Video dialog box 42

Digital Movies 20
Digital video XIX, XXXV, XXXVI
Digital8 XXXV
DirectMedia XXXV
DirectShow XXXV
DirectX XXXV
DirectX 5.0 2
Disk Defragmenter XVII, XXIV
Disk Space 39
Diskometer 6, 20, 38
Dissolve 24, 73 XXXV
Dithering XXXV
DMA XXXV
Driver XXXVI
Duration 60, 101, V, XXVII, XXX,
XLIV
Duration counter 70

Duration Counter 58
DV XXXVI

Full quality capture option
Full Screen Images 65
Full-quality 36
Full-screen titles 79

E
ECP XXXVI
Edit 5, 8, XXXVI
Edit decision list (EDL) XXXVI
Edit Line 13
Edit Looks 82
Edit mode 8
Edit options tab Settings V
Edit Tab Settings V
Edit Title 71
Editing XXVIII
Effects 1
Ellipse 82
End Frame 77
End point 101, XX
End task on background applications
XVII
EPP XXXVI
EPROM XXXVI
Explorer XVII

G
GeoCities XII
Glossary XXXIII
GOP XXXVI
Grab Frames 17
Gradient Backgrounds
Graphics 8, V
Grid 82

Reduce 69

Flics XX
Frame 8, IX, XXXVI, XXXVII
Frame Forward 24
Frame Grabber 68
Frame rate IX, XIX, XXXVI
Frame Rate options IX
Frame size XXXVI
Frame sizes XX
Frequency XXXVI

H
Handles 50, 70, 100
Hard disk XVIII
Hardware CODEC XXXVII
Height IX, XI
Help button
Studio 8

Hi8 XXXVII
HiColor XXXVII
Homesteaders XII
Hue XXXVII
Huffman-Coding XXXVII

F
Fade 73, V, XXXVI
Fade To/From Black XXXVI
File format XXXVI, XLI
Find 83
Find Next 83
Fine 83
FireWire XXXVI
Flicker

III

I
I/O XXXVII
IDE XVI, XVIII, XXXVII
IEEE 1394 cable 115, 117
IEEE/1394 20, XXXVII
Image XIII, XXXVII, XXXIX, XL
Image compression XXXVII
Images. 37, XXVII, XXXIII, XXXIX
Import Image 67
Include Audio 120
Include Video 120
Insert Picture 82
Instant Preview 1
Intelligent Rendering 119
Interactive interface 1
Interlaced XXXVII
Index

E-I

Interleave XXXVII
Internet 115, 126
IRQ XXIII, XXXVII
Irrelevance XXXVII

MCI XXXV, XXXVIII
MediaPlayer 121
Memory area XXII
Menu Commands 4
Mode XLI
Modulation XXXVIII
Mono quality XIX
Motherboard XVII
Motion-JPEG XXXVIII
Mouse Clicking 4
Move 28, 82, 94, 95
Movie Making 115
Movie output options 32
Movie Window 11, 79
Movie Window Scrub Slider 57
MPA XXXVIII
MPEG 20, 32, X, XXXVI, XXXVIII,
XXXIX, XL, XLI, XLII
MPEG file 115
MPG XXXIX
MPV XXXIX
Music

J
JPEG XXXV, XXXVII, XXXVIII,
XXXIX
Justification 94
Justification Buttons 93

K
Kbyte XXXVIII
Kerning 82, 94, 95
Key color XXXVIII
Key frame rate XXXVIII
Keyboard Conventions 4

L
Laser disk XXXVIII
Leading 82, 94, 95
Logical Sequence of Action XXIX
Long shots XXXVIII
Long Shots XXIX
Look Browser 82, 93
LPT XXXVIII
Luminance XXXVIII

Select

N
Naming conventions 36
Network driver XIX
Network operation XIX
New 81
Non-interlaced XXXIX
Normal quality XIII
NTSC II, V, IX, XIX, XXXVI,
XXXVII, XXXIX, XL
Numeric keypad 93

M
M1V XXXVIII
Main Menu Bar 79
Make AVI File Tab Settings VIII
Make Full Screen 83
Make Movie 5, 8, 20
Make MPEG File Settings dialog box
X
Make MPEG File Tab Settings X
Make realvideo tab settings XI
Make Windows Media Tab Settings
XIV
Manual scene detectio III
Mark In / Mark Out XXXVIII
Mbyte XXXVIII

J-O

Studio

XXXII

Music 102
MyStudioOnline Web page 126

O
On-Line Help 2
On-the-Fly Volume Adjustment 112
Opacity 100
Open 81
Options Dialog Box I

Original Sounds

Quality IX, XI
Quantization XXXIX

Preserve XXXII

Output to Videotape 118
Outputting to a camera/video recorder
117
Overlay Images 65
Overlay Process 66
Overlay Title 27

R
RAM XVII
Raster XXXIX
RealVideo 20, 32, XII, XIII
RealVideo file 115
Recording XVI, XIX, XXIV, XXXII,
XXXIII, XXXIV, XXXVI
Recording lamp 107
Recording Quality 108
Rectangle 82
Redo 8, 82
Redundance XXXIX
Reject Title 82
Rendering XX
Replace 83
Replace Background 83
Requirements, Equipment 2
Resize 28, 94, 95
Resolution XXXIX
Reverse Direction 77
RGB XXXIV, XXXIX, XL
ROM XL
Rotate 82, 94, 96
Rules of Thumb for Video Editing
XXX
Run Length Encoding XXXIX

P
PAL II, V, IX, XIX, XXXVI, XXXVII,
XXXIX, XL
Parallel port XXXIII, XXXVIII,
XXXIX
Paste 81
PCI Soundboard XIX
PCM X
Perspectives
Varying

XXVIII

Picture Backgrounds 99
Pixel XXXIX
Placement lines 14, 26
Green 14
Red 14

Placement Symbols 14
Playback Controls 9, 10
Fast Forward 10
Fast Reverse 10
Go To Beginning 10
Jog Buttons 10
Play/Pause 10

Player 6, 9, 32, XV
Player Preview 13
Player Window
During Trimming

Port XXXIX
Preset Styles 84
Preview monitor 38
Preview quality capture option IV
Preview window 9, 44, 51, 52
Preview-quality 35, 43, 118
Prime colors XXXIX
Product Names 4
Pushes 74

Q
QSIF XXXIX

S
Sample Rates X, XI
Save 81
Save as a RealVideo file 123, 126
Save as a Windows Media file 124
Save as an AVI File 119
Save as an MPEG File 121
Scale 82
Scaling XL
ScanDisk XVII, XXIV
Scene XL
Scene Length
Displaying

Index

P-S

Scene Name 58
Scene, placing in wrong location 26
Scenes II, III, XXVII, XXIX, XXX,
XXXIV, XXXVIII

Status line 14
Status window 20, 119
Stereo quality XIX
Still Images 65, XL

Detection 22
Re-Detecting 47
Selecting 45
Subdividing 45
Trimming 50

Trimming

Screensaver XVII, XXIV
Scrubber 10, 13
SCSI 2, 36, XL
SECAM XIX, XL
Semi-Long Shots XXIX
Serial port XL
Set Thumbnail 126
Setup Options Dialog Box I
Share My Video 126
Share your Movie via the Internet 126
Sharpest Image quality XIII
Shooting Plan XXVII
SIF XL
Single frame XL
Skew 82, 94, 96
Slide XIII
Slide Show quality XIII
Slides 73
Smart Capture 35, XX
SmartCapture Automatic Scene
Detection 37
SmartSound 31, 106
Smoothest Motion quality XIII
Software CODEC XL
Solid Color Backgrounds 99
Sound XIX
Effects

8, 12, 30, 102

Sound Effects Track 102
Sound quality XIX
Soundtrack Production XXXI
Split Clip
Restoring 54

Spread 93
Start Capture button 42
Start Frame 77
Static Volume Adjustment

T-T

Studio

112

Still-Video XL
Storyboard 23
Storyboard view 12
button 22
using during Tour 22

Studio DV 1
Studio interface 5
Studio Online video sharing account
126
Style 31
Style window 98
S-VHS XL
S-Video XXXVII, XL
System Tools XVII
Systray XVII

T
Taskbar XIX
Test Data Rate button III
Text view 13
Time Code XL
Time code striping 35, XVI
Timeline
Scrubbing 26

Timeline 12, 50, 60, 76, V, XX,
XXXIV, XXXVI
Timeline View 12, 25
Timescale
adjusting 25

Timescale 25
Tips XVI
Title
Adding a Transition

Title XXXII
Title Colors XXXII
Title Overlay track 27, 65
TitleDeko 29, 67, 71, 72, 79
Applying Looks to Text and Objects
Colors 99
Formatting Objects 92
Formatting Text 92
Inserting a Picture 89

Justifying Text 93
Launching 79
Layers 95
Opacity 99
Selecting Objects 91
Selecting Text 91
Styles 96
Tool Functions 81
Transforming Objects 95
Transforming Text 95

Titles 1
Titles and Graphics 16
Toolbox 11, 15, 56, 77, 79, 104, V
Open/Close button 15

Tools XVII, XXIV, XXXVI
Transition XL
Transition Effects
Previewing

Transition Types
Displaying

Transitions 1, 8, V, XXIX
Adding 24, 72, 75, 79
Trimming 76
Using 72, 79

Transitions Album 74
Transparent Background 67, 99
Transport Controls 57, 69, 77
camcorder controller, during capture 39

Tricks XVI
Trim Audio 113
Trim Calipers 58
Trim Scene Preview 56
Trim Scrubber 13, 77
Trim tool 50
Trim Transitions Tool 77
Trimmed Scenes
Resetting

Trimming 29
Graphics 100
Titles 100

Trimming Audio Clips 113
Troubleshooting XVIII, XXII, XXIV
trimming difficulties

TrueColor XLI
TV set 117
Twain driver XLI
Type X
Typographical Characteristics 81

U
UDMA 36, XVI
Unavailable symbol 26
Undo 8, 45, 46, 82

V
VCR 3, XXXVIII, XLI
Video postcard 126
VHS 3, 4, V, XXXV, XL, XLI
Video
Options 41

Video Capturing XXVII
Video CD XLI
Video Compression VIII
Video Compression Settings VIII
Video decoder XLI
Video Editing XXVII
Video encoder XLI
Video equipment, minimum
requirements for 3
Video for Windows XXXIII, XXXVIII,
XLI
Video monitor 117
Video scan rate XLI
Video Scenes 8, 12, 26, XXXIV
Video Scenes Album 22
Video Scenes in the Album
Reviewing

Video track 65
Video8 XLI
Videotape 32
View
Storyboard 12
Text 12
Timeline 12

VISCA XLI
Visual Disjunctions XXX
Voice-overs 2, 12, 17, IX, X, XI, XIII
Creating 107
Editing 108
Volume 108

Voice-overs Track 102
Volume Fades V

Index

U-V

Windows Media Playback Quality field
XIV
Windows Media Player 32, XV
Windows Media Player Description field
XIV
Windows Media Player Go To box XV
Wipes 73

W
Wav XLI
WAV 30
WAV File 103
WAV sound, adding 30
WAV Trim tool 114
White balance XLI
Width IX, XI
Windows XIV ,XXIII, XXV
Windows 98 XVIII
Windows Media file 115

W-Y

Studio

Y
Y/C XL, XLI
YUV XXXIV, XLI

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Pinnacle Studio 7.0 User's Guide 7 E

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