Sony VegasMano Vegas 2.0 Operating Instructions Vegas20

Vegas Audio - 2.0 - User Guide vegasaudio20b User Guide for Sony Vegas Software, Free Instruction Manual

User Manual: sony Vegas - 2.0 - Operating Instructions Free User Guide for Sony Vegas Software, Manual

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To register online with Sonic Foundry, please follow the steps outlined in the registration
wizard upon first execution of this application.
Registering your product will provide you with technical support, notification of product
updates, and special promotions exclusive only to Vegas registered users.
Sonic Foundry product registration helps protect against software copyright infringement
and allows us to provide support exclusively to registered users.
To register online with Sonic Foundry, please follow the steps outlined in the registration
wizard upon installation of this product.
Registering your product will provide you with notification of product updates and special
promotions exclusive only to Vegas 2.0 registered users.

Sonic Foundry product registration helps protect against software copyright infringement
and allows us to provide support exclusively to registered users.
If you do not have access to the Internet, registration assistance (in English) is available.
Please contact our Customer Service Department at:
• Telephone*: 1-800-577-6642 (toll-free) in the US, Canada, and Virgin Islands.
+800-000-76642 (toll-free) in Australia, Denmark, France, Germany, Italy,
Sweden, UK, Netherlands, and Japan.
+608-256-3133, extension 2300 in all other countries.
• E-mail: customerservice@sonicfoundry.com
• Fax: 1-608-250-1745
* Registration assistance is available by telephone 24 hours per day, seven days per week.
Sales/Customer Service Only (in North America): 1-800-57-SONIC
Sonic Foundry, Inc. Sonic Foundry Europe
1617 Sherman Ave.
Madison, WI 53704 PO Box 2903
2601 CX Delft
Netherlands
The information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Sonic Foundry. The software described in this
manual is provided under the terms of a license agreement or non-disclosure agreement. The
software license agreement specifies the terms and conditions for its lawful use. No part of
this manual may be reproduced or transmitted in any form or by any means for any purpose
other than the purchaser’s personal use, without written permission from Sonic Foundry,
Inc.
Sonic Foundry and Vegas are trademarks of Sonic Foundry, Inc. Ligos, Ligos GoMotion, and
LSX-MPEG are trademarks of Ligos Corporation in the US and/or other countries. All other
products mentioned in this manual are trademarks or registered trademarks of their
respective holders.
© 2000 Sonic Foundry, Inc.
3
Chapter
Overview
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
2. Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
3. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
4. Basic Editing Techniques . . . . . . . . . . . . . . . . . . . . . 109
5. Advanced Editing Techniques . . . . . . . . . . . . . . . . . 141
6. Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
7. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
8. Audio FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
9. Using the Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . 213
10. Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
11. Advanced Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
12. Video FX and Masks . . . . . . . . . . . . . . . . . . . . . . . . . 263
13. Video Transitions and Motion . . . . . . . . . . . . . . . . 297
14. Saving and Rendering Projects . . . . . . . . . . . . . . . 323
15. Customizing Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
4
5
Table of Contents
1. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Welcome to Sonic Foundry Vegas™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
System requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
About this version of Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Installing Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Starting Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Registering online. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Registering by telephone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Registering online from another computer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Using the online Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Accessing the Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Main window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Marker bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Ruler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Track Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Track View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Transport bar controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Scrub control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Window Docking Area. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Keyboard command reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Cursor indications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Audio Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
6
Video Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2. Tutorial. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Getting the tutorial folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
1. Voiceover narration (01_voiceover.veg) . . . . . . . . . . . . . . . . . . . . . . . 47
Using the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Placing the video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Displaying a Video Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Playing back the video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Placing the new voiceover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Aligning the new voiceover with video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Editing the voiceover. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Aligning the remaining voiceover events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Unlocking the events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Grouping the new voiceover and video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Saving a Vegas project (*.veg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
2. Music bed (02_musicbed.veg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Placing the music bed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Repositioning the voiceover. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Adding a volume envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Setting the volume envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Adding equalization (EQ) to the voiceover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. Background video (03_background.veg). . . . . . . . . . . . . . . . . . . . . . . 62
Creating a new video track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Crossfading to a new video event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Inserting a transition effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4. Overlay titles (04_overlay.veg). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Repositioning the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
7
Inserting the introduction splash. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
5. Pan/Crop motion (05_panning.veg) . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
6. Fades (06_fades.veg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
7. Track Motion (07_trackmotion.veg). . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
8. Velocity (08_velocity.veg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
9. Rendering the project as an *.avi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Setting the format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Applying compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
3. Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Determining the proper video settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Saving the project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Renaming a project (using Save As...) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Capturing video media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Files and events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
What type of media can you use?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Finding media files to use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Previewing a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Using the Media Pool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Audio Peak files (*.sfk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Event Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Inserting media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Moving events along the timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Removing the video’s audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Track Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
8
Scrolling and zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Track number and color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
View buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Track FX button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Bus assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Arm for Record button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Mute button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Solo button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Scribble Strip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Volume fader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Multipurpose slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Playback and preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Playback from within Vegas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Scrubbing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Previewing to media player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Rendered video previews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Rendering a Vegas project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Creating a movie (basic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
4. Basic Editing Techniques. . . . . . . . . . . . . . . . . . . . . . .109
Getting around. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Making selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Selecting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Modifying events in selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Selecting a time range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Looping playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Selecting events and a time range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Basic event editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Copying events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Cutting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Pasting events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Duplicating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
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Trimming events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Splitting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Shifting the contents of an event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Crossfading events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Automatic crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Manually setting a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Changing crossfade curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Undo and Redo commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Undo command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Redo command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Clearing the edit history. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Project markers and regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Working with markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Working with regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Working with command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Using an external sound editing program. . . . . . . . . . . . . . . . . . . . . . . 138
Setting up the sound editing program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Opening a sound editor from Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
5. Advanced Editing Techniques. . . . . . . . . . . . . . . . . . 141
Importing media from other projects . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Snapping events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Using the event snap offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Snapping to grid lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Snapping to grids and rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Snapping to markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Disable snapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Ripple editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Ripple editing from the Trimmer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Cutting and deleting in ripple mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Ripple editing across all tracks (Paste Insert) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
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Pitch shifting audio events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Time compressing/stretching. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Time compressing/stretching video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Adding takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Selecting takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Deleting takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Take names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Using the Trimmer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Working with the Trimmer window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Opening a file in an external sound editor from the Trimmer . . . . . . . . . . . . . . . . 158
Using the Edit Details window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Viewing the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Customizing the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
6. Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Accessing event properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Event switches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Muting an event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Locking an event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Looping an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Normalize (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Maintain aspect ratio (video only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Resample (video only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Event switches in the Event Properties dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Event switches in the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Audio event envelopes (ASR). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Setting an audio event’s volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Setting an event’s fade in and out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Video event envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Opacity envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
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Velocity envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Envelope Edit Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Grouping events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Creating a new group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Removing events from a group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Clearing a group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Selecting all members of a group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Temporarily disabling grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Working with Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Adding an empty track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Duplicating a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Deleting a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Naming or renaming a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Organizing tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Reordering tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Changing track color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Changing track height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Track Headers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Using the audio track fader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Muting a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Muting all audio or video tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Soloing a track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Audio track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Adding a volume or pan envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Hiding the audio track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Removing audio track volume envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Video track envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Composite Level envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Fade to Color envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Envelope Edit tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
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Locking envelopes to events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Rendering to a new track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
8. Audio FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Assigning an audio track to a bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Assigning an audio track to an auxiliary bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Assigning audio tracks to an Assignable FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Setting up to record into audio tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Using Audio FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Bus FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Assignable FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Adding plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Saving customized FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Plug-in chains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Removing plug-ins from a chain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Saving plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Editing saved plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Organizing your plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Non Real-Time Event FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Audio plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Equalization (EQ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Using the Noise Gate plug-in. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Using the Dither plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Additional plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
9. Using the Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . .213
Using the Mixer window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Viewing the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Using the Mixer tool bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Using the Mixer Preview fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
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Using busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Adding busses to the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Deleting busses from the project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Routing busses to hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Working with busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
10. Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Setting up your equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Basic setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Setup with mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Setup with digital multitrack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Arming the track for recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Using the metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Using the Sound Mapper for stereo or mono recording. . . . . . . . . . . . . . . . . . . . . 226
Assigning tracks to input devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Starting and stopping recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Chasing MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Recording into an empty audio track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Recording into a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Recording into an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Recording into an event with a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Working with multiple recorded takes . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Previewing takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Choosing an active take after loop recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Renaming an event take . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Deleting an event take . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Specifying where recordings are stored . . . . . . . . . . . . . . . . . . . . . . . . 238
11. Advanced Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Pan/Crop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
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Cropping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Zooming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Rotating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Panning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Scrolling titles - Pan/Crop technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Working with images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Creating titles from images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Fading titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Customizing the Video Preview window. . . . . . . . . . . . . . . . . . . . . . . . 252
Optimizing previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Video properties and preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Project properties - Video tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Event properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Resampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Media file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Output properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Edit Decision Lists (EDL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
12. Video FX and Masks . . . . . . . . . . . . . . . . . . . . . . . . . .263
Video plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Using a video filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Modifying filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Ordering filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Keyframe animation and filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Transitioning into an effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Video filter dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Correction filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Creative filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Mask filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
15
Add noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Black and White. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Brightness and Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Broadcast Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Chroma Keyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272
Gaussian Blur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
HSL Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Mask. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Median . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Min and Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275
Pixelate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Quick Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Sepia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Sharpen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Generators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Color Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Test Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Compositing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Parent/Child track relationship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
Masks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Image masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Masks and tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Video masks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Fine tuning masks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Chromakeying. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Compositing Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Transitions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
16
13. Video Transitions and Motion. . . . . . . . . . . . . . . . . .297
Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Fading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Using Transition effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Adding a transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Adding transitions to the ends of an event. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Understanding the A/B roll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Converting cuts to transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Previewing a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Modifying a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Keyframe animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Keyframe Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Adding a keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Modifying keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Keyframes and transition effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Video transition dictionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Additive Dissolve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Barndoor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Clock Wipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Cross Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Iris. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Linear Wipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Page Peel and Page Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Push. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Slide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Swap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
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Track Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Track Motion context menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Controlling the Track Motion workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Keyframing and Track Motion attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Shadows and Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Picture-in-Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Animating the overlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Scrolling titles - Video Motion technique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
14. Saving and Rendering Projects. . . . . . . . . . . . . . . . 323
Saving your project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Creating a copy of a project (using Save As...). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Rendering projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Rendering to an audio format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Rendering to a video format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Partial rendering and timeline playback. . . . . . . . . . . . . . . . . . . . . . . . . 327
Rendering to a streaming media format . . . . . . . . . . . . . . . . . . . . . . . . 328
Using rendering format controls and templates . . . . . . . . . . . . . . . . . 329
Customizing a render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Custom rendering settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Audio tab - Custom Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Video tab - Custom settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Project tab - Custom settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Selecting a video format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Miscellaneous formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Creating *.mp3 files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Creating *.wma or *.wmv files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Creating MPEG files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
15. Customizing Vegas . . . . . . . . . . . . . . . . . . . . . . . . . . 341
18
Dockable Vegas windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Floating (undocking) a window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Docking a window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Using the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Managing your media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Using the Explorer window Transport bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Changing the Explorer window views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Changing the Ruler format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Grid spacing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Working with the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Moving the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Resizing the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Hiding and displaying the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
Reordering the Toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
Adding buttons to the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Removing buttons from the Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
Using the Time Display window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Changing the Time Display window’s settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Changing the Time Displays colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Setting the Time Display to monitor MIDI time code. . . . . . . . . . . . . . . . . . . . . . . . 357
Working with project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Summary tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Video tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Ruler tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Using Vegas preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
General tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Video tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Routing tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Editing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Sync tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
19
External Monitor tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Why are some of my DirectX plug-ins not working correctly?. . . . . . . . . . . . . . . . 373
Why do I hear gaps in my audio playback? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
QuickTime Video Audio/Video Synchronization Issues . . . . . . . . . . . . . . . . . . . . . . 375
Why do mono events increase 6 dB when panning a track hard?. . . . . . . . . . . . . 375
Trouble-free video: software solutions. . . . . . . . . . . . . . . . . . . . . . . . . . 375
Trouble-free video: hardware solutions . . . . . . . . . . . . . . . . . . . . . . . . . 376
Video subsystem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Hard disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
CPU and RAM (memory) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
The 2GB limitation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Audio proxy files (*.sfap0). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Interlacing and field order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Timecode in Vegas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Troubleshooting DV hardware issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
20
CHP. 1 INTRODUCTION
CHAPTER
21
Introduction
Welcome to Sonic Foundry Vegas™
Sonic Foundry Vegas is an innovative and advanced multitrack media-editing system. Vegas
was designed to create an efficient audio/video production environment without sacrificing
the quality and processing power that you expect from Sonic Foundry. Whether it’s the
standard and familiar Windows navigation commands or the clean and uncluttered
interface, you’ll find Vegas to be a tool that will be mastered in minutes. Beneath the unique
and customizable interface, you’ll find a product that is both powerful and flexible. This
table lists some of the features available in Vegas, the perfect multitrack media-editing
system for your studio or production environment:
Includes Ligos GoMotion-powered MPEG-1 and MPEG-2
transcoding and decoding software.
Nondestructive editing Unlimited tracks
Unlimited undo/redo Multiple file formats (.wav/.aif) on a single track
Automatic crossfade functionality EQ and compressor inserts available on every track
Quick-edit media trimmer with direct link to
*.wav editor
Simultaneous multitrack record & play
Loop recording Plug-In manager
Real time event resampling 32 assignable DirectX FX sends
Audio/video scrub control DirectX Plug-In support
Edit detail list management Dual processor support
Sonic Foundry Perfect Clarity™ audio (*.pca) Multiple I/O support
24-bit/96 kHz MIDI Time Code generate & chase
26 Auxiliary outputs Dual monitor support
Internet streaming file authoring (Windows
Media Technologies 4.0 and RealNetworks G2)
Ability to incorporate timeline metadata (markers/
captions) for Internet content authoring
Imports: .wav, .w64, .pca, .aif, .avi, .mp3, .mov
(using Microsoft DirectShow), .bmp, .gif, .jpg,
.png, .tga, .tif
Exports: .wav, .aif, .pca, .avi, .wma, .wmv, .rm, .mp3
(with optional plug-in), .mov (streaming), .w64
1
22
INTRODUCTION CHP. 1
System requirements
Minimum requirements
• Microsoft® Windows™ 98SE, Me, 2000, or NT 4.0 SP4
• CD-ROM drive
• 40 MB hard-disk space for program installation
• Windows-compatible sound card
• Internet Explorer™ 4.0 (included on CD-ROM) or later to view online Help
• 400 MHz processor
• 128 MB RAM
• 16-bit color display
Technical Support
Visit our Web site at http://www.sonicfoundry.com/support. You will find technical information,
reference information, program updates, tips and tricks, and a Frequently Asked Questions
(FAQ) archive.
CHP. 1 INTRODUCTION
23
About this version of Vegas
The Vegas family of products includes a number of different versions including Vegas Video
and Vegas Audio, in both full and LE versions. All versions boast a suite of professional level
multi-track audio tools. Vegas Audio and Vegas Video both include a number of more
advanced audio features, while Vegas Video also includes advanced NLE video editing
features, making it a true all-in-one multimedia editing solution.
Most versions can be immediately upgraded to a more advanced version over the Internet.
From the Help menu, select Instant Upgrade to purchase a license and unlock these more
powerful features.
This manual covers all of the features available in all of the various versions of Sonic Foundry
Vegas. Since different versions have different features, more advanced features available only in
certain versions of Vegas are marked with a special icon.
Feature Vegas Video Vegas Video LE Vegas Audio Vegas Audio LE
Video Tracks unlimited 2 1 1
Audio Tracks unlimited 4unlimited 8
Compositing X alpha only
Video Track Level Fader X X
Video Track Motion X
Video Preview Window: Action
Safe, Grid, Isolate Channels
X X
Video Envelopes: Fade to
Color, and Composite Level,
Velocity
X
Real time effects and
processes
X X X X
Video Media Generators Xtext only
Transitions, FX, and DirectX
Video Plug-in Support
X X crossfades
only
DirectX Audio Support XXXX
DirectX Audio PLug-ins
Included
XXpress FX
1 & 2 XXpress FX
1 & 2
Rubber audio XX
Bit Depth/Sample Rate 24/96Khz 16/48Khz 24/96Khz 16/48Khz
Overall level of video control high moderate moderate moderate
Ligos MPEG support x x
24
INTRODUCTION CHP. 1
Installing Vegas
To install Vegas:
1.
Insert the Vegas CD-ROM. The Vegas Installation screen appears (if CD-ROM AutoPlay
is enabled).
If CD-ROM AutoPlay is disabled, click on the button and choose Run. In the Run
window that appears, type the CD-ROM drive’s letter and add :\setup.exe. Click the OK
button to start the installation.
2.
Click Install Software. The installation process begins.
3.
Follow the screen prompts and enter the necessary information when required.
4.
At the last screen prompt, click to conclude the installation.
Note:
Vegas uses a Windows 2000 installer
for all versions of Windows (e.g. 98SE and
NT4). Vegas will install the Windows 2000
installer and then ask you to restart your
system.
Starting Vegas
After Vegas has been installed on your computer, there are two ways to start the program.
Using the shortcut Vegas
Double-click the Vegas icon on your desktop upon completion of the installation
procedure. This icon is a shortcut to the Vegas program located on your hard drive.
Using the Start button
The second method also allows you to start Vegas right from the desktop.
1.
Click the button on the Taskbar. The Start menu appears.
2.
From the Start menu, choose Programs.
CHP. 1 INTRODUCTION
25
3.
From the Programs menu, choose Sonic Foundry Vegas. A submenu appears.
4.
From the submenu, choose Sonic Foundry Vegas to start the program. The registration
dialog window appears the first time you run Vegas. Select whether you want to use a
limited demonstration version of Vegas, purchase Vegas or if you have already purchased
Vegas you can enter your serial number. Once you have registered, this will not appear
again.
Registration
The registration dialog that appears when you start Vegas allows you to quickly and easily
register:
•Register online - instantly registers the product over the Internet.
•Register by phone - call Sonic Foundry to register manually.
•Register online from another computer - if the computer Vegas is installed on does not
have an Internet connection, but you have another computer that does.
•Not register at this time - allows you to continue using Vegas for a limited time without
registering.
Registering online
When you register online, one click is all it takes to instantly register Vegas.
To register online:
1.
Connect your computer to the Internet.
2.
Start Vegas. In the dialog that opens, select I would like to register online.
3.
Another dialog opens that asks you if you want to Provide information or simply Finish my
registration. Select one of these options and click Next.
•Provide information - If you select this option, another dialog opens and allows you to
enter some information about yourself. At your request, this information will be held in
strictest confidence and will only be used by Sonic Foundry internally to improve our
products and services. You may also elect to allow Sonic Foundry to occasionally send
you information about the latest updates to Vegas and other exciting multimedia
products.
This graphic displays the default Start Menu location where Vegas was
installed. If you specified a different location during installation, navigate
to that menu location via this menu.
26
INTRODUCTION CHP. 1
•Finish my registration - If you select this option, registration will be completed without
any further delay.
Vegas now automatically connects to Sonic Foundry’s registration utility and registers your
product.
Registering by telephone
When you register by telephone, a Customer Service Representative will help you to obtain
your activation code.
To register by telephone:
1.
Select Register by phone.
2.
Click the button. A new dialog appears with a box where you can enter the
activation code. Your Computer ID number appears below this.
3.
Please contact our Customer Service Department at:
• Telephone*: 1-800-577-6642 (toll-free) in the US, Canada, and Virgin Islands.
• +800-000-76642 (toll-free) in Australia, Denmark, France, Germany, Italy, Sweden,
UK, Netherlands, and Japan.
• +608-256-3133, extension 2300 in all other countries.
• E-mail: customerservice@sonicfoundry.com
• Fax: 1-608-250-1745
* Registration assistance is available by telephone 24 hours a day, seven days per week.
4.
When the Customer Service Representative gives you the activation code, type it in the
field.
5.
Click the button to activate Vegas and become a fully registered customer.
Registering online from another computer
In situations where Vegas is installed on a computer that does not have access to the
Internet, you can use another computer that does have access to acquire and activation
code. Since the Activation (registration) Code is base on your computer’s individual
Enter activation code
Computer ID number
CHP. 1 INTRODUCTION
27
identity, it is necessary to generate a registration number based on the computer that Vegas
is installed on. Therefore, you need to begin the registration on that computer, save an
HTML file with that computer’s identity on it to a floppy, and then use that floppy on a
computer with an Internet connection to register. The Activation Code and an *.reg file
will then be sent to you via e-mail, at which point you can write the number down to use it
on the other computer, or transfer the *.reg file to the computer without the Internet
connection and double-click the file to automatically register. The Acivation Code and
*.reg file is based on your computer’s ID number and cannot be used on another machine.
Using the online Help
Vegas includes HTML online Help. To view the online Help, you need to have Internet
Explorer 4.0 or higher loaded on your system (5.0 is included on the Vegas CD-ROM).
Accessing the Help
The online Help is available in two forms: in a Main Help window or What’s This? Help
window. Both forms are available via the keyboard ( ) or by clicking the Help menu.
Main Help window
The Main Help window is accessed either by choosing Contents or Index from the Help
menu or by pressing the key. This window has three tabs that you can use to find the
information that you need.
The Contents tab provides a list of available help topics. Click on a closed book ( ) to open
the pages, and then on a topic page ( ).
The Index tab provides a complete listing of the Help topics available. Scroll through the list
of available topics or type a word in the text field to quickly locate topics related to that
word. Select the topic and click the button.
F1
F1
Toolbar
Contents
Information
pane
Index tab
Search tab
tab
28
INTRODUCTION CHP. 1
The Search tab allows you to enter a keyword and display all of the topics in the online Help
that contain the keyword you have entered. Type a keyword in the text field and click on
the button. Select the topic from the list and click the button.
What’s This? Help
What’s This? Help allows you to view pop-up descriptions of Vegas menus, buttons, and
dialog boxes.
To use What’s This? Help:
1.
Click on the question mark ( ) in the upper right-hand corner of the dialog box or
program workspace. Alternately, you can choose What's This? from the Help menu or
press the keys.
2.
The cursor changes to a question mark icon: ( ).
3.
Click on an item in the program’s interface.
Tip of the Day
The Tip of the Day displays functional tips to increase your productivity with Vegas. To view
and scroll through the Tip of the Day messages, choose Tip of the Day from the Help menu.
PDF manual
There is a *.pdf version of the manual available on the Vegas CD-ROM. The PDF version of
the manual contains some information that was written after this manual went to press. To
view this manual, you will need Adobe® Acrobat® Reader (also included on the Vegas CD-
ROM). Please read the vegas_readme.doc for more information on the latest updates and
changes.
Help on the Web
Additional Vegas help and information is available on the Sonic Foundry Web site. From
the Help menu choose Sonic Foundry on the Web to view a listing of Web pages pertaining to
Vegas and Sonic Foundry.
Shift + F1
CHP. 1 INTRODUCTION
29
Overview
Vegas is designed to be an easy-to-use program with many tools that provide power and
flexibility when creating and working with multimedia files. Many Vegas operations, menu
items, and shortcut keys are consistent with other popular Windows software applications.
The following sections are a graphical tour of the Vegas workspace.
Main window
This is the window that appears when you open Vegas. The work area is subdivided into
three primary areas: the Track Header, the Track View (or timeline), and the Window
Docking Area.
The full version of Vegas Video has many advanced video editing features, as pictured above. Other
versions of Vegas have more limited video capabilities (for example limited to only one video track).
Please see the README file for more information.
Menu Bar
Toolbar
Time Display
Track
Scrub Control
Window
Docking
Area
Header
Marker Bar
Ruler
Track View
Transport Bar
(timeline)
Status Bar
30
INTRODUCTION CHP. 1
Toolbar
The Toolbar allows you to quickly access the most commonly used functions and features in
Vegas. From the Options menu, choose Customize Toolbar to specify which buttons are
displayed.
Marker bar
The Marker bar is the area where informational tags may be placed, named, and positioned
along the project’s timeline. These can serve as cues or reminders highlighting important
events in your project.
Create new project Enable automatic crossfades
Open existing project Enable ripple edits
Save project Lock Envelopes
Open project properties Ignore Event Grouping
Cut selected events or time range Edit tool
Copy selected events or time range Envelope tool
Paste items from clipboard into project Selection tool
Undo command Zoom tool
Redo command Open Video Capture (Vegas
Video only)
Enable snapping to grid lines Get Media from Web
What’s This? Help
CHP. 1 INTRODUCTION
31
Ruler
The Ruler is the timeline for your project. You may specify how the Ruler measures time:
seconds, measures and beats, frames, etc.
Track Header
This area identifies the track order in your project and contains controls used to determine
track compositing and mixing.
Multiple video tracks, compositing, and video effects are only available in the full version of Vegas
Video.
Right-click
on Ruler
Track Number
Track mode
controls
Video Tracks
Audio Track
Parent/Child
Compositing
controls
32
INTRODUCTION CHP. 1
Track View
All arranging and editing is done in the Track View. This area contains all of a project’s
events.
Transport bar controls
The Transport bar contains the playback and cursor positioning buttons frequently used
while working on and previewing your project.
Status bar
The Status bar is located at the bottom of the main program window and displays
information about roughly how much space is left on your computer to record audio (Record
Time). During the rendering processes, the left side of the Status bar also contains
information about the progress of the render.
The Video Preview window also has its own status bar that displays project specific
information.
Record into track Stop playback
Loop playback Move cursor to start of project
Play from beginning of project Move cursor to end of project
Play project from cursor position Move cursor left at grid increments
Pause project playback Move cursor right at grid increments
Track View
CHP. 1 INTRODUCTION
33
Scrub control
The Scrub control is used to play your project forward or backward for editing purposes. You
may adjust playback speed by setting the Speed Control Marker located beneath the Scrub
control.
Window Docking Area
This area allows you to keep frequently used windows available, but out of the way while you
are working with a project. To dock a window, simply drag it to the Docking Area. When
windows are docked, they are stacked on top of one another. Each window has a tab at the
bottom with its name on it. Click the window’s tab to bring it to the top. Drag the handle on
the left side of a docked window to remove a window from the Docking Area and float it.
Explorer window - Alt+1
The media Explorer window is similar to the Windows Explorer. Use the Vegas Explorer
window to select media files to place into your projects.
Set play-
Cli
c
k
an
d
d
rag e
i
t
h
er
f
orwar
d
back speed
or backward for playback
Drag handle to float window.
Select drive Preview selected
media file before
you place it
in the project
or folder
Select media to place
in the project by dragging
and dropping or
double-clicking
34
INTRODUCTION CHP. 1
Trimmer window - Alt+2
The Trimmer window is a good place to edit any media file. When a media file is placed in
the Trimmer window, you may take portions of the event and place them on separate tracks
by dragging and dropping. For more information, see Using the Trimmer window on page 154.
Mixer window - Alt+3
The Mixer window gives you access to your project’s audio properties, bus assignments,
output levels, and plug-in chains.
Edit Details window - Alt+4
This window serves as a highly detailed and customizable database of all of the events in a
project. The database can be organized and sorted according to a large number of attributes.
Trimmer window
Transport bar
Right-click on a
meter to change
its settings
CHP. 1 INTRODUCTION
35
Plug-ins window - Alt+5
This window organizes all of the plug-ins, effects, and transitions available in Vegas. These
are organized in a folder structure and include both audio and video plug-ins.
Video Preview window - Alt+6
This window displays a project’s video event during project editing and playback. For more
information, see Customizing the Video Preview window on page 252.
Video will appear during
project playback or as
the cursor is moved
during editing.
Right-click to
change Video
Preview settings
36
INTRODUCTION CHP. 1
Media Pool window - Alt+7
The Media Pool is used to organize the media files that are being used by a project. The
information about these files is displayed in a highly flexible database that can be instantly
sorted. The Media Pool can also be used to apply effects and plug-ins to media files and can
be used to set the specific properties (e.g. Interlace) of these files. For more information, see
Using the Media Pool on page 88.
Transitions window - Alt+8
The Transitions window contains all of the transitions available in Vegas. The thumbnails
display animated examples of each transition. Transitions can be dragged from this window
to the Transition roll between two video events. For more information, see Transitions on page
297.
CHP. 1 INTRODUCTION
37
Keyboard command reference
Project file commands
These commands refer to the overall project.
Window view commands
These commands display the dockable windows included with Vegas.
Edit commands
These commands refer to the event editing that you can use while you are working on a
project.
Description Keys
Create new project Ctrl+N
Open existing project or media file Ctrl+O
Save project Ctrl+S
Open project’s properties Alt+Enter
Description Keys Description Keys
Track view Alt+0 Plug-ins Alt+5
Explorer Alt+1 Video Preview Alt+6
Trimmer Alt+2 Media Pool Alt+7
Mixer Alt+3 Transitions Alt+8
Edit Details Alt+4
Description Keys Description Keys
Undo Ctrl+Z or
Alt+Backspace
Split event(s) S
Redo Ctrl+Shift+Z or
Ctrl+Y
Trim/Crop selected events Ctrl+T
Cut selection Ctrl+X or
Shift+Delete
Edge trim either audio or video of
grouped events independently
Alt+drag edge
Copy selection Ctrl+C or
Ctrl+Insert
Open in Sound Editor Ctrl+E
Paste from clipboard Ctrl+V or
Shift+Insert
Mix to new Ctrl+M
Paste repeat from
clipboard
Ctrl+B Mix to Player Ctrl+Shift+M
Paste Insert Ctrl+Shift+V Mix to Video Preview Shift+M
Delete selection Delete Rebuild peaks F5
38
INTRODUCTION CHP. 1
Cursor placement commands
These commands refer to cursor navigation with in the Track View.
Selection commands
These commands refer to creating time selections or preview ranges.
Note:
Many of the preceding Cursor
placement commands, when combined with
the Shift key, are also Selection commands.
Description Keys Description Keys
Go to beginning of selection
or view (if no selection)
Home or W Center in View \
Go to end of selection or view
(if no selection)
End or E Jump to opposite side of
selection
Number pad 5
Go to beginning of project Ctrl+Home or
W
Move left to marker(s) Ctrl+Left Arrow
Go to end of project Ctrl+End or E Move right to marker(s) Ctrl+Right Arrow
Move left by grid marks Page Up Move left to event edit
points including fade edges
Ctrl+Alt+Left Arrow
Move right by grid marks Page Down Move right to event edit
points including fade edges
Ctrl+Alt+Right Arrow
Go to Ctrl+G Nudge cursor on timeline Left or Right Arrow
Jump to Marker # 0-9 keys (not
number pad)
Move one frame Alt+Left or Right Arrow
Description Keys
Range selection (events) Shift+click range of objects
Multiple selection (events) Ctrl+click individual objects
Snap select to event edges Ctrl+Shift+Alt+ Left or Right Arrow
Recover previous selection areas Backspace
Select all Ctrl+A
Unselect all Ctrl+Shift+A
Select left by grid marks Shift+Page Up
Select right by grid marks Shift+Page Down
Make a selection during playback I (in) and O (out)
Create time selection while
dragging on an event
Ctrl+Shift+drag with mouse
Expand selection one frame Shift+Alt+Left or Right Arrow
CHP. 1 INTRODUCTION
39
Playback commands
These commands refer to the playback controls, which are also found on the Transport bar.
Event commands
These commands apply to selected events.
Description Keys Description Keys
Start/stop playback Spacebar Pause Enter
Stop playback Esc Record Ctrl+R
Looped playback
mode
L Play back from any
window
Ctrl+Spacebar or F12
Scrub playback Ctrl+drag on cursor
on the timeline
Description Keys Description Keys
Move selected event(s)
right one pixel
Right Arrow
number pad 6
Move selected event(s)
down one track
Down Arrow
number pad 2
Move selected event(s) left
one pixel
Left Arrow number
pad 4
Move selected event(s)
right on grid
Ctrl+Right Arrow
number pad 6
Move selected event(s) up
one track
Up Arrow number
pad 8
Move selected event(s) left
on grid
Ctrl+Left Arrow
number pad 4
Slip: move media within
event without moving the
event
Alt+drag inside the
event
Trim Adjacent: trims
selected event and adjacent
event simultaneously
Ctrl+Alt+drag edge
of event
Slip Trim: moves the media
with the edge as it is
trimmed
Alt+drag edge of
event
Slide: Trims both ends of
event simultaneously
Ctrl+Alt+drag middle
of event
Select next take TSlide Crossfade: moves
crossfade
Ctrl+Alt+drag over a
crossfade
Select previous take Shift+T Stretch (compress) the
media in the event while
trimming
Ctrl+drag edge of
event
40
INTRODUCTION CHP. 1
Track commands
These commands refer to editing functions related to the tracks in your project.
View commands
These commands refer to magnification of tracks and the events contained on them.
Miscellaneous commands
These commands allow you to access help related items and refresh the screen.
Description Keys Description Keys
New audio track Ctrl+Q Mark in point (when playing) I or [
New video track Ctrl+Shift+Q Mark out point (when playing) O or ]
Enable/disable snapping F8 Insert/Show/Hide track-volume envelope V
Snap to markers Shift+F8 Remove track-volume envelope Shift+V
Snap to grid Ctrl+F8 Insert/Show/Hide track-panning envelope P
Ripple edit mode Ctrl+L Remove track-panning envelope Shift+P
Auto crossfade mode X Insert Region R
Edit tool selection DInsert Marker M
Normal edit tool Ctrl+D Insert Command Marker C
Group selected events GMinimize all tracks ‘
Ungroup selected events U Insert Transition Number Pad: / ,
*, -
Description Keys Description Keys
Increase track height Ctrl+Shift+Up
Arrow
Zoom out Ctrl+Down Arrow
Decrease track height Ctrl+Shift+Down
Arrow
Zoom in Ctrl+Up Arrow
Zoom in time (incremental) Up Arrow Zoom in (audio only) Shift+Up Arrow
Zoom out time (incremental) Down Arrow Zoom out (audio only) Shift+Down Arrow
Description Keys Description Keys
Online help F1 Shortcut menu Shift+F10
What’s This? Help Shift+F1 Refresh screen F5
Change relative
keyframe spacing
Alt+drag keyframes
CHP. 1 INTRODUCTION
41
Trimmer commands
These commands apply to the Trimmer window.
Note:
Many of the shortcuts that apply to the
timeline (e.g. Cursor placement, Selection
commands, etc.) also work in the Trimmer.
Mouse scroll-wheel shortcuts
Description Keys Description Keys
Add Media From Cursor A toggles selected stream:
audio/video/both
Tab
Add Media to Cursor Shift+A Next media file in Trimmer Ctrl+Tab
Select from Cursor to start
of project
Ctrl+Shift+A Previous media file in
Trimmer
Ctrl+Shift+Tab
Transfer time selection
from timeline to Trimmer
after cursor
T
Transfer time selection
from timeline to Trimmer
before cursor
Shift+T
Description Keys
zoom in on timeline default mouse wheel behavior
vertical scroll Ctrl+wheel
horizontal scroll Shift+wheel
moves the cursor in small increments Ctrl+Shift+wheel
move cursor one frame at a time Ctrl+Shift+Alt+wheel
auto-scrolling press mouse wheel and move mouse left or right
42
INTRODUCTION CHP. 1
Cursor indications
The cursor in Vegas changes depending on which functions are available. In Windows, for
example, the cursor changes to an hourglass when the system is busy.
Cursor Indicates Modifier Description
Standard none This is the standard arrow cursor that means events can be
dragged.
Trim none Position the cursor over the edge of an event and drag to trim
the event, shorter or longer.
Slip Trim Alt Position the cursor over the edge of an event, press Alt, and drag to
trim. The media within the event moves with the edge. This is useful
to preserve the beginning or end of an event while trimming.
Stretch Ctrl Position the cursor over the edge of an event, press Ctrl, and
drag the edge to stretch or compress it. This make the media
in the event play slower or faster.
Slip Alt Press Alt and drag on the middle of a clip to move the media
within the event without moving the event itself.
Trim
Adjacent
Ctrl+Alt Position the cursor over the boundary between two adjacent
events, press Ctrl+Alt, and drag. Both events are edge
trimmed simultaneously.
Slide Ctrl+Alt Position the cursor over the middle of an event, press Ctrl+Alt, and
drag to simultaneously trim both ends.
Slide
Crossfade
Ctrl+Alt Position cursor over a crossfade, press Ctrl+Alt, and drag on a
crossfade to move it.
CHP. 1 INTRODUCTION
43
Audio Signal Flow
Audio event
N
orma
li
ze even
t
Event ASR
Auxiliary send
Track FX
Track fader
Pan track
Mute track
Assignable FX send
Input Chain
Output Mute
Master
FX Mute
Hardware
Fader
Bus Assign.
output
Pre/Post vol.
Pre/Post vol.
Assignable FX
Bus Control
Bus Assign.
44
INTRODUCTION CHP. 1
Video Signal Flow
Multiple video tracks and compositing are only available in Vegas Video. This diagram shows the
master order of how Vegas processes video information. The first step, Media Interpretation,
happens when media files are added to a project. Global effects are applied to the entire
project and can be used by dragging an effect onto the Video Preview window.
2. Media FX
3. Opacity Envelope
4. Velocity Envelope
5. Event FX & Pan/Crop
6. Transitions
7. Track Envelopes
9. Track Motion
10. Parent/Child Compositing
11. Track Motion for Parent/Child Groups
12. Track Compositing
13. Video Output FX
2. Media FX
4. Velocity
Envelope
5. Event FX &
6. Transitions
7. Track
Envelopes
8. Track FX
9. Track
10.
11. Track Motion for
12. Track Compositing
13. Video Output FX
Motion
Parent/Child Group
Parent/Child
Compositing
3. Opacity Envelope
1. Media Interpretation (interlacing, alpha channel, etc.)
8. Track FX
Pan/Crop
CHP. 2 TUTORIAL
CHAPTER
45
Tutorial
Welcome to the Vegas tutorial. This chapter is designed to familiarize you with the basic
features and tools of Vegas while creating an actual project.
Note:
This tutorial demonstrates many
advanced video features (e.g. multiple video
tracks and compositing) found only in Vegas
Video.
This tutorial will teach you how to place media files in the project, edit them, and save them
together into a video file. The files you need to create this sample project are included on
the program’s CD-ROM in the \tutorials folder. The video length is approximately forty
seconds. As you work, you will see how easy it is to master the powerful features that Vegas
has to offer. Some of the techniques are only briefly demonstrated here, however, and many
complex operations are described in a sentence or two.
There are nine separate sections or steps in the tutorial. Each step has a completed project
file included on the CD-ROM. When you have worked through section 1. Voiceover
narration, your project should look something like the included project file 01_voiceover.veg.
These complete project files can also be used as references if you find any of the explanations
in this chapter to be unclear. If you make a mistake during the tutorial, just undo it by
pressing .
Getting the tutorial folder
Copy the sample media files to your hard drive. The tutorial folder is located on the Vegas
CD-ROM.
To install the tutorial:
1.
Insert the CD-ROM into the disc drive.
2.
Locate the Tutorial folder on the CD-ROM and copy it to your hard drive.
Ctrl + Z
2
46
TUTORIAL CHP. 2
3.
After the folder is copied, start Vegas.
Note:
After copying the files to your hard
drive, you may need to re-establish the source
media file links. When opening a project file
(*.veg) for the first time, Vegas may prompt
you to find the media and re-link it to the
project. All of the files will be READ ONLY
when copied to you hard drive and you will be
unable to save changes to them unless you
change their properties.
The finished project is called 08_velocity.veg and looks like the illustration below. The
project is designed to highlight a few of the features Vegas Video. Some aspects of the
project are fairly complex. Use the map below to go to the tutorial section that explains a
particular technique.
1. Voiceover
narration
2. Music bed
3. Background
4. Overlay titles 5. Pan/Crop motion
video
6. Fades
8. Velocity
7. Track Motion
CHP. 2 TUTORIAL
47
Getting Started
This tutorial is designed to walk the beginner through a complete project, while at the same
time demonstrating a few more advanced techniques. This means that some sections are
more difficult than others. By following the instructions explicitly, you should be able to
complete the project even if some of the concepts are unfamiliar. There are also a number of
terms that may be strange if you have never used Vegas or if you are new to NLE (Non-
Linear Editing). Here are some resources outside of this chapter that may be useful.
• Map of the user interface: (pg. 29).
• Glossary of terms: (pg. 385).
• Hold the mouse pointer over items in the user interface to see ToolTips that display the
names of the various controls.
• Press F1 and click on an item for a What’s This? Help definition.
1. Voiceover narration (01_voiceover.veg)
The first section of this project is a talking-head video that contains the main message. The
quality of the audio in the source video (talkinghead.avi) is poor and needs to be replaced with
a new voiceover (voiceover.wav), recorded in a studio. While the audio quality of the new
voiceover is good, there is some unwanted material that needs to be edited out and removed.
Finally, the voiceover needs to be synchronized with the video. While the concepts in this
section are fairly easy to understand, the actual process of aligning the voiceover with the
talking-head can be difficult. This is a surprisingly common technique used throughout the
television and movie industry. The finished project can be used as a reference: 01_tutorial.veg.
Using the Explorer window
The Explorer window allows you to view and access your media files without leaving the
work area. This window works just like Windows Explorer.
To open the project folder in the Media Explorer:
1.
Locate the \tutorial folder on your hard drive.
2.
Select the \tutorial folder so that its contents appear in the media list.
48
TUTORIAL CHP. 2
Once a media file is placed into the project, it is contained in an event.
Placing the video
In the media files list in the Explorer window, the media files needed for this project are
displayed. We are going to place the talkinghead.avi file ( ).
To insert the talkinghead video:
1.
Move the cursor over the timeline.
2.
Press to place the cursor at the beginning of the project.
3.
Double-click the media file (talkinghead.avi) in the Explorer window. The video portion
(stream) is placed on a video track and the audio portion (stream) is placed on an audio
track at the cursor’s position.
A media file as it appears on the timeline in Vegas is displayed in an event. In fact, there
Media files
Vegas Explorer window.
Ctrl + Home
Video track
Audio track
Scribble Strip
(with track name)
timelineTrack Header
empty portion of timeline videoaudio eventevent
CHP. 2 TUTORIAL
49
are two events on the timeline for the talkinghead.avi: a video event that serves as a
window into the video stream of the media file and an audio event that serves as a
window into the audio stream. Edits that are made to either of these events do not affect
the source media file, talkinghead.avi, in any way.
It is a good idea to label the tracks using the Scribble Strip on the Track Header on the
left side of the track. Double-click on the Scribble Strip for the video track and enter
“Talkinghead.” You can name the audio track “Talkinghead narration,” but this track will
eventually be deleted.
Displaying a Video Preview
The Video Preview window shows a preview of your project.
To view and dock the Video Preview, from the View menu, make sure Video Preview is
selected. Initially, the Video Preview may be hidden beneath one of the other windows at
the bottom of the program in the docking area. Click the Video Preview tab to bring the
window to the top so it can be seen.
Video Preview tab
The Video Preview
window can also be
freely floated anywhere
in the workspace.
50
TUTORIAL CHP. 2
Playing back the video
To playback or preview a project:
1.
Click the Play button ( ) on the Transport bar to start playing. Playback begins at the
current cursor position. If playback starts in the middle of the project, click the Play
From Start button ( ) to start playback from the beginning.
2.
Click the Stop button ( ) to stop playback.
3.
Click the audio track’s Mute button ( ) to mute the video’s audio track.
We are preparing to place and work with the new voiceover. Eventually, we will delete
the original audio, but for now it can be used as a reference.
Placing the new voiceover
A new voiceover was recorded in a studio to replace the original audio stream from
talkinghead.avi.
Note:
The new audio track could have been
recorded straight into Vegas. For more
information, see Recording Audio on page
223.
To insert the voiceover:
1.
In the media list, select the file titled voiceover.wav.
2.
Drag the file into the timeline below the lowest track. Vegas creates a new track for it.
3.
Click either the Play ( ) or the Play From Start ( ) button to play the voiceover.
4.
Click the Stop button ( ) to stop playback.
During playback, the narrator pauses to review notes and cough. These are the type of
problems that will be fixed in the next section. The following is a map of the voiceover.
Transport bar
Track mute
CHP. 2 TUTORIAL
51
These errors (B and D) will be removed later. Also, during playback you probably saw that
the new voiceover and the video are out of sync. Next, we will align the voiceover with the
video.
Aligning the new voiceover with video
We will now position the voiceover so that it will be synchronized with the video. We will
use the poor-quality audio as a reference. Since we can see the audio waveform, sychronizing
is made easier.
To make it easier to see the audio events, we can zoom in on the project. There are a several
ways to manage the project’s view. For more information, see Changing track height on page 180.
To align the voiceover:
1.
Press or click on the timeline so the Track View (timeline) takes focus of keyboard
commands.
2.
Press and hold the keys.
3.
Press either the or keys. You will toggle through different Track heights.
4.
On the timeline, click and drag the mouse to select a time region.
AB C DE
A-
B-
C-
D-
E-
Welcome to Sonic Foundry...
Um...
This tutorial will...
[Cough]
Found in the new...
Alt + 0
Ctrl + Shift
Original audio
voiceover
52
TUTORIAL CHP. 2
5.
Click either the Play ( ) or the Play From Start ( ) button to play just the time
selection. Click the Loop button ( ), on the Transport bar, to have playback loop
continuously within the selection.
6.
Watch the Video Preview window to see if the new voiceover is roughly in the correct
position. This will be fine-tuned later.
7.
Click the Stop button ( ) to stop playback.
Now would be a good time to double-click the Scribble Strip and rename the new track
“Voiceover”.
Editing the voiceover
When you played back the new voiceover, you noticed the interruption errors that it
contained. We will remove those errors and synchronize the remaining voiceover to the
video. Vegas allows you to edit both time and events. We will use both methods to edit the
voiceover.
Locking the original events
Time selection edits affect all tracks in the project unless a specific track is selected. Before
we start editing the voiceover, we will lock the original audio and video events, which are
our references, to prevent them from accidently being edited.
To lock events:
1.
Select both the original video and audio events. Hold down the key while clicking
on each of these events.
2.
From the Edit menu, choose Switches and then Lock.
Selection bar
Ctrl
CHP. 2 TUTORIAL
53
Editing a time selection
By looking at the waveform, you will see where the “um” and cough occur. You will also see
where the narrator is speaking. We will delete the “um” using time selection.
To make a time selection:
1.
On the timeline, click and drag to make a time selection where the “um” occurs.
2.
Click the Play button ( ) to play back the error to ensure that your time selection does
not include part of the voiceover that we need.
3.
Increase or decrease the time selection by clicking and dragging an edge of the selection.
4.
Once the time selection is made, choose Delete from the Edit menu, or press the
key to remove the “um.”
Next, we will split the event that contains the narrator’s cough and then delete the error.
Splitting an event using time selection
Splitting creates multiple events from an existing one. We will make a time selection that
contains the narrator’s cough and split it from the audio, then delete the cough.
To split the event:
1.
On the timeline, click and drag to make a time selection where the cough occurs.
Delete
54
TUTORIAL CHP. 2
2.
Click the Play button ( ) to play back the error to ensure that your time selection does
not include part of the voiceover that we need.
3.
Increase or decrease the time selection by clicking and dragging an edge of the selection.
4.
Once the time selection is made, choose Split from the Edit menu, or press the key to
split the event.
Editing an event
We have the cough as a new event that can now be deleted.
To delete the cough:
1.
Click the event with the cough.
2.
From the Edit menu, choose Delete or press the key to remove the cough event.
After the edits have been made, the voiceover should look something like this:
Aligning the remaining voiceover events
With the voiceover edited, we need to align the remaining audio to the video. When you
move events, they snap to other event edges. You may extend or shorten an event’s length
by clicking and dragging its edges, which is useful for fine-tuning the alignment. Moreover,
you may turn off snapping by choosing Enable Snapping from the Options menu.
S
One event Three events
before the split after the split
Delete
"Welcome to Sonic
Foundry Vegas. This tutorial will introduce
you to the powerful editing
and post-production features...
...found in this
environment.”
new production
CHP. 2 TUTORIAL
55
To align the remaining audio:
1.
Select the event that begins “This tutorial will introduce you....”
2.
Drag the event to the approximate point where the narrator is saying this. Use the
original audio as a reference.
3.
On the timeline, drag the mouse to select a time region.
4.
Click either the Play ( ) or the Play From Start ( ) button to play just the time
selection. Click the Loop button ( ), on the Transport bar, to have playback loop
continuously within the selection.
5.
Watch the Video Preview window to see if the new voiceover is close.
6.
Click the Stop button ( ) to stop playback.
7.
Repeat the above steps for the event that begins “found in this new....”
Next, we will group the synchronized events with the video and delete the original audio
from the project.
Unlocking the events
Earlier, the original video and audio events were locked to prevent changes from being made
to them. Since the synchronizing work is done at this point, both of these events can be
unlocked, permitting further modification.
To unlock an event:
1.
Right-click on a locked event.
2.
From the shortcut menu, select Switches and choose Unlock.
Grouping the new voiceover and video
The voiceover and video are synchronized, and we want to
make sure that they stay together. The Grouping feature
will do that for us. First, we will delete the original audio.
To group events:
1.
Select the original audio’s track by clicking it.
2.
Right-click and choose Delete from the shortcut menu.
The entire track is removed from the project and the
new voiceover becomes the first track.
3.
Press the key and click the video event and the voiceover events to select them.
Ctrl
56
TUTORIAL CHP. 2
4.
From the Edit menu, choose Group and then Create New or press the key to group the
events.
Saving a Vegas project (*.veg)
A Vegas project file contains all of the information about a single project. However, it does
not contain any media, but maintains the references to media files used in the project.
To save a project:
1.
Select one of the following to save the Vegas project:
•From the File menu, choose Save.
• Click the Save button ( ).
• Press on the keyboard.
The first time you save a project, the Save As dialog appears.
2.
Select the drive and folder where you want to store the project.
3.
Type the project name “MyTutorial” in the File Name field.
4.
Click the Save button.
The subsequent times you save the project, the above Save As dialog is bypassed, your
existing file name is retained, and your project is updated to include any implemented
changes.
G
Ctrl + S
CHP. 2 TUTORIAL
57
Summary
In this section, we replaced the audio from the original video with a cleaner audio track
recorded in a studio. Here is what the project should look like at this point:
58
TUTORIAL CHP. 2
2. Music bed (02_musicbed.veg)
Adding background music to the talkinghead event is very easy. Using a Track envelope, the
volume can be lowered while the narrator speaks and then increased for the remainder of
the video.
Placing the music bed
To add the music bed to the timeline:
1.
Press the key to move the cursor to the beginning of the project.
2.
In the media list, drag the musicbed.wav file to the timeline below the lowest track (the
voiceover track). A new track is created with the musicbed event on it.
3.
Click the Play button ( ) to play the project.
After creating the new track, double-click the Scribble Strip and rename the track
“Musicbed.”
Repositioning the voiceover
The music bed is considerably longer than the voiceover portion of the project. Eventually,
we are going to add additional video to fill out the project. If you were creating this project
from scratch, you might not know exactly where to position the voiceover, but you could
roughly position it and fine tune it later. In the case of this pre-planned tutorial, however, we
have a pretty good idea where everything needs to be: drag the voiceover group (talkinghead
video and voiceover audio) so that the talkinghead event begins at approximately 4.700
seconds.
Adding a volume envelope
The music bed’s volume needs to be lowered (ducked) as the narrator speaks. A track
volume envelope can be used to lower the volume, and then raise it again when the narrator
finishes speaking. We will use the voiceover’s starting and ending points as a reference for
the envelope.
To add a volume envelope:
1.
Click the musicbed track or event.
2.
From the Insert menu, choose Audio Envelopes and then choose Volume. A blue line
appears across the track.
Ctrl + Home
CHP. 2 TUTORIAL
59
3.
On the musicbed event, place the mouse pointer slightly ahead of the voiceover’s starting
point. The mouse pointer appears as a hand ( ).
4.
Right-click and choose Add Point from the shortcut menu. A square point appears on the
envelope line.
5.
Repeat step 4 to add three more points on the line, for a total of four. The initial positions
of the points is unimportant.
Setting the volume envelope
Now we will use the points on the envelope to lower and raise the volume so that the music
bed does not interfere with the voiceover. When you click or hover over a point,
information about it appears.
To control the volume over time:
1.
Drag the points so that they are positioned with two near the start of the voiceover, and
two at the end.
2.
Drag the two inner points so that their volume level is at approximately -7.0 dB.
Envelope Line
You can only set one point
at a time or use the Envelope
tool to select and move
multiple points at a time.
60
TUTORIAL CHP. 2
3.
Set the outer points so that their volume level is at 0.0 dB.
4.
Click the Play ( ) or the Play From Start ( ) button to play the project and check the
timing of the volume envelope.
5.
Adjust the outer and inner points along the timeline as needed.
Adding equalization (EQ) to the voiceover
Now that the music is mixed in, you can hear the voiceover has a strong bass quality to it.
We will adjust that quality slightly with EQ on the first band.
To adjust the equalization:
1.
Click the FX button ( ) on the voiceover’s track. The Track FX dialog appears.
You can set the EQ settings by typing in the appropriate field, dragging the slider, or clicking
the arrow buttons between the slider and the setting field. The easiest way to adjust the EQ
is to drag the numbers on the EQ map, however.
2.
Set the Frequency to 160 Hz.
3.
Set the Gain to -inf.
4.
Set the Rolloff to 12 (dB/oct).
5.
Close the Track FX dialog by clicking anywhere outside it.
6.
Click the Play ( ) or the Play From Start ( ) button to play the project with the new
EQ settings.
CHP. 2 TUTORIAL
61
Summary
In this section, we added a music bed to a new track below the narration. The video and
audio events from the last section were grouped together so they could be moved further
down the timeline. The volume of the music was faded out (ducked) during the narration
and back in after it was over. In addition, equalization was used to improve the tone of the
voiceover. Here is what the project looks like so far:
62
TUTORIAL CHP. 2
3. Background video (03_background.veg)
In this section, we are going to add some video clips to the background. The techniques we
are going to focus on are inserting video, crossfading events, and adding transitions. This
section of the tutorial can only be completed with Vegas Video.
Creating a new video track
To add a new video event to a new video track:
1.
Browse for a video file (powderskier.avi) in the Media Explorer.
2.
Drag the media file just below the musicbed audio track. Position the new powderskier
event at the beginning of the project.
Since the new video event is being dropped at a location that does not already contain a
video track, a new video track containing a new video event is created.
Multimedia projects can get very complicated, so it may be useful to rename the track at this
point. Double-click the Scribble strip on the Track header and enter “Background”.
Crossfading to a new video event
One way to transition from one video scene to another is with a crossfade. This is a common
technique where one scene fades out while another fades in.
To crossfade between two video events:
1.
Browse for a video file (mountains.avi) in the Media Explorer.
2.
Drag this file to the “Background” track.
3.
Position the new event to the right of the first event (powderskier) overlapping by about a
second.
Before During drag operation. After, with new event
and new track.
CHP. 2 TUTORIAL
63
The overlapping region between the two events has an “X” across it, indicating a crossfade.
If you preview the project, you can see the smooth transition between the two. Repeat this
procedure to add and automatically crossfade the remaining background video files:
beach.avi, fireweed.avi, boat.avi, and sunset.avi. The total length of these events when
overlapped should be the same as the music bed. The events can be repositioned by dragging
them and trimmed slightly by dragging their edges. The background video track should look
something like the illustration below.
Compositing, or video mixing, in Vegas occurs from the top down. Video in higher tracks
obscures video in lower tracks. Since there are no video events above the powderskier event,
this video is visible on the output. The later part of the powderskier event has a portion of
the talkinghead event over it. The talking head completely obscures the lower video events at
this point in the project.
Note:
At this point, the talkinghead event
obscures much of the underlying background
video, especially the mountain and fireweed
events. In Tutorial 7, the Track Motion tool
will be used to change this behavior. For now,
you can preview the crossfades by soloing the
background video track. Click the Solo button
( ) on the Background video track to isolate
the video from this track.
Before During drag operation. After, with new event
and crossfade at the overlap.
64
TUTORIAL CHP. 2
Inserting a transition effect
While almost all transitions in the movies and on television are either straight cuts (e.g. no
transition) or some type of fade, Vegas also has a number of more interesting transition
effects available. One of the easiest ways of doing this is to replace an existing crossfade.
To replace a crossfade transition:
1.
From the View menu, choose Transitions to open the Transitions window. This window
may already be open by default.
2.
Click the Transitions tab in the docking area at the bottom of the workspace.
3.
Locate the Iris transition effect.
4.
Drag the Iris transition to the crossfade between the beach event and the fireweed event.
A few things happen when you do this. First of all, the track appears to have doubled in size.
Second, all events before the transition are on an upper sub-track (known as the A roll) and
all events after the transition are on a lower sub-track (known as the B roll). Third, between
these two sub-tracks is a very narrow Transition roll, where the Iris transition is containted.
This change, from a simple track to a track composed of a number of rolls, is useful in some
situations, but is not really necessary here. You can click the Compact Track button ( ) on
the Track Header to hide this detail and simplify the track’s appearance. In Compact mode,
the two events are split by a diagonal line and the portion of the track to the left of the
transition is shifted slightly upward and the portion of the track to the right of the transition
is shifted slightly downward.
Before we move on to the next step, select both the musicbed event and all of the video
events in the background video track (hold the key while clicking on each of these
events). Right-click one of the selected events and, from the Group submenu, choose Create
New Group. This will allow us to move all of these events as a unit in the next step.
Compact track button
Iris transition effect
Compact track button Iris transition effect
Ctrl
CHP. 2 TUTORIAL
65
Summary
In this section, a second video track with six new video events was added to the project. The
events were arranged such that they overlapped each other by about one second. This
created an automatic crossfade at each of the overlapping sections. The final duration of all
of the events was made to equal the duration of the musicbed event. Finally, one of the
crossfades was replaced with an Iris transition effect. Here’s what the project should look like
so far:
66
TUTORIAL CHP. 2
4. Overlay titles (04_overlay.veg)
In this step, we’re going to insert some logos, or titles, into the beginning and ending of the
project. This section of the tutorial can only be completed with Vegas Video.
Repositioning the project
The core of the project (the voiceover, music, and background video) is finished. At this
point, we want to add a flashy introduction and nice closing. To do this, all of the events in
the current project need to be repositioned. One way to do this is to group all of the events
together and drag them.
Using the Selection tool
To insert an introduction, it is necessary to
move the contents of the project further down
the timeline to make room for the new media.
Earlier, when there were only four events in
the project, selecting and moving everything
was a matter of holding down the key,
selecting all of the events, and then dragging
them. This becomes more and more difficult
as the project becomes more complex.
To use the Selection tool:
1.
Click the Lock Envelopes to Events button ( ) on the Toolbar. This makes the track
Volume envelope on the music bed track move with the musicbed event as it is moved.
2.
Click the Selection Edit Tool button ( ) on the Toolbar.
3.
Drag a rectangle encompassing all of the events to be moved.
4.
Group all of these events: right-click one of the selected events and, from the Group
menu, select Create New.
5.
Drag the group of events down the timeline so that the musicbed and powderskier events
begin at the 13.000 second mark.
Inserting the introduction splash
In this section, we are going to insert an introductory sequence at the beginning of the
project. Parts of the introduction will overlay, or appear on top of, other video events.
Ctrl
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To insert the introduction:
1.
Locate implosion.avi in the Media Explorer.
2.
Drag implosion.avi onto a blank location on the
timeline below the lowest track so that a new track
is created. This new event should start at the very
beginning of the project.
3.
Drag vegas_logo.bmp onto the same track. Position it
so that it ends at 13.000, when the powderskier event
begins. This means that it overlaps the implosion
event by approximately two seconds and an
automatic crossfade is created.
4.
Click in the Track Header on the left side of the new introduction track and drag the
track to the top of the timeline, above the talking head track. This is necessary if the
logos are to appear as overlays on top of other video events.
The first track in the project now contains the introductory splash and logo. Double-click
the Scribble Strip to rename the track. Like the talkinghead event that appears on top of the
background video, the introduction also appears over all lower tracks.
To insert the overlay logo:
1.
Drag the corporate_logo.png to a new track at the bottom of the timeline. Double-click the
Scribble Strip and rename the track “Overlay.”
2.
Drag the Track Header of the new overlay track to the very top of the timeline so that the
overlay track is track one, the introduction track is track two, and the talking head track
is track three.
3.
Position the corporate_logo event so that it also ends where the powderskier event begins.
4.
The default duration for an image event is five seconds. Drag the right edge of the
corporate_logo event back to the 6.000 second point in the timeline. The duration of the
event is now seven seconds.
Track Header
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The corporate_logo event overlaps a large portion of the underlying implosion and vegas_logo
events. Events in upper tracks normally completely obscure lower tracks. In this case,
however, most of the logo is transparent, so the underlying video shows through, and the
corporate_logo appears to float over the rest of the project.
Note:
The corporate_logo.png image file used
here is a *.png image file which was created in
an image-editing program. It has a transparent
Alpha Channel that is a part of the file that
allows the background video to show through.
For more information, see Creating titles from
images on page 249.
Duplicating events
To create a sense of a beginning, a middle, and an end to the project. We are going to
duplicate both of the logos (the corporate_logo and the vegas_logo) and place the copies at the
end of the project.
To duplicate an event:
1.
Press and hold the key.
2.
Drag the corporate_logo event horizontally on the Overlay track. This instantly creates an
identical copy of the event.
corporate logo
implosion
crossfade
Vegas logo
Video Preview window preview. Notice that
the corporate logo appears over the
implosion event.
Ctrl
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3.
Position the newly duplicated event so that it ends at the same time as the end of the
music bed.
4.
Drag the left edge of the event back to the 30.000 second mark. The duration of the event
is now roughly ten seconds.
5.
Duplicate the vegas_logo event in the Introduction track and position it so that it ends with
the end of the music bed.
Adding sound effects to the introduction
We are going to add some sound effects to three new tracks at the bottom of the project.
To add a sound effect:
1.
Locate the introwarp.wav audio file in Vegas Media Explorer.
2.
Drag introwarp.wav to the timeline below the lowest track. This creates a new track with
the new introwarp event.
3.
Repeat with the remaining two sound effects:
•introtabla.wav: start - 0.000.
•introgong.wav: start - 3.500 (timed to match the action of the implosion event).
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Summary
All of the media files that are going to be used have now been inserted into the project. The
events and tracks have all been repositioned to their final locations. The first track contains
the transparent overlay corporate_logo event. The second track has an introductory splash
video (implosion event) that fades into the product’s logo (vegas_logo event). That logo, as
well as the corporate logo, is repeated at the end of the project. The next four tracks contain
the earlier work: the voiceover, the background video, and the music bed. Finally, three
audio events were added to three new tracks at the bottom of the project as sound effects for
the introduction. Here’s what the project should look like so far:
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5. Pan/Crop motion (05_panning.veg)
The Pan/Crop tool can add dynamic motion to video or still image events. We’re going to
use it here to animate the corporate_logo event at the end of the project. This is a powerful
tool with many advanced features, such as keyframe animation. In this tutorial, we’re going
to highlight the tool and show you how it is used, without explaining the complexity of
keyframe animation. For more information, see Keyframe animation on page 305.
To animate the second corporate_logo event:
1.
Right-click on the second corporate_logo event and choose Pan/Crop Event. The Pan/Crop
Event dialog opens.
2.
Resize the Crop area at the middle to roughly 168 X 126. Enter the numbers manually in
the Size boxes on the left side of the dialog. The small Crop area will zoom in on the
corporate_logo event.
3.
Reposition the Crop area off of the left edge of the event at roughly -73 X 63 (as
pictured). Use the Center boxes on the left side of the dialog to enter the coordinates.
4.
On the main workspace, click on a blank space on the timeline at 00:00:32.000 seconds
to move the cursor to that position. Use the left and right arrow keys to position the
cursor more precisely. Watch the Time Display to the upper left of the timeline to find
this position. Then, back in the Pan/Crop Event dialog, click the Sync Cursor button
( ). This button is on the very bottom of the dialog. This will position the cursor on the
Keyframe Controller at 32.000 seconds to match the cursor on the timeline.
5.
Drag the Crop area to the right edge of the event to 564 X 59. Use the Center boxes to
enter the coordinates. The Crop area will now animate, scrolling right across the
Keyframe
Sync Cursor
Crop Area
Controller
Keyframe
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TUTORIAL CHP. 2
corporate_logo event, ending at 32 seconds. Notice that a new, gray keyframe diamond
has been created on the keyframe controller.
6.
Click on the main workspace timeline at 33.000 seconds to navigate to that point. Click
the Sync Cursor button ( ) in the Pan/Crop Event dialog.
7.
Resize the Crop area to its original size (640 X 480) and position (320 X 240). A new
keyframe is created. The result is that the logo appears to zoom out and away between the
two final keyframes.
Keyframes
Third keyframe
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Preview the project to see the results of this procedure (click the Play button below the
timeline or press the Spacebar on your keyboard). Again, there is a lot going on here that we
have only touched on briefly. If you are not familiar with keyframe animation techniques,
much of this might be confusing. Even if you are familiar with keyframe animation, the Pan/
Crop Event tool is a complex and powerful tool. For more information, see Pan/Crop on page
241.
Summary
In this section, motion was added to the last corporate_logo event using the Pan/Crop Event
tool. The logo flies in from the right across the screen and finally zooms back to its final
position. All of this was accomplished using keyframe animation techniques in the Pan/
Crop Event dialog.
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6. Fades (06_fades.veg)
Fading, whether fading the volume in and out on an audio event or fading to and from black
on a video event, is a very easy process in Vegas.
To fade into a video event:
1.
Position the cursor at the upper-left corner of the implosion
event. The cursor changes to a fade icon.
2.
Drag the corner towards the center (right) of the event to
about 0.500 seconds.
The blue diagonal line that appears represents a fade in from
black that lasts half of a second.
To fade the volume (gain) of an audio event:
1.
Position the cursor at the upper-right corner of
the introgong event. The cursor changes to a
fade icon.
2.
Drag the corner left towards the center of the
event to about 11.000 seconds.
This time, a curved white line appears. The audio will smoothly and gradually fade out. This
effective technique is used repeatedly (seven times) throughout this project:
• Fade out of the introtabla audio event.
• Fade in and out of the first corporate_logo event.
• Fade in and out of the talkinghead event (very briefly).
• Fade out from the first vegas_logo event for a duration of about one second.
• Fade into the last vegas_logo event for a duration of about three seconds.
Summary
In this easy tutorial section, instant fades, both audio and video, were created to fine tune
and polish the project.
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7. Track Motion (07_trackmotion.veg)
Another method of adding motion to video or still-image events in Vegas is to use the Track
Motion tool. This feature adds motion to an entire track and can be used to create picture-
in-picture effects and scrolling motion. In this project, the Track Motion tool is going to be
used to spin the talking head out of the way and into a picture-in-picture, revealing the
previously covered background video, specifically the mountain event.
To create a picture-in-picture:
1.
Click the Trac k Mot i on button ( ) on the talking
head track.
2.
On the timeline in the main workspace, click at
the 19.400 second mark to move the cursor to this
position. Use the left and right arrow keys to
position the cursor more precisely. 19.4000 corresponds to where the first part of the
speaking ends. The exact time may be slightly different in your recreation of this project.
3.
Click the Sync Cursor button ( ) at the bottom of the Track Motion dialog. This
moves the Keyframe controller cursor to the same position in time as the main cursor.
Since this tool operates on the entire track (as opposed to the Pan/Crop Event tool,
which only applies to one event), you probably need to zoom in on the Keyframe
controller to reveal more detail. Click the Zoom In button to the lower right of the
Keyframe controller until only about 22 seconds of time are showing.
4.
Click the Add Keyframe button ( ). The keyframe that is created at this point has the
same attributes as the first keyframe at 0.000. Since there is no change between these two
keyframes, no animation will occur between them.
Track Motion button
keyframe
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TUTORIAL CHP. 2
5.
Move the cursor one-half second down the Keyframe Controller.
6.
Resize the Track Motion Area to 180 X 135. Enter these values into the Size boxes on the
left side of the Track Motion dialog. The numbers do not have to be precise.
7.
Reposition the Track Motion Area to 102 X 162 (lower-left corner). Use the Center boxes
to enter these values.
In the one-half second between the two keyframes, the talkinghead event will quickly shrink
from full screen to a smaller window in the lower-left corner, revealing the underlying
background video. In this project, two more details were added:
• Select the Shadow option on the Keyframe Controller
in the Track Motion dialog. This adds a drop shadow
behind the track’s contents. The Track Motion Tool
and dialog can also be used to create a shadow behind
the corporate logo track.
• The talking head track is also spun around. Click the
last keyframe on the Position bar on the Keyframe controller and set the Angle to -360°.
The track makes one complete rotation in the half-second between the two final
keyframes.
Summary
In this section, the Track Motion tool was used to create an animated picture-in-picture
effect of the talking head narration. Keyframe animation techniques were used, and a drop
shadow was added behind the insert picture for emphasis. As a result of these changes, the
previously hidden background video was revealed.
keyframe
Keyframe Controller
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8. Velocity (08_velocity.veg)
Speeding up and slowing down a video event in Vegas can be done a number of ways. One of
the easiest is to use a Velocity envelope. This feature is used to speed up the powderskier and
then dramatically slow her down again towards the end of the event.
To change the velocity:
1.
Right-click the powderskier event and, from the Insert/Remove Envelope menu, choose
Velocity. A horizontal blue line appears on the event. This is the envelope.
2.
Drag the line up. A ToolTip appears telling you the
percent speed increase. Release the line to set the
speed increase to approximately 160%.
3.
Move the cursor to the 16.000 second mark in the
project above the powderskier event and double-click
the envelope. This adds a point (node) to the line that serves as a type of keyframe.
4.
Double-click further down the line to add another point. Reposition the new point below
the first point you added. The ToolTip displays the percentage again. Set this point to
about 28%. The entire line after this point moves. The event now plays at 160% speed
until it gets to the pair of points, where the video slows to 28% speed.
5.
Drag the right edge of the powderskier event left to 19.000 seconds. Trim the left edge of
the mountain event to be flush with the end of the powderskier event. This needs to be
done to keep the duration of the event consistent with the velocity changes. If this was
not done, the event would run out of media to play back and would display a freeze frame
after 19.000 seconds project time.
Summary
In this section, the powerskier event’s speed was changed using a Velocity envelope. The
envelope was animated so that the video started out playing very quickly and then
dramatically slowed down near the end.
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9. Rendering the project as an *.avi
Rendering refers to the process of converting the Vegas project into one file and formatting
it for the desired playback method: media player, Internet streaming media, CD-ROM, etc.
The Vegas project (*.veg) itself is not altered during the rendering process.
The following procedure is broken into two sections: setting the format and applying
compression.
Setting the format
Multimedia video files can be saved in a number of formats, such as *.rm or *.mov.
To select a file format:
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
Select the drive and folder where you want to save the rendered project.
3.
Type a new name in the File name field, if necessary.
4.
In the Save as type drop-down list, select Video for Windows (*.avi).
5.
Click the Save button.
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Applying compression
Compressing video files is an important part of creating a movie. In video, the program that
compresses the video is called a codec. It is important in determining the quality and size of
the final media file.
To configure the compression:
1.
On the Render As dialog, click the
Custom button. The Custom Settings
dialog appears.
2.
Click the Video tab, select Cinepak Codec
by Radius (or Indeo Video) from the Video
Format list.
3.
Click the OK button to close the Custom
Settings dialog.
4.
Click the Save button on the Save As
dialog.
A status bar appears in the lower-left portion
of Vegas and a dialog pops up displaying the
progress of the render. Upon completion of
the render, your new media file is ready for
distribution and playback.
Note:
You may cancel the rendering process
by clicking the Cancel button ( ) on the
status bar.
Cancel
button
Status bar
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CHP. 3 GETTING STARTED
CHAPTER
81
Getting Started
Vegas is a new way of creating multimedia productions. Whether you are an experienced
multimedia author or a budding novice, the powerful features and capabilities of Vegas are
organized to increase both your creativity and your productivity. The following chapter
summarizes the basic functions and operations of Vegas.
Projects
The process of creating a multimedia production can be an extremely complicated
undertaking, involving hundreds of shots, takes, voiceovers, music beds, and special effects.
Organization quickly becomes a critical issue in this process. In Vegas, organization is
handled by a small project file (*.veg) that saves the relevant information about source file
locations, edits, cuts, insertion points, transitions, and special effects. This project file is not
a multimedia file, but is instead used to create (render) the final file when editing is finished.
The greatest advantage of working with projects is not the organizational benefits, however,
but the fact that you are working on, and editing, a project file, and not the original source
files. When you copy, cut, paste, trim, and otherwise edit your movie, the process is
nondestructive. You can edit without worrying about corrupting your source files. This not
only gives you a strong sense of security, but it also gives you the freedom to experiment.
To create a new project:
1.
From the File menu, choose New. The first time you run Vegas, a new project will
automatically be started for you.
2.
Enter your project settings on the various tabs:
3
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GETTING STARTED CHP. 3
•Summary - Enter any relevant information
and reminders about your project.
•Audio - Set up the basic audio settings.
•Video - Select the format and other video
parameters. For more information, see Project
properties - Video tab on page 256.
•Ruler - Choose the way the Ruler is
delineated (beats, seconds, etc.).
Note:
The easiest way to set the often
complex properties on the Video tab is to select
a Template that matches your media (e.g.
NTSC DV (720x480, 29.970fps)).
3.
Click OK.
4.
From the File menu, choose Save. Enter a name, browse for a location, and click the Save
button to save your project (*.veg file).
The project settings determined in step 3 can be changed at any time while you are working
on a project. From the File menu, choose Properties to change any of these settings. These
settings automatically determine the overall quality of the rendering (creation) of your final
video. Carefully setting up the properties at the beginning of your project will save a
significant amount of time later. You can override these settings when you are ready to
render the final movie.
Determining the proper video settings
Since the only way to maintain 100% quality is to match the project’s properties to the final
output properties, video files that have been captured to your hard disk from your camcorder
already contain all of the necessary project information. This procedure is useful for projects
that will eventually be sent back to a camcorder (e.g. DV In/DV out) at full frame size and
rate. Very different settings would be used for different types of projects, such as highly
compressed streaming video.
To determine a project’s properties from a video file:
1.
From the File menu, choose Properties.
2.
In the Project Properties dialog, click the Match Media Settings button ( ).
3.
Browse for a file that has been captured from your camcorder. This file should be
unaltered and unedited in any way.
4.
Click OK.
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Vegas will automatically detect the frame size, frame rate, pixel aspect ratio, and field order
of this file and set the Project Properties to match. In the Project Properties dialog, enter a
name for a Template and click the Save button ( ) to save this information for future use
and select the Start all new projects with these settings if most of your projects will typically use
these settings.
Saving the project
When you save your work, it is saved in a project file (*.veg). Project files are not a rendered
media files. The first time a project is saved you will have two options. The one you select
will affect the project’s file size and its portability.
To save the project:
1.
Select one of the following save methods:
• From the File menu, choose Save.
•Click the Save button ( ).
• Press on the keyboard.
The first time you save a project, the Save As dialog appears. In subsequent saves, the
above dialog is bypassed, your existing file name is retained, and your project is updated to
include any implemented changes.
2.
Select the drive and folder where you want to store the project.
3.
Type the project name in the File Name field.
4.
Click Save.
Renaming a project (using Save As...)
After you have been working with your project, you may use the Save As command in the
File menu to save a copy of a project with a new name. This is very useful for backing up
different versions of a project. For more information, see Creating a copy of a project (using Save
As...) on page 324.
Format Extension Definition
Vegas Project *.veg Saves all of the information about a single project. This file format does not contain any
media. It saves the references to media files used in the project and project information,
such as track FX, envelopes, bus assignments, and output properties.
Vegas Project with
External Media
*.veg When the Copy all media with project is selected, all of the media in the project will
be copied into the same folder as the project file. This option makes transporting the
project easy and convenient.
Ctrl + S
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GETTING STARTED CHP. 3
Capturing video media
Getting video media onto your computer can be more complex than simply recording an
audio file. The Vegas Video software package therefore includes an independent Video
Capture application that can be used to capture video from you camcorder or other video
source to your computer. To run this application, click the Launch Video Capture button
( ) on the toolbar in Vegas. Video Capture is only included with Vegas Video.
Files and events
The objects you work with in Vegas are referred to as media files and events. Trac ks are
timeline containers where events are placed and arranged.
•Files are objects that are stored on your hard disk. In Vegas, you will mostly be working
with media files, such as music and video files. Vegas does not operate on, nor change
these files. Files can be accessed from Vegas Explorer.
•Events are periods of time on the timeline in Vegas that act as windows into media files,
either whole or in part. When dragging a media file onto the timeline, you are
automatically creating an event that contains that file’s contents. An event can contain
video, audio, still images, and some special generated media. The event window may
contain only a small portion of a much larger media file. A single media file can be used
repeatedly to create any number of different events, since each event can be trimmed
independently.
Media files (e.g. *.wav or *.avi) are on your computer’s hard drive and can be accessed from
Windows Explorer or from Vegas’ Explorer. Events contain media files, are the most basic
unit of editing in Vegas, and can be found on the timeline or in the Media Pool.
The original media file.
An event trimmed from the original media file.
The event as it appears in Vegas.
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85
What type of media can you use?
MPEG (*.MPG) files can also be used with the full version of Vegas Video.
Finding media files to use
Media files can be located and inserted into a Vegas project by using the Vegas Explorer
window, clicking the File menu and choosing Open or by dragging directly from Windows
Explorer.
Vegas Explorer window
The media Explorer window in Vegas is similar to the Windows file management Explorer.
You can expand and collapse drives and folders in the tree view. The contents of selected
drives and folders appears in the list view.
Extension Definition
*.wav Standard audio format used on Windows-based computers
*.avi Standard audio/video format used on Windows-based computers
*.aif Standard audio format used on Macintosh computers
*.mov, *.qt Quicktime standard audio/video format used on Macintosh computers
*.bmp Standard graphic format used on Windows-based computers
*.mp3 Highly compressed audio file
*.gif 256 index color, lossless image and animation format widely used on the
Internet
*.jpg True color, lossy Internet image format
*.png True color or indexed color, lossy or lossless Internet image format
*.tga True color, lossless image format that supports Alpha Channel transparency
*.w64 Sonic Foundry proprietary Wave64 audio file that does not have a limited file
size (unlike Windows .wav files that are limited to ~2GB)
*.psd Adobe Photoshop proprietary image format (flattened)
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GETTING STARTED CHP. 3
Note:
If you cannot see the Explorer window,
it may be under another window. Click the
Explorer tab at the bottom of the workspace to
display the window. If you do not see the
Explorer tab, from the View menu, choose
Explorer to display it.
To find media using the Explorer window:
1.
From the drop-down list or tree view, choose the drive or folder
where the media is located.
Note:
Vegas is preset to display all supported
file types. However, you may change the list
view to display all files within a selected drive
or folder.
2.
From the list view, you may place the file into your project by dragging it or double-
clicking it.
Using the Open command
You may also find media using the File menu and choosing Open.
To find media using the Open command:
1.
From the File menu, choose Open or click the Open button ( ) on the Toolbar.
Change view button
Auto-preview button
Stop preview button
Play preview button
Add to favorites folder
Delete selected items
Create new folder
Refresh view
Move up tree
Tree view List view
Browse for Media on Web button
Vegas windows are dockable. To access
a hidden window, click its tab to bring
it forward.
CHP. 3 GETTING STARTED
87
2.
Browse for the media’s location in the Open dialog by doing one of the following:
• Selecting it from the Look in drop-down list.
• Double-clicking drives and folders in the list view.
• Typing the file’s path in the File name field.
3.
Select the media format from the Files of type drop-down list.
4.
Click Open to automatically place the file in the project.
Previewing a media file
Once you have located media files, you may preview them before placing them in your
project. The Explorer window has a mini-transport bar with Play, Stop, and Auto Preview
buttons ( ). When you preview a file, its stream is sent to the Mixer window’s
preview bus (for audio files) or to the Video Preview window (for video files).
To preview a media file:
1.
Select an event in the list view.
2.
Click the Play button ( ) to listen to the file.
3.
Click the Stop button ( ), select a different file, or place the file in the project to stop
previewing to the file.
Note:
To automatically preview selected files,
click the Auto Preview button ( ) on the
Explorer window’s transport bar.
When a media file is placed on a track, one or more events are created that contain, or
reference, the entire media file. Each track can contain more that one event. Events can be
trimmed to contain only part of a larger media file.There are two basic types of tracks: audio
and video.You may place events on separate tracks, or place all events of a similar media type
(audio or video) on the same track:
Single audio track with
Multiple audio tracks
multiple events
with multiple events
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GETTING STARTED CHP. 3
Video tracks have different controls and features, but video events and tracks behave in a
similar way to audio events and tracks. If a video file has associated audio, Vegas
automatically creates a new track and places the video’s audio on it as an audio event.
Using the Media Pool
Media files, both video and audio, tend to be the largest files on
your hard drive. It is therefore not always easy to move them
around and it may not be practical to store multiple copies of
these files. These files can be dragged into the Media Pool in
Vegas to organize them before any editing actually begins. From
the View menu, choose Media Pool to open this window if it is
not already visible. Adding a media file onto a track will also
automatically add it to the Media Pool. Information about
individual clips is visible in this window.
• You can control the information that is displayed by right-
clicking on the Media Pool and choosing View. This opens a
submenu menu containing a list of the available fields.
• Specific fields can be hidden by dragging them off of the
Media Pool window.
• The data fields are listed along the top of the Media Pool
window and can be reordered by dragging them. Click on the
tabs along the top to instantly organize or sort the data
according to that criterion.
• The Comments field can be used to add your own annotations
to a file’s entry in the Media Pool. Double-click the field to enter text. This information is
saved with the project and is not saved with the media file itself.
• Each entry acts as a pointer to the actual source file. Video, audio, image files and
generated media can all be organized in the Media Pool. Files that are being used in the
project (on the timeline) are automatically inserted into the Media Pool.
Button Name Description
Remove All Unused Media From Project Removes all files in the Media Pool that are not actively being
used (not inserted on any tracks and the Use Count = 0).
Remove Selected Media From Project Removes the selected media file from the project, but does not
delete the source file from your hard disk.
Two events that contain the video (top)
and audio (bottom) streams from a single
multimedia video file; each event is
inserted on a separate track.
Right-click Media Pool menu.
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89
The Media Pool can also be used to control some of the more advanced aspects of individual
files and events. For more information, see Pan/Crop on page 241.
Replacing media in events in the Media Pool
The Media Pool contains and organizes events in your project. Since events are windows
into, or containers for, media files, replacing the contents of an event is possible. When
changing the media file that an event contains, every occurrence of the event on the
timeline is updated with the same contents.
To replace media in an event in the Media Pool:
1.
Right-click an event in the Media Pool.
2.
Choose Replace from the shortcut menu.
3.
In the Replace Media File dialog, browse for and select the file that you want to replace the
current file.
4.
Click the Open button.
Audio Peak files (*.sfk)
Audio Peak files (*.sfk) are special proprietary files that are used by Vegas (and other Sonic
Foundry applications) to save information about an audio file’s waveform. When an audio
file or a video file with an audio track is inserted into Vegas, the audio event is displayed
graphically as a waveform (or two parallel waveforms for a stereo audio file). These
waveforms take time to process and draw. Depending on the speed of your computer and the
complexity of a project, this process can significantly delay the opening of a project or audio
file. The solution to this potential problem is the Sonic Foundry Peak file (*.sfk), which
saves this waveform information, dramatically cutting down on loading time. The name of
the *.sfk file is derived from the name of the source media file. For example, when
thunder.wav is opened in Vegas, the companion peak file that is generated is named
thunder.sfk. These files are safe to delete at any time, but Vegas will have to regenerate
Edit Media FX Used to add or modify effects at the media file level. All instances
of this media file in a project (i.e. events) will have these effects
applied to them.
Start Preview Plays a preview of the selected media file.
Stop Preview Stops the currently playing preview.
Auto Preview Automatically previews selected media files.
Views Toggles between the simplified List view and the Detailed views.
Button Name Description
Remove All Unused Media From Project Removes all files in the Media Pool that are not actively being
used (not inserted on any tracks and the Use Count = 0).
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GETTING STARTED CHP. 3
them the next time the media file is opened. Audio Peak files are saved to the same folder as
the source media. If the source media folder is read-only (e.g. a CD-ROM), the files will be
saved to a temporary directory.
Normally, Vegas automatically handles Peak files, but there may be times when you need to
recreate the Peak files manually. To do this, from the View menu, choose Rebuild Peaks.
A related concept is the Sonic Foundry Audio Proxy File (*.sfap) that is used for the audio
stream of some types of video files. For more information, see Audio proxy files (*.sfap0) on
page 378.
Event Basics
Events are the most basic objects in a project in Vegas. An event is something that happens
in time, has a specific duration, and can be video or audio. In Vegas, there are two primary
types of events: audio events and video events.
Audio events are created from audio files on your computer (e.g. *.wav, *.au, or *.mp3) or
can be a part of a video file (e.g. *.avi). An audio event can contain an entire audio file or
only a portion of it. It can be modified with effects to change many of its characteristics,
such as speed, volume and equalization. Audio events can be mixed with other audio events.
Video events are created from video files captured to your computer (typically *.avi, *.mov,
*.qt) or images (*.bmp, *.jpg, *.png or *.tga). A video event can be the whole file or a small
section of that file. It can be modified with filters to change many of its characteristics, such
as speed, color, and size. Video events can overlay other video events and are visual elements
that appear on top of a background video, image or color. Overlays can be video files, still
images, titles or other graphics and logos. Vegas can also generate titles that are contained in
an event on the timeline and in the Media Pool.
You can see from the timeline ruler above that the duration of the event is six seconds.
Within the event, many things can happen. This is a rather complex event, with many
envelopes (blue lines) and effects modifying it; typical events may not be quite this complex.
The important concept to understand about this and other events is that it is not a set shot
or scene, but is instead a period of time filled with some type of media. It could be the video
CHP. 3 GETTING STARTED
91
clip of a boy jumping into the water, a six-second freeze frame, or a twenty-four-second
source video sped up to fit into the six second event. The event is a window into the media
and is distinct from the media file itself.
Video event envelopes are not available in all versions of Vegas.
There are a number of ways to work with events once they have been placed in your project.
The following sections describe basic event-editing techniques.
Inserting media
Media files may be inserted into your project by double-clicking them or by dragging them.
Either method places the media file in an event in its entirety in the Track View. After the
file is placed, it becomes an event along the project’s timeline. At this point, the contents of
the event and the media file are identical.
Drag-and-drop
You can create a new track by dragging a media file to a blank area on the timeline and
dropping it in place. Vegas tracks can contain multiple events, so you can place different
events next to each other on a track. Video and audio events cannot be mixed on the same
track.
To place multiple events:
1.
Select multiple events in the Media Explorer or the Media Pool. Select a range of
adjacent media files by holding down the key and clicking the first and last files in
the range or select files that are not adjacent by holding down the key and clicking
individual files.
2.
Right-click and drag the files to the Track View (timeline).
3.
Before you drop the files, select a placement option from the pop-up
menu.
• Add Across Tracks
• Add Across Time
• Add As Takes
Shift
Ctrl
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GETTING STARTED CHP. 3
For more information, see Working with multiple recorded takes on page 234.
• Video Only and Audio Only allow you to isolate either the video or audio, and add that
stream from a multimedia file either across tracks, across time or as takes.
Note:
A left-click drag-and-drop
automatically inserts the events across time.
The various modes can also be cycled through
by right-clicking (without releasing the left
mouse button) while performing the drag-and-
drop operation.
Double-clicking an event
This method creates a new track and places the event at the cursor’s position along the
timeline. Once the events are placed, you can move them from one track to another or
change their position on the timeline.
Drag-and-drop or double-clicking a video event
Video event placement is the same as placing an audio event; drag-and-drop controls
timeline placement and double-clicking places the event at the cursor’s position. Media files
with video frequently include associated audio. When you insert a media file into the
timeline, the associated audio is automatically inserted into a separate audio track below the
video track. The two associated events are grouped together and behave as a single unit
when moved or otherwise edited.
You will see one event on the track.
The other events are listed at takes “beneath” the
the topmost event.
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Crossfades
If two events are inserted on the same track and occupy the same space, the events (both
video and audio) can be made to automatically crossfade. For more information, see Crossfades
on page 298.
When inserting multiple events across time, the events may be set to automatically crossfade
one into the next.
To set the duration of an automatic crossfade:
1.
From the Options menu, choose Preferences.
2.
Click the Editing tab.
3.
Select the Automatically overlap multi-selected media when added option.
4.
Set the duration of the automatic crossfade in the Cut to overlap conversion section of
the dialog by entering an Amount in milliseconds (1000ms = one second).
To enable the automatic crossfade feature, from the Options menu, make sure Automatic
Crossfades is selected.
Moving events along the timeline
Events may be moved along the timeline individually or as a group. The left edge of an event
is its starting point. Therefore, where the left edge lines up on the ruler determines when the
event starts.
Events may overlap each other or be placed on top of each other. You may crossfade
overlapping events automatically or with envelopes.
Moving a single event
You can move an event along the timeline within a track or move it to a different track.
To move an event:
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GETTING STARTED CHP. 3
1.
Select the event by clicking on it. The event is highlighted in the track’s color.
2.
Drag the event along the timeline.
If you move the event along the original track’s timeline, the event’s appearance (color)
remains the same.
However, you may move the event to a different track. When you do, the event appears
as a simple outline and you will see its original track and position on the timeline. Once
you release the mouse, the event will assume the new timeline position and track color.
3.
Release the mouse to place the event.
Moving multiple events
You can move multiple events along the timeline within a track or move them to a different
track, similar to the previous procedure. Selected events do not need to be within the same
track. You may select events on different tracks and move them as a group along the
timeline. Use the key, the key, or the Selection Edit tool ( ) to select multiple
events and drag them as previously outlined. For more information, see Selecting multiple events
on page 111.
To more precisely move an event, your can nudge it by clicking on the event on the timeline
and pressing “4” and “6” on the number pad on your keyboard to bump it one small unit at a
time. The amount of movement caused by each nudge is determined by how far the timeline
is zoomed in or out. If you zoom in far enough, each nudge can move the event one frame of
video at a time or even less.
You can arrange your video events on a single video track or on as many separate tracks as
you like. The audio portion of a video clip is inserted into the timeline as a separate audio
event. The video and audio events are connected as a single unit (grouped) however, and
may be moved together. Right-click either of the grouped events and choose Ungroup to
split the video from the audio. Video events are placed on video tracks. If a media file has
associated audio, Vegas creates an audio track below the video track.
Original track position
New track and position
Ctrl Shift
CHP. 3 GETTING STARTED
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Once the event is in place, you may move the video event along the timeline, delete its
audio, and preview the event in the Video Preview window. For more information, see Drag-
and-drop or double-clicking a video event on page 92.
Moving a video event
Moving a video event is identical to moving an audio event. However, a video event may be
slightly different in that it may have audio grouped with it. If a video event has audio, Vegas
is preset to group the video event with its audio when it is placed. As a result, the video
event and its audio will always be moved together along the project’s timeline.
To move a video event:
1.
Place the mouse pointer on the video event or its associated audio.
2.
Drag the events to the desired starting point on the timeline.
3.
Release the mouse when the events are in the desired location.
Note:
Ungroup a video and audio by right-
clicking either event. From the shortcut menu,
choose Group, and then Clear.
Removing the video’s audio
As mentioned earlier, video events with audio are placed together in your project. However,
you may delete the original audio completely or replace it with new audio. This feature is
nice for redubbing poor-quality audio.
To remove the audio:
1.
Right-click either the video or its audio event to display a shortcut menu.
2.
From the shortcut menu, choose Delete.
You can also access delete events by pressing the Delete key or, from the Edit menu, choose
Delete.
Video event with
Video’s audio event
Video track
frame numbers
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GETTING STARTED CHP. 3
Track Basics
Multiple video tracks are only available in the video versions of Vegas. The height of individual
tracks can also be resized by dragging their borders on the Track header. In the example
below, the main video track is fairly large to show the details of the scene while the two
tracks above it, which are overlay titles, have been resized to be smaller. For more
information, see Changing track height on page 180.
Once an event is placed on a track, Vegas automatically displays track controls that you can
use to affect the event or events contained within the track. The following illustration
shows the track controls for an audio track. Multiple busses are only available in Vegas Video
and Audio, and not in the LE versions.
Scrolling and zooming
Scrolling and zooming in the workspace is simple.
• Click the scroll bar arrows in Vegas to move up and down the tracks or move forward and
back along the timeline.
• Drag the scroll bars to move up and down the tracks or move forward and back along the
timeline.
•Click the Zoom tools ( ) to reveal more or less of the timeline.
Track Track
Bus
Arm for
Effects
Record
View
Mute
Solo
number Scribble Strip
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• Drag the edge of the Scroll Thumb, found on the scroll
bar, to zoom or press the up ( ) and down ( ) arrow
keys.
•Click the Zoom Edit Tool ( ) button or, from the Edit
menu, choose Editing Tool and then choose Zoom. In
this mode, drag on the timeline to draw a rectangle that
defines the zoom region.
Vegas also has mouse scroll wheel support:
• The default behavior of the Wheel is to zoom horizontally.
• Shift+Wheel scrolls horizontally (through time).
• Ctrl+Shift+Wheel moves the trackview cursor in small increments.
• Ctrl+Shift+Alt+Wheel moves the cursor in one-frame increments.
• Pressing the mouse wheel activates auto-panning.
Zooming directly controls the accuracy of your editing. Each video event has thumbnail
representations of the frames within the event. Depending on how far you have zoomed in
on a video event, this thumbnail can be one image representing the entire event, or every
frame can be displayed as a thumbnail. At the bottom of the event is a small box with the
frame offset, time or timecode in it that indicates the frame shown in the image thumbnail.
The small black arrow marks the exact position of that frame in time. When the workspace
is zoomed in far enough, each thumbnail is numbered and represents an actual frame in the
source video file. At intermediate zoom levels, marks between the frame numbers show the
location of intermediate frames. These frame marks are not visible at lower magnifications.
Every black triangle
Every thumbnail represents
Some frames are marked
represents a frame and
the thumbnails represent
by black triangles. Most
frames are not represented.
a single, numbered frame.
the numbered frames.
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GETTING STARTED CHP. 3
Track number and color
This area identifies the track’s order number in a multitrack project. You may rearrange the
track order by dragging selected tracks up or down within the Track Header.
View buttons
These buttons control the track’s appearance (size) in the Track View.
Track height can also be controlled by simply dragging the lower edge.
Track color
Change the color
by right-clicking
and choosing
Track Color, and
then selecting the
color you prefer.
Minimized
Normal
Maximized
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Track FX button
This button accesses Noise Gate, equalization (EQ), and compression FX controls for audio
tracks. For more information, see Using Audio FX on page 193. On video tracks, it accesses the
video filters, effects, and plug-ins. For more information, see Using a video filter on page 264.
Bus assignment
Multiple busses are only available in Vegas Video and Audio, and not in the LE versions. This
button allows you to assign an audio track to a specific output bus. This option is available
for projects being mixed for multiple stereo busses. (A bus is where various track signals are
mixed together and output.) For more information, see Assigning an audio track to a bus on page
189.
Arm for Record button
This button allows you to prepare an audio track for recording. You may record directly into
tracks. A track is ready when you see the recording meter appear on it. For more information,
see Setting up to record into audio tracks on page 192.
Compression FX
Equalization FX
Noise Gate FX
Select a bus
for playback
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GETTING STARTED CHP. 3
Mute button
This button enables you to temporarily disable playback of the track, so you can focus on
other tracks. When a track is muted, it appears grayed out on the Track View.
Solo button
This button isolates a track’s events for playback, while muting the other tracks. If there is
only one track of a certain type, for example only a single video track, the button is
unnecessary and may not be displayed.
Scribble Strip
This area lets you label a track. Double-click in the strip and type the track’s name or right-
click anywhere in the Track Header and choose Rename from the shortcut menu and then
type the track’s name. If you do not see the Scribble Strip, change the track’s height. For
more information, see Changing track height on page 180.
Before muting the track After muting the track
Before applying Solo to the track After applying Solo to the track
Scribble Strip
Double-click and type name
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Volume fader
This fader controls an audio track volume relative to the other tracks when it is played back.
Vegas audio tracks are preset at 0.0 decibel (dB). Use this fader to emphasize or de-
emphasize a particular track. A track’s volume range is -inf. to 12 dB. Drag the slider left and
right to adjust the volume.
Note:
You may also move the fader by
clicking it and using the right or left arrow keys
on the keyboard. Press and hold the Ctrl key
while dragging for finer control.
Multipurpose slider
If you do not see this slider on an audio track, drag the track’s bottom edge to change its
height. This slider controls the track’s stereo panning and auxiliary bus volume (if multiple
busses are available). You may select what the slider controls by clicking the label button.
Each item’s slider position is independent from the others.
Note:
The Auxiliary Bus button ( ) is not
visible if you are only using one bus in your
project or if the version of Vegas you are using
does not support multiple busses.
Double-click the slider
to reset to 0.0dB.
Click the button
to view menu
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GETTING STARTED CHP. 3
Panning
Vegas audio tracks are preset to center the signal. Move the slider to adjust the signal’s
output left or right. As you move the slider, Vegas displays the signal’s percentage going to
either the left or right channel. For example, moving the slider to 60%L means that sixty
percent of the signal is mixed to the left channel, while forty percent is mixed to the right.
Auxiliary bus
Multiple busses are only available in Vegas Video and Audio, and not in the LE versions. Vegas
projects that have multiple busses enable you to send audio track signals to primary and
secondary (auxiliary) busses. The primary bus is set using the Bus button ( ) on a track. For
more information, see Bus assignment on page 99. The auxiliary bus sends the audio signal to a
separate bus independent of the primary bus.
When you select an auxiliary bus, you need to adjust its playback volume with the slider.
Auxiliary track volumes are preset to -inf. dB (mute) for playback. For more information, see
Assigning an audio track to an auxiliary bus on page 190.
Assignable FX send
Assignable FX sends are only available in Vegas Video and Audio, and
not in the LE versions. If you add an Assignable FX control to your
project, Vegas adds it to the multipurpose slider’s shortcut menu.
You will be able to adjust the control’s volume using this slider.
Playback and preview
Vegas allows you to play back your project in two ways: directly from the timeline from
within Vegas or by mixing the entire project to a preview file.
Playback from within Vegas
Vegas has a Transport bar that allows you to play back your entire project or portions of your
project based on a either a time selection or the current cursor position.
Record
Loop Play from
Pause
Stop
Cursor
Cursor
Skip cursor
Skip curso
r
Play from
play
start to start backward
forward
to end
cursor pos.
CHP. 3 GETTING STARTED
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If your project includes video, make sure the Video Preview window is displayed for
playback: from the View menu, choose Video Preview or press the keys.
To play back an entire project:
1.
Click the Play From Start button ( ) to begin playback at the beginning of the project.
2.
Click the Stop button ( ) to stop playback.
Most of the time, you will only want to preview a small portion of the project to perfect a
section. This can be done by creating a time selection.
To play back a time selection:
1.
Place the mouse pointer above the ruler (on the Marker bar).
The mouse pointer changes to include a left/right arrow cursor
().
2.
Drag to select the time region. To increase or decrease the time
selection, click and drag its start and end points. The time
selection is highlighted and the Loop bar appears above the
ruler on the timeline.
3.
Click the Play button ( ) to begin playback. Only the non-muted tracks and events
within the time selection will play back.
4.
Click the Loop button ( ) to toggle Vegas to continually play back the events within
the time selection. Click it again to toggle this feature off.
5.
Click the Stop button ( ) to stop playback.
By looping the playback, you can repeatedly watch the same section of the project over and
over as you make changes to filters and effects in real-time. Selection areas can be quickly
defined automatically, depending on what you would like to preview:
• Double-click any event to set the preview range to the duration of that event. This is
useful if you are modifying an event with some kind of filter or transition and you want to
check the results.
• Press + + + or + + + to create a selection area from the
current cursor position to the next event edge.
For more information, see Customizing the Video Preview window on page 252.
Alt + 6
Loop bar
Ctrl Alt Shift Ctrl Alt Shift
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GETTING STARTED CHP. 3
Playback reference
The following table describes all the playback buttons and keyboard equivalents. You may
use these playback functions at any time while working in your project.
Note:
Vegas also supports the use of many
multimedia keyboards for controlling playback.
Scrubbing
Scrubbing is a type of timeline playback that gives you
precise control over the speed and direction of playback.
There are two simple methods of doing this. First, the Scrub
Control slider can be dragged back and forth. The further
from the center that the handle is dragged, the faster the playback, both forward and in
reverse. Below the slider is a small yellow marker that can be used to set the Normal Rate
playback speed. This is the speed that the project plays at when the Play button on the
Transport bar is clicked.
The second way that a project can be srcubbed is by
positioning the mouse pointer over the timeline
cursor at a location that is not over any events and
holding down the key on your keyboard. The
cursor changes to a speaker icon. Now, when you
left-click, the cursor icon changes again to a pan/
scrub icon. When the mouse is dragged left or right,
the timeline is scrubbed.
Button Keyboard Function
Begin recording into record-enabled tracks
Turn on/off loop play during time selection playback
+ Begin playback from the start of the project
Begin playback from cursor position
Pause playback, cursor stops and holds at pause position
or Stop playback, cursor stops and returns to prior cursor position
+ Place cursor at the beginning of project
+ Place cursor at the end of the project
Moves the cursor to the left in grid increments (if grid is displayed)
Move the cursor to the right in grid increments
Ctrl + R
L
Shift Space
Space
Enter
Space Esc
Ctrl Home
Ctrl End
Page Up
Page Down
Scrub Control slider
Press Ctrl over
timeline cursor Left-click and
drag to scrub
Ctrl
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Previewing to media player
A preview file is mixed and rendered according to the project’s properties that you set and is
played back using the media player associated with the file type.
To mix a project for preview:
1.
From the Tools menu, choose Preview in Player. The Preview dialog appears.
2.
Select the file type from the drop-down list.
3.
Click OK to begin the mixing and rendering process. A progress dialog appears indicating
the percent complete of the new file.
Note:
You may cancel the Preview to Player
by clicking the Cancel button or the button
on the status bar.
When mixing is completed, the associated media player opens and begins playback.
Rendered video previews
Playing a project using the transport controls is used to instantly show how a movie is
progressing, but it does not actually render your movie as it will appear in its final form. The
preview you see in the Video Preview window may be different from your final movie in a
number of ways: frame size, frame rate, and quality. In most cases, this is all you need and it is
a real time saver for checking the timing of events in your project. Eventually, you may need
to output a full-quality preview of a section of your project. To do this, from the Tools menu,
choose Pre-render Video in Loop Region [Ctrl+M]. For more information, see Pre-render Video in
Loop Region on page 254.
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GETTING STARTED CHP. 3
Rendering a Vegas project
Rendering refers to the process of creating a new media file from a Vegas project. The
project file is not affected (overwritten, deleted, or altered) during the rendering process.
You may return to the original project to make edits or adjustments and render it again. The
following table describes the formats available for rendering your Vegas project:
There are more detailed instructions for rending to a specific format later in this manual.
Format Name Extension Definition
Audio Interchange File Format *.aif The standard audio file format for audio used on Macintosh computers.
RealSystem G2 *.rm The RealNetworks standard for streaming media via the Web. This option
renders both audio and video into one file.
Vegas EDL *.txt This option creates a text version of event placements in the Track View.
This text description can then be imported into a database or text
application and used as an Edit Decision List.
Vegas project *.veg This option saves the references to media files used in the project. Also
saved is project information, track plug-ins, envelopes, bus assignments,
and output properties. The *.veg file does not combine events into a single
file.
Video for Windows *.avi The standard video file format used on Windows-based computers. This
option renders both audio and video into one multimedia file.
Wave (Microsoft) *.wav The standard audio file format used for audio used on Windows-based
computers.
Windows Media Audio *.wma The Microsoft audio-only format used to create files for streaming or
downloading via the Web.
Advanced Streaming Format *.wmv Microsoft streaming media format for Internet distribution.
Wave64 *.w64 A Sonic Foundry proprietary wave format that does not have a restricted
file size (unlike Windows standard *.wav format which is limited to
~2GB).
MP3 *.mp3 A subset of the MPEG format for audio compression.
MPEG-1 and MPEG-2 *.mpg Some versions of Vegas also support MPEG-1 and MPEG-2 file creation
through the use of Ligos GoMotion technology.
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Creating a movie (basic)
Saving, exporting, or creating a final movie file in its most basic form is not difficult. The
actual process is called rendering. The final output format depends on the destination of the
new media file. Some examples are *.avi, *. mov, *.rm, and *.wmv. For this simple
procedure, *.avi is going to be used as an example.
To create a movie:
1.
From the File menu, choose Render As.
2.
In the Render As dialog box, from the Save as type list, choose Video for Windows
(*.avi).
3.
Set up the details of your file’s compression. These variables are set automatically by your
project’s Preferences. Click the Custom button to change these settings.
4.
Enter a name and browse for a destination for your file.
5.
Click OK.
The default settings for this movie were set up in the Project Properties when the project
was begun. There area a number of output formats and settings available.
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CHP. 4 BASIC EDITING TECHNIQUES
CHAPTER
109
Basic Editing
Techniques
Vegas projects are multitrack compilations of events that occur over time. The events in
your project are references (pointers) to source media files on your hard drive or other
storage device. Vegas is a nondestructive editor, so altering events in your project will not
affect the source media files in any way. As a result, editing events in Vegas is as simple as
trimming event edges, arranging events, and mixing events along the timeline.
Getting around
When editing and playing back the project, the cursor identifies where you are along the
project’s timeline. The cursor can also be used to control the placement of events in the
project. For more information, see Inserting media on page 91. By clicking and dragging you
may select a time range in which you can perform edits, record into, and play back. For more
information, see Selecting a time range on page 112.
The cursor may be controlled by the following mouse or keyboard commands.
Description Keys Description Keys
Go to beginning of selection
or view (if no selection)
Home or W Center in view \
Go to end of selection or view
(if no selection)
End or E Jump to opposite side of
selection
Num. pad 5
Go to beginning of project Ctrl+Home Move left to marker(s) Ctrl+Left Arrow
Go to end of project Ctrl+End Move right to marker(s) Ctrl+Right Arrow
Move left by grid marks Page Up Move left to event edit
points including fade edges
Ctrl+Alt+Left Arrow
Move right by grid marks Page Down Move right to event edit
points including fade edges
Ctrl+Alt+Right
Go to Ctrl+G Make time selection Shift+Left or Right
(arrow)
Move one frame Alt+Left or Right
Arrow
4
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BASIC EDITING TECHNIQUES CHP. 4
Jumping the cursor
The cursor can be rapidly jumped to various locations instantly. and jump to the
left and right edge of the screen, while + and + jump to the beginning and
end of a project. + + or + + moves to the previous or next event edge in
the active track. Event edges are the start or finish of an event, including transition events.
A single video event may therefore have a number of jump points including the start, the
end of the transition into the event, the beginning of the transition out of the event, the
actual end of the event, and the start/finish of any envelopes. In the illustration below, the
arrows mark the locations where the cursor will jump to within this expanded view track.
Note especially the second jump, which marks the end of an Opacity envelope.
The cursor can also be skipped ahead and back to the grid units on the timeline. The grid
units can be set to display in time units or beats in a measure of music by right-clicking on
the timeline ruler and selecting the type of units. To skip the cursor click the Skip Ahead
( ) or Skip Back ()
buttons. The cursor will skip two grid units for every click of these
buttons.
Frame-by-frame movement
The cursor can also be moved frame-by-frame (video frame) through a project or media file.
• Press + or + to move one frame at a time back and forth through a project on
the timeline. One frame is defined by the project’s frame rate, configured by clicking the
File menu, choosing Properties, and then going to the Video tab.
• Press + or + to move one frame at a time back and forth through a media file
that is opened in the Trimmer. One frame is defined by the project’s frame rate.
The cursor can also be moved in the same way by pressing + + and using the
mouse scroll wheel.
Focus
Focus is used to describe which objects have the attention of a program. The title bars of
windows that do not have focus are gray, while windows that have the focus are colored
(often blue by default). In Vegas, the focus determines the behavior of many commands and
functions. For example, when you double-click a media file in the Explorer, it can be
inserted into the track that has the focus. To instantly switch the program’s focus to the
Track View (timeline), press + or, from the View menu, choose Focus to Track View.
Home End
Ctrl Home Ctrl End
Ctrl Alt Ctrl Alt
Alt Alt
Alt Alt
Ctrl Shift Alt
Alt 0
CHP. 4 BASIC EDITING TECHNIQUES
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Making selections
Vegas gives you the flexibility to select one or more events, a time range, or events and a
time range. All selection options can apply to a single track or to multiple tracks.
To select an event, simply
point and click on it.
Selecting multiple events
By using the key, the
key, or the Selection Edit tool
( ), you may select
individual or multiple events
in your project. Multiple
events may be selected within
a track or across tracks. Once
events are selected, you may
apply any of the Edit menu
commands, switches or editing
shortcut keys to them collectively.
Note:
Media-specific (audio or video) effects
and switches can only be applied to multiple
events of the same type (e.g. Normalize can
only be applied to multiple audio events).
Whichever method you choose, you may include or exclude events from a selection area by
holding down the
key and clicking on an event. The most common mode of operation
is to select events by clicking on them while in Normal Edit mode, which is the default
editing mode. Click the Normal Edit tool button ( ) or, from the Edit menu, choose
Editing Tools and the choose Normal to switch back to this mode.
To select non-adjacent events:
1.
Hold the key.
2.
Select the events by clicking on them. To deselect an event, simply click it again to toggle
the event selection on or off.
To select a range of events:
1.
Hold the key.
Selected events
Selected events
Ctrl Shift
Ctrl
Ctrl
Shift
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BASIC EDITING TECHNIQUES CHP. 4
2.
Click the first event that you want to select.
3.
Click the last event that you want to select. All events between the first and last selected
events are highlighted and selected.
To select a block of events:
1.
On the Toolbar, click the Selection Edit
Tool ().
2.
Position the cursor in a corner of the area
that you want to select.
3.
Click and hold the left mouse button.
4.
Drag the cursor to the opposite corner of
the area you want to select. A rectangle is
drawn on the workspace. All events within
this rectangle will be selected.
To deselect individual events in the middle of
a selection area, hold the key while
clicking on the events. To deselect all of the
events, click anywhere in the workspace
outside of the selected events.
Hold down the left mouse button and right-click to toggle through the three types of
selection boxes: Free, Vertical or Horizontal.
Once events have been selected, they can be grouped together. For more information, see
Grouping events on page 174.
Modifying events in selections
Selections can be made of multiple video events only, multiple audio events only or a
combination of both video and audio events. Only commands and operations that apply to
both types of events can be used for multiple selections that are composed of both audio and
video events. For example, Normalize is an audio event switch. Therefore, when you right-
click on an audio event and, from the shortcut menu, click Switches, the Normalize
command is unavailable if it is part of a selection that also includes video events.
Selecting a time range
Time selections are indicated by a shaded box and a bar that appears on the top of the
timeline. You may use the time selection bar for playing back a smaller portion of your
project or to apply cross-track edits.
Ctrl
CHP. 4 BASIC EDITING TECHNIQUES
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Unless an event is locked, a selected time range affects all events, or portions of events, that
occur within the range.
To select a time range:
1.
Position the mouse pointer above the ruler (on the Marker bar). The mouse pointer
changes to a left/right arrow cursor ( ).
2.
Click and drag to select a region. All events, or portions of events within the region are
highlighted.
3.
Click and drag the yellow handles on either end of the time selection to increase or
decrease your time range selection.
Note:
You may move the entire selection
range by dragging the Time selection bar.
There are a few shortcuts to speed up the process of making precise time selections.
Description Keys
Set time selection duration
equal to an event’s duration
Double-click the event
Extend selection to the end
of the currently selected
event edge
Ctrl+Shift+Alt+Left Arrow
Extend selection to the
beginning of the currently
selected event edge
Ctrl+Shift+Alt+Right Arrow
Time selection
Only the events within
the time selection will be
affected by edits or be
played back.
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BASIC EDITING TECHNIQUES CHP. 4
Looping playback
If you want to play back the time range, click Play ( ) to listen to only the events within
the time range. Click the Loop button ( ) or press the key on your keyboard to toggle
loop playback on and off. Vegas will continually play back the timeline within the time
selection when looping is on.
Selecting events and a time range
Selecting a time range does not automatically select events. Excluding locked events, all
items within the time range will play back and be affected by Edit menu commands.
However, you may select specific events to edit or play back, and then select a time range.
1.
Use the key, the key, or the Selection Edit Tool ( ) to select the events. For
more information, see Selecting multiple events on page 111.
2.
Place the mouse pointer above the ruler (on the Marker bar). The mouse pointer includes
a left/right arrow ( ).
3.
Click and drag to select the region. Notice that events that were not initially selected in
step 1 remain unselected (not highlighted).
Basic event editing
Event editing includes common copying, pasting, and deleting operations. However, these
editing procedures and how they are implemented depend on what type of selection is made:
event only, time only or event and time selections.
Copying events
Vegas allows you to copy events, or portions of events, to the Clipboard and paste them into
your project. You may copy a single event or multiple events. Copying preserves the original
event information, edits, and other modifications.
To copy events:
L
Ctrl Shift
Unselected eventSelected event
Selected event
Selected event
Unselected event
CHP. 4 BASIC EDITING TECHNIQUES
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1.
Click on the events to select them. For more information, see Selecting multiple events on
page 111.
2.
Select a time range, if applicable.
3.
Copy the event to the Clipboard by doing one of the following:
• Press the keys.
•Click the Copy button ( ) on the Toolbar.
• From the Edit menu, choose Copy.
Copying selected events
Selected events can also be placed on the Clipboard. Time information is also placed on the
Clipboard.
Copying a time selection
Events within the time selection and across all tracks are reproduced and placed on the
Clipboard. Time information is also placed on the Clipboard.
Events before copy Clipboard contents Events after copy
The original events are not
affected and do not
change.
Events before copy Clipboard contents Events after copy
The original events are not
affected and do not
change.
Ctrl + C
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BASIC EDITING TECHNIQUES CHP. 4
Copy a time selection and events
Events and portions of events within the time selection and across all tracks are reproduced
and placed on the Clipboard. Time information is also placed on the Clipboard.
Cutting events
Cutting events removes them from their respective tracks, but places the cut information
(events and time) on the Clipboard. Once on the Clipboard, you may paste the information
into your project.
To cut an event:
1.
Click on the event to be cut to select it or select a time range.
2.
Cut the event to the Clipboard by doing one of the following:
• Press the keys.
•Click the Cut button ( ) on the Toolbar.
•From the Edit menu, choose Cut.
Cutting events
Selected events are reproduced and placed on the Clipboard. Time information is also
placed on the Clipboard.
Events before copy Clipboard contents Events after copy
The original events are not
affected and do not
change.
Events before cut Clipboard contents Events after cut
Ctrl + X
CHP. 4 BASIC EDITING TECHNIQUES
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Cutting a time selection
Events within the time selection are reproduced and placed on the Clipboard. Time
information is also placed on the Clipboard.
Cutting a time selection and events
Events and portions of events within the time selection are reproduced and placed on the
Clipboard. Time information is also placed on the Clipboard.
Pasting events
Once information is copied to the Clipboard, you may choose a variety of ways to paste the
Clipboard items. Vegas always pastes from the insertion point’s position along the timeline.
To paste events from the Clipboard:
1.
Move the cursor to the desired location on the timeline.
2.
Click either the track number or within the track where you want to paste the event.
This track is the focus track; there can be only one focus track at a time.
If you are pasting multiple events from different tracks, Vegas automatically creates new
tracks as needed.
Events before cut Clipboard contents Events after cut
Events before cut Clipboard contents Events after cut
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BASIC EDITING TECHNIQUES CHP. 4
3.
Paste the event into the track by doing one of the following:
• Press the keys.
•Click the Paste button ( ) on the Toolbar.
•From the Edit menu, choose Paste.
Clipboard events are pasted at the cursor position on the track.
Existing track events can be overlapped with newly pasted
information.
Paste repeat (Ctrl+B)
You specify how many times the Clipboard events are pasted at the cursor position on the
selected track and specify the space between each pasted event.
After you have copied something to the Clipboard, do one of the following:
• Press on your keyboard.
•From the Edit menu, choose Paste Repeat.
Vegas displays the Paste Repeat dialog. Specify the number of times to paste the Clipboard
contents and the space between successive copies. Click OK when finished.
Paste insert (Ctrl+Shift+V)
Clipboard events are placed at the cursor position on the selected track and existing events
on a track are moved further down the timeline by the total length of pasted information.
This action is similar to Ripple editing. For more information, see Ripple editing on page 145.
After you have made your selection and copied it to the Clipboard, do one of the following:
Clipboard contents Events before paste Events after paste
Ctrl + V
Paste
position
Ctrl + B
CHP. 4 BASIC EDITING TECHNIQUES
119
• Press the keys.
• From the Edit menu, choose Paste Insert.
Punch-In
You can insert video events into the middle of (on top of) existing events without altering
the timing of the project. When the inserted event ends, the video jumps back to the
original event that then continues playing as if it had never stopped. Any associated audio is
inserted into a new track and is mixed with the audio from the other event.
To automatically crossfade Punch-Ins:
1.
From the Options menu, choose
Preferences. The Preferences dialog appears.
2.
Click on the Editing tab.
3.
Select Fade edit edges of video events and
specify a duration for the transition.
Events that have previously been inserted or
punched-in will not be affected by this change. The concept of punching in and out only
applies when you are inserting an event that is shorter than the event that it is being
inserted into, so that the inserted event ends before the original event. In the following
illustration, every frame is numbered so you can see how the original event continues after
the inserted event ends, as if it continued to play underneath the original.
Clipboard contents Events before paste Events after paste
Ctrl + Shift + V
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BASIC EDITING TECHNIQUES CHP. 4
Ripple edits
It is possible to insert a clip into the original, dividing it into two parts and moving the
second part down the timeline. When the inserted event ends, the original resumes playing
at the cut point (this is sometimes referred to as a “film-style insert”).
To perform a ripple edit:
1.
Position the cursor at the insertion point for the new event.
2.
Make sure ripple editing is turned on. Click the Ripple Edits button ( ) or, from the
Options menu, choose Ripple Edits [CTRL+L] to toggle ripple editing on and off.
3.
Open the media file you want to insert in the Trimmer. For more information, see Using the
Trimmer window on page 154.
4.
Create a selection area in the Trimmer of the section of the media files that you want to
use.
5.
Click the Add media from cursor button ( ).
Note the frame numbers of the original event in the illustration below. For more information,
see Ripple editing on page 145.
Duplicating events
Duplicating is a combination of a copy and paste in one action.
To duplicate an event:
1.
Hold the key on your keyboard.
2.
Drag the event you want to duplicate to the place where you want the new event to be
positioned.
The process is like moving the event to a new position while leaving a copy behind. This
technique is a great way to copy the attributes of an event (e.g. filters, stretching, envelopes)
and apply them to a new media file.
To copy attributes to a new video event:
1.
Duplicate the event with the desired attributes (switches, envelopes, filters, etc.).
2.
Using Vegas Explorer, locate the video file that you want to copy the attributes to.
3.
Right-click the file and drag it to the duplicated (new) event.
Ctrl
CHP. 4 BASIC EDITING TECHNIQUES
121
4.
From the shortcut menu, choose Add as Takes.
5.
The new media file becomes the Active take. You can delete the original take.
Basically, what you are doing is duplicating an event and then replacing the contents with
new video. For more information, see Tak es on page 151. If you only want to apply a specific
filter with particular settings to another event, save the filter settings to a preset for future
use. For more information, see Modifying filters on page 266.
Empty events
You can insert events into the timeline that do not have any contents and are not references
to any media files. This can be useful as placeholders in the timeline to be filled with media
at a later time or can be used to create specific events that are to be recorded into at a later
time. In either case, the new media is added to the empty event as a take. For more
information, see Takes on page 151. To add an empty event to a track, from the Insert menu,
choose Empty Event.
It is also possible to make space in a project by inserting time into a track. To insert a period
of time into a track, from the Insert menu, choose Time.
Trimming events
To edge trim a video event:
1.
Insert an event into the Timeline.
2.
Move the cursor over the edge of the event.
The cursor changes when properly positioned ( ).
3.
Drag the edge of the event to trim.
During the trimming process, the last thumbnail image on the
event shows the last frame in the event, allowing you to edit
events very accurately. In the lower-left corner of the thumbnail
you can see the frame number within the event where the
trimming will occur. Events cannot be trimmed back from their
starting point towards an earlier position on the timeline unless
the beginning has been previously trimmed. However, you can
extend a video event beyond its end, in the process making it
longer. The extended section is simply the last frame of the video file repeated (a freeze
frame) for the remaining duration. You can tell that it is a freeze frame because the frame
indicated (the last frame in the event) will not change as you lengthen the event. A notch
also appears at the point in the event where the video ends and the thumbnails begin
repeating. Since a multimedia file often has both a video and an audio component, both
events are trimmed as a group (unless you ungroup them). For more information, see Looping
an event on page 165.
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BASIC EDITING TECHNIQUES CHP. 4
Trimming events removes all media outside the time selection from their respective tracks.
The removed information is not placed on the Clipboard. Trimming is different from cutting
in that the events within the time selection are preserved.
To trim an event based on a time selection:
1.
Select a time range.
2.
Press the key or, from the Edit menu, choose Trim.
Events outside the time selection are removed from the project. However, the time
information (space) between events is not removed.
Trim time and event selection
Only selected events outside the time selection are removed from the project. Unselected
events remain. The time information (space) between events is not removed.
Another method of trimming media files is to use Vegas’ Trimmer. For more information, see
Using the Trimmer window on page 154.
Splitting events
Vegas allows you to create multiple, independently functioning events from a single event
by splitting it. Splitting creates a new ending point for the original event and creates a
starting point for the newly created event.
Events before trim Clipboard contents Events after trim
Trimmed information is not
placed on the Clipboard.
Events before trim Clipboard contents Events after trim
Trimmed information is not
placed on the Clipboard.
Ctrl + T
CHP. 4 BASIC EDITING TECHNIQUES
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Splitting an event does not alter the original media. The original media file’s information is
there, but omitted for playback based on where the event’s starting or ending point occurs
on the timeline.
When initially split, the two new events are flush against one another. The two events can
be moved independently.
To split an event:
1.
Select the event to be split.
To split multiple events, use the key, the key, or the Selection Edit Tool ()
to select the events. For more information, see Selecting multiple events on page 111.
2.
Place the cursor at the timeline position where the split will occur.
3.
Split the event(s) by doing one of the following:
• Press the key.
• From the Edit menu, choose Split.
One event
Split position
Two events
Original event
Split position
Two events
Separated events
Ctrl Shift
S
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BASIC EDITING TECHNIQUES CHP. 4
Splitting all multiple events
All events will be split at the cursor’s position (unless the event is locked). The split will
occur across all tracks (if no events are selected).
Only the selected events will be split at the cursor’s position.
Splitting time only selection
Unless locked, all events within the time selection will be split at the starting and ending
points of the time range, meaning that two splits will actually be made. The split will occur
across all tracks.
Events before splitting Events after splitting
Events before splitting Events after splitting
Events before splitting Events after splitting
CHP. 4 BASIC EDITING TECHNIQUES
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Splitting time across multiple events
Only selected events within the time selection will be split at the starting and ending points
of the time range.
Shifting the contents of an event
Events in Vegas are defined by their duration and not by the actual content. Typically, an
event contains a portion of a larger source media file saved somewhere on your computer.
For example, you could have an event that contains only the ten seconds (e.g. from 00:40 to
00:50) of a one minute long video file. The actual footage it contains can be modified in a
number of ways, including shifting it to encompass, for example, from 00:20 to 00:30 in the
original video file. Again, any associated (grouped) audio will remain in sync with the video.
To shift the contents:
1.
Hold the key.
2.
Drag left or right on a video event.
3.
Watch the contents of the thumbnails and the frame numbers to position the video
displayed within a video event or the waveform in an audio event.
Events before splitting Events after splitting
Alt
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BASIC EDITING TECHNIQUES CHP. 4
The power of working this way is that the event operates as a placeholder or container in
time for the media clip. The project as a whole remains unaltered as you fine tune the exact
contents that will fill a particular event.
Deleting events
Deleting events removes all events within the time selection from their respective tracks.
Multiple events can be deleted and time selections can be used to modify the process. Ripple
editing also applies to delete actions. Deleting operates exactly like a cutting operation, but
the removed information is not placed on the Clipboard. For more information, see Cutting
events on page 116.
To delete an event:
1.
Click on the event to be deleted to select it or select a time range.
2.
Delete the event(s) by doing one of the following:
• Press the key.
•From the Edit menu, choose Delete.
The original media file.
The event trimmed from
the original media file.
The event on the timeline.
The event with new (shifted) contents.
Delete
CHP. 4 BASIC EDITING TECHNIQUES
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Crossfading events
Vegas allows you to crossfade between two events
(audio and video) on the same track. Crossfading
gives you the ability to fade out one audio event’s
volume while another event’s volume is fading in
on or to transition between two video events, one
fading out while the other fades in. Lines appear
indicating how and when the event’s volume or
transparency is being affected.
Automatic crossfades
The Automatic Crossfade feature turns the overlapping portions of two events into a
smooth crossfade. Click the Automatic Crossfade button ( ) or press the shortcut key
to enable or disable Automatic Crossfades.
The crossfade “x” will automatically adjust itself as you move one event over another as long
as one event’s edge is crossing the other event’s edge. In the case where edges do not cross
(one event is wholly contained in another), the shorter event will be placed on top of the
longer event. Automatic crossfade can be toggled on and off: from the Tools menu, choose
Automatic Crossfade. You may still set a crossfade in this situation. Use the event’s handles to
adjust the desired crossfade between the two events.
Manually setting a crossfade
If you are using Automatic Crossfades, Vegas will not insert a crossfade if a shorter event is
placed on top of and within the same time frame of a longer event. In this case, the longer
event will begin playing, then the shorter event will play, and then the longer event will
resume playing at the timeline position.
To manually set the a crossfade between the edges of the overlapping events:
1.
Place the mouse pointer on one of the shorter event’s handles. The envelope cursor will
appear ( ).
2.
Click and drag the handle to the desired position.
Fade in
volume line
Fade out
volume line
X
Events before crossfade Events after crossfade
Drag the event to
overlap the other
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BASIC EDITING TECHNIQUES CHP. 4
This is a very fast and effective method of inserting a voice-over on top of a background
music track (although the music will fade out completely) or to replace a bad section of
audio. For more information, see Punch-In on page 119.
Changing crossfade curves
You can set the crossfade curve(s) that Vegas uses to fade in and out between two events.
The crossfade curves determine how Vegas raises and lowers the events’ volumes over time.
To change the crossfade curve:
1.
Right-click anywhere in the
crossfade region to display a
shortcut menu.
2.
From the shortcut menu, choose
Fade type to display the fade types
submenu.
3.
Click the desired fade type.
Events without crossfade Events with manual crossfade
Fast in
Linear in
Slow in
Fast in
Slow in
Linear in
Linear in
Fast in
Slow in
Slow out
Linear out
Fast out
Fast out
Slow out
Fast out Linear out
Linear out
Slow out
Right-click in crossfade region
Fast in - Slow out
Linear in - Linear out
Slow in - Fast out
Fast in - Fast out
Slow in - Slow out
Linear in - Fast out
Linear in - Slow out
Fast in - Linear out
Slow in - Linear out
CHP. 4 BASIC EDITING TECHNIQUES
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Undo and Redo commands
Vegas gives you unlimited undo and redo functionality while working on your project, even
to the extent of being able to undo changes made before the last time a project was saved
(but not closed). While you are working with a project, Vegas creates an undo history of the
changes that you have performed. Each time you undo something, that change is placed in
the redo history.
When you close the project or exit Vegas, both the undo and redo histories are cleared.
Undo command
Pressing the keys or Undo button ( ) on the Toolbar will undo the last edit
performed. Repeatedly using the keyboard command or Toolbar button will continue
undoing edits in reverse order, from most recent to oldest. In addition, you may undo the last
edit by choosing it from the Edit menu.
Undoing a series of edits
Click the arrow to the right of the Undo button ( ) on the Toolbar to view a history of
your edits. A drop-down list appears. The top listed item is the most recent edit. If you want
to undo a specific edit that appears farther down the list, all subsequent edits will also be
undone as well.
To undo a series of edits:
1.
Click on the arrow to the right of the Undo button ( ).
2.
From the drop-down list, choose the edit that you want to undo. Items above it
(subsequent edits) will be selected automatically. Click outside the drop-down list to
cancel the undo.
Ctrl + Z
Undo last edit
Scroll bar
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BASIC EDITING TECHNIQUES CHP. 4
3.
Click the item to undo it and all selected edits. Vegas will restore your project to the state
prior to those edits.
When you undo an edit or a series of edits, they are added to the redo history. This feature
allows you to restore your project to a previous state.
Note:
From the Edit menu choose Undo All
to undo all edits in the history. All edits will be
undone and added to the redo history.
Redo command
Pressing the keys or the Redo button ( ) on the Toolbar will redo the last
undo performed. Repeatedly using the keyboard command or Toolbar button will continue
redoing undos in reverse order, from most recent to oldest. In addition, you may redo the last
edit by choosing it by name from the Edit menu.
Redoing a series of edits
The redo history may be viewed by clicking the arrow on the right side of the Redo button
( ) on the Toolbar, revealing a drop-down list composed of previously undone edits. The
top listed item is the most recent undo edit. If you want to redo a specific edit that appears
farther down the list, all subsequent edits above it must be redone as well.
When you redo an edit or a series of edits, they are added to the undo history again. The
redo history is cleared when a new edit is performed.
Clearing the edit history
You may clear both undo and redo histories without closing your project or exiting Vegas.
Once the histories have been cleared, Vegas will begin creating new ones as you continue
working on the project. While clearing the edit history is not usually necessary, this can be a
method of freeing up disk space. To clear the edit histories, from the Edit menu, choose Clear
Edit History.
Use the mouse
to select
a series of edits.
Ctrl + Shift + Z
CHP. 4 BASIC EDITING TECHNIQUES
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Project markers and regions
Vegas allows you to use three types of project markers that identify parts of your project,
serve as cues, and provide additional functionality for certain file formats. The three types of
markers are:
•Markers–points that you place along the project’s timeline. They are typically used to
mark interesting parts in the project for later reference or to mark timing cues.
•Regions–ranges of time. Typically, regions identify ranges of time that you need to get
back to later. Regions can function as permanent time selections.
•Command markers–are used to enable metadata in streaming media files. These markers
can be used to display headlines, captions, link to Web sites, or any other function you
define. In addition, these markers can be used to embed Scott Studios data information,
which is used extensively in broadcasting. There are a number of metadata examples
complete with source code on the Sonic Foundry Web site.
Working with markers
Markers are useful for identifying and navigating to specific locations in longer projects. As
you place markers in your project, Vegas automatically numbers them in the order that they
were placed. You may name them and reposition them along the project’s timeline.
Placing and moving a marker
Markers are placed at the cursor’s position via the Insert menu, by right-clicking on the
Marker bar, or by pressing the key. You may place a marker by positioning the cursor or
on-the-fly while your project is playing back. Markers appear as red tags above the ruler.
Markers can be repositioned or moved by dragging them left or right on the Marker bar.
To name (rename) a marker:
1.
Place the mouse pointer on the marker you want to name or rename. The pointer changes
to a hand icon ( ).
2.
Right-click to display a shortcut menu.
M
Marker
Marker bar
Right-click on Marker bar
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BASIC EDITING TECHNIQUES CHP. 4
3.
From the shortcut menu, choose Rename. A text box opens next to the
marker.
4.
Type the marker name.
5.
Press the key or click anywhere in the Track View to set the
marker’s name.
You can also double-click an existing name or double-click the space just to the right of a
marker to rename it.
Navigating to a marker
The cursor position can be instantly jumped to any marker on the timeline by simply
clicking on the marker. You can also jump to a marker by pressing the number keys along the
top of the keyboard (not the number pad numbers).
Note:
The cursor can be jumped to the next
or previous marker by pressing the + or
keys.
Deleting a marker
To delete a marker:
1.
Place the mouse pointer on the marker that you want to delete. The pointer will appear as
a hand ( ).
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Delete. The marker will be removed from your project.
The marker numbers will remain the same, Vegas will not renumber the tags as you remove
them. For example, if you have five markers in your project and delete markers 3 and 4, the
remaining markers will be listed as 1, 2 and 5. However, as you add markers again, Vegas will
begin numbering the missing sequence first, in this case 3 and 4, then to 6, 7, 8, etc.
To delete all markers and regions:
1.
Right-click on the Marker bar.
Enter
Ctrl
CHP. 4 BASIC EDITING TECHNIQUES
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2.
From the shortcut menu, choose Markers/Regions.
3.
From the submenu, choose Delete All.
Working with regions
Typically, regions identify ranges of time that you need to get back to later. Regions can
function as semi-permanent time selections. Region information can be displayed in the
media Explorer: click the arrow next to the View button and select Region View.
Placing and adjusting a region
Region markers may be placed at the cursor position and at the beginning and end points of
a time selection via the Insert menu or pressing the key. A region is defined as the area
between two region markers that share the same number.
Individual Region Markers can be repositioned independently by dragging the marker left or
right on the Marker bar.
Naming a region marker
To name a region:
1.
Place the mouse pointer on the left region marker you want to name or rename. The
pointer changes to a hand icon ( ).
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Rename. A text box appears next to the region marker.
4.
Type the regions marker’s name.
5.
Press the key or click anywhere in the Track View to set the name.
R
Region start
Marker bar
Region end
Enter
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Selecting a region
You may select the events, across all tracks, within the region for editing or playing back.
To select the region:
1.
Right-click on one of the region markers to display a shortcut menu.
2.
From the shortcut menu, choose Select Region.
Note:
Regions can also be navigated to by
pressing a number on your keyboard (not the
Number Pad). Double-click on a region
marker on the Marker bar to select the region.
Navigating to a region
The cursor can be moved to a region by simply clicking on either region marker. You may
click in the Track View (timeline) to move the cursor to the current location, press the
+ or shortcut keys to move the cursor, or use a region to reposition the cursor
more precisely.
Right-click on a region marker to display a shortcut menu that allows you to navigate to the
beginning (Go to Start) or the end (Go to End) of a region.
To remove a region from your project:
1.
Place the mouse pointer on the region marker’s starting or ending point. The pointer
changes to a hand icon ( ).
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Delete. The marker will be removed from your project.
The region marker numbers will remain the same, Vegas will not renumber the tags as you
remove them. For example, if you have five regions in your project and delete region 3 and
4, the remaining regions will be listed at 1, 2 and 5. However, as you add regions again,
Vegas will begin numbering the missing sequence first, in this case 3 and 4, and then
continue with 6, 7, 8, etc.
Selected region
Ctrl
CHP. 4 BASIC EDITING TECHNIQUES
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Adding regions as takes
A single media file may contain a number of separate regions. These regions can be viewed
in the media Explorer (click the View button until the Region View is displayed) and
selected individually or as groups and inserted as takes into the timeline. This is especially
useful when loop-recording numerous takes to a single file. For more information, see Takes on
page 151.
Working with command markers
Command markers add interactivity to a
multimedia presentation streamed over the
Internet by inserting metadata into streaming
media files. As your video plays, any number of
other actions can be programmed to occur.
These commands are a part of the Microsoft
WMV and RealMedia streaming formats. Most
frequently, these actions add text or open a
related Web site where the viewer can find more
information about the topic at hand. The
specific commands available vary depending on
the final format of your project.
Command markers can also indicate when an instruction (function) will occur in a *.wav
file being used in a radio broadcast environment (Scott Studios data). The following two
sections define the markers for both streaming media and Scott Studios files.
Note:
Streaming media files can be played
back off of any hard drive or CD-ROM, but in
order to stream properly across the Internet,
you must use a special streaming media server
provided by your ISP. Microsoft *.wmv files
must be embedded into a Web page (HTML
file) in order for the dynamic text commands to
function properly.
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BASIC EDITING TECHNIQUES CHP. 4
Defining streaming media commands
In a streaming media file, command markers can be used to display headlines, show captions,
link to Web sites, or any other function you define. Vegas includes several command types
that you may add to a streaming media file. Some command types are exclusive to either the
Windows Media (*.wmv) or the RealMedia (*.rm) player.
* Hotspots are defined:
HotSpotPlay MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" FILENAME
HotSpotBrowse MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" URL
HotSpotSeek MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" MM:SS
The parameters for a typical HotSpotBrowse command for a hotspot rectangle that is 50
pixels wide by 20 pixels tall and lasts for 10 seconds would look like this:
HotSpotBrowse 00:10 (0, 0, 50, 20) "Go to Sonic Foundry" http:\\www.sonicfoundry.com
All parameters are optional except the last. The hotspot will default to the entire duration of
the file and the entire video frame if the duration and dimensions are not specified.
Command Player type Description
URL Windows Media
and RealMedia
Indicates when an instruction is sent to the user’s internet browser to change the
content being displayed. With this command, you enter the URL that will display at a
specific time during the rendered project’s playback.
Text Windows Media Displays text in the captioning area of the Windows Media Player located below the
video display area. You enter the text that will display during playback.
WMClosedCaption Windows Media Displays the entered text in the captioning window that is defined by an HTML layout
file.
WMTextBodyText Window Media Displays the entered text in the text window that is defined by an HTML layout file.
WMTextHeadline Windows Media Displays the entered text in the headline window that is defined by an HTML layout file.
Title Windows Media
and RealMedia
Displays the entered text on the RealPlayer’s title bar.
Author Windows Media
and RealMedia
Displays the entered text (Author’s name) when a user selects About This
Presentation from the RealPlayer’s shortcut menu.
Copyright Windows Media
and RealMedia
Displays the entered copyright information when a user selects About This
Presentation from the RealPlayer’s shortcut menu.
HotSpotPlay* RealMedia Allows you to define an area in the RealPlayer video display that users can click to jump
to another RealMedia file.
HotSpotBrowse* RealMedia Allows you to define an area in the RealPlayer video display that users can click to jump
to a Web page that you specify.
HotSpotSeek* RealMedia Allows you to define an area in the RealPlayer video display that users can click to jump
to a point in the current RealMedia file.
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Defining Scott Studios data commands
For *.wav files using Scott Studios data, command markers can be used to define
information about the *.wav file.
Placing a command marker
Command markers are placed at the cursor’s position via the Insert menu or by right-
clicking on the Command Ruler. Command markers can also be placed during playback by
pressing the key while your project is playing back. Command markers appear as blue
tags on the Command Ruler, which is above the Marker bar.
To view the Command Ruler, choose Command Ruler from the View menu.
When you place command markers, the Command Properties dialog will appear (if the
Command Ruler is not displayed, Vegas will automatically make it visible). The Command
Properties dialog can be accessed at any time by double-clicking any command marker.
Command Description
SCOTT EOM Calculates when the next queued clip will start playing in a Scott Studios system. For more information,
please refer to your Scott Studios documentation.
SCOTT Cue In Set the beginning of a file in a Scott Studios System without performing destructive editing. For more
information, please refer to your Scott Studios documentation.
C
Marker bar
Command Ruler
Text command marker URL command marker
Right-click to place a command marker
from the Command Ruler
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BASIC EDITING TECHNIQUES CHP. 4
Use this dialog to define your own command or select a command from the drop-down list.
This dialog is also where you edit the behavior of the selected command markers.
•The
Command drop-down list allows you to select the type of command to place.
•The
Parameter field defines the behavior of the command.
•The
Comments field is simply used to remind you of the command’s purpose while you
work on the project. Its function is similar to naming markers and regions.
•The
Position field allows you to specify the timing of the command. Otherwise, command
markers are automatically set to the current cursor position.
Once the command properties are set, click OK to place the command marker on the
Command Ruler. Command Markers can be moved by dragging them to a new location. To
edit command marker properties, double-click the command marker. Command Markers
can be renamed and deleted by right-clicking the marker and selecting the appropriate
option from the shortcut menu.
Using an external sound editing program
Vegas is a nondestructive editing environment, which means that the original source files
remain unchanged by any editing done in Vegas. Destructive (constructive) edits may be
done in a separate application such as Sonic Foundry’s Sound Forge® to modify the actual
source media file. By setting up a separate sound editor, you can quickly access the program
from Vegas via the Tools menu or shortcut keys.
Setting up the sound editing program
If you already have Sound Forge loaded on your computer when you installed Vegas, the
installation should have detected it and made it your default sound editing program.
However, if you do not have Sound Forge or want to specify a different sound editor, you
may do so in the Preferences dialog.
To set up the sound editor program:
1.
From the Options menu, choose
Preferences. The Preferences dialog will
appear.
2.
In the Preferences dialog, choose the
Audio tab.
3.
Click the Browse button to the right of
the Location of preferred audio editor item.
The Preferred Audio Editor dialog will
appear.
Ctrl + E
CHP. 4 BASIC EDITING TECHNIQUES
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4.
From this dialog, navigate to the application to use for editing audio files.
5.
Select the application’s executable icon (*.exe) and click Open to set the application as
your default sound editor.
The application’s path will be displayed in the Location of preferred audio editor field.
Opening a sound editor from Vegas
All events in your Vegas project are actually references to media files on a storage device.
When you edit an event in a sound editor, you are editing the media file to which the event
is referenced. Any changes you make and save in the sound editor are permanent and will be
reflected in the event in your Vegas project.
To edit an event in the sound editor:
1.
Click on the event that references the file to be edited to select it.
2.
From the Tools menu, choose Open in Sound Editor or press the shortcut keys.
Your selected sound editing application will open and the event’s referenced media file will
open in the application. Make the necessary changes and save the file in the sound editor. If
you keep the media file’s name and location the same, its event will be updated immediately
in your project. However, if you change the media file’s name or location (Save As), you will
need to import the edited (new) file into Vegas.
Opening a copy of an audio file in an external editor
You can also create a copy of an audio file and open that in an external sound editor. While
this is a similar procedure to the one previously outlined, it has the advantage of preserving
the original file unchanged. The modified copy is inserted into the event as a take and is
automatically added to the Media Pool.
To open a copy of an audio file in an external editor and add it as a take:
1.
From the Tools menu, choose Audio.
2.
From the submenu, choose Open Copy in Sound Editor. You can also execute this
command by right-clicking on an audio file and choosing Open Copy in Sound Editor.
When you are finished editing, save the file, which has already been automatically named. If
you save it to a new file (Save As), you must manually add it as a take into the project. For
more information, see Ta ke s on page 151.
Ctrl + E
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CHP. 5 ADVANCED EDITING TECHNIQUES
CHAPTER
141
Advanced
Editing
Techniques
This chapter builds on the techniques that were introduced in the last chapter. Ripple
editing, pitch shifting, and takes are just three of the more advanced editing topics that are
covered in this chapter. Later chapters are broken down by specific subject and go into even
greater detail.
Importing media from other projects
For organizational purposes, it is possible to instantly import all of the media files from a
project into the Media Pool of the current project. One possible use for this feature is to
create a base project to be used as a template for other projects. This base project would
contain all of the media files on your computer or network that are most frequently reused in
your projects, such as corporate logos, animations, title sequences, and theme songs.
To import media from another project:
1.
From the File menu, choose Open.
2.
Select the Vegas project file (*.veg) that contains the media files to be imported.
3.
Select Merge media from Vegas project files into current project at the bottom of the dialog.
4.
Click OK.
Vegas then places all of the media files in the project’s Media Pool into the Media Pool of
the current project. You will be prompted to resolve any conflicts that may occur (e.g. two
different files with the same name). Multiple projects can be imported at the same time by
selecting multiple files in step 2 (press and hold or while selecting).
Snapping events
Vegas is preset to snap, or jump, dragged events to another event’s edges, grid lines, markers,
the cursor position, or a time selection. As you move an event along the timeline, its edge
will automatically align to designated snap points.
Ctrl Shift
5
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ADVANCED EDITING TECHNIQUES CHP. 5
Using the event snap offset
Each event in your project has a snap offset flag that can be moved along the length of the
event. The flag is the white triangle that is located in the lower-left corner of each event.
This flag allows you to designate where snapping occurs. This is useful if you need to align
the snap with a beat in the event instead of the edge.
To set the snap offset:
1.
Place the mouse pointer on the snap offset triangle. The pointer changes to a hand icon
().
2.
Drag the snap offset flag to the new position in the event. As the flag is moved, you will
see a time display appear. This time display indicates where the snap offset flag occurs in
time in the event.
3.
Release the mouse to set the snap offset flag.
Snapping to grid lines
Vegas allows you to specify what type of grid you want to use in your project. The grid lines
can be used as snapping points for events and markers.
Enabling/disabling snapping to grid
You may enable and disable grid snapping by choosing Snap To Grid from the Options menu
or by pressing the keys. When the grid is disabled for snapping, it will still be visible
for reference. However, unlike a snap-enabled grid, it will disappear when the lines get too
close together when zooming the view.
Snap points
Snap offset flag
The time display reflects
time within the event, not
the project Ruler.
Ctrl + F8
CHP. 5 ADVANCED EDITING TECHNIQUES
143
Changing the grid type
Vegas includes many grid types that you may apply to
your project. Grids are only used for reference and
snapping purposes and do not affect the output. From
the Options menu, choose Grid Spacing and then the
type of grid you want from the submenu.
Note:
In some cases, the grid lines and the
Ruler will not match, for example when the
grid lines are in beats and the Ruler units are
seconds. This is because these are two
independent functions.
Snapping to grids and rulers
Two clips in the same track always automatically snap
to their ends, but because of the potentially large
number of tracks and events in a project, it is not
useful to make every end of every event in every track
a snapping point. You can easily snap to specific event
boundaries in any track by quickly moving the cursor
to that boundary using the following procedure.
To snap two events together:
1.
Double-click on the event you want to snap to. Notice
that the time selection area on the Ruler now
encompasses the event.
2.
Drag another clip in a different track near the end of
the first clip. It will snap into position.
In reality, you are snapping to the time selection’s
boundary, and not the event’s edge. In the illustration,
the bottom event is effortlessly snapped to the end of the
top event because the duration of the top event is marked
by the time selection.
Markers
Grid Selection area Grid
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ADVANCED EDITING TECHNIQUES CHP. 5
Snapping to markers
Vegas allows you place markers in your project. The marker (or region) lines that appear
across all tracks can be used as snapping points for events, cursor, and time selections. For
more information, see Project markers and regions on page 131.
Enabling/disabling snapping to markers
You may enable and disable snapping to markers by choosing Snap To Markers from the
Options menu or by pressing the keys. When you disable snapping to markers, the
the marker lines will not appear across the tracks and events will not snap to them.
Disable snapping
Vegas allows you to snap events to project markers that you have placed and to grid lines
that appear in the timeline. You may disable snapping to either markers, grid lines, or disable
snapping altogether.
To disable/enable all snapping, click the Snap button ( ) on the Toolbar or toggle the snap
commands located on the Options menu. When a command is enabled, a check mark
appears next to it. To disable a snap command, simply click it again to toggle it off and
disable it.
Shift + F8
All enabled
Select to disable/enable all snapping
Select to disable/enable only
snapping to grid lines.
Select to disable/enable only
snapping to placed markers.
CHP. 5 ADVANCED EDITING TECHNIQUES
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Ripple editing
Ripple editing is a timeline-based procedure that allows you to cut, delete, and paste events
or portions of events and simultaneously re-adjust existing events on the timeline. For
example, existing events may be automatically moved out of the way (down the timeline) to
make room for a newly inserted event.
Ripple Edit mode is activated by clicking the Ripple Edits button ( ) on the Toolbar or by
pressing the shortcut keys.
Ripple editing from the Trimmer
The first illustration is of the timeline with an event already inserted.
The next illustration shows what happens when an event is inserted before another event
already on the timeline. The length of the inserted event is longer than the duration of the
available space. This means that, with ripple editing off, it will run into, and overlap, the
original event.
In the final case, ripple editing is turned on. As a result, the original event is pushed out of
the way, down the timeline. The events do not overlap. Notice how the empty space on the
timeline is also preserved. Ripple editing applies only to the selected track. If the selected
track is a video track with an associated audio track, the audio remains locked to the video
and is also rippled. Ripple editing also works with Paste operations.
Ctrl + L
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ADVANCED EDITING TECHNIQUES CHP. 5
To ripple insert events from the Trimmer:
1.
Click the Ripple Edits button ( ) or, from the Options menu, choose Ripple Edits
[CTRL+L] to toggle ripple editing on and off.
2.
Open the media file you want to insert in the Trimmer. For more information, see Using the
Trimmer window on page 154.
3.
Create a selection area in the Trimmer of the section of the media file.
4.
Click the Add Media from Cursor button ( ) or press on the keyboard. The Add
media to cursor button also works with ripple inserts.
Inserting time
It is also possible to make space in a track by inserting time into a track. To insert a period of
time into a track, from the Insert menu, choose Time. The empty time is inserted across all
tracks.
Cutting and deleting in ripple mode
When Ripple mode is turned on, cutting and deletion operations on a time selection area
ripples all events further down in a project, moving everything left.
To cut/delete time:
1.
Click the Ripple Edits button ( ) on the Toolbar to toggle it on.
2.
Create a time selection.
3.
Cut the event to the Clipboard by doing one of the following:
• Press the keys to cut or .
•Click the Cut button ( ) on the Toolbar.
•From the Edit menu, choose Cut or Delete.
The exact behavior of the ripple depends on any event selections
within the time selection area. If one or more events are selected, only those tracks with
selected events are ripples.
So if you wanted to remove an event and ripple everything downstream in only one track,
double-click the event (which selects it and automatically creates a time selection area) and
then press . To ripple every track in the project when a single event is removed,
double-click the event (which selects it and automatically creates a time selection area),
then press the key and click the same event again (this selects all events within the time
selection area), and then press .
A
Ctrl + X Delete
Delete
Ctrl
Delete
CHP. 5 ADVANCED EDITING TECHNIQUES
147
Ripple editing across all tracks (Paste Insert)
Ripple editing can also be applied across tracks in a project. In the following example, a five-
second opening credits clip is inserted into a mature project with dozens of carefully
positioned events.
Video compositing and multiple video tracks are only available in Vegas Video.
To ripple edit across all tracks:
1.
Copy an event to the Clipboard (from the timeline or Trimmer).
2.
Move the cursor to the desired timeline location.
3.
Position the cursor at the location where you want to paste the event.
Insertion point (cursor position)
Before ripple:
Ripple inserted event
Events that are bisected by
the insertion point are split.
After ripple:
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ADVANCED EDITING TECHNIQUES CHP. 5
4.
Paste insert the event into the track by doing one of the following:
• Press the keys.
•From the Edit menu, choose Paste Insert.
Clipboard information is pasted at the cursor’s position on the selected track. Existing track
events or portions of events after the cursor are adjusted to occur later in the project (moved
right). The amount of adjustment is based on the total length of the information being
pasted. Vegas does not need to be in Ripple mode for this to work.
Paste insert multitrack information
When you have copied or cut information from multiple tracks, how the information is
pasted is determined by the track that you select for the paste. Vegas will add tracks if
necessary or simply paste the information into an existing track.
Clipboard contents Events before paste Events after paste
Ctrl + Shift + V
Information requires
three tracks
Paste
position
Selected
track to
paste
Since the top track was selected and three
tracks exist, no new tracks were created.
Existing events on the tracks were moved
later in the project.
Information requires
three tracks
Paste
position
Selected
track to
paste
Since the third track was selected and the
Clipboard information required three
tracks, Vegas added two more tracks.
CHP. 5 ADVANCED EDITING TECHNIQUES
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You can Paste Insert an event into the timeline without switching to Ripple Mode. Existing
events on a track are rippled down the timeline by the total length of pasted information.
Pitch shifting audio events
Pitch shifting is only available in the full versions of Vegas Video and Vegas Audio.
A pitch shift is a way to speed up or slow down the audio to modify its timbre or fit the audio
into a certain length of time. When an event’s pitch is increased, it can speed up and the
event’s overall length may be shortened. Conversely, when an event’s pitch is decreased, it
can slow down and lengthen the event.
The semitone range in Vegas is -24 to 24. Twelve semitones equal one octave, so you may
increase or decrease the pitch of an event within a two-octave range. Within each semitone
is a finer pitch adjustment called cents. There are one hundred cents in one semitone.
To pitch shift an event:
1.
Right-click an audio event to display a shortcut menu.
2.
From the shortcut menu, choose Properties.
3.
From the Method list, select Change Pitch,
Preserve Length or Change Length and Pitch.
4.
Adjust the pitch shift in the Semitone, Cents,
or both using the arrows or simply typing in
the desired value.
5.
Click OK to set the pitch shift for the event.
Original event
Event with pitch shift
of 12 or one octave “speeds up”
Event with pitch shift
of -12 or one octave “slows down”
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ADVANCED EDITING TECHNIQUES CHP. 5
Time compressing/stretching
Time stretching and compressing events is the process of using the same amount of source
media to fill a shorter or longer event. While this can be done to both video and audio
events, the two cases are fundamentally different.
To time compress/stretch an event:
1.
Hold the key on your keyboard.
2.
Drag the edge of the event towards the center of the event to compress (shorten) it or
drag the edge out away from the center to stretch (lengthen) it.
Time compressing/stretching video
Time stretching video allows you to fill a given duration with a set amount of actual video,
sometimes called fit-to-fill. For example, if you have a five-second video event and you want
this event to fill an eight-second slot, hold the key and drag the edge of the event to
eight seconds. The resulting video will be in slow motion, but the contents (footage) would
remain the same. If you had used the Velocity Envelope to slow the video to the same rate,
the event would also be in slow motion, but its duration would remain unchanged at five
seconds. Stretched video has a zigzag line between thumbnails. Video can also be
compressed (sped up and shortened in length) by using this method.
When stretching video events or slowing video down, a set number of frames are extended
across a period of time. For example, if you take source footage at 30 frames in a second and
slow it so that only 15 source frames run during that same second, an additional 15 frames
must be created to maintain the project’s 30fps frame rate. Simply duplicating frames is the
easiest way to do this. A more sophisticated method is to resample the frames of an event,
allowing Vegas to interpolate and redraw these intervening frames.
To resample an event:
Ctrl
Ctrl
CHP. 5 ADVANCED EDITING TECHNIQUES
151
1.
Right-click the event and choose Properties.
2.
On the Video Event tab, select Resample.
Resampling may not improve the quality in all situations. Preview your rendered movie on a
television to accurately assess the final results. For more information, see Resampling on page
258.
Takes
A take is a version of a scene, as in “Scene 10, Take 7”, which means the seventh time that
scene number ten has been shot. Vegas has the ability to allow you to include a number of
takes in the same location (event) of the project. You can then rapidly switch between these
separate takes to see which one fits into the project the best. Although this is what takes are
designed for, you can actually use any clips you want as a take, even completely different
shots or scenes. Since an event is just a container of a specific length and at a specific
location, the actual content (media file) is easily changed.
Adding takes
Multiple media files can be added to the timeline at the same time to a single event as takes.
To insert multiple media files to the timeline as takes:
1.
Locate the media files that you want to insert as takes in Vegas Explorer and select them.
Select a range by holding and clicking the first and last file in the range, or select
nonadjacent files by holding and clicking the various clips individually.
2.
Right-click and drag one of the selected clips in the group to the timeline or to a video
track.
3.
From the shortcut menu, choose Add As Takes (or Video Only: Add As Takes to insert only
the video and not the audio portion of the clips).
Media files can also be added to existing events as takes.
To add a take to an existing event:
1.
Right-click a media file in the Media Explorer and drag it to an existing event.
2.
From the shortcut menu, choose Add as Takes.
Selecting takes
When you add an event with multiple takes, a single event is inserted into a video track.
The last clip that was selected determines the duration of the event and is set as the active
take.
Shift
Ctrl
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ADVANCED EDITING TECHNIQUES CHP. 5
To select a take (and make it the active take):
1.
Right-click an event with multiple takes.
2.
From the shortcut menu, select Take.
3.
From the submenu, choose Next Take or Previous Take. Press the key to select the next
take or + to select the previous take. A list of takes is also displayed.
Longer takes can be positioned within a shorter event by holding the key while
dragging on the take in the event. You will notice that the thumbnails representing the take
will change while the event itself remains unmoved.
Adding takes to an event is an excellent method of maintaining consistency between a
number of events in a project that may use a complex set of effects or plug-ins. First,
duplicate an event by holding the key while dragging an event. Then, replace the
contents of the event by adding a take. You can also replace the contents of an event from
the Media Pool. For more information, see Replacing media in events in the Media Pool on page
89.
Deleting takes
Individual takes can be deleted from an event at any time.
To delete a take:
1.
Right-click an event with multiple takes.
2.
From the shortcut menu, go to the Tak e menu item.
3.
Choose Delete Active to immediately remove the active take or choose Delete to open a
dialog with a list of all of the takes contained in this event.
Take names
Displaying take names on events
Take names may be displayed on the events in the timeline. The events in your project will
display their respective active take names in the lower left corner of the event. Enable the
Show active take names in events check box on the Preferences dialog to use this feature.
To display take names on events:
1.
From the Options menu, choose Preferences. The Preferences dialog will appear.
2.
Select the Show active take names in events check box to enable it.
3.
Click OK to set the preference.
Each event in your project will display their respective take names.
T
Shift T
Alt
Ctrl
CHP. 5 ADVANCED EDITING TECHNIQUES
153
Note:
To disable this feature, clear Show
active take names in events in the Preferences
dialog.
Changing take names
Changing the name of a take does not affect the source media file in any way. Typically, you
may want to change an event’s name after recording multiple takes into a track or event. For
more information, see Working with multiple recorded takes on page 234.
To change an take’s name:
1.
Right-click the event to display a shortcut menu.
2.
From the shortcut menu, choose Properties. The Properties dialog opens.
3.
Type the new name in the Active take name field.
4.
Click OK to set the new take name.
Viewing the take list
When you change an event’s name, the new
name will appear in the event’s Take list.
To vie w the Tak e lis t:
1.
Right-click the event to display a shortcut
menu.
2.
From the shortcut menu choose Take. A
submenu list of takes will appear.
Before preference
is enabled After preference
is enabled
154
ADVANCED EDITING TECHNIQUES CHP. 5
Using the Trimmer window
The Trimmer allows you to work with and edit one media file at a time. The entire file is
always opened into the Trimmer, in contrast to events on the timeline that may only
contain a portion of the actual source file. Shortcut keys and right-click shortcut menus are
also available in the Trimmer window.
To open a clip in the Trimmer:
1.
Click on a clip on the timeline to select it.
2.
Right-click on the clip and choose Open in Trimmer.
Events can also be opened in the Trimmer by dragging them from the Explorer or the Media
Pool.
Note:
If the event in your project is only using
a portion of a larger media file, the Trimmer
will select the portion being used.
To set the Trimmer as the default destination for a clip when it is double-clicked:
1.
From the Options menu, choose Preferences.
2.
Click the General tab.
3.
Choose Double-click on media file in Media Pool or Media Explorer loads Trimmer.
Trimmer list
Media file
Playback
Loop
Add media
Cursor
Marker
Open in
Clear Trimmer
Save Markers/Region
Remove From
Region Sort Trimmer
Loop region or
Selection area
to cursor
Add media
from cursor
navigation
History
History Trimmer list
Audio Editor
controls
Portion being used
in the project
Entire media file
CHP. 5 ADVANCED EDITING TECHNIQUES
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Like many other windows in Vegas, the Trimmer window
can be docked to the bottom of the workspace or you can
drag it to freely float it anywhere on the screen. You can
open any number of clips in the Trimmer at the same time,
selecting the one you currently want to work on from the
drop-down list.
The Trimmer window may be placed in the Docking area of Vegas or float over the work
area. For more information, see Window Docking Area on page 33.
From the View menu, choose Trimmer or press the shortcut keys to display the
Trimmer window, if it is not already visible.
Working with the Trimmer window
The Trimmer window’s main function is to allow you to trim a media file and place portions
of it on a track. You can also add regions and markers to a file, play back the media file or
export it to an external sound editing program.
As you navigate (move the cursor) around in the Trimmer, the exact frame that the cursor is
over in time is displayed as in a thumbnail image under the cursor. When using the left and
right arrow keys, this allows you to create edit point with frame accuracy. Make sure Animate
video frames in Trimmer is selected in the Preferences dialog to use this feature.
The Trimmer works on a four point editing concept: start, mark in, mark out, and end
points. Mark in and out points define the portion of a event that you want to keep, while the
start and end points define the entire file. You can precisely set mark in and out values on
the fly.
History drop-down This drop-down list displays all the events in your current project. You may
open a media file in the Trimmer by selecting its filename from the list.
Marker bar This area displays the markers that you place along the media file’s timeline.
The marker bar is identical to the one in the timeline (pg. 131).
Save button ( ) If you have added markers or regions to a media file in the Trimmer, you can
save that data to the referenced media file for use in the sound editor or in later
projects.
Selection bar The selection bar is identical to the one found in the timeline. Use it to select
portions of audio that you would like to place on a track or for setting regions
(pg. 112).
Selection tab Click this tab to bring the Trimmer to the front when it is “behind” other
docked windows.
Sound editor button ( ) This button opens the event in your sound editor application (pg. 138).
Transport bar The Transport bar is identical to the one found in the timeline (pg. 32).
Ruler The ruler is identical in functionality as the one in the timeline (pg. 31).
Zoom buttons These buttons are identical to the ones in the timeline (pg. 40).
Alt + 2
156
ADVANCED EDITING TECHNIQUES CHP. 5
To set mark in and out points:
1.
Open a clip in the Trimmer.
2.
Click the Play From Start button ( ).
3.
When you get to the place where you want the edit to start (Mark In), press the key
or the key.
4.
When you get to the place where you want the clip to end (Mark Out), press the
key or the key.
If you know the exact timecode of the point where you want to create your mark in/out, you
can enter it into the boxes at the lower right part of the Trimmer window. The mark area is a
simple time selection and is bounded by the two yellow triangles surrounding a grey bar at
the top of the event. When looping is turned on, the bar’s color is blue. Once your clip has
been trimmed in the Trimmer, you can insert it into your project in a couple of ways.
• Drag-and-drop it to the timeline.
•Click the Add Media From Cursor (A) button to insert the event after the
cursor or click the Add Media Up To Cursor (SHIFT+A) button to insert the
event before the cursor.
Ripple editing (if enabled) applies to clips inserted from the Trimmer.
Placing smaller portions of an event on a track
After you have placed a media file in the Trimmer, you may select a segment of it and place
it in your project. Selecting a portion of the media file will not affect the event already on a
track. Vegas treats the smaller portion as a separate event even though it is from the same
reference media file.
To place a smaller segment into your project:
1.
Click and drag the cursor or use the Selection bar to make a time selection. The portion
of the event you want to place will be inside the selection.
2.
Click in the selected region and drag it to the timeline.
I
[
O
]
Drag from the
Trimmer... ...to a project
track
CHP. 5 ADVANCED EDITING TECHNIQUES
157
Adding regions and markers to a media file
The Trimmer allows you to add markers and regions to a media file in the same way that you
add them to your project. Media file markers and regions are different from project markers
and regions, which were described earlier in this manual. For more information, see Project
markers and regions on page 131. The difference between the two is simply that project
markers and regions affect a project, while media file markers and regions are embedded in,
and saved with, a media file.
When you add a marker or region to a media file, Vegas does not add the markers to the
project. Markers and regions that are added from within the Trimmer are only temporary.
You must save them by clicking the Save button ( ) in the Trimmer window if you want to
use them again after you close the project. After the markers and regions are added and
saved to the media file, they will be available when you open the media file in a sound editor
program or in the Vegas Trimmer.
Markers are placed at the cursor’s position. You may also place a marker on-the-fly while the
media file is playing back. Markers appear as red tags above the ruler.
A region is placed at the cursor’s position or at either end of a time selection. You may also
place a region on-the-fly while the media file is playing back. A region appears as green tags
above the ruler.
To add markers or regions:
1.
Position the cursor or make a time selection.
2.
Place the marker or region in one of the following ways:
• From the Insert menu, choose Marker or Region.
• Right-click on the Trimmer Marker bar and choose Marker or Region from the shortcut
menu.
• Press the (marker) or (region) shortcut keys.
3.
Click the Save button ( ) to save the markers and regions to the media file.
Markers and regions can be automatically saved to a media file by clicking the Options
menu and choosing Preferences and selecting Automatically save Trimmer markers and regions
with media file. Markers cannot be saved to media files with properties set to read-only in
Windows. For more information, see Project markers and regions on page 131.
Marker Region
M R
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ADVANCED EDITING TECHNIQUES CHP. 5
To fill a time selection on the timeline:
1.
Make a selection on the timeline. In this case, select the empty region between two
events.
2.
Open the media file you want to trim in the Trimmer window.
3.
Right-click the event in the Trimmer window and choose Copy Track Time From the
Cursor (or To the Cur sor). A mark in/out area is automatically created on the event in the
Trimmer window.
4.
Drag the event from the Trimmer to the timeline.
Here are some other tips on using the Trimmer:
• Drag a mark in/out region to a new location.
• Create markers by pressing the key.
• Click on a marker to instantly move the cursor to that location.
• Right-click a marker and choose Rename to annotate.
• Press the key to select the video or audio portions individually.
• Press the key to recall the last five mark in/out areas.
Opening a file in an external sound editor from the Trimmer
The Trimmer allows you to open your selected sound editing application (e.g. Sound Forge)
to preform permanent edits to the media file. After you make the necessary changes and save
the file in the sound editor, Vegas will automatically update the event using that media file.
Make sure that the media file’s name and location remain the same. For more information, see
Using an external sound editing program on page 138.
There are different ways to open the sound editor from the Trimmer when it is active:
•Click the Open in <External Sound Editor> button ( ).
• Right-click the media file and choose Open in <External Sound Editor> from the shortcut
menu.
• Press the shortcut keys.
M
Tab
Backspace
Ctrl + E
CHP. 5 ADVANCED EDITING TECHNIQUES
159
Using the Edit Details window
The Edit Details window is only available in the full versions of Vegas Video and Vegas Audio.
The Edit Details window provides an alternate method for working with audio events,
Command markers, Markers, and Regions after they are placed in your project. The
following table displays what edit functions can be performed from the Edit Details window
and references to more detailed instructions for each edit.
In addition to editing, you may access information about the project, such as the media file’s
reference paths.
The Edit Details window may be docked in the Windows Docking Area or float on the work
space. For more information, see Docking a window on page 342.
Viewing the Edit Details window
This window displays a database for all of the media in your project. It shows information
about how the files are being used and allows you to modify many of those properties. You
may sort, add or change information, rearrange columns, and edit items in the project.
To view the Edit Details window, choose Edit Details from the View menu or press the
shortcut keys.
The Show drop-down list allows you to view categorized project information.
Event editing Markers Regions Commands
Moving along timeline
(pg. 93)
Moving along
timeline (pg. 131)
Moving along
timeline (pg. 133)
Moving along timeline (pg. 137)
Changing active take name
(pg. 152)
Adding a name
(pg. 131)
Adding a name
(pg. 133)
Selecting a command type (pg. 138)
Using Switches (pg. 154) Setting the parameters (pg. 138)
Setting Snap offset
(pg. 142)
Adding reference comments (pg. 138)
Alt + 4
Use the scroll bar to view other columns in the window.
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ADVANCED EDITING TECHNIQUES CHP. 5
Events
The Events category displays information about all of the events in your project. You may
sort any of the information by clicking on a column’s header. The number of columns in the
Events category requires that you use the scroll bar to view them all. Right-click an event
entry to display a shortcut menu.
The following table explains each column and describes its function.
Column Description Edit function
Track Displays the track number where
the event is located.
Move the event to a different location by entering a different track
number (pg. 93).
Start Displays when on the timeline the
event starts playback.
Enter a different value to cause the event to begin playback sooner or
later in the project (pg. 93).
Length Displays the total length of the
event.
Enter a different value to increase or decrease the event’s playback
time.
End Displays when on the timeline the
event ends playback.
Enter a different value to cause the event to end playback sooner or
later in the project (pg. 93).
Number of Takes Displays the amount of recorded
takes “contained” in the event.
This column may not be edited it is for informational purposed.
However, you may work with recorded takes outside the Edit Details
window (pg. 234).
Active take Name Displays the event’s current name. Enter a different name (pg. 152).
Take Start Displays the offset into the source
media file when the placed event
begins playback.
Enter a different value to cause the take to playback sooner or later
from the source media file.
File Path Displays the path of the event’s
media reference file.
Enter a new media file reference path for the event to use.
Select Displays whether or not the event
is selected in the project.
Toggle the event’s selection by clicking the check box: a check mark in
the box indicates that the event is selected (pg. 111).
Mute Displays whether or not the event
is muted.
Toggle the event’s mute switch by clicking the check box: a check
mark in the box indicates that the event is muted (pg. 164).
Right-click
shortcut menu
CHP. 5 ADVANCED EDITING TECHNIQUES
161
Selected Events
The Selected Events category is visually identical to the Events category
except that the Edit Details window only displays information about
selected events in your project.
Markers
The Markers category displays information about markers that are already
placed along the project’s timeline. This category displays two columns: the markers position
along the timeline and the marker’s name. Both columns can be edited. Right-click a marker
entry to display a shortcut menu. For more information, see Working with markers on page 131.
Regions
The Regions category displays information about regions that are already placed along the
project’s timeline. This category displays four columns: each region’s start position, name,
length, and end position on the timeline. Enter a different value in the Start, Length, and
End column to edit a specific region. The name may also be changed. Right-click a marker
entry to display a shortcut menu. For more information, see Working with regions on page 133.
Loop Displays whether or not the event
is looped for playback.
Toggle the event’s loop switch by clicking the check box: a check mark
in the box indicates that the event is looped for playback (pg. 165).
Lock Displays whether or not the event
is locked.
Toggle the event’s lock switch by clicking the check box: a check mark
in the box indicates that the event is locked (pg. 165).
Normalize Displays whether or not the event
is normalized.
Toggle the event’s normalize switch by clicking the check box: a check
mark in the box indicates that the event is normalized (pg. 166).
Snap Offset Displays when in the event the snap
to offset is positioned.
Enter a different value to change the snap to offset position in the
event (pg. 142).
Change the
Marker’s time
line position
Change or enter a Marker name
Change or enter a Region nameChange start, length, or end
position of a specific regions
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ADVANCED EDITING TECHNIQUES CHP. 5
Commands
The Commands category displays information about Commands that are placed along the
project’s timeline. This category displays four columns: the command’s position along the
timeline, the command type, its parameters, and any comments that were entered when the
command marker was place in your project. Right-click a marker entry to display a shortcut
menu. For more information, see Working with command markers on page 135.
Customizing the Edit Details window
The Edit Details window allows you to arrange and delete columns from each category and
display and save the changes to a personal template. Vegas has one template from which you
may create your own display options. All Fields Display is the default.
To customize the Edit Details window:
1.
From the Show drop-down list, choose the category that you want to customize.
2.
Click and drag a column’s header to the new position. The cursor will change to a column
icon ( ) as you move the column. If you want to remove the column so that it will not
display, drag the icon off the Edit Details window. Release the mouse to drop the column
in its new position.
3.
The Template drop-down name changes to “Untitled”. Enter a new name in the
Template drop-down.
4.
Click the Save button ( ) on the Edit Details window to save the custom display.
You may delete a custom display by selecting it from the template drop-down list and
clicking the Delete button ( ).
Change the
command’s
timeline
Change the
command type
position
Change the command’s
parameters Change or enter
comments for
reference
CHP. 6 EVENTS
CHAPTER
163
Events
Events are windows into media files in a project and are the most basic unit of editing in
Vegas. Media files that are inserted into the timeline are automatically contained within an
event. Trimming and editing an event does not affect the source media file in any way.
Accessing event properties
The properties of an event are automatically determined by Vegas and are based on the
properties of the source media file. These properties include frame rate and size for video and
pitch shifting and normalization for audio. Some of these properties can be manually
changed.
To view an event’s properties:
1.
Right-click the event to display a shortcut menu.
2.
From the shortcut menu, choose Properties. The Event Properties dialog will appear.
The first tab in the dialog contains the properties that are exclusively Vegas related. The
second tab, the Media tab, contains many properties that are an inherent part of the media
file itself. Although it is unnecessary to change these properties in most situations, there
may be times when the advanced settings need to be altered.
6
164
EVENTS CHP. 6
Event switches
Event switches are important functions that are used to determine the basic behavior of
events in Vegas. Switches may be accessed from the Edit menu by choosing Switches to
display its submenu or you can right-click a selected event and choose Switches to display its
shortcut menu, or open the Event Properties dialog and select the switches there. Switches
may be applied to a single event or to multiple events at the same time.
To use an event switch:
1.
Right-click on an event.
2.
From the shortcut menu, choose Switch and then
choose the specific switch from the submenu.
Switches can also be applied by selecting an event and,
from the Edit menu, selecting Switch to display the
submenu, and then choosing the specific switch. Active
switches have a check mark next to them. Click an
active switch on the menu again to turn it off.
Audio event switches:
•Mute prevents the event from playing back.
•Lock prevents the event from being moved on the timeline.
•Loop allows you to extend the event along the timeline (in a loop) by dragging the right
edge of the event. Vegas loops the entire event, not just the displayed portion.
•Normalize maximizes an audio event’s volume without clipping.
Video event switches:
•Mute prevents the event from playing back.
•Lock prevents the event from being moved on the timeline.
•Loop allows you to extend the event along the timeline (in a loop) by dragging the right
edge of the event. Vegas loops the entire event, not just the displayed portion.
•Maintain Aspect keeps a video event’s relative dimensions constant (e.g. 4:3).
•Resample forces Vegas to redraw (re-render) a media file, which may solve some problems.
Muting an event
You may mute an event to prevent it from playing back. Mute may be applied to one or more
selected events. When you switch an event to mute, the Switch submenu displays a check
mark indicating that Mute is enabled. The event remains muted until you disable the switch.
CHP. 6 EVENTS
165
Locking an event
You may lock an event to prevent it from being moved or edited. A lock switch may be
applied to one or more selected events. When you switch an event to lock, the Switch
submenu displays a check mark indicating that Lock is enabled. The event will remain
locked until you disable the switch.
Multiple events can also be locked in this way. For more information, see Selecting multiple
events on page 111.
Looping an event
You may loop an event so that you can extend it along the timeline by dragging the right
edge of the event. Loop may be applied to one or more selected events. When you switch an
event to loop, the Switch submenu displays a check mark indicating that Loop is enabled.
The event will remain looped until you disable the switch.
Notches appear in the top of the event to mark where the media in the event ends and then
repeats.
Selected event
before mute Selected event after
mute is applied
Selected event
before lock Selected event after
lock is applied
Selected event
before loop Selected event after
loop is applied Drag the right edge
to extend the event
looping notches
166
EVENTS CHP. 6
Looping is slightly more complex for video events. When looping is off, the last frame will
be repeated for the duration of the event beyond its original length, creating a freeze frame
effect, as in the middle example. The event in the last example below is looped three times.
Each repetition is noted by a notch in the event.
Normalize (audio only)
You may normalize an event to maximize its volume, based on the waveform’s highest peak,
without clipping the event during playback. Normalize may be applied to one or more
selected events. When you switch an event to normalize, the Switch submenu displays a
check mark indicating that Normalize is enabled. The event will remain normalized until
you disable the switch.
Recalculating the normalization
When you normalize an event, Vegas analyzes the event and raises the volume based on the
waveform’s highest peak and then adjusts the rest of the event accordingly. There may be
times when you have adjusted the edge of an event to exclude the (formerly) highest
waveform peak. In this case, you may want to recalculate the event’s normalization.
The original three frame clip.
Looping is off. The elongated event repeats (freezes) the final frame.
Looping is on. The entire event repeats.
notch
Selected event
before normalize Selected event after
normalize is applied
CHP. 6 EVENTS
167
To recalculate the normalization:
1.
Right-click the event to display a shortcut menu.
2.
From the shortcut menu, choose Properties. The Event Properties dialog opens.
3.
Click Re-calculate to normalize the event again.
Note:
You may set the maximum decibel level
used by Vegas to calculate the event during
normalization. For more information, see
Setting the Normalize peak level on page 364.
Maintain aspect ratio (video only)
Video and image files of various sizes and formats can be included in a single project. The
project itself may have a different frame size aspect ratio from the source media files. This is
not a problem, but you must specify how Vegas handles these differences. If the length-to-
width ratio between the source media and the project’s frame size are the same (e.g. source
media at 320x240 and project frame size of 640x480), no aspect ratio distortion occurs. If
Highest peak used
for normalization
Highest peak used
for recalculating the
normalization
Event edited after
normalization
before editing
168
EVENTS CHP. 6
the ratios are not the same, the source material may become distorted (stretched or
squashed). By maintaining the aspect ratio of the original, Vegas will keep the video from
becoming distorted by letterboxing around the edges. This is the default setting.
Resample (video only)
Resampling allow Vegas redraw or re-render a video file and possibly to interpolate frames in
an event when the frame rate of a media file is significantly different from the project’s frame
rate. This may solve some interlacing problems and other jittery output problems. For more
information, see Resampling on page 258.
Event switches in the Event Properties dialog
Event switches may also be applied via the Event Properties dialog.
To apply a switch from the Event Properties
dialog:
1.
Right-click the event to display a shortcut menu.
2.
From the shortcut menu, choose Properties. The
Event Properties dialog opens.
3.
Select the check box(es) of the switch(es) that
you want to apply to the event.
The *.bmp media file in this
example is 320x100, while the
project is set to 320x240.
CHP. 6 EVENTS
169
Event switches in the Edit Details window
The Edit Details window is only available in the full versions of Vegas Video and Vegas Audio.
Event switches may also be toggled on and off in the Edit Details window. To view the Edit
Details window press + or, from the View menu, choose Edit Details.
Audio event envelopes (ASR)
You may apply envelopes to individual events. Envelopes, also known as ASRs (attack,
sustain, and release), give you the ability to control an audio event’s volume or a video
event’s opacity. The fade-in, fade-out, and overall level of the event may be also controlled.
Track envelopes affect the entire track. Event envelopes can be applied to video and
transition events, although there are different types of envelopes for each.
When you place an event into your project, Vegas adds handles that are used to set the
envelope. As you use these handles on audio events, a volume line appears indicating how
the event is being affected. The waveform also graphically displays the volume change.
Setting an audio event’s volume
When you place the mouse pointer at the top of the event, the pointer changes to a hand
cursor ( ) that you may use to lower the event’s overall volume.
To set the event’s volume:
1.
Place the mouse pointer at the top of the event.
2.
When you see the envelope cursor ( ), drag the
volume line to the desired level. As you drag the
volume line down, Vegas displays the event’s decibel
level.
Alt 4
switches
Volume line
Envelope
handles
Volume line
Decibel level
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EVENTS CHP. 6
Setting an event’s fade in and out
The event handles allow you to affect an audio event’s fade in and out volume and a video
event’s opacity. The type of curve that the event uses to control the volume’s fade in or out
can also be changed.
To set the event’s fade in or out:
1.
Place the mouse pointer on a handle and the pointer changes to the envelope cursor
().
2.
As you drag the cursor, the volume line appears. Vegas displays both the time in the event
when the volume will be maximized and its decibel level.
Changing the event’s fade curve
You can set the shape of the fade curve (fast, linear, or slow) that an event uses to raise or
lower the volume over time.
There are two ways to access the fade curve types:
• Right-click anywhere in the event’s fade-in or -out region and select Fade Type.
• When the envelope cursor ( ) is displayed, right-click to display the shortcut menu.
Time and
decibel
Volume line
Fade in Fade out
Volume line
Time and
decibel
Fade in curves Fade out curves
Fast
Linear
Slow
CHP. 6 EVENTS
171
Video event envelopes
Video event envelopes are only available in the full versions of Vegas Video.
Envelopes are a method of controlling some of the attributes of an event over time. Video
envelopes include Opacity and Velocity. Envelopes appear as blue or white lines on an event
and can be controlled by creating and dragging edit points.
Opacity envelopes
Video event Opacity envelopes are
analogous to audio event ASR
envelops. While an ASR envelope
controls the volume of an event as it
fades in and out, Opacity envelopes
fade video events in and out over
whatever is in the background. To
use an Opacity envelope, move the
cursor over the small blue triangles
in the upper corners of an event.
When the cursor changes ( ),
drag the Opacity envelope inward.
This affects the transparency of the
event, allowing it to fade in over a
background. This background can
be another video event or a
background color.
Velocity envelope
Velocity envelopes are only available in Vegas Video.
Velocity envelopes are used to change the speed of a video event over time.
To view a Velocity envelope:
1.
Right-click on the event and select Insert/Remove Envelope.
2.
From the submenu, select Velocity.
When combined with points (nodes), envelopes can be used to animate a fade in (or out).
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EVENTS CHP. 6
To add and adjust a point (node):
1.
Double-click on the envelope where you want to add a point.
2.
Drag the point vertically to adjust it.
3.
Right-click the envelope between the two points and select Linear,
Fast, or Slow to set the shape of the curve.
The envelope between the points is a straight line by default. In the
example above, the Fade to Color envelope smoothly curves upward.
This creates a very smoothly animating fade effect. To delete a point, right-click the
envelope and select Delete.
To change the speed of a video event:
1.
Right-click the event and choose Insert/Remove Envelope.
2.
From the submenu, choose Velocity. The Velocity envelope appears on the event as a blue
line.
3.
To increase the speed, drag the line up. To slow the video down, drag the line down.
4.
Double-click the line to add a point (node). Drag a point to change its position.
Points (nodes) are essentially
keyframes, and the blue envelope line
represents the interpolated values
between two points. For more
information, see Keyframe animation on
page 305. Points can then be dragged
to vary the speed of the video over
time. Making a video play at twice its
normal speed will make the duration
of the video half as long. Likewise, slowing a video down will make it longer (with 0% being
an infinite freeze frame). The video event, as inserted into your project, has a specific
duration that will not change. Therefore, if you decrease the speed of a ten-second video
event by 50%, only five seconds of video will still be shown (played over the course of the
ten-second event), meaning that only half as much actual footage from the original event
will play. On the other hand, if the speed is increased 200%, the ten seconds of contents will
play in only five seconds. The remaining five seconds of the event will be filled either with a
freeze of the last frame or with ten additional seconds of video content from the longer file.
To remove an envelope and all of its settings, right-click the envelope and select Reset All
from the shortcut menu. It may be important to resample the frame rate of an event that has
been significantly slowed. To resample an event, right-click the event and choose Properties.
Then, on the Video Event tab, choose Resample the video. For more information, see Event
properties on page 257.
points
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Reversing a video event
Setting the velocity to a negative value reverses the video, working backwards from the
point where the negative value occurs. Video events can only be reversed if there is media to
reverse: an event cannot be reversed back before the beginning of a media file. An event
that has been reversed will play backwards until it gets to the first frame and will then hold
that frame for the duration of the event.
To reverse an event:
1.
Right-click the event and choose Insert/Remove Envelope.
2.
From the submenu, choose Velocity.
3.
Trim the beginning of the video event to the place where you want the reversal to begin,
e.g. the last frame in the media file that you want to play if it were playing forward. See
the example below.
4.
Drag the velocity down to -100% for a normal speed reversal.
This procedure reverses the actual media file, starting with the first frame of the trimmed
event, and playing backwards from that point.
This is the original, untrimmed, event. The horses run from left to right.
The event is edge trimmed to the frame where the reversal will begin.
The Velocity envelope is added and set to -100%. The thumbnails reflect the change and the horses
now run backwards. The event can now be repositioned to fit the project.
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EVENTS CHP. 6
Envelope Edit Tool
While envelopes can be edited while in Normal Editing mode, you can limit your editing to
envelopes only by clicking the Envelope Edit tool ( ) button or, from the Edit menu,
choose Editing Tool and then choose Envelope. Events cannot be moved, trimmed or
otherwise modified in this mode, protecting your project from unwanted changes.
Grouping events
Vegas allows you to group events together within tracks or across separate tracks. Once a
group is created, all the events within it may be moved together as a unit and have event-
specific edits applied at the same time.
You may still edit properties of individual events within a group without affecting the other
events in a group.
Creating a new group
Grouping is useful when you want to preserve timing of events and move them together
along the timeline.
To create a new group:
1.
Select the events you want to group. Press the key, the key, or the Selection
Edit tool ( ) to select them. For more information, see Selecting multiple events on page
111.
2.
After the events are selected, you may group them in one of three ways:
•From the Edit menu, choose Group to display a submenu and then choose Create New.
• On one of the selected events, right-click to display a shortcut menu. From the shortcut
menu choose Group and then, from the submenu, Create New.
• Press to create the group.
To add a new event to an existing group:
1.
Select an event in the existing group.
2.
Right-click the event and choose Group | Select All to select all of the members of the
group.
3.
Press the key and click on the event to be added to the group.
4.
Right-click the event and select Group | Create New.
Ctrl Shift
G
Ctrl
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Note:
Events can only be in one group at a
time. Adding an event to an existing group
essentially deletes the old group and creates a
new one that includes all of the selected events.
Removing events from a group
Individual events may be removed from a group without affecting the other members of the
group. The event you are removing from the group is not deleted from the project and
remains on the timeline.
To remove an event from the group:
1.
On the event you want to remove from the group, right-click to display a shortcut menu.
2.
From the shortcut menu, choose Group and then choose Remove From on the submenu.
The event will be removed from the group. The rest of the grouped events remain intact.
Clearing a group
You may ungroup all events by clearing the entire group. Clearing a group does not delete or
remove events from your project and they remain on the timeline.
To clear a group:
1.
Right-click one of the members of the group.
2.
From the shortcut menu choose Group and, from the submenu, choose Clear or press
+ shortcut keys.
Selecting all members of a group
While grouped events move together, selecting one member of a group does not
automatically select every member of that group. To select all members of a group:
• Right-click one of the members of the group and, from the shortcut menu, choose Group
and then choose Select All.
• or press + shortcut keys.
Temporarily disabling grouping
The grouping behavior of all groups (including video media files with included audio
streams) in Vegas can be temporarily disabled by clicking the Ignore Event Grouping ()
button.
Ctrl U
Shift G
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CHP. 7 TRACKS
CHAPTER
177
Tracks
Tracks contain the media events on the timeline of a project. There are two types of tracks:
video and audio. Each type of track has its own features and controls. While tracks can be
organized and mixed in any order, track hierarchy can be important in determining the final
output, especially for video. Because tracks are containers for events, effects and filters that
are applied to a track apply to every event in that track.
Video compositing and multiple video tracks are only available in Vegas Video and is limited in Vegas
Video LE.
Working with Tracks
Understanding and managing tracks is fundamental to multimedia editing in Vegas. At the
start of a new project that does not yet contain any tracks, when you add an event to your
project by double-clicking it from the Explorer window, Vegas automatically creates a new
track and places the event on it. Otherwise, the new event is added to the existing track that
has the focus of the program.
Adding an empty track
You can also add empty (eventless) tracks to a project. These tracks can be used to directly
record into or serve as placeholders for specific media that you will add later. For example,
you may want to create an empty track and then record a voiceover directly into a project.
To add an empty track:
1.
Place the mouse pointer in either the Track View or the Track Header.
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Insert Audio Track or Insert Video Track.
7
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Alternatively, you may add an empty track from the Insert menu by choosing Audio Track
() or Video Track ( ). Vegas creates and adds an empty track at the
bottom of the Track List.
Duplicating a track
You may duplicate a track in your project including all of the events contained on it. When
a track is duplicated, it is placed directly below the original track. Other existing tracks are
moved down on the Track Header. You may duplicate one track or choose multiple tracks to
duplicate at a time.
To duplicate a track:
1.
Click the track that you want to duplicate to select it. To select multiple tracks, click each
one while holding either the key to select adjacent tracks, or the key to select
nonadjacent tracks.
2.
Right-click and choose Duplicate Track from the shortcut menu.
Deleting a track
You may delete a track from your project and all of the events contained on it. You may
delete one track or choose multiple tracks to delete at a time.
To delete a track:
1.
Click the track that you want to delete to select it. To select multiple tracks, click each
one while holding down either the key to select a range of adjacent tracks, or the
key to select discontinuous tracks.
2.
Right-click and choose Delete from the shortcut menu or from the Edit menu, choose
Delete.
Right-click to
view pop-up
menu
Ctrl + Q
Ctrl + Shift + Q
Shift Ctrl
Shift
Ctrl
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Naming or renaming a track
Every track in your project has a Scribble Strip where you can type a name for the track. The
track name may be up to 255 characters long. If the Scribble Strip is not visible, you may
need to increase the height of the track by dragging the track’s edge to reveal it. When a
track’s view is minimized, the Scribble Strip is not displayed.
To name or rename a track:
1.
Double-click the Scribble Strip and enter a track name or right-click the on the track to
display a shortcut menu. Choose Rename from the shortcut menu. Any existing name is
highlighted on the strip. Type the new track name.
2.
Press the key to save the track’s name.
Organizing tracks
Vegas is flexible in how tracks can be organized. Tracks may be rearranged and sized to fit
your particular needs.
Reordering tracks
When you create tracks, Vegas arranges them in the order that they were added. It is a
simple process to reorder tracks to fit your needs. You may reorder one or more tracks at a
time.
Note:
Track hierarchy can be critical in video
compositing. For more information, see
Compositing on page 285.
To move a track:
1.
On the Track Header, place the mouse pointer on the track that you want to move.
2.
Drag the track to the new position in the Track Header.
Double-click and type the name
If the track already has been
named, you will see the previously
entered name.
Enter
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Changing track color
When you add a track to Vegas, a color is
automatically assigned to the track. This color is
easily changed. This feature is useful if you want
to organize similar tracks together. For example,
you may want all of your background vocals to
have a different color from your lead vocals or
have a single color for all overlay tracks. The
color is applied to the Track Header number and
to the background of all events in that track.
To change a track’s color:
1.
In the Track Header, right-click on a track to
display a shortcut menu.
2.
From the shortcut menu, choose Track Color to
display a submenu.
3.
From the submenu, select a color.
Changing track height
There are two ways to control track height in your project: using the minimize and maximize
buttons or dragging the bottom edge.
Track height is changed by clicking the View buttons ( , , ) on the track. Alternatively,
press + or + to view different track-height scenarios. The shortcut
keys affect all tracks in your project and make them all the same height.
Click Track height Shortcut keys
(tilde)
+
+
~
Shift ~
Ctrl ~
Ctrl + Shift Ctrl + Shift
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Resizing a track
Tracks can be resized by dragging the bottom or the right border. Place the mouse pointer at
the bottom of the track. The pointer turns into an up/down arrow ( ). Click and drag
while moving the arrow up/down. Release the mouse to set the desired track size. The width
of the Track Header can also be resized in a similar way.
Track Headers
Each track in your project has its own controls, faders, and sliders that are contained in the
Track Header on the left side of the track. You can work with these controls to affect the
event(s) that are contained on the track.
Using the audio track fader
This fader controls the volume of the events on a particular audio track. The fader’s range is
-.inf to 12dB. To adjust the fader, drag it to the desired volume level. As you drag the fader,
you will see the volume level displayed to the left of the fader. Double-clicking the fader will
reposition it to 0.0 dB.
Note:
Press the Ctrl key while dragging or use
the mouse wheel for finer control of the fader.
You may also move the fader by clicking it and
using the right or left arrow keys on the
keyboard.
Muting a track
The Mute button ( ) on the Track Header temporarily disables playback of the track, so
you can focus on another track’s event(s). When a track is muted, it appears grayed out on
the Track View. You may mute more than one track at a time.
To mute a track, click the Mute button. Click it again to restore the track.
Double-click the fader
to reset to 0.0dB.
Click and drag left Click and drag right
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Muting all audio or video tracks
You can also mute all tracks in a project by type: either audio of video. From the Options
menu, choose Mute All Audio or Mute All Video.
Soloing a track
The Solo button is not available (and is not necessary) on video tracks in versions of Vegas other
than Vegas Video that only contain one or two video tracks.
The Solo button ( ) on the Track header isolates a track’s events for playback and mutes the
other non-soloed tracks. This allows you to focus on a track’s contents without the
distraction of other tracks. When you solo a track, the other tracks will be grayed out on the
Track View. You may solo more than one track at a time.
Note:
Soloing works by type of track: audio
or video. When soloing an audio track, all
other audio tracks are muted, but the video
tracks remain active. Likewise, soloing a video
track mutes all other video tracks, while the
audio tracks remain unaffected.
To solo a track, click the Solo button on that track. Click it again to restore all tracks for
playback. Soloing works on audio and video tracks. On an audio track, it allows you to hear
a track and adjust it individually. On a video track, it can be used to isolate a track without
compositing it with other video tracks.
Audio track envelopes
Track envelopes allow you to control and animate volume and panning aspects of a
particular track over time. Volume envelopes automate the volume used for events on a
track, auxiliary bus, assignable FX send, or all at the same time. A panning envelope
automates the panning aspects used for events on a track.
Note:
Video track envelopes are related to
audio track envelopes. For more information,
see Video track envelopes on page 186.
CHP. 7 TRACKS
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Adding a volume or pan envelope
The type of volume or pan envelope that you add will determine what Vegas component’s
volume is automated. You may add volume or pan envelopes to tracks, auxiliary busses, and
Assignable FX sends. A volume envelope can be added to one or to all components at the
same time. You can distinguish the volume envelopes by their color. Panning envelope lines
are red.
To add a volume or pan envelope:
1.
Select the track where you want to add the audio track envelope. Multiple tracks may be
selected.
2.
From the Insert menu, choose Audio Envelopes and then choose Volume (or press the
key) or choose Pan (or press the key).
Adding envelope points
Once an envelope is placed, you may add points to it. These points will be used to move the
envelope line so that volume or panning changes will be smoothly automated.
To add envelope points:
1.
Place the mouse pointer on the envelope’s
line. The mouse pointer changes to a hand
icon ( ).
2.
Right-click and choose Add Point from the
shortcut menu or double-click to add an
envelope point. A square point appears on
the envelope line.
Envelope type Color
Track Blue
Auxiliary bus Magenta
Assignable FX send Green
V
P
Volume envelope line
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TRACKS CHP. 7
Deleting envelope points
Points may be deleted by right-clicking the point and choosing Delete from the shortcut
menu. All envelope points may be deleted by selecting Reset All from the shortcut menu.
Moving envelope points
Once the envelope
point
s have been added, you may raise and lower them to different
decibel (dB) levels along the timeline to automate the track’s volume or change the
percentage of the pan. You may move one point at a time, even during playback and listen to
the results in real time. Also, you may set the type of fade curve between each envelope
point.
To move an envelope point:
1.
Place the mouse pointer on an envelope point. The pointer changes to a hand icon ( ).
2.
Drag the points to the desired position. As you move an envelope point, a ToolTip
displays both the point’s location on the timeline and its decibel level/percent pan.
3.
Click the Play ( ) or the Play From Start ( ) buttons to play back the project and
check the timing of the envelope.
Note:
You may also set the value of the point
by right-clicking an envelope point and
choosing a setting from the shortcut menu or
choose Select All from the shortcut menu to
raise or lower all points on the envelope.
Changing the envelope fade curves
Between each envelope point, you may set the type of fade curve: fast, linear, or slow. From
the selected envelope point, fade curves are applied to the volume lines that occur later on
the timeline.
To set the audio track envelope fade curve:
1.
Right-click on a point to display a shortcut menu.
You can only set one point
at a time or use the Envelope
tool to select and move
multiple points at a time.
Or
CHP. 7 TRACKS
185
2.
From the shortcut menu, choose the curve type. Curve types are applied to volume lines.
Hiding the audio track envelopes
After you have set your envelopes on the tracks, you may hide them from the Track View.
Hiding audio track envelopes does not affect playback. The points that you set still automate
the volume, even though they will not be visible.
To hide an audio track envelope:
1.
From the View menu, choose Show Audio
Envelopes. A submenu appears. There will be a
check mark next to the envelopes that are
currently displayed.
2.
From the submenu, click an envelope name
with a check mark next to it. All envelopes in
your project of that type will no longer appear
in the Track View.
Removing audio track volume envelopes
When an envelope is removed, the events on the track will no longer have automated
volume control and the envelope line will also no longer be displayed.
To remove an audio track envelope:
1.
Select a track.
1.
From the Insert menu, choose Audio Envelopes. A submenu appears. There will be a
check mark next to the envelopes that are currently displayed.
2.
From the submenu, click an envelope name with a check mark next to it. All envelopes
in your project of that type will be removed.
Note:
When you remove an audio track
envelope from a track and then add it again, all
volume points will be reset.
Fast fade
Slow fade
Linear fade
You may have more than one
type of fade curve on an envelope.
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Video track envelopes
Video compositing, multiple video tracks, Composite Level envelopes and Fade to Color envelopes
are only available in Vegas Video.
Composite Level envelopes
The Composite Level envelope determines the opacity/transparency of the video track and
has a similar effect to the Composite Level slider. To use a Composite Level envelope, right-
click on a blank portion of a track, select Insert/Remove Envelope and choose Composite
Level. A blue envelope line appears across the top of the track. This affects the transparency
of a track, allowing it to fade in over a background. The entire line can be dragged up or
down, or points (nodes) can be added to the envelope to animate the opacity over time.
Fade to Color envelopes
Fade to Color envelopes for a track are used to control the fading of a track to a particular
color. Conservatively, it can be used to fade a track to black. Two specific colors can be
chosen to fade to: Top and Bottom. Which of the two colors is chosen by moving the
envelope towards the top or bottom of the track. The color that the track fades to is chosen
by right-clicking on a track and, from the Fade Colors submenu, choosing Top or Bottom.
Like other envelopes in Vegas, points (nodes) can be added to animate the fade.
To view a video envelope (Fade to Color):
1.
Right-click a blank portion of a track and select Insert/Remove Envelope.
2.
From the submenu, select either Fade to Color.
When combined with points (nodes), envelopes can be used to animate a fade in (or out).
To add and adjust a point (node):
1.
Double-click on the envelope where you want to add a point.
2.
Drag the point vertically to adjust it.
3.
Right-click the envelope between the two points and select Linear,
Fast, or Slow to set the shape of the curve.
The envelope between the points is a straight line by default. In the
example above, the Fade to Color envelope smoothly curves upward.
This creates a very smooth fade effect. To delete a point, right-click the envelope and select
Delete.
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Envelope Edit tool
Envelopes can also be edited by using the Envelope Edit tool. To use this tool, click the
Envelope Edit tool button ( ) on the toolbar. The advantage of switching to this tool to
edit envelopes is that events cannot be moved when this tool is selected, thereby protecting
them from changes. This effectively locks all of the events and effects in a project while the
various envelopes are being modified.
Locking envelopes to events
Track envelopes extend for the length of a track and are independent of the events on the
track. This means that the envelope remains in place when you move the events in the
track. Carefully adjusted track envelopes can be set to move with the underlying events,
thus preserving this timing. To lock all of the envelopes in a project to the events they are
contained in, click the Lock Envelopes to Events button ( ) on the toolbar or, from the
Options menu, choose Lock Envelopes to Events. The lock can be toggled off by clicking the
button again.
Rendering to a new track
Rendering or mixing multiple tracks to a single track can be a good method of decreasing
the complexity of a project and speeding up future renders. The original tracks and their
events are unaffected when you render (mix) to a single track.
Multiple video tracks are only available in Vegas Video.
Typically, you would use this feature when you are finished refining a few tracks and want to
combine them. When you render multiple tracks, any envelope or track effects that you
have applied will be rendered into the newly rendered track. The original source files remain
unaffected and the new track(s) will be saved to a new file.
Note:
Every video render results in a loss of
quality from the original source material. The
number of video renders performed should
therefore be minimized.
To mix multiple tracks to a single track:
1.
Select the tracks that you want to combine. Multiple video tracks will be combined into a
single video track. Multiple audio tracks will be mixed to a single stereo audio track. To
mix specific events, make a time selection.
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TRACKS CHP. 7
2.
From the Tools menu, choose Render to New Track or press the shortcut keys. The
Render to New Track dialog appears.
•From the Save in drop-down list, select the drive or folder to save the new media file.
• Type a new media file in the File name field.
•From the Save as type drop-down list, choose the file format (e.g. *.wav for audio or
*.avi for video).
•From the Te m p l a t e drop-down list, choose an audio format from the template list.
• Select Render loop region only if you only want to render the time selection area.
3.
Click Save to render to a new track.
As the tracks are being rendered (mixed down), a small dialog appears displaying the
progress of the render. A status bar also appears in the lower-left portion of Vegas.
Note:
You may cancel the rendering process
by clicking the Cancel button or ( ) on the
status bar.
After Vegas render the new track, it will appear at the bottom of the Track View. If you
render the entire project, you may delete (or mute) the other tracks from the project, since
they are all contained on the new track.
Render to new track template
You may create your own templates for mixing down tracks or projects. When you create a
template you may choose its name from the Te m p l a t e drop-down list in the Mix to New
Track dialog.
To create a custom template:
1.
From the Tools menu, choose Render to New Track or press the shortcut keys. The
Render to New Track dialog will appear.
2.
Click Custom to display the Custom setting dialog. The settings that you may change are
as follows:
3.
Click the Save button ( ) to save the template or click the Delete button ( ) to
delete a selected template.
Template Enter the name of your template Sample rate Choose a rate from the drop-down list
Description Enter the template’s parameters Bit-depth Choose a bit-depth from the drop-down list
Format Choose an audio format from the
drop-down list
Channels Choose a channel option from the drop down-
list
Ctrl + M
Cancel
button
Status bar
Ctrl + M
CHP. 8 AUDIO FX
CHAPTER
189
Audio FX
The included audio FX, or plug-ins, can be used to improve the quality of the audio in a
production, or can be used as special artistic effects. Additional effects, both from Sonic
Foundry and other third-party plug-ins, can also be used. Audio effects are applied to tracks,
and to all of the events within a track, and can be routed through busses.
Multiple audio busses are only available in the full versions of Vegas Video and Vegas Audio.
Different versions of the Vegas family of products contain different varieties of effects, with the full
versions of Vegas Video and Vegas Audio containing the most complete set.
Assigning an audio track to a bus
A bus is where the various audio track signals are mixed together and output. If your project
contains multiple stereo busses, you may assign a track to a specific bus output.
Multiple audio busses are only available in the full versions of Vegas Video and Vegas Audio.
To assign an audio track to a bus:
1.
Click the Bus button ( ) to display a drop-down list of available busses.
2.
From the drop-down list, choose the bus for the track’s output.
Note:
If you only have one stereo bus in your
project, this button will not appear in the audio
track’s controls. For more information, see
Audio tab on page 359.
Select a bus
for playback
8
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Assigning an audio track to an auxiliary bus
An auxiliary bus allows you to send track signals to a secondary bus independent of the
primary bus. Auxiliary busses are used to separate signals from the rest of the project. For
example, if a musician in a studio only wants to listen to the guitar portion of the project,
you can set up an auxiliary bus for that purpose. Then the musician can play his or her part
while only listening to the guitar.
Auxiliary busses do not affect the project’s overall playback. As shown in the previous
section, the primary bus is set using the Bus button ( ) on a track’s toolbar. Setting up the
auxiliary bus works differently.
To set up an auxiliary bus:
1.
If you do not see the multipurpose slider, resize the track to display it.
2.
Click on the multipurpose slider label to display a drop-down list.
3.
From the drop-down list, choose the auxiliary bus output.
Note:
If you only have one stereo bus without
any FX sends in your project, the drop-down
list will not appear. For more information, see
Audio tab on page 359.
Adjusting the auxiliary bus volume
When you select an auxiliary bus, you will need to adjust its playback volume with the slider.
The volume of an auxiliary track is preset to -inf. dB (mute) by default. Drag the slider
handle left or right to adjust the volume.
Multipurpose
slider label
Make sure the auxiliary bus is
different from the track bus.
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Assigning audio tracks to an Assignable FX
Assignable FX sends are only available in the full versions of Vegas Video and Vegas Audio.
Plug-ins can be added as Assignable FX controls to the Mixer window. Assignable FX are
made up of one or more plug-ins that are used to add sound effects to a track’s signal. After
the signal is processed by the plug-ins, the signal is sent to the assigned bus output.
Before you can assign a track to an Assignable FX control, the control needs to be added to
the Mixer window.
To assign a track to an Assignable FX:
1.
If you do not see the multipurpose slider, expand the track to display it.
2.
Click on the multipurpose slider label to display a drop-down list.
3.
Choose the Assignable FX control that you want the track to use.
Adjusting the Assignable FX control’s volume
When a track is assigned to an Assignable FX, its volume may be adjusted with the
multipurpose slider. The Assignable FX volume is preset to -inf. dB (mute) by default.
Multipurpose
slider label
Select the Assignable FX
from the drop-down list
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AUDIO FX CHP. 8
Setting up to record into audio tracks
Vegas allows you to record into single or multiple audio tracks. You may record into tracks
that are empty or into tracks that already contain events.
Before recording into a track, the track needs to be armed. Setting up a track for recording is
done by clicking the Arm for Record button ( ) on the track. After this button is clicked,
a meter appears on the Track Header displaying the level of the input.
For more information, see Recording Audio on page 223.
Choosing a track’s recording device
After you have armed the track for recording, you may select the device from which you
want to record. You may also choose whether the track will record the signal in stereo, to the
left channel, or to the right channel. For more information, see Assigning tracks to input devices
on page 227.
To select an input device and recording method:
1.
Click the Audio button ( ) to the left of the Record button ( ) to display a drop-down
list.
2.
From the drop-down list select the input device and recording method (Stereo, Left, or
Right).
Note:
When you select Left or Right, Vegas
will record in mono from the selected channel.
Track is ready for recording Arm the track first
CHP. 8 AUDIO FX
193
Using Audio FX
Different versions of the Vegas family of products contain different varieties of effects, with the full
versions of Vegas Video and Vegas Audio containing the most complete set. Multiple audio busses
and Assignable FX are only available in the full versions of Vegas Video and Vegas Audio.
There are three ways to use audio plug-ins in Vegas: Track FX, Bus FX, and Assignable
FX.These plug-ins can be accessed by clicking the Track FX, Bus FX or Assignable FX
button ().
•Track FX are effects that are applied to all events in a single track.
•Bus FX are applied to a bus. Tracks in turn can be assigned to a bus. Since multiple tracks
can be assigned to a single bus, using bus level audio FX is an efficient method of applying
carefully customize effects and chains to multiple tracks.
•Assignable FX give you greater control over the mix of a particular effect or chain in a
project. Each Assignable FX is assigned to a single bus. In order to have the control
appear in the Mixer window, at least one plug-in needs to be selected and applied.
The mix of these various methods of applying audio FX is important to the final mix of a
project. For more information, see Audio Signal Flow on page 43.
Bus FX
DirectX compatible plug-ins or a chain of plug-ins can be added to any bus in a project.
When you add plug-ins to a bus, the track signals that are assigned to the bus will be
processed by the plug-in(s) to create the desired output. If plug-ins are assigned at the track
level (EQ or Compression, for example), the track’s signal will flow through the track’s plug-
in(s) before the bus plug-ins.
Track FX Bus FX
Assignable FX
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Assignable FX
Assignable FX are only available in the full versions of Vegas Video and Vegas Audio.
Plug-ins are used when processing your project’s signal. These plug-ins may be added to your
project as Assignable FX controls. Assignable FX controls can have a series of plug-ins
(chains) assigned to them.
To insert an Assignable FX:
1.
Click the Insert Assignable FX button ( ) at the top of the Mixer window.
2.
In the Plug-in Chooser dialog, select a plug-in.
3.
Click the Add button to add the plug-in to the chain.
4.
Click the OK button.
The Assignable FX control is added to the Mixer window along with any busses. Click the
Assignable FX button on the control to further modify the effect.
Note:
To use the Output Master Fader to
control the wet/dry mix, make sure you set
each plug-in to 100% wet. Use the Output
Master (FX return) fader to balance the dry
track signal with the wet plug-in signal.
Mute Prevents the Assignable FX from processing the track’s signal.
Input Master Fader Adjusts the signal’s incoming volume to the Assignable FX.
Output Master Fader Adjusts the signal’s outgoing volume to the Assignable FX.
Solo Plays only the output of that Assignable FX chain.
Assignable FX Displays the Assignable FX dialog and allows you to adjust their attributes.
Meter Displays the incoming and outgoing signal level to the Assignable FX.
Scribble Strip Allows you to name the Assignable FX.
Mute
Solo
Assignable FX
Scribble Strip
Input
Master
Fader
Output
Master
Fader
Bus assignment
Meter
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Routing Assignable FX to busses
When Assignable FX are added to your project, they may be assigned to a specific bus for
output. The bus will then mix the Assignable FX control’s plug-ins along with any tracks
that may be routed to the same bus.
To route an Assignable FX to a bus:
1.
Click Bus button ( ) on the Assignable FX. A sub-menu will
appear and display all the busses that are in your project.
2.
Click the bus to which you want the Assignable FX control to
be routed.
The Assignable FX control will display the bus’s letter to which
it is routed.
Adding plug-ins
A plug-in chain is a list of all of the plug-ins that have been applied to an event or track and
the order in which they have been used. A plug-in chain can contain one or more plug-ins.
The same plug-in can be added to a single track more than once.
After the plug-in chain is created, the entire track will be processed by each plug-in in order.
The plug-ins are cumulative so, in some cases, you may want to rearrange their order to
achieve the desired effect. There are two ways to create plug-ins chains: via the Plug-in
Chooser dialog and via the Plug-in Explorer window.
Adding plug-ins via the Plug-in Chooser dialog
The Plug-in Chooser dialog is accessed from the track into which you are adding the plug-in
chain.
To add a plug-in chain via the Plug-in Chooser dialog:
1.
Click the Track FX, Bus FX or Assignable FX button ( ). A few plug-ins are already
applied to a track by default, but there are no default plug-ins on a bus or Assignable FX.
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2.
On the Track FX or Bus FX dialog, click the Edit Plug-in Chain button ( ). The Plug-in
Chooser dialog will appear. This dialog displays the track number, plug-ins already in the
chain, and the plug-ins that can be added to the chain.
3.
Select the plug-ins that you want to add. The plug-ins that you add will appear in the
chain area. There are three ways to add a plug-in to the chain:
• Double-click the plug-in.
• Drag the plug-in to the chain area.
• Select the plug-in and clicking the Add button.
4.
Click OK to save the track’s plug-in chain and close the Plug-in Chooser dialog.
Adding plug-ins via the Plug-in Explorer window
The Plug-in Explorer is a dockable window that allows you to view and choose plug-ins that
may be added to a track or a bus.
To add plug-ins via the Plug-In Explorer:
1.
If the Plug-In Explorer is not displayed, press the shortcut keys or, from the View
menu, choose Plug-ins.
2.
On the Plug-In Explorer window, navigate to the Audio folder and select the FX folder.
Plug-in already contained in the chain This area displays the plug-in chain
and the order of selected plug-ins
Plug-ins that have been added to the chain
Alt + 5
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3.
Drag a plug-in directly to the track or to the bus.
Note:
You may add multiple plug-ins at the
same time when you click them while pressing
the or keys and then dragging them
to the desired track.
4.
Confirm that the plug-ins were added by clicking the Track FX, Bus FX or Assignable
FX button ( ) to view the FX dialog. The FX may be customized at this time.
Saving customized FX
Each plug-in has a number of preset settings that can be used to quickly determine the
behavior of the plug-in. There are also a number of controls within each plug-in’s dialog that
can be used to customize the effect. Any custom configurations can be saved to a new preset.
To save custom presets:
1.
Enter a preset name in the drop-down list.
2.
Set the EQ controls on each band that you want to customize.
3.
Click the Save button ( ) to save the preset.
Note:
You may delete any presets that you
have saved by selecting it from the list and
clicking the Delete button ().
Shift Ctrl
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Plug-in chains
Plug-ins are cumulative during playback. For example, when the track’s signal passes through
the EQ, it uses the EQ’s settings as it passes through the Compression plug-in, and then the
signal is sent to the next plug-in, and so on.
Because of this cumulative effect, you may need to arrange plug-ins in a certain order so that
one plug-in’s processing does not adversely affect the next plug-in on the chain. There is no
right or wrong way to order plug-ins, but some plug-ins work better when arranged in a
particular order.
To arrange the plug-in order from the Track FX, Bus FX or Assignable FX dialog:
1.
Click the Tr a c k FX , Bus FX or Assignable FX button ().
2.
On the plug-in that you want to move, right-click to display a shortcut menu and choose
Move Left or Move Right. Plug-ins can also be dragged to a new position.
3.
Once the chain’s plug-ins are in the order that you want, click anywhere outside the
Track FX dialog to close it and save the new chain order.
To arrange the plug-in order from the Plug-In Chooser dialog:
1.
Click the Tr a c k FX , Bus FX or Assignable FX button ().
2.
Click the Edit Plug-In Chain button ( ). The Plug-In Chooser dialog will appear with
the plug-in chain.
There are two ways to arrange plug-ins in your chain:
• Drag the plug-in to a new location in the chain.
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• Select the plug-in and click either the Move Left () or Move Right ( ) button.
3.
Once you arrange the plug-ins in the order that you want, click OK to save your changes
and close the Plug-In Chooser dialog.
Bypassing plug-ins on the chain
You may bypass plug-ins on the chain by clearing the check box on a specific plug-in or by
right-clicking the plug-in to display a shortcut menu and choosing Bypass. The plug-in will
remain bypassed until you enable it again. Bypassing a plug-in prevents it from being
processed on the track or bus.
You may bypass plug-ins either from the Track FX or Bus FX dialog or the Plug-In Chooser
dialog.
Removing plug-ins from a chain
Chain plug-ins may be removed from either the audio FX dialog or the Plug-In Chooser
dialog.
To remove a plug-in from the chain:
1.
Click the Track FX, Bus FX or Assignable FX button ().
2.
Select the plug-in that you want to remove.
3.
Right-click to display the shortcut menu and choose Remove.
To remove a plug-in from the chain in the Plug-In Chooser dialog:
1.
Click the Track FX, Bus FX or Assignable FX button ().
Effect bypassedEffect enabled
To enable the plug-in again, click its
check box or choose Bypass from
the shortcut menu.
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AUDIO FX CHP. 8
2.
Click the Edit Plug-In Chain button ( ). The Plug-In Chooser dialog will appear with
the plug-in chain.
3.
Select the plug-in that you want to remove and click Delete to remove it from the chain.
4.
Click OK to save the chain and close the Plug-In Chooser dialog.
Saving plug-in chains
You may save and edit the plug-in chains that you added to tracks or busses or created as
Assignable FX controls. These chains will be stored by Vegas for use in future projects. If you
use the same plug-in chains, saving them as presets is faster and more consistent than
recreating the chain manually. Plug-in chains may be saved from existing chains that are
being used in a project or as they are created for tracks, busses or Assignable FX.
The first time a plug-in chain is created, it is added as a track, bus or Assignable FX chain in
the Plug-in Chooser dialog. Once the chain is saved as presets, they may be used as either
track, bus or Assignable FX plug-in chains. Saved FX chains appear in the Plug-in Chooser
dialog.
Note:
Plug-in chains can also be saved in the
Plug-in Chooser dialog. For more information,
see Saving plug-in chains on page 200.
Saving plug-in chains
Plug-in chains may be saved as presets. Saving carefully constructed chains as presets will
save time and maintain consistency when editing a project. Saved chains retain the order of
plug-ins and the settings that have been applied.
Plug-in chains that you
have created and saved
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After the preset chain is saved, it may be applied to a track, a bus or an Assignable FX.
To save an existing plug-in chain as a preset:
1.
Click an existing Track F X , Bus FX or Assignable FX button ( ) and then the Edit
Plug-in Chain button ( ) to display the Plug-in Chooser dialog.
2.
Once the Plug-in Chooser dialog is displaying with the plug-ins on the chain area, click
Save As. The Save plug-in chain dialog will appear.
3.
Enter a name that you want to use for the preset.
4.
Click OK or press the key to save the preset.
Editing saved plug-in chains
Plug-ins on preset chains may be added, deleted, and rearranged at any time. Editing is
preformed in the Plug-in Chooser dialog.
To edit a saved plug-in chain:
1.
Click the Track FX, Bus FX or Assignable FX button ( ).
2.
From the FX dialog, click the Edit Plug-in Chain button ( ). The Plug-in Chooser
dialog will appear with the preset in the chain area.
3.
Add, delete, or rearrange plug-ins associated to the preset chain.
4.
Click the OK button or press the key to save the preset.
Note:
Click the Save As button to save the
edited chain as a preset.
Organizing your plug-ins
Within the Plug-in Chooser dialog, folders may be created to organize the plug-ins. This is
useful if third-party DirectX plug-ins are installed on your computer. These can then be
moved to the newly created folders.
Enter
Enter
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The Plug-in Chooser dialog is similar to the Windows Explorer. Only plug-ins that are
loaded on your system from the Plug-in Chooser dialog will be available.
Non Real-Time Event FX
Non Real-Time Event FX are a different method of applying audio effects in Vegas. In most
cases, event editing in Vegas is non-destructive, meaning that edits and effects are applied to
events in real-time and not to the source media file, which remain unaltered. There may be
times however when you want to create a permanent file using an effect or effects. This may
be useful in a very complicated project or when a slower computer cannot process the effects
quickly enough for a real-time preview.
To use non real-time effects:
1.
Select an audio event.
2.
From the Tool s menu, choose Audio.
3.
From the submenu, choose Apply Non Real-Time Event FX.
Delete
ViewNew
Refresh
Navigate
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4.
In the Plug-In Chooser dialog select a plug-in.
5.
Click the Add button.
6.
Click OK.
7.
In the Destructive FX dialog, set up the effect.
8.
Click the Process button ( ) to finish.
9.
In the Save As dialog, save the newly processed media file.
The new media file is inserted into the event as a take. Multiple plug-ins can be added to the
plug-in chain. Chains can be saved for future use.
Audio plug-ins
Different versions of the Vegas family of products contain different varieties of effects, with the full
versions of Vegas Video and Vegas Audio containing the most complete set.
Vegas includes four built-in audio plug-ins that you can add to your project: Equalization
(EQ), Compression, Noise Gate, and Dither. Each plug-in has its own control settings that
determine how a track is processed for final output. The tracks in your project that use the
same plug-in may be set independently of each other. For example, if you are applying
Compression to Track 1 and Track 2, each track can have different compression settings.
Note:
There is a similar Video plug-in section
later in this manual. For more information, see
Video filter dictionary on page 269.
The following sections describe each plug-in and how they affect the track.
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Equalization (EQ)
This plug-in functions as a parametric equalizer (an equalizer with “parameter” controls.)
This type of EQ gives you more control over the track’s frequencies range. When this plug-in
is added to a track, it allows you to modify the track in a four-frequency range. Each band
can be configured to control its bandwidth, rolloff, and whether it operates as a peak or a
shelving filter with full gain (volume) control.
These controls can boost or attenuate (cut) specific frequencies modifying the track’s overall
tonal characteristics. The EQ plug-in is set on the Track FX dialog, which you can access by
clicking the Track FX button ( ).
If you only want to modify one frequency range, set its controls and exit the Track FX dialog.
The other bands will not affect the track’s events.
Presets
The drop-down list allows you to automatically set the EQ controls by choosing one of the
included presets. You may also save your own custom presets for use with other tracks.
You may affect one
or all frequencies.
Select either the tab
or corresponding
number in the
frequency graph to
set a a band’s
controls.
Frequency Graph
Selected
band’s
controls
A selected band’s
number will appear red.
Click the push pin to keep
the Track FX dialog
open on the workspace
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Enable control
This control turns the effect on and off.
Band mode drop-down control
Select the band that you want to modify.
This drop-down list has three options to choose from: Low shelf, Band, and High
shelf.
Frequency (Hz) control
This control determines the high- or low-cutoff frequency depending on whether the band
mode is set to either High or Low shelf. If the band mode is set to Band, then the Frequency
control sets the center frequency level.
Gain (dB) control
This control determines the overall gain (volume) that is applied to the selected band.
Increasing the Gain control causes the frequency range to play back louder. Conversely,
decreasing the Gain control causes the frequency range to play back quieter.
Mode Description
Low shelf The low-shelf setting attenuates (cuts) or boosts frequencies by the amount you specify below the low-shelf
cutoff frequency. This setting may also function as a high-pass filter when you increase the rolloff control.
Band The band setting affects the center frequency by attenuating or boosting the frequency range around it. The
frequency range that is affected is determined by the Bandwidth control’s setting.
High shelf The high-shelf setting attenuates or boosts frequencies by the amount you specify above the high-shelf cutoff
frequency. This setting may also function as a low-pass filter when you increase the rolloff control.
Select a preset from the
list or save your own preset.
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AUDIO FX CHP. 8
Rolloff (dB/oct) control
This control is only available when Low shelf or High shelf band mode is selected. The
Rolloff filter determines the number of decibels that are reduced per octave (the filter’s
steepness).
Bandwidth control
This control is only available when Band is selected as the band mode. Bandwidth
determines the range of affected frequencies, around the center frequency, that are
attenuated or boosted by the EQ.
Compression
The Compression plug-in allows you to minimize the dynamic range and control the signal’s
volume fullness and punch. Also, you can prevent volume clipping as you increase the
signal’s volume. Therefore, the Compression plug-in is very useful during the mastering
process because you can play back the track at a higher volume and yet the sound remains
undistorted.
Controlling clipping
The Compression plug-in has two meters to monitor the input and output signals. If either
signal clips, these meters will display in red at the end with a clipping value. Adjust the
Compression controls and click the red area with the clipping value to reset the meter.
You may also reset the clip from the shortcut menu when you right-click on a meter. In
addition, you may set the meter to use a different resolution and set it to hold peaks and
valleys of the incoming or outgoing signal.
Clipping signal
Click the clipping
indicator to reset
the meter
Reset meter
with dB value
Right-click to reset clip, change meter resolution,
and set the meter to hold peaks and valleys
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Presets
The drop-down list allows you to automatically set the Compression plug-in controls by
choosing one of the included presets. You may also save your own custom presets for use with
other tracks.
Input Gain (dB) control
This control adjusts the volume level of the incoming signal. The associated meter displays
this incoming signal’s level before the Compressor plug-in processes the signal.
Output Gain (dB) control
This control adjusts the volume level of the outgoing signal. The associated meter displays
outgoing signal after the Compression plug-in processes the signal.
Reduction meter
This meter displays the level at which the Compression plug-in is lowering the signal’s
volume at any given time during playback. The Reduction meter is a good visual reference
to monitor compression values.
Threshold (dB) control
The Threshold control determines the level at which the dynamics processor begins acting
on the signal. When the signal’s level is above the threshold level, it will be compressed. A
lower threshold level means that more of the signal will be compressed. However, if the
threshold is set too low, the compressed signal may be distorted.
Amount (x:1) control
This control determines the ratio the Compression plug-in uses when processing a signal.
The ratio is determined by how many decibels the signal must rise above the threshold value
to result in a 1 dB increase in output level after compression.
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AUDIO FX CHP. 8
For example, if the Compressor plug-in is set with a 3:1 ratio and the input’s signal rises 6 dB
above the threshold value, the Compressor plug-in only allows the level to increase by 2 dB.
Therefore, the Compressor plug-in reduces the signal by 4 dB.
Note:
Levels that occur below the threshold
value are not affected by the Compression
plug-in.
Attack (ms) control
When the input signal rises above the threshold value, the Attack control determines, in
milliseconds, how quickly the Compression plug-in reaches its maximum gain reduction
value.
Release (ms) control
This control determines, in milliseconds, how quickly the Compression plug-in returns to
no compression after the signal falls below the threshold. The release time always follows the
attack time during compression.
Auto Gain Compensation control
This toggle control, when enabled, boosts the output’s signal by a constant amount. The
boost amount is based on the Threshold and Ratio setting. This control is useful for
preventing an overall level loss when compressing audio. However, even when using the
Auto gain compensation control, you should use the Output Gain control to fine tune the
output’s level.
Smooth Saturation control
This toggle control, when enabled, modifies the compression level in order to lower
pumping or breathing distortion that can occur when applying a lot of signal compression.
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Using the Noise Gate plug-in
The Noise Gate plug-in is a good way to eliminate (mask) subtle noises like tape hiss or low-
level electric hum from the signal. This plug-in has a threshold control that determines what
level of signal may pass through the gate. Signals that exist below the threshold are
prevented from passing through (the gate closes); whereas signals above the threshold are
allowed to pass through (the gate opens).
Presets
The drop-down list allows you to
automatically set the Noise Gate plug-
in controls by choosing one of the
included presets. You may save custom
presets for use on other tracks.
Threshold level (0dB to -inf.) control
This control allows you to set the signal’s threshold level. Signals below this level
will be eliminated (muted), while signals above the threshold will remain in the
output sound. If the threshold level is set too high, you may eliminate material
intended to be output.
Attack time control
This control determines how quickly the Noise Gate plug-in opens when the signal rises
above the threshold level. We recommend setting the attack time to a smaller value to
achieve the best results. If the attack time is too slow, the beginning of wanted signal may be
cutoff because the volume is rising too slowly.
Release time control
This control determines how quickly the Noise Gate plug-in closes when the signal falls
below the threshold level. We recommend setting the release time to a larger value. Larger
values cause the signal to sound more natural while it decays (fades). If the release time is
too fast, the end of wanted signals may be cutoff because the volume fades too quickly.
Select a preset from the
list or save your own preset.
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Using the Dither plug-in
The Dither plug-in is best used at the last stage when processing a signal from a higher bit
depth to a lower one. The Dither plug-in is best used as a Bus FX rather than a Track FX.
The Dither plug-in adds a low-level, random noise to the signal. This added noise is used to
mask more obtrusive noise caused by quantization. Quantization noise is the inherent
distortion that is added to a signal due to digital processing.
In addition, the Dither plug-in contains three noise-shaping algorithms. These algorithms
further hide quantization noise by pushing it to a frequency that is less sensitive to human
hearing.
Quantization depth (8 to 32 bit) control
This control determines the audio’s final target bit depth. For example, if the audio is to be
rendered to a *.wav file and written to a CD, you would want to select 16-bit. This setting
will optimize the signal’s high bit depth that is processed by the Dither plug-in. As a result,
the relatively low bit depth that is used for a signal being stored on CD will have better
quality output.
Dither depth (1/2 or 1 bit) control
This control sets the different noise levels that the Dither plug-in will add to the signal
based on the Quantization depth setting. Lower quantization bit-depths may benefit from a
higher Dither depth setting.
Noise shape type (Off, 1, or 2) control
This control lowers the signal’s noise floor by moving noise into frequencies less sensitive to
human hearing. This moving of noise is referred to as noise shaping. The frequencies to
which the noise is moved are close to the Nyquist frequency (half the sample rate of the
audio). Consequently, you should avoid using the Noise Shape control with signals with
lower sample rates. For example, a 22 kHz signal has a Nyquist frequency of 11 kHz. If you
use Noise shape on this 22 kHz signal, the noise will be moved into the sensitive area of
human hearing (11 kHz). It is recommend that the Noise Shape control only be used for
signals that are 44.1 kHz and higher.
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Additional plug-ins
Different versions of the Vegas family of products contain different varieties of effects, with the full
versions of Vegas Video and Vegas Audio containing the most complete set. Complete online Help is
available for all plug-ins.
XFX
XFX are professional level plug-ins that offer the highest level of control and are included
with the full versions of Vegas Video and Vegas Audio.
•XFX 1 DirectX plug-ins: Chorus, Multi-Tap Delay, Pitch Shift, Reverb, Simple Delay/
Echo, and Time Compress/Expand.
•XFX 2 DirectX plug-ins: Graphic Dynamics, Graphic EQ, Multi-Band Dynamics, Noise
Gate, Paragraphic EQ, and Parametric EQ.
•XFX 3 DirectX plug-ins: Amplitude Modulation, Distortion, Flange/Wah-Wah, Gapper/
Snipper, Smooth/Enhance, and Vibrato.
ExpressFX
ExpressFX are fast and easy to use plug-ins and are included with Vegas Video LE and Vegas
Audio LE.
•ExpressFX 1 DirectX plug-ins: Distortion, Flange/Wah-Wah, Reverb, and Stutter.
•ExpressFX 2 DirectX plug-ins: Amplitude Modulation, Chorus, Delay, and EQ.
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CHP. 9 USING THE AUDIO MIXER
CHAPTER
213
Using the Audio
Mixer
The Vegas Mixer is where you control the project’s audio mix. All of the bus and Assignable
FX controls appear in this window when you add them to your project.
The Mixer window and multiple audio busses are only available in the full versions of Vegas Video
and Vegas Audio.
Using the Mixer window
The Mixer is a dockable window that can be used to control various audio busses within
your project and can adjust the outgoing signal’s volume and routing.
Viewing the Mixer window
The Mixer window appears in the Windows Docking Area by default when you first start
Vegas. However, you may drag the Mixer within the workspace at any time to float it. For
more information, see Docking a window on page 342.
To hide/view the Mixer window, choose Mixer from the View menu or use the Mixer
window’s shortcut keys ( ).
Alt + 3
Toolbar
Preview Busses in project Assignable FX
9
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USING THE AUDIO MIXER CHP. 9
Using the Mixer tool bar
The Mixer’s toolbar allows you to access project properties, switch your project between
mono to stereo output, and add Assignable FX controls to the Mixer.
When you change a project from stereo to mono or vice versa, the bus faders and meters that
appear in the Mixer window will reflect the change.
Using the Mixer Preview fader
The Preview fader allows you to adjust the volume and monitor output levels of media files
when you preview them from the Explorer window or play them back from the Trimmer
window. For more information, see Using the Explorer window Transport bar on page 347.
Adjusting the volume fader
You may adjust the Preview fader while you are previewing a media file from the Explorer
window. Simply click on the fader and drag it up or down.
Button Description
The properties button accesses the project properties dialog (pg. 358).
This toggle button allows you to switch your project’s output to a stereo or mono signal.
The Assignable FX button allows you to quickly access the FX Plug-in Chooser dialog.
This dialog allows you to add Assignable FX controls to which project tracks may be
routed.
Properties
Stereo/Mono
Assignable FX
Mono bus Stereo bus
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Changing meter resolution
You may select a preferred meter resolution at which the Preview fader
will display the media file’s volume level. When you change the meter
resolution on Preview fader, the other meters (busses and Assignable FX)
automatically change to match the Preview fader.
To change the Preview fader’s meter resolution:
1.
Right-click on the meter to display a shortcut menu.
2.
From the shortcut menu, choose the meter resolution you prefer.
Adjusting for clipping
When you preview a media file from the Explorer, its volume level may be too high and
cause clipping. The clip is displayed on the Preview fader’s meter. If signal clips, the meter
will display in red at the top with the clipping value displayed in decibels (dB). Adjust the
fader and click the red area with the clipping value to reset the meter. Continue to adjust
the fader and reset the meter until clipping is eliminated.
Right-click on the Preview fader’s meter and click Reset Clip to clear the red clipping
indication. The Preview fader’s meter can be set to remember and display the highest and
lowest levels by right-clicking and selecting Hold Peaks and Hold Valleys.
Hiding/Viewing the Preview fader
You may choose to hide the Preview fader to make more room for
other busses and Assignable FX. To hide or view the Preview fader,
simply right-click anywhere within the Mixer and choose Show
Preview fader from the shortcut menu.
Clipping signal
Click the clipping
indicator to reset
the meter
Adjusted fader
with dB value and Reset meter and set the meter to
Right-click to reset clip,
change meter resolution,
hold peaks and valleys.
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Using busses
Multiple audio busses are only available in the full versions of Vegas Video and Vegas Audio.
The volume control sliders and level meters that are visible in the Mixer window are each
linked to a separate bus. A bus is a master control for a track’s audio-signal mix. Tracks can
also be assigned to play back on a specific bus. For more information, see Assigning an audio
track to an auxiliary bus on page 190. However, to assign a track to a bus, you must have more
than one bus in your project. You may add up to 26 busses to the Mixer window, which
provides power and flexibility on complex projects. A bus is the last stage in the signal’s flow
through Vegas. For more information, see Audio Signal Flow on page 43.
With Vegas busses, you control the volume level on two discrete stereo channels (unless the
project is set to mono). Each bus in your project may be muted, soloed, and assigned to use
DirectX plug-ins. In addition, you may configure each bus to use a specific hardware output.
For more information, see Routing tab on page 365.
Adding busses to the project
You may add busses at any time during the development of your project. A bus is most
commonly used as a master control for one or more tracks and to route those tracks to a
specific hardware output.
However, you may already know how you want to handle a certain project and set up the
busses prior to recording or placing media files. The number of busses that you specify are
determined by several factors that are based on your preferences. For example, you may want
to have a bus for each hardware output that you intend to use or a bus for handling DirectX
plug-ins. Remember, the number of busses in your project may be changed at any time.
Mute Prevents playback of the bus (pg. 220).
Solo Plays only the output of that bus (pg. 221).
Stereo Fader Adjusts the bus’s volume on two stereo channels (pg. 220).
Playback device Allows you to select the device that the bus will use for playback.
Edit FX Displays the Bus FX dialog and allows you to adjust the DirectX plug-in attributes.
Meter Displays the playback level of the bus (pg. 220).
Scribble Strip Allows you to name the bus. Double-click on the Scribble Strip to enter a name (pg. 221).
Mute
Solo Edit FX
Scribble Strip
Stereo fader Meter
Playback device
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Busses may be added to your project from the Project Properties Audio tab.
To add busses to your project:
1.
Access the Project Properties dialog. There are three ways to access this dialog:
• From the File menu, choose Properties.
•Click the Project Properties button ( ) on the Mixer window on the Toolbar.
• Press the + shortcut keys.
2.
Click the Audio tab.
3.
In the Number of stereo busses box, enter the desired number of busses (up to 26) that will
appear in the Mixer window. The busses will be labeled with letters in alphabetical order.
4.
Click OK to add the specified number of busses and close the Project Properties dialog.
Deleting busses from the project
You may remove busses from your project at any time. When you remove a bus from a
project, any tracks assigned to it will be reassigned to the previous bus in the Mixer window.
For example, if you have tracks assigned to four busses (Bus A-D) in your project and remove
Bus D, the tracks that were assigned to Bus D will be reassigned to Bus C.
Busses may be deleted from your project from the Project Properties Audio tab.
To delete busses from your project:
1.
Access the Project Properties dialog. There are three ways to access this dialog:
• From the File menu, choose Properties.
•Click the Project Properties button ( ) on the Mixer window or on the Toolbar.
• Press the + shortcut keys.
2.
Click the Audio tab if it is not displayed.
3.
In the Number of stereo busses field, enter the desired number of busses that will appear in
the Mixer window.
Alt Enter
Enter the number
of desired busses
Alt Enter
Enter the number
of desired busses
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USING THE AUDIO MIXER CHP. 9
4.
Click OK to delete the specified number of busses and close the Project Properties dialog.
All tracks assigned to a deleted bus will be reassigned to the preceding bus in the Mixer
window.
Routing busses to hardware
You may assign busses to use specific hardware for output. When you installed Vegas, it
automatically detected the hardware available for output on your computer. Routing busses
is done on the Preferences dialog. There are more details about routing specifics and other
preferences later in this manual. For more information, see Using Vegas preferences on page 360.
To route busses to specific hardware:
1.
From the Options menu, choose Preferences. The Preferences dialog will appear.
2.
On the Preferences dialog, click the Routing tab.
3.
Select Use a Custom Routing.
Note:
If you have selected Always Use Sound
Mapper, you will not be able to assign the
busses to different hardware. You can only
assign busses to different hardware if you select
Use a Custom Routing
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4.
In the table, click the radio button in the output device’s row and in the bus’s column to
assign a bus to a specific output device.
Note:
Multiple busses may be mapped to a
single sound card. Grayed-out busses are not
yet being used in the project, but can still be
assigned at this time for future use.
5.
From the Default recording device drop-down list, select a device used when recording. This
option sets the device that you use for recording into tracks. Tracks may be set to use
specific devices other than the default setting. For more information, see Assigning tracks to
input devices on page 227.
6.
Click OK or press the key to save the information and close the Preferences dialog.
Working with busses
Busses in the Mixer window are fully independent and may be adjusted separately. Bus
volume, meter resolution, and clipping controls may all be adjusted.
Enter
Mute
Solo Edit FX
Scribble Strip
Stereo fader Meter
Playback device
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Adjusting the bus fader
You may adjust a bus’s fader during project playback by dragging the handles on the fader.
The fader on a stereo bus is split so that you can adjust the levels of the two stereo channels
independently.
Note:
Double-click the fader to reset it to 0.0
dB. If you have set each channel
independently, double-click either the left or
right fader to have the other fader match the
other’s volume setting.
Changing bus meter resolution
You may select a meter resolution at which a bus will display the signal levels that are being
mixed. When you change the meter resolution on this control, the other meters (Assignable
FX and Preview fader) are automatically changed to match.
To change the bus’s meter resolution:
1.
Right-click on the meter to display a shortcut menu.
2.
From the shortcut menu, choose the meter resolution. For more information, see Changing
meter resolution on page 215.
Adjusting the bus for clipping
If the volume level is set too high, it may cause clipping. The clipping is displayed on a
meter in red at the top with the clipping value displayed in decibels (dB). Adjust the fader
control and click the red area with the clipping value to reset the meter. Continue to adjust
the fader and reset the meter until clipping is eliminated.
The meter can be set to remember and display the highest and lowest levels by right-clicking
and selecting Hold Peaks and Hold Valleys. For more information, see Adjusting for clipping on
page 215.
Muting a bus
This bus button enables you to temporarily disable playback of the bus. When a bus is
muted, it is grayed out and the word Muted appears at the bottom of the meter. You may
mute more than one bus at a time.
To mute the bus, simply click the Mute button ( ). Click it again to unmute the bus.
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Soloing a bus
Soloing is not available, nor necessary, in versions of Vegas that only have a single bus. The full
versions of Vegas Video and Vegas Audio both allow multiple busses.
Soloing isolates a bus’s playback and mutes the other busses, so you can focus on a specific
output. When you solo a bus, the other busses will be grayed out and the word Muted appears
at the bottom of their respective meters. You may solo more than one bus at a time.
To solo the bus, simply click the Solo button ( ). Click it again to restore all busses for
playback.
Naming or renaming a bus
Every bus that appears in the Mixer window has a Scribble Strip where you can type a name.
To name or rename a bus:
1.
Double-click in the Scribble Strip and type the a bus name.
2.
Press the key to save the bus’ name.
Before muting the bus After muting the bus
Muted bus
Before applying Solo to the bus After applying Solo to the bus
Soloed bus
Double-click and If the bus already has been
named, you will see the previously
entered name.
type the name
Scribble Strip
Enter
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CHP. 10 RECORDING AUDIO
CHAPTER
223
Recording Audio
Vegas can record audio into multiple mono or stereo audio tracks while simultaneously
playing back existing audio and video tracks. You are limited only by the performance of
your computer system and audio hardware. Audio is recorded to a media file on your
computer and into an event on the timeline. You may record into an empty track, a time
selection, an event, or a combination of time and selection. Audio output from your
computer during recording is not necessarily recorded with the new audio.
Recording in Vegas does not alter any of the source media files in your project. Even when
recording into an existing event, you are not overwriting the data that is already displayed in
that event. Instead, the data is recorded into a new take for that event.
Setting up your equipment
There are numerous ways to connect your equipment to your system. Refer to your
equipment’s documentation for specific setup instructions. The following are some possible
general configurations.
Basic setup
This setup includes a simple microphone and speaker that are connected to the computer’s
sound card. With a more sophisticated microphone, you would typically want to use a
preamplifier for input to the sound card.
10
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RECORDING AUDIO CHP. 10
Setup with mixer
This setup includes a mixer where the speaker and microphone connect. The mixer is then
connected to the computer’s sound card. Mixers usually have pre-amps built into them. This
diagram does not show you an instrument or a physical preamplifier, such as a rack-mounted
component. The reason for this omission is because these types of setup vary widely based on
your mixer, instrument, and pre-amp type. Refer to your components’ documentation for
specific setup configurations.
Setup with digital multitrack
This setup includes a digital multitrack recorder with an optional MIDI synchronization
component. Usually you would have a mixer, a microphone, etc. connected to these
components. Your particular setup will vary depending on your equipment. Refer to your
components’ documentation for specific setup configurations.
Sound card out
Sound card in
Sound card out
Sound card in
Mixer out
Mixer in
Mixer
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Synchronizing MIDI Time Code
Vegas can generate (output) MIDI time code to sychronize external devices with project
playback or can chase to (be triggered by) MIDI time code generated be an external device.
To output, from the Options menu, select Generate MIDI Time Code or Generate MIDI Time
Clock. To allow Vegas to be triggered by an external MIDI device, from the Options menu,
select Chase to MIDI Time Code. For more information, see Sync tab on page 367.
Arming the track for recording
Whether recording into an empty track, a selected event, or a time selection, a track needs
to be prepared for recording. To prepare a track, click the Arm for Record button ( ). A
track must be armed before any new data is created. You may arm multiple tracks prior to
recording. Once a track is armed, a record meter will appear on the track to be recorded into.
There will also be one of two recording device buttons: ( ) or ( ). The button that
appears is based on the preferences routing tab. For more information, see Routing tab on page
365.
Button Description
Stereo
Mono left
Mono right
This button appears when Use Microsoft Sound Mapper has been selected for all busses on the Preferences
routing tab. The Sound Mapper allows you to choose how the signal will be recorded: stereo or mono. Click
on this button to view a menu with Stereo, Left, or Right. To record in mono choose either the left or right
channel prior to recording. When either the left or right channel has been selected, the button will change
to reflect your choice for mono recording.
Stereo
Mono left
Mono right
This button appears when Use custom bus routing has been selected on the Routing tab in the Preferences
dialog. When you choose this option, you can specify which device (e.g. sound card) you will record from
on any given track prior to recording. Click on this button to view a menu with all available devices and
Stereo, Left, or Right. You may record in stereo or mono. The device that has been selected will have a
number assigned to it. This number will appear on the button
Digital card Digital in
Digital out
MIDI card
Sync. in
Sync. out
The dashed line indicates
an option if you are synching
Vegas to tape via a
MIDI Time Code. MTC converter
Digital
multitrack
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Using the metronome
Vegas has a built-in metronome that marks time to help with the timing and tempo when
recording a performance. The metronome’s sound is not mixed in the final rendering of the
project. To use the metronome, from the Options menu, select Metronome. The metronome
uses audio files to mark both the beat and accents. You can change the particular audio files
that are used from the Preferences dialog.
To select audio files for the metronome:
1.
From the Options menu, choose Preferences.
2.
Click the Audio tab.
3.
Under the Metronome sound files section, select a Normal and Accent beat audio file.
Although just about any file will work as a metronome sound, files with very short durations
are recommended. The volume of the metronome can be controlled with the Preview fader
in the Mixer window.
Using the Sound Mapper for stereo or mono recording
After the track has been armed for recording, you may choose whether the track will record
the signal in stereo, in mono from the left channel or in mono from the right channel.
Stereo is the default setting.
To select a recording method:
1.
Click the Audio button ( ) to the left of the Arm for Record button ( ) to display a
drop-down list.
2.
From the drop-down list, choose the recording method (Stereo, Left, or Right).
Track is ready for recording
Arm the track first
using the Sound Mapper Track is ready for recording
stereo, device 1
CHP. 10 RECORDING AUDIO
227
Assigning tracks to input devices
After the track has been armed for recording, select the device
from which the track will record, and then choose whether the
track will record the signal in stereo, in mono from the left
channel, or in mono from the right channel.
Vegas will display the selected device and recording options on
the track’s toolbar.
To select an input device and recording method:
1.
Click the Audio button ( ) left of the Arm for Record button ( ) to display a drop-
down list.
2.
From the drop-down list select the input device and recording method (Stereo, Left or
Right).
Recording
Starting and stopping recording
To start recording, click the Record button ( ) on the Transport bar, which is located just
below the timeline.
Depending on the recording selection, a waveform will be created along the timeline as you
record into the armed track(s).
To stop recording, click the Record button ( ) again or the Stop button ( ) on the
Transport bar. A dialog will appear allowing you to rename, delete, or keep the *.wav file.
Stereo
Left channel
Right channel
Start/stop Stop recording
recording Recorded waveform
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RECORDING AUDIO CHP. 10
Note:
The Recorded Files dialog does not
appear if you are chasing to MIDI time code,
as this would interrupt the synchronizing.
Instead, files are automatically named and
saved according to your preferences.
Simultaneous Play & Record
By default, the project plays back while you are recording the new events. There may be
times where you want to turn this off. To disable this feature, click the Options menu and
make sure Simultaneous Playback & Record is not selected.
Chasing MIDI Time Code
MIDI time code can only be chased in the full versions of Vegas Video and Vegas Audio.
Recording can be triggered and synchronized in Vegas by an external MIDI device that
outputs (generates) MIDI Time Code.
To chase MIDI Time Code:
1.
From the Options menu, choose Preferences and go to the Sync tab.
2.
From the Chase to MIDI Time Code settings, select the device that you want to trigger Vegas.
Click OK and close the Preferences dialog.
3.
Click the Arm for Record button ( ).
Delete—removes selected file
Rename—changes the name of a selected file
Delete All—removes all files in dialog
Done—returns to Track View
When a check mark appears in this box,
Vegas will display this dialog after
each recording session.
CHP. 10 RECORDING AUDIO
229
4.
Right-click the Time Display and choose MIDI Time Code In.
The Time Display now shows the Time Code being
generated from your MIDI device. The top of the display
reads MTC Input Waiting.
5.
Begin generating MTC from your MIDI device. The top of
the Time Display now reads MTC Input Locked, the time
updates from the MIDI device, and Vegas automatically
begins recording. Typically, there is a short delay between
when you begin generating MTC and synchronization.
For best results, it is best to not rely on the software to chase the MTC, but to have your
audio devices connected together via a master digital word clock. When your devices are
connected to a master digital word clock you should have Trigger playback only (do not chase)
enabled in the Advanced Sync Preferences (pg. 368). The word clock will keep the audio
hardware locked together, eliminating the need for the software to constantly vary its
playback rate to stay synchronized. The incoming MTC is only be used for absolute time
reference. For more information, see MTC input on page 368.
Recording into an empty audio track
Recording into an empty audio track is the easiest way to record new material into an
existing project. Vegas will create the new event’s waveform during the recording process.
The recorded event, like all events in your project, will have an associated source media file.
By default, Vegas stores recorded media files in the Vegas program folder or you may specify
where recorded media files are stored. For more information, see Specifying where recordings are
stored on page 238.
On the Track View, the cursor position indicates where recording will begin. Positioning the
cursor is not always necessary since it is easy to edit and move the event after recording.
To record into an empty track:
1.
Press the keys to insert an empty audio track or from the Insert menu, choose
Audio Track.
2.
Place the cursor on the timeline where you want to begin recording.
3.
Select the audio track that you want to record into.
4.
Arm the selected track by clicking the Arm for Record button ( ) on the track.
Ctrl + Q
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RECORDING AUDIO CHP. 10
5.
Start recording by clicking the Record button ( ) on the Transport bar.
Recording will begin at the cursor's position and continue along the timeline until you stop
recording.
6.
Click the Stop button ( ) to stop recording. A
small dialog opens displaying the name and
location of the file or files that were just created.
Click Done to return to the main workspace.
When you are finished, click the Arm for Record
button again to disarm the track. Here are some
other options for recording:
• You can recording into multiple tracks at the
same time.
• Choose the input device from which the track
will record (pg. 227).
• Choose the recording method that the track will use (pg. 227).
• Recording can be done in stereo or to the left or right channel by clicking the Bus
Assignment button after arming the recording process.
Recording a voiceover
Voiceover narrations are an important part of many types of productions. One of the most
important features of Vegas is the ability to record live audio directly into a project while
previewing the project itself. This can be done while simultaneously listening to the audio
tracks and watching a preview of the video.
To view the Video Preview window, click the Options menu and make sure Simultaneous
Play & Record is selected. The strength of recording narrations this way is that it is very easy
to stop, restart, and edit the resulting audio events.
Arm for Record
Record
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231
Recording into a time selection
By making a time selection, you specify where along the timeline to record. The time
selection also determines how long Vegas will record. Any selected events that occur within
the time selection will be split and the recorded data will be placed into the time selection.
For more information, see Recording into an event with a time selection on page 232.
To record into a time selection:
1.
Click the Arm for Record button ( ) on the desired track.
Note:
To select multiple tracks, click them
while pressing either the Shift or Ctrl keys.
2.
Choose the input device from which the track will record (pg. 227).
3.
Choose the recording method that the track will use (pg. 227).
4.
On the Marker bar, click and drag to make the time selection. You may adjust the time
selection by dragging the Loop bar’s starting and ending points.
5.
Click the Record button ( ) on the Transport bar to begin recording.
Vegas will display the event’s waveform as it is recorded and automatically stop recording
when the cursor reaches the end of the time selection.
To record multiple takes, click the Loop Play button ( ) on the Transport bar. For more
information, see Working with multiple recorded takes on page 234.
Loop bar
Time selection
Start recording
Loop play
Recorded waveform
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Recording into an event
By recording into an event, the exact length of the recording is controlled by the duration of
the event. The edges of the selected event serve as the punch-in and -out points that Vegas
uses for recording. Recording into an event allows you to establish a pre-roll before
recording, which gives you time to prepare before recording starts.
The existing event that you record into is not affected or deleted. Instead, the event will
now contain two media files, each listed as a separate take in the event. For more
information, see Working with multiple recorded takes on page 234.
To record into a selected event:
1.
Place the cursor before the event to allow for pre-roll.
2.
Press the key and click the event to select it.
Note:
You may record into multiple events by
pressing the key and make your selections.
3.
Click the Arm for Record button ( ) on the event’s track. When recording into
multiple selected events, arm their respective tracks at this time.
4.
Click the Record button ( ) on the Transport bar to begin recording.
Vegas will display the event’s waveform as you record.
5.
Click the Record button ( ) again or the Stop button ( ) on the Transport bar to stop
recording.
Recording into an event with a time selection
Recording into a time selection allows you to compensate for a pre- and post- roll during
recording. The time selection is adjustable to increase or decrease the pre- and post-roll
duration. During recording, the selected event’s edges serve as the punch-in and -out points.
Multiple punch-in and -out points can be created by selecting more events within the time
selection.
Ctrl
Selected Non-selecte
d
event
event
Ctrl
Stop recording
recording
Start/Stop
CHP. 10 RECORDING AUDIO
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You may need to split an existing event into three pieces so that you can select a smaller
portion of the event to record into. For more information, see Splitting events on page 122.
To record into an event with a time selection:
1.
Click the Arm for Record button ( ) on the desired track(s).
2.
Select the event to record into.
Note:
You may record into multiple events by
pressing the key and make your selections.
3.
On the Marker bar, click and drag to make the time selection. You may adjust the time
selection by dragging the selection bar’s starting and ending points. Make the time
selection start before the event for a pre-roll.
To record multiple takes, click the Loop play button ( ) on the Transport bar. For more
information, see Working with multiple recorded takes on page 234.
4.
Click the Record button ( ) on the Transport bar to begin recording.
Using a pre-roll
The previous technique allows you to define the playback region with a time selection and
sets the punch-in and punch-out points in the recording to the event boundaries. When the
Record button is pressed, playback begins at the beginning of the time selection. The event
is then filled with the newly recorded material. The audio file that is recorded to your hard
disk is the full duration of the time selection. The event only contains a portion of the full
recorded performance and can therefore be trimmed (both shorter and longer) and
repositioned within the event.
Ctrl
Pre-roll Post-roll
Time selection bar -
Punch-in Punch-out
defines the recorded
audio file’s duration.
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RECORDING AUDIO CHP. 10
Working with multiple recorded takes
Clicking the Loop Play button ( ) on the Transport bar will enable you to continually
create takes during recording. Takes are different versions of a recorded event that can be
quickly switched between to choose the best one. Each take within an event references a
different source media file.
During recording, Vegas continually repeats the time selection and starts recording a new
take until you stop recording. Takes can be previewed, selected, and deleted.
Previewing takes
Vegas allows you to view a list of takes and preview them before placing them in your
project. The takes are listed from the selected event in which the takes were recorded.
To p r ev i ew t a k e s :
1.
Select the event in which multiple takes were recorded.
2.
Right-click to display a shortcut menu or, from the Edit menu, choose Takes to display a
submenu.
3.
Select Choose Active... from the submenu. The Take Chooser dialog appears.
4.
Select the take that you want to preview and use the Play () and Stop ( ) buttons
within the dialog.
5.
To use a take, select it and click OK or double-click the take that you want to use. The
selected take is now the active take.
Play Stop
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235
Choosing an active take after loop recording
As an alternative to the previous section, the active take may be selected using the shortcut
menu. After multiple takes have been recorded, the take that appears on the timeline is
called the active take. The active take is the last one recorded.
To change the active take:
1.
Select an event with multiple takes.
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Tak e. A submenu will appear with the event’s original
file name (in this example, GuitarIntro) followed by the recorded takes, which are
numbered sequentially. The active take will have a bullet next to it.
Note:
To avoid confusion, it may be useful to
rename takes with different names. For more
information, see Renaming an event take on
page 236.
4.
Select the take that you want to make active by clicking it.
Original event name
List of takes
Selected take
(take appearing in the project)
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Renaming an event take
Vegas names recorded takes by specifying the track number and the take number, for
example, Track 2 Recording 24 Take 2. These take names are specific to your project, but are not
descriptive of what sound(s) were recorded. Takes may be renamed and to give them more
meaningful descriptions for easier reference while working on a project. Only the currently
active take may be renamed. For more information, see Choosing an active take after loop
recording on page 235.
To rename an event take:
1.
Click an event to select it. The event being displayed is the active take.
2.
Right-click on the selected event to display a shortcut menu.
3.
From the shortcut menu, choose Rename Active. The take’s name will appear in a text box
in the lower-left portion of the event. The event’s take name will be selected.
4.
Type a new name in the text box.
5.
Press the key to save the new take name or click outside the text box.
Note:
Event names may be changed via the
event’s properties. For more information, see
Take names on page 152.
Before take rename After take rename
Enter
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237
Deleting an event take
Unwanted takes can easily be deleted from your project. Deleting a take does not remove
the event or the source file. Source files must be deleted manually. For more information, see
Using the Explorer window on page 344. There are two ways to delete event takes: deleting the
active take and deleting takes from a list.
Deleting the active take
The active take is the event that appears on the timeline. If the event take you want to
remove is not displayed, make it the active take before deleting it. For more information, see
Choosing an active take after loop recording on page 235.
To delete the active take:
1.
Click on the event take to select it.
2.
Right-click on the event take to display a shortcut menu.
3.
From the shortcut menu, choose Tak es and then Delete Active from the submenu or, from
the Edit menu, choose Tak es and then Delete Active from the submenu.
The event take will be removed, and if there are multiple takes, the next take will appear on
the timeline.
Deleting multiple takes
You may delete takes from a list when you have chosen the one that you want to use in your
project. You may delete multiple event takes at a time.
To delete event takes from a list:
1.
Click on the event take to select it.
2.
Right-click on the event to display a shortcut menu.
3.
From the shortcut menu, choose Tak es and then Delete from the submenu. The Delete
Takes dialog will appear.
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Or, from the Edit menu, choose Takes and then Delete from the submenu. The Delete
Takes dialog will appear.
4.
Select the event take that you want to remove. Click the play button to confirm that the
selected event is the one you want to remove.
Note:
To select multiple event takes, hold
down either the or keys.
5.
Click OK to remove the selected event take from your project.
Specifying where recordings are stored
Vegas is a nondestructive audio-editing environment. Events within your project are
actually references to media source files located on a storage device such as a hard drive.
When you record into Vegas, the event appears on the timeline while its media source file is
written to your hard drive. By default, Vegas stores recorded media source files in the Vegas
program folder. However, you may specify where Vegas writes and stores recorded media
source files.
To change where recorded media source files are stored:
Play Stop
Shift Ctrl
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239
1.
From the File menu, choose Properties or press the shortcut keys. The Project
Properties dialog appears.
2.
Click the Audio tab to display the project’s audio properties.
3.
Click the Browse button. The Recorded Files Folder dialog appears.
4.
Navigate to the hard drive or folder where you want Vegas to write and store recorded
media source files.
5.
Click the Save button to set the destination drive or folder.
Click the Cancel button to leave the current destination the same.
Note:
Check Start all new projects with these
settings to store recorded media source files to
the same location in every new project.
Otherwise, Vegas will use its default settings.
Alt + Enter
Path where recorded
media source files are
written and stored and
available disk space.
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CHP. 11 ADVANCED VIDEO
CHAPTER
241
Advanced Video
While simple to learn, Vegas is a powerful application with many advanced features. This
chapter covers the tips, tricks, and techniques that are needed to master the video features of
this powerful tool.
Pan/Crop
The Pan/Crop tool can be used for cropping, zooming, rotating, panning, and scrolling. The
dialog can be opened by right-clicking on any visual event and choosing Pan/Crop Event from
the shortcut menu or by clicking the Pan/Crop button ( ) on the event itself.
Cropping
Cropping is the process of removing the outside edges from an image or video, thereby re-
framing the subject. In the example below, the Pan/Crop dialog on the left has been used to
create a selection area around the subject, removing extraneous information from the
outside of the video. This creates a zoom effect that is identical to using a digital zoom on a
camcorder. The Video Preview window on the right displays the final movie after cropping.
Crop Area
Preview
output
Pan/Crop
button
11
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ADVANCED VIDEO CHP. 11
To crop a video event:
1.
Click the Pan/Crop button ( ) on the event or right-click the event and choose Pan/
Crop.
2.
Drag the handles (small boxes) located around the perimeter of the selection area to
change the size.
3.
Click in the middle of the selection area and drag to reposition it.
The cropping occurs instantly and the results are updated in the Video Preview window.
Cropping applies to the entire event and can be animated with keyframes. For more
information, see Keyframe animation on page 305. The buttons along the left side of the Pan/
Crop dialog are similar to the buttons found in the Video Motion dialog.
To use this dialog to crop the frame, grab the crop Handles using the Normal Edit Tool ()
to resize the crop selection area. When the cursor is positioned anywhere over the crop
selection area you can drag it into position. To prevent distortion, it is a good idea to
maintain the relative X and Y values of the crop area by clicking the Lock Aspect Ratio
button ( ). Maintain aspect ratio, on the other hand, prevents the source media from
becoming distorted. The Constrain Movement button is a three-state button: Move Freely
(), Move X Only ( ), and Move Y Only ( ). This is used to create straight scrolls or
pans in a single direction.
Move Tool [S]
Magnify Tool [M]
Toggle Snap [SHIFT]
Lock Aspect Ratio [CTRL]
About Center [ALT]
Stretch to fill frame
Move Freely
Show Edit Controls
Keyframe Controller
Handles
Orientation Clock
Edit Controls
Maintain aspect ratio
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The Rotation Clock works like an altimeter on an airplane. There are two hands on it. The
larger hand represents the degree of rotation relative to 0°, which is straight up. The smaller
hand shows the number of times the crop area has been rotated through 360°.
The crop area can be rotated to simulate camera rotation. Position, Size, and Rotation can
all be animated with the Keyframe Controller.
When you right-click anywhere in the Pan/Crop dialog, a shortcut
menu appears:
•Restore returns the crop area to full frame.
•Center moves the crop area to the center of the frame.
•Flip Horizontal flips event left to right and backwards.
•Flip Vertical flips event top to bottom and backwards.
•Match Output Aspect sets the x,y ratio to the output value.
•Match Source Aspect sets the x,y value to the source media.
Zooming
Pan/Crop can be used to create a digital zooming effect.
To zoom in:
1.
Right-click on a video event and, from the shortcut menu, choose Pan/Crop.
2.
Click on the Keyframe Controller at a later time.
3.
Click the Add Keyframe button ( ). This determines the duration of the zoom effect.
225° 720°50° (360° x 2)
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ADVANCED VIDEO CHP. 11
4.
Resize the Crop Selection Area to set the final zoomed-in frame.
This effect can be reversed for a zoom-out effect. You can create an interesting transition
effect by zooming in on one event, crossfading to a second event, and then zooming out.
Rotating
The Pan/Crop dialog can also be used to spin or rotate a video
sequence. If you rotate the entire frame, the background behind
the video will show through. The results are identical to
rotating the video using the Track Motion tool. To crop so that
no background is showing, follow this procedure.
To rotate a video event:
1.
Right-click a video event and, from the shortcut menu,
choose Pan/Crop.
2.
Togg le Lock Aspect Ratio ( ) on to prevent distortion, and toggle About Center ()
on.
3.
Rotate the Crop Area to 45° (or -45°).
4.
Resize (shrink) the Crop Area until it fills the frame and covers the background.
5.
Rotate back to 0° to set the first keyframe.
6.
On the Keyframe Controller, move to the last frame of the rotation.
7.
Rotate the Crop Area to 360°. A keyframe is added.
Initial Keyframe Final Keyframe
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When using the Track Motion tool, expand the overlay until it fills the frame at 45°
rotation. Again the results are the same. Make sure the About Center button ( ) is toggled
on when you resize the crop area or the overlay. In the illustration below, notice that the
Orientation Arrow always points to the top of the frame.
For more information, see Scrolling titles - Pan/Crop technique on page 246.
Panning
Another use for the Pan/Crop tool is panning, or Pan-and-Scan, which is a technique
commonly used when film is converted for television. Movie screens and film are usually
wider (~2.35:1) than television (~1.33:1). When you transfer the film to video, you have
four choices: (1) squash the film horizontally to fit, distorting it in the process; (2) crop it,
possibly losing information on the sides; (3) letter box it so the top and bottom have black
areas and the picture is shorter overall; and (4) Pan-and-Scan. Pan-and-Scan is a variation
of cropping, where someone actively goes through the movie and moves the crop area back
and forth to follow the action or subject.
Pan/Crop
Track Motion
Rotation
Final Results
(for both effects)
Rotation
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Scrolling titles - Pan/Crop technique
Scrolling titles can be effectively produced using the Pan/Crop dialog. This technique is
especially effective for very long sequences. To start with, create the complete ending credits
as an image in an image editing program. Make the width of the image the same as the
dimensions of your final movie’s frame (for example 720 pixels for DV). The height will be
determined by the number of titles and could be quite long - up to 4,096 pixels.
Note:
This procedure is also effective when
using a text generator to create the titles
instead of an image file, although the
maximum height of a text generator is 2,048
pixels.
To create scrolling titles - Pan/Crop:
1.
Insert the title image into a track above a
background video or insert a generated text event.
2.
Right-click the overlaying title image and choose
Pan/Crop.
3.
In the Pan/Crop dialog, navigate to the beginning
of the Keyframe controller. The cursor should
already be there by default.
4.
The box defined by the broken line represents the
cropped area. At this point, the dimensions of the
box are equal to the source (i.e. the image file or text generator). Since the crop area
always fills the screen, the titles all appear in a narrow band in the middle of the Video
Preview window.
5.
Right-click the Crop Area and select Match Output Aspect to resize the Crop Area. The
Crop Area is now the same size as the final frame size (720x480 for example). After
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resizing, only a small portion of the middle of the titles is visible in the Video Preview
window.
6.
Click the Constrain Motion
button ()
until it is in Move in
Y Only mode ()
. This keeps the
titles vertically aligned.
7.
Drag the Crop Area box to the top
of the titles. Position it so that the
first credit is just below the Crop
Area.
8.
On the Keyframe controller,
navigate to the end of the event.
9.
Drag the Crop Area box to the
bottom of the title sequence.
If you preview the video at this point,
the titles appear to move up from the
bottom, across the screen, and off of
the top. What is actually happening
is that the Crop Area is moving down across a title sequence. The best way to create
transparency is to save the title image as a PNG file with an Alpha Channel or to use the
text generator. For more information, see Chromakeying on page 292.
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Working with images
Still images can be used in Vegas for a number of purposes including slide shows, overlay
graphics, and titles. Images are inserted into projects and into the Media Pool just like any
other media files and become events when inserted onto tracks. The default length for an
image event when it is first inserted is five seconds, but this duration can be modified by
dragging the edges to any length. Images cannot be looped, but share many characteristics
with video files, including transparency.
There are many image formats that can be imported into Vegas: BMP, GIF, JPG, PNG, PSD,
and TGA. The best format is probably PNG. JPG is not the best format for video because it
is already compressed (which makes it an excellent format for the Internet). This does not
mean that you should not use JPG images, but other uncompressed formats are better (BMP,
PSD, etc.). PNG files are losslessly compressed and can also include Alpha Channel
information, which is one of the cleanest methods of creating transparency for overlays.
Note:
Vegas may not automatically detect the
Alpha Channel in TGA images. Right-click a
TGA image in the Media Pool or an event on
the timeline and select Properties. Then, in the
Media Properties dialog, select the type of
Alpha Channel from the list.
A slide show composed of still images and an accompanying sound track can be an excellent
way to show off your pictures. Multiple images can be selected and inserted together to
instantly create a slide show, complete with crossfades. Importing high-resolution still
images and using the Pan/Crop and Track Motion tools can add interest to an otherwise
static slide show.
To automatically create a slide show:
1.
Select all of the images you want to use in the slide show in the Explorer.
2.
Right-click and drag these files to the timeline.
3.
From the shortcut menu, choose Add Across Time.
Make sure Automatic Crossfade is selected on the Options menu to have the images
automatically overlap each other by a small amount with a crossfade. These crossfades can
be replaced later by dragging transitions to the crossfade region. The duration of each of the
inserted files can be specified on the Editing tab of the Preferences dialog: enter a New still
image length in seconds. For more information, see Inserting media on page 91.
CHP. 11 ADVANCED VIDEO
249
Note:
It is best to use images that are the
same size as your project’s frame size. You may
also need to change the Pixel Aspect Ratio of
an image file to get it to display correctly. For
more information, see Media file properties on
page 259.
Titles
Most video projects include titles and credits. There are two ways to add text to your project.
Vegas has a titling engine (Text Generator) for creating simple titles or you can use an
external image-editing program to create titles. For more information, see Text on page 280.
Video compositing and multiple video tracks are only available in Vegas Video and is limited in Vegas
Video LE.
Creating titles from images
Titles can also be created in an just about any image-editing program. While every program
is slightly different, the general procedure for creating titles with a transparent background is
as follows.
To create titles from an image (general):
1.
Start your image editing application.
1.
From the File menu, choose New. Set the dimensions of the new image to be the same as
the frame size for the project. Make the default canvas (background) color a solid color.
The background will be transparent in the final image, so any solid color will work.
2.
Select the Text tool and enter the text for your title in the text box.
Note:
Size and position your titles carefully to
fit within the Title Safe Area or the titles may
extend beyond the edges of your television. For
more information, see Safe Areas on page
253.
3.
Make sure the text is selected and, from the File menu, choose Save As.
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ADVANCED VIDEO CHP. 11
4.
From the Save as type drop-down list, choose TGA, PNG, PSD or BMP (PNG is
recommended). Make sure that you save the Alpha Channel information (for TGA and
PNG), which will be used for transparency.
5.
Enter a name and click Save.
Insert the image into Vegas in a track just above the one with the video that will be in the
background. Set the Overlay Mode of the title track to Source Alpha (default) if your image
has an Alpha Channel associated with it. If it does not, you may have to add a Chromakey
filter to the image and key out the background. For more information, see Chromakeying on
page 292.
Note:
The Alpha Channel is saved as a
selection area in some programs. If you cannot
save the Alpha Channel, use a black
background and Vegas will create a mask from
the background. The Alpha Channel of TGA
images may not be detected automatically. For
more information, see Media file properties on
page 259.
The Title Generator is an easier alternate method of creating titles. By using the more
advanced features of your image editing program, you can create very interesting title
sequences and corporate logos.
Fading titles
Another common technique is to fade a still title in and out. This effect can be
accomplished by using a Fade envelope or an Opacity envelope on a title event.
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251
To fade titles in and out:
1.
Insert a title image file into a track above the
background video.
2.
Move the Opacity handles (located at the upper
corners of the event) towards the center of the title
event.
3.
Double-click the title event to set the preview area
and then click the Play button.
Transitions can also be used between two titles. Simply set your two titles on an A and a B
roll with a bit of overlap and then insert a transition effect between them (available in the
full version of Vegas Video only). When automatic crossfade is turned on, you can smoothly
fade one title into the next just by overlapping the two events.
To automatically crossfade a title sequence:
1.
Insert the multiple title images into the same track on the timeline.
2.
Overlap the titles by about one second each. Make sure Automatic Crossfades is selected
on the Options menu.
This is probably one of the easiest and most effective techniques for displaying long lists of
credits at the end of a film. The example below shows four sets of titles that smoothly blend
into one another where the three Xs mark the automatic crossfades. The titles themselves
were made by typing white text onto a black background in a paint program and then
inserting the PNG image files into Vegas.
Note:
It is possible to insert all of these titles
at one time with a single drag-and-drop,
complete with automatic crossfades. For more
information, see Inserting media on page 91.
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Customizing the Video Preview window
The workspace for editing video can get quite crowded, so the Video Preview window can be
configured in a number of ways to make it more useful. The Video Preview window can be
used on a separate monitor (if your video hardware supports this feature), docked at the
bottom of the workspace or floated freely on the screen.
• Project Video Properties - Displays the project’s properties (pg. 256).
• Video Preferences - Displays the video preview properties.
• Copy Frame - Copies the contents of the frame to Windows Clipboard.
• Show Clipboard Image - Displays the current image on the Windows Clipboard.
• Video Output FX - Opens a dialog for adding effects to an entire project.
• Disable All Video FX - Turns off all effects at every level (event, track, project).
• Preview Mode - Toggles the preview resolution for faster playback.
• Overlays - These include Safe Areas (see below) and Grids to aid alignment.
• Isolate Channels - Individual channels can be viewed separately. This is especially
usefully for analyzing Alpha Channels.
Overlays (safe areas and grids) and isolating channels are only available in Vegas Video.
Right-click anywhere in the window to adjust the following:
•Background color options include Default (project’s background color), Black, and White.
•Display Square Pixels displays the output in square pixels. This can prevent distortion of
the preview when using sources with rectangular pixels. This does not affect the final
render.
•Display at Project Size displays the output at the project’s dimensions only.
•Show Toolbar toggles the toolbar at the top of the window.
Overlays
Isolate Channels
Video Preview Quality
Disable All Video FX
Show Last Snapshot
Copy Snapshot
Project Video Properties
Enable External Monitor
Video Output FX
Properties statusbar
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•Show Statusbar toggles the information display at the bottom of the window.
Safe Areas
The view of the video frame on a computer screen represents the entire frame as captured
from the video source. This full frame size may be as high as 720x576 and is significantly
larger than what actually appears on a television screen. The only way to truly verify the
framing or masking of the video is to preview the video on the destination television
monitor. While there is no substitute for previewing on a television, Vegas safe areas are a
good method of estimating the extent of the masking.
Safe areas are only available in Vegas Video.
Note:
There is also some variability between
individual televisions that cannot be predicted.
• Click the Overlays button to toggle the Grid
and Safe Areas on and off.
• Click the small arrow to the right of the
Overlays button to select the type of overlay,
in this case the Safe Areas.
•Choose
Settings from the same menu to set
up the size of the safe areas. In the
Preferences dialog, on the Video tab, enter
the Safe action and Safe title values as a
percent of the frame size.
• The Safe Action area is the frame area that
will actually be visible on a television screen.
• The Safe Title area is a suggested area to
limit the extent of titles. It is always smaller
than the Safe Action area.
The default values are generally adequate for most situations, but you should test these Safe
Areas by outputting some video to a television to insure that these settings are appropriate.
Preview preferences can be accessed by clicking the Options menu, choosing Preferences
and clicking the Video tab. For more information, see Video tab on page 359.
Optimizing previews
Timing and synchronization are critical aspects of any multimedia production and real-time
playback is a necessary feature. Because complex multimedia projects are very challenging
for any computer, Vegas uses a number of tricks to maintain the timing of playback even
though the computer may not be able to process the data quickly enough.
Safe action
Safe title
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Dropping frames
Vegas automatically drops video frames when previewing if the computer can’t keep up with
playback. Visually, this means that you are not seeing a perfectly rendered preview of your
project. The advantage to this is that precise synchronization is maintained and video and
audio can be accurately and quickly positioned. The process of dropping frames in a preview
is handled by Vegas and cannot be changed. This in no way effects the final rendered video.
Reducing the resolution or quality
The resolution of the Video Preview window and the quality of the rendering can be
adjusted to improve playback. Lower-resolution previews are visually less clear but allow
Vegas to display more frames. This may be particularly important with projects that use a lot
of overlays, transitions, and special effects. Click the Video Preview Quality ( )
button to toggle the lower-resolution preview on and off. Click the arrow to the right of the
Video Preview Quality button to choose the resolution and quality settings from the drop-
down list. The default setting is Good Quality. When working on a full-screen (e.g. 640x480)
project with the Video Preview windowed at a smaller size, such as 320x240, the Full and
Half Resolution previews will be the same, since the window is already half sized.
Pre-render Video in Loop Region
There are times where nothing but a full, high-quality preview will do. In these cases, Vegas
will take the time necessary to render the portions of your project that need extra processing
and create a preview file on your computer of the project as it will appear in the final render.
This can take anywhere from a few seconds to a few minutes, depending on the length and
complexity of the preview. Once these temporary files have been created, Vegas will use
them whenever it needs to playback those sections of the project.
To create a partial full-quality preview:
1.
Create a selection area of the portion of your project that you want to preview.
2.
From the To ol menu, choose Pre-render Video in Loop Region [Ctrl+M].
3.
Select the type of preview file to create. Click the Custom button to configure any
compression options.
4.
Click OK.
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Vegas will delete these preview files when a project is closed. To reuse these preview files the
next time you open a project, from the Options menu, choose Preferences and, in the
Preferences dialog, select Save active previews on project close. The location of these files can
be set by choosing a Temporary files folder in the same dialog. Ideally, this folder should be on
a different physical drive from where Windows is installed. Only file types that can be both
read and written by Vegas can be used to create preview files. Some formats that cannot be
used include *.wmv, *.rm, and *.mpg. Pre-rendered preview files can be deleted from your
hard disk by choosing Clean Pre-Rendered Video from the Tools menu.
For more information, see Partial rendering and timeline playback on page 327.
A full-quality preview of the entire project can also be created. This is equivalent to doing a
final render to create a finished movie.
To create a full-quality preview of the entire project:
1.
From the Tool menu, choose Preview in Player.
2.
Select the type of preview file to create (e.g. *.avi). Select a Template or click the
Custom button to configure any compression options.
3.
Click OK.
The progress bar at the bottom-left corner of Vegas displays the progress of the render. When
it is finished, it will automatically playback. As long as no changes have been made to the
project, sections that have been previewed this way will not need to be re-rendered in the
future, increasing preview playback speed and performance. A yellow bar appears at the top
of the timeline indicating the mixed to preview section.
Preview range
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Video properties and preferences
Project properties - Video tab
Project Properties can be accessed by clicking the File menu and choosing Properties or by
clicking the Project Properties button on the Video Preview window. Many of these settings
are identical to the settings found on the Project tab of the Custom Settings dialog. Final
render properties set up in the Custom Settings dialog override the following Project
Properties settings. For more information, see Video tab - Custom settings on page 332.
These properties control all of the default settings for your project. Without making any
changes, these are also the settings that will be used to create a final rendered movie file.
• Template - Select a preset template to automatically configure the remaining five video
controls in this dialog. Many popular formats are included, but you should consult your
hardware manuals if you have any questions. You can also save your own custom
template. The Project Properties dialog for NTSC DV can be automatically configured by
choosing the NTSC DV (720x480, 29.97fps) template from the Template list.
• Match Media button ( ) - This important button allows you to select a raw media file
captured from your camcorder to be used to determine your project’s properties
automatically.
•Width and Height - This is the frame size of your final movie.
• Field order- Video that is displayed on a television is interlaced. This means that every
frame of video is actually composed of two fields, each of which is made up of half of the
lines that make the final frame. These two fields are woven together in alternate lines, but
which of the two fields is displayed first can be important. Choose Progressive for video
that is going to be viewed on a computer. For video on a television, most hardware
supports Lower First. If the output is jittery or shaky, or your hardware’s manual specifies it,
choose Upper First. For more information, see Interlacing and field order on page 379.
• Pixel aspect ratio - A pixel is a single picture element or dot on a television or computer
screen. Computers display pixels as squares: 1.0. Televisions display individual pixels as
rectangles: 0.909, 0.899, or anything other than square. Using the wrong pixel aspect
ratio can result in distortions or stretching of the video. Select the aspect ratio for the
final movie’s destination. Consult your hardware manual if you are in doubt about the
appropriate ratio. The pixel aspect ratio is unrelated to the frame’s aspect ratio.
• Frame rate - The television frame rate in the US, North and Central America, parts of
South America, and Japan (NTSC) is 29.97 frames per second (fps). In many parts of the
world, including Europe and much of Asia, the television standard is PAL at 25fps.
France, Russia, and most of Eastern Europe use SECAM, which is a variation on PAL and
also uses 25fps.
• Full resolution rendering quality - Unless you have specific performance issues or are
unhappy with the amount of time that it takes Vegas to render effects and transitions, it is
recommended that Best (slowest rendering) be selected here.
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•Preview files folder - Vegas plays back a project instantly and in real-time to give a rough
preview of the project. At times, you may need to create a higher quality preview. This
can take a little time for more complex projects with a lot of transitions, effects or
overlays. Once the project has been rendered, Vegas saves these preview files to this
folder location so that the project does not need to be rendered again in its entirety. Click
the Browse button and select a location. Ideally, this location should be on a separate
physical hard drive from where Windows is installed.
• Start all new projects with these settings - Select this option to always use these settings
for new projects.
Advanced Video Properties
Click the Advanced button in the Project Properties dialog to access these attributes. In
most cases, the default settings for this dialog are adequate. These settings affect how Vegas
renders or draws transitions, effects, overlays, and changes in velocity.
• Motion blur type - Some effects and transitions can involve motion or animation. This
list allows you to select whether the frames are blurred slightly to create the illusion of
motion on individual frames. This can make computer generated animation appear more
smooth and natural. Gaussian is the best choice in most situations where blurring is
required.
• Exposure time (seconds) - This determines the time frame of the blurring. Longer
exposures (>0.100) result in greater and more exaggerated blurring.
•Deinterlace method - Source video from a television is interlaced (see above). When
Vegas renders effects, it needs to deinterlace the two fields that make up a frame. The
exact method used can be selected here, although the default Blend fields is adequate in
most situations.
Event properties
To access an event’s properties, right-click on the event and choose Properties.
•Active take name - This allows you to rename the Active take. This can also be done by
right-clicking the event and choosing Rename. For more information, see Ta ke s on page
151.
•Playback rate - Changing this value is equivalent to stretching or compressing an event,
thereby changing its speed. Using this option maintains the duration of the event,
however. For more information, see Time compressing/stretching on page 150.
•Resample the video - Select this option to allow Vegas to interpolate frames in an event
to smooth modified video. See the following section on Resampling for more information.
•Switches - Mute: Keeps an event from playing to the mix or render. Loop: Sets the event
to automatically repeat the media file when an event is longer than the source media.
Lock: Prevents an event from being modified or moved. Maintain aspect ratio: Keeps the
relative x:y dimensions constant.
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Resampling
The Resample option in the Media Properties dialog and on the Project tab in the Custom
Settings dialog during the final render both perform the same function. There are few cases
where resampling may be particularly important.
• When the frame rate of the source media for an event is slower than the project’s frame
rate. For example when you are using a source media file that has a 10fps rate in a 29.97fps
rate project.
• When slowing an event, either with a velocity envelope or by stretching it. For example,
when slowing a clip to 30% using a velocity envelope.
• When creating vertically scrolling titles.
When either of the above situations is true, there are only ten frames of source material for
every second of project time. When the project is rendered, there must be roughly thirty
frames in each second. Vegas must create the frames that are between the source media
frames, sometimes known as padding. The easiest way to do this is to simply duplicate the
previous frame. This can result in less than smooth video playback.
Without resampling, the intervening frames are simply the previous frame repeated.
With resampling, the intervening frames are interpolated from the source frames.
The original media file looks
To convert these three frames into nine frames for a faster frame rate, Vegas must generate the
something like this over
three frames.
It is similar to a crossfade effect between the original frames.
intervening frames.
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Media file properties
Vegas automatically detects the parameters of your media files. In most cases, these
properties do not need to be modified, but there are times where access to these parameters
is important. One notable exception is to change the Field Order to prevent jitters when a
video is output to a television monitor. This can be especially prevalent in events that have
been significantly slowed down. There are times when you may need manual control over
some of these attributes, depending on the type of file and your specific hardware
configuration.
To modify the properties of media files:
1.
Right-click an event in the Media Pool or on the timeline and, from the shortcut menu,
select Properties.
2.
Modify the parameters in the Media File
Properties dialog and click OK when you are
finished.
File name - and location. This is not editable.
Tape n am e - This can be used to display the name
of the tape for media files captured in Vegas Video
Capture projects. The name can be edited here or
in the corresponding field in the Media Pool.
Timecode (not all video files include timecode
information)
• Use timecode in file - This is the default.
•Use custom timecode - This option allows you
to set the timecode manually.
•Timecode format list - If you have selected Use
Custom timecode above, this list contains the
available timecode formats. SMPTE Drop
(29.97fps, Video) for example, is the timecode
format for NTSC DV. Changing the timecode
format does not change the source media file in any way. It merely changes how the file is
measured in time. For more information, see Timecode on page 382.
Note:
Timecode must be the selected option
from the Source frame numbering list on the
Video tab of the Preferences dialog to allow
event level specification.
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Stream properties
Media files are opened in Vegas with a set of default values. When you change any of the
values for a particular media file, these changes are saved and remembered for that file in the
current project (*.veg) only. If you want to change the default settings for a particular type of
video file whenever that type of file is used in Vegas, click the Save button to the right of the
Stream list. This adds an entry to a file called vegas video profiles.ini that can be referenced for
future use.
•Stream - If the file has more than one stream of the given type, this allows you to select
the particular stream to work with.
• Attributes (uneditable)
•Frame size - Displays the frame size in pixels (x,y) and the color depth.
•Frame rate - Displays the frame rate in frames per second (fps).
•Duration - Displays the length of the file.
•Format - Displays the codec or method of compression.
• Field order - This is used to control how the video file is handled on a television monitor
and depends on your hardware. If a media file is jittery or jumpy when played on a
television, changing this setting may help.
• Pixel aspect - This can be changed, but should always match the source video’s
properties.
• Alpha channel - The Alpha channel determines how transparency is handled in a file.
The default Alpha Channel setting for most video files is None. PNG image files can have
an Alpha channel that is automatically detected by Vegas.
Output properties
Final output properties can be adjusted when you save your final movie. From the File menu
choose Save As, and choose a video file format (*.avi, *.qt, *.wmv, or *.rm), click the
Custom button, and go to the Video tab.
Every project (*.veg) has default settings that are used to determine the format of the movie
files created from that project. These default settings are overridden by the Save As Custom
settings.
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•Template - Select a template from the list
to automatically configure all of the
settings on this tab. You can also create a
custom template and save it for future use.
The Description box simply summarizes
the template properties.
• Video size - This sets the final frame size
and is largely determined by the final
viewing destination of the movie.
•Frame rate - This sets the final frame rate
of the movie.
•Video format - This is used to select the
specific codec used to compress the video
file. This is a very important process. In
short, codec stands for COmpress
DECompress and is the mathematical
algorithm used to encode a video file. The
codec directly determines the size and
quality of the movie, as well as its
compatibility with various playback
devices. The final destination for the movie
dictates the choice of codec. Click the
Configure button to open a dialog to
configure the details of how the codec will
compress the video.
• Quality - Some codecs let you select a level of quality based on a relative percentage (%).
• Render alpha channel - If the format (e.g. some *.qt movies) supports it, the Alpha
Channel information can be saved along with the movie file.
• Interleave every - In some cases, this helps to synchronize the audio and the video
streams by interleaving the audio every X frames.
• Keyframe every - Compression keyframes can be added to improve the performance of
the codec. This can increase the final file size. For more information, see Video properties
and preferences on page 256.
• Data rate - Enter a value here to set a ceiling on the maximum data rate for the codec.
•Don’t recompress if possible - Select this to allow Vegas to copy sections of a project that
have not been modified without recompressing them. This saves time and maintains
100% of the quality of the original media files.
Typical settings for NTSC DV.
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Edit Decision Lists (EDL)
Edit Decision Lists (EDL) are text lists of all of the media files used, where they are placed,
and how they are trimmed. These simple text lists can be used as a printed summary of your
project, can be used to open a Vegas project in another compatible application or can be
used to convert a project form another application into a Vegas project. There are some
necessary limitations to this conversion process because of the great disparity between video
editing applications.
To create an EDL:
1.
From the File menu, choose Save As. The Save As dialog appears.
2.
From the Save as type list choose Vegas EDL (*.txt).
3.
Enter a name for the file and browse for a destination.
4.
Click OK.
EDLs created in another application can also be used to open a rough copy of a project
created in another application in Vegas. For example, you could create an EDL from a
project in Adobe Premiere and then import the project into Vegas via the EDL. To create an
EDL from a project in another application, export a CMX 3600 EDL or a Sony 9100 EDL.
To open an EDL:
1.
From the File menu, choose Open.
2.
Locate the *.edl, select it, and click the Open button. If you were working on another
project, you will be prompted to save your work as the EDL will open a new project.
Note:
EDLs do not contain any information
about the location of source media. Therefore,
the *.edl file should be saved in the same
directory as the source media. If it is not, or if
media is stored in a number of different
locations, Vegas will prompt you to relink these
files when the EDL is imported.
Because of the significant differences between editing applications, projects that are
converted from EDLs in Vegas (or exported from Vegas) are necessarily simplified. Events
are inserted into the timeline on a single track and transition effects from the other
application are replaced with crossfades. EDL imported projects are initially limited to four
audio tracks.
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Video FX and
Masks
Plug-ins are a broad category of tools that include filters, effects, transitions, and generators.
There are a number of plug-ins that are included with Vegas, both video and audio. For more
information, see Audio plug-ins on page 203. Masks are used extensively in television and
movies. Understanding how they work is an important part of mastering overlays. Filters
cover an extremely broad range of electronic modifications that can be used to improve
substandard video or artistically enhance a creative production. Together, these professional
tools will help you polish your productions.
Video effects, filters, and plug-ins are only available in Vegas Video and to a more limited extent, in
Vegas Video LE.
Video plug-ins
The Video folder in the Plug-In window in Vegas has four subfolders: Filters, Generators,
Mask Generators, and Transitions. To view the Plug-Ins window, from the View menu,
choose Plug-Ins or press Alt+5. Plug-ins can be dragged to events, tracks, or the Video
Preview window.
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Filters
There are a huge variety of filters that are completely ready for you to drag-and-drop onto
your projects, tracks, and events. The default settings may be enough for many people, but
each filter has a handful of individual controls that allow you to customize the effects in
precise detail. Most of these attributes can be animated with the keyframe techniques.
Video effects, filters, and plug-ins are only available in the full version of Vegas Video.
Using a video filter
Adding a filter to a video event is, like other activities in Vegas, a drag-and-drop routine.
Filters can be applied to events in the workspace, clips in the Media Pool, to entire tracks or
to an entire project.
To add a filter:
1.
Click the Video FX button ( ) in one of the following locations (see the illustration):
•Media FX are applied before a media file is inserted into an event on the timeline. Every
occurrence of this media file in a project will have the effect applied to it.
•Event FX are applied to events on the timeline.
•Track FX are applied to every event on a particular track.
•Video Output FX are applied to the final output and effect every event in a project.
2.
In the Plug-in Chooser dialog, select the effect that you would like to apply and click OK.
3.
Modify the effect in the Video Plug-In dialog.
For more information, see Video Signal Flow on page 44.
Track FX Video Output FX
Event FXMedia FX
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To remove a filter:
1.
Click the FX button ( ) on object with the filter applied to it (media, event, track or
Video Preview window). This opens the Video FX dialog.
2.
Click the button of the filter that you want to remove.
3.
Click the Delete Effect button.
Filters can also be temporarily disabled (turned off) by deselecting them (clearing the check
box on the filter’s button). Since the effects are rendered very quickly in the Video Preview
window, turning a filter on and off allows you to clearly see the results of the filter on your
project.
Click the push pin to keep
the Track FX dialog
open on the workspace
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Modifying filters
Most filters are highly customizable. Each
has its own default settings that are adequate
in most circumstances, but modifying these
defaults is not difficult.
To modify a filter’s properties:
1.
Click the FX button ( ).
2.
Change the parameters in the Video
Event FX dialog.
Changes you make will automatically be
updated in the Video Preview window, using
the current cursor position as the example.
To see the effect as applied to the video in
motion, you can save time by creating a time
selection (loop region) to preview only a
portion of the event.
To save a filter as a preset:
1.
Click the Preset text box. The name of the current filter is highlighted and the cursor
begins blinking.
2.
Enter a new name for the preset.
3.
Click the Save button ( ).
To use a saved Preset, simply choose it from the drop-down list.
Ordering filters
There are a large number of filters in Vegas. Filters can also be used in combinations of two
or more for even greater flexibility. Adding additional filters to an event is simply a matter of
dragging them onto an event. Filters are then arranged in an FX Chain in the Video Event
FX dialog.
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Effects that are selected with a check are active. You can toggle FX on and off by selecting
and deselecting them. The filters are applied in the order that they appear. You can change
this order by dragging the FX button to a new location in the chain or by clicking the FX
Chain button. In the following illustration, you can see why the order of effects might be
important.
The goal of the above example was to use filters to create a very high-contrast mask out of a
video clip of some fire. In the image on the left, a Brightness and Contrast filter is applied
first and then a Black and White filter. In the image on the right, the Black and White filter
was applied first, removing the color, and then the Brightness and Contrast filter was
applied. The mask created by the second example is much cleaner, even though all of the
settings of the two filters are identical.
Effects chains can get rather complex when Track-level effects are also used. In general, the
hierarchy is that effects are applied to the media in the Media Pool first, then the event-
level effects are applied, followed by any track level effects, and then any Video Output FX
(whole project FX). For more information, see Video Signal Flow on page 44.
Keyframe animation and filters
Keyframe animation is only available in the full version of Vegas Video.
Keyframe animation can be used to precisely control a filter over time. You can gradually
ramp a filter up or start with wildly distorted video that returns to normal over the course of
a few seconds. Keyframes are added to the Keyframe Controller at the bottom of the FX
dialog. Since a number of filters can be added to a single event, track or project, click on the
filter’s button in the chain view and modify the particular attributes and Keyframe
Controller for that filter. For more information, see Keyframe animation on page 305.
Note:
Not all parameters can be animated.
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Transitioning into an effect
Keyframe animation can be used to smoothly and gradually apply an effect to an event.
To transition into an effect:
1.
Add a effect to an event and open the Effects dialog.
2.
Add two keyframes to the event for a total of three including the one at the beginning.
New keyframe attributes are copied from the previous keyframe.
3.
Set the initial and final keyframe effect values to their minimum values (zero).
4.
Click the second keyframe and set its attributes.
5.
Press and hold the Ctrl key and drag the second keyframe to duplicate it. Position this
new keyframe near the end of the sequence.
The effect will be off at the first keyframe and will smoothly transition to a maximum value
at the second keyframe, at which point the effect will remain constant until the third
keyframe. Then it will gradually fade out until it reaches a minimum value at the last
keyframe. In the following illustration, the section of the Keyframe Controller between the
second and third keyframes is solid, meaning that it does not animate between these two
keyframes. The beginning and ending areas have gradients from white to black between
them, representing the keyframe animation that occurs during these periods.
The results of gradually transitioning into an effect.
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Video filter dictionary
These filters are only available in the full version of Vegas Video. A smaller subset is included with
Vegas Video LE, Vegas Audio, and Vegas Audio LE.
Filter plug-ins in Vegas cover a broad range of special effects from basic color correction
tools to bizarre warping effects. They are broadly grouped into three large categories:
Correction filter, Creative filters, and Mask filters.
Correction filters
Although today’s modern camcorders do an excellent job with automatic exposure
control and lighting temperature adjustments, there is no substitute for using good
lighting and a tripod when shooting video. Shooting conditions are often less than
perfect however, and Vegas can come to the rescue with a number of professional-quality
filters to correct a broad range of source footage defects.
Creative filters
There is a large overlap between many of the Corrective filters and the Creative
filters. The HSL Adjust filter, for example, can be used to remove the greenish tint
from florescent lighting. If you push the filter just a little bit further, you can achieve
a more imaginative color scheme. A number of filters in Vegas have been specifically
designed to produce interesting, creative, and even warped special effects. These are some of
the most fun areas of the program to play with and exploration of their almost endless
possibilities is highly encouraged.
Mask filters
Masks are used as overlays and are designed to help create transparency in an event
that overlays a background video. Overlays can be as simple as a scrolling corporate
logo and titles or as complex as any special effect in a science fiction movie. The
nightly news also uses overlays to produce a picture-in-picture effect with an image of a news
Black and White HSL Adjust Sharpen
Brightness and Contrast Levels Broadcast Colors
Add Noise Median Quick Blur
Gaussian Blur Min and Max Sepia
Invert Pixelate Wave
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story appearing in a small window next to the anchor, or a meteorologist standing in front of
a weather map. Many other filters, such as Black and White or Brightness and Contrast, can
be used to improve the quality of a video or image to make it more suitable for use as a mask.
Video effects, filters, and plug-ins are only available in Vegas Video and to a more limited extent in
Vegas Video LE.
Add noise
This filter adds static or noise to a video sequence. When added to a simple solid-
colored background with a monochrome setting and animated, a pattern is produced that is
similar to a television that is not tuned to any station.
Black and White
This filter removes all color information from an image without altering the luminosity.
This converts a video to black and white. This can be an important filter when used in
combination with other filters. For example, removing the color makes creating a grayscale
mask a more predictable process.
Related Effects: HSL Adjust.
Chroma Keyer Filter Mask Generator
Levels Threshold
Amount Determines the strength of the effect.
Monochromatic Select this option to make the noise all one color. When unselected, the
static will be many random colors.
Gaussian Noise This is a different mathematical method of generating noise. In general,
this produces a stronger effect.
Animate Check this box to make the static move in a random way.
Original Regular Gaussian Noise
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Brightness and Contrast
This is a straightforward correction filter that can be used to improve video with
exposure problems.
Broadcast Colors
Computer monitors typically display more than sixteen million colors, while NTSC
television can only display somewhere around two million colors. This can cause problems
with video that has been edited on a computer and subsequently displayed on a television
monitor. These problems can range from tolerable color variation to noticeable ghosting
artifacts, especially around computer generated graphics and titles. The Broadcast Colors
filter can be used on individual media files, events or tracks where you suspect that the color
space may be an issue (e.g. titles and still images) or as the last step in a project by adding the
filter to the Video Preview window to insure color compliance. The effects of this important
filter are only be apparent when the video is viewed on an external television monitor.
Brightness Move the slider right to increase the overall brightness. 0 is no correction,
negative values decrease brightness, and positive values increase
brightness.
Contrast Contrast is defined as the absolute difference between the darkest and
lightest areas of an image or video. It is sometimes perceived as influencing
the sharpness or crispness.
Luma smoothness This slide controls the blending of the luminance or brightness of colors in
the video.
Chroma smoothness This slider controls the blending of the colors or hues in the video.
Bypass filter This effectively turns the filter off.
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Chroma Keyer
The Chroma Keyer filter is a mask filter that uses color (RGB or HSB values) to
determine transparency. This filter shares many of the same properties with the Mask
Generator. For more information, see Using the Mask filter on page 291.
Gaussian Blur
This filter alters the apparent focus of the video and blurs or softens its appearance. It
can also be used to smooth some types of noise and can also be used as a corrective filter.
Related effects: Blur, Median, Quick Blur.
Key Use these color controls to select the specific color you want to key out.
RGB/HSL Switches the color swatches from Red, Green, and Blue values to Hue,
Saturation, and Luminance (Brightness).
Eyedropper Click the eyedropper and then click on the color in the source video (on the
timeline) to determine the transparent key color.
Mask Type This determines how the filter is used. Transparency Mask is the standard
mask used to key out background colors. Color Correction Mask is used to
isolate parts (and protect other parts) of the video for color correction.
Show Mask Only Generates a mask from the settings in the dialog. This is identical to using
the Mask Generator to create a mask.
Low Threshold This adjusts the luminance value of the mask. Anything in the mask with
luminance values below this setting become transparent. Combined with
the High Threshold setting, a range of luminance is created for the mask.
High Threshold This adjusts the luminance value of the mask. Anything in the mask with
luminance values above this setting become transparent. Combined with
the Low Threshold setting, a range of luminance is created for the mask.
Blur Amount This controls how the edges of the key mask are treated. High values allow
the mask to blend more smoothly into the background video.
Horizontal and Vertical
Range
Sets the strength of the blurring by determining how many pixels in a block
are blended together. Use the pixel sliders or enter a specific value in the
text box. Double-click the slider thumb to match the two slider values.
Channels Select All or only the specific color channels (Red, Green, or Blue) that you
want to blur. If the video or image has an Alpha channel, you can use that
as the basis of the blur, which can sometimes improve transparency and
mask blending.
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HSL Adjust
HSL stand for Hue, Saturation, and Luminance (sometimes called Lightness or
Brightness) and is another correction filter that is used to alter the display of colors in a
video. In addition to improving an image or video event, this effect can be used in many
creative and artistic applications.
Related effects: Black and White.
Invert
This filter reverses the complimentary colors and the brightness in an image or video,
giving it a photo negative effect. This can also be used to reverse a mask.
Hue Adjusting the hue changes the colors in an image. Hue deals with color in a
different way than the RGB/CYMK method of a color balance effect, with
Hue represented by a 360 degree color circle. Either end of the hue slider
(0.0000 or 1.0000) leaves the hue unaltered.
Saturation Controls the intensity of the particular hue selected with the hue slider.
Moving the slider all the way to the left (0) removes all hue from the image,
converting it to grayscale.
Luminance Controls the overall brightness of the image or video. A value of 1.0000
leaves the brightness at its original level.
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Levels
This mask filter can be used to create a better mask from a video or image source. This is
a very effective method of remapping the total range of the colors and improving the overall
quality of a mask.
Related effects: Mask, Threshold.
Mask
The Mask filter can be applied to video events or images to create a mask. Typically, the
Mask filter functions by remapping a channel (red, blue, green, luminance) to a narrower
range of values, creating a more distinct mask. For more information, see Using the Mask filter
on page 291.
Related effects: Levels, Threshold.
Input Start/ End Use these two sliders to select the range of values that are selected to
remap (to the output range) and use for transparency.
Output Start/ End Use these two sliders to determine the range of values to which the input
values are remapped (from the input range).
Gamma Gamma compensates for differences in brightness between different
sources and corrects the brightness as viewed on the destination monitor.
Channel Select the particular color channel (Red, Green or Blue) or Alpha Channel
that you want to adjust, or adjust all (which is similar to adjusting the
brightness).
Mask Type Select the method for determining transparency.
Alpha Uses the Alpha Channel to determine transparency.
Luminance Uses the luminance or brightness to determine the transparency.
Red/ Green/ Blue Select a specific color to determine the transparency.
Invert Reverses the transparent areas with the opaque areas in the mask.
Low In/ High In Use these two sliders to determine the range of the selected channel to use
for transparency.
Low Out/ High Out Use these two sliders to determine the range to remap the Low In/High In
values to the output.
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Median
This filter is another method of blurring an image. It works by averaging values between
groups of pixels. The size of the group of pixels to be considered in this effect is determined
by dragging the slider or entering a value in the text box (range: 0-10). This effect produces
more of a smudged appearance that looks similar to a watercolor painting effect at higher
pixel values. At lower values, it can be used as a correction filter to remove noise.
Related effects: Blur, Gaussian Blur, Quick Blur.
Min and Max
This creative effect can be used to pixelate an image or video. The exact method of
pixelation is based on minimum brightness or maximum brightness values. The pixels in the
image are first grouped together and then the minimum (or maximum) pixel value in each
group is applied to all of the pixels in that group,
Related effects: Pixelate.
Pixels Use the slider or enter a value (1-10) to determine the radius, in pixels, of a
circle surrounding the pixels that are grouped together in this effect.
Min / Max Select the method to use for the pixelation.
pixels = 0 pixels = 2 pixels = 10
Min, Pixels = 3 Max, Pixels = 3
Original
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Pixelate
Pixelate creates the effect of viewing the video at a lower resolution, making it appear
blocky. This is very effective when used with keyframe animation to move from highly
pixelated to the unaltered video as a type of transition. The X and Y sliders control the
dimensions of the pixels. If the X and Y are set to the same value, the pixels are square.
Related effects: Min and Max.
Quick Blur
This filter simply averages or blurs a video, dramatically reducing its sharpness. While
this filter has been included in the Creative filters category, it can also be used to reduce
noise.
Related effects: Gaussian Blur, Median.
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Sepia
Sepia is a specific color tint associated with old movies. The default settings will
produce a standard sepia tone, but you can use the color boxes to tint your video to any color
that you want.
Related effects: Black and White.
Sharpen
This correction filter is the opposite of the Blur and Median filters. It finds and
emphasizes areas of contrast in the image, increasing the video’s crispness. The original on
the left in this series is a bit out of focus. While the effect is subtle, the middle image is a
little sharper, although some artifacts are visible on close inspection. The last image has a
much higher sharpen setting and is noticeably noisy.
Color Boxes Select the color of the tint filter you want to use.
Blending Strength Determines the overall opacity/transparency of the color filter.
Blending Falloff Determines how smoothly the filter mixes with the source video’s original
colors. Values closer to 1.000 (right) will have less color overall and appear
more grey.
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Threshold
This filter is used to adjust a video so that it can be used as a mask more effectively. By
adjusting the threshold, portions of the video can be made identical in color. This makes
chromakeying and mask generation easier. The slider starts out at 50. This means four things
in terms of HSB (Hue, Saturation, and Brightness), illustrated below.
Related effects: Levels, Mask.
Saturation values below
Brightness values below
50 go to black.
50 go to white.
Hues are limited (rounded) to radians
Saturation and Brightness
is set to 100 for all Hues.
Original image
(0, 60, 120, 180, 240, 300)
Threshold filter
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Waves
This effect distorts the video horizontally, vertically, or in both directions. You can
control the number and height of the waves as well as their position. When animated and
combined with a transition, this effect can produce a great dream-sequence or underwater
effect. See the illustration below for a demonstration of the controls.
Generators
Generators are not available in Vegas Audio or Vegas Audio LE.
Generators are a special class of plug-in in Vegas that create virtual media files that are
contained in events on the timeline. These virtual files are stored in the Media Pool and
their properties can be viewed and modified there.
The Generators are contained in the Plug-Ins window under
the Video folder. To add a Generator to a project, drag it
from the Plug-Ins window to the timeline. The default
length of the generated media event is determined by the
Preferences. To modify generated media events, click the
Modify Generator button ( ) on the event.
When you duplicate an event that contains a generator, the generator itself is not
duplicated, just as normal media files on your computer are not duplicated. Changing the
properties of a generator therefore changes the generator and all occurrences of it on the
Vertical/Horiz. Waves Controls the number of waves.
Vert./Horiz. Amplitude Amplitude refers to the height of the waves.
Vertical/Horizontal Phase Sets the position of the waves on the screen.
Original image
Modify
Generator
button
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timeline, as contained in various events. This means that if you have an event that contains
a Text generator, and you duplicate the event, both events will contain the same text.
Changing the text of the generated text in one event will also change the contents of the
other event.
Color Surface
Color Surfaces are quick methods of generating solid colored events to be used for
backgrounds behind overlays or for fades. Use the Color Picker to select a color and
transparency for the surface.
Test Pattern
The Test Pattern generator creates a standard color
bar and test pattern that can be used to calibrate
your video output stream. Color bars are used by
studio engineers to set the level of color in video
equipment. When used on a computer, you should
output these test patterns as you would any video
and run it through a vectorscope and a waveform
monitor to calibrate the output settings. Many
studios and broadcast facilities require a color bar
pattern at the beginning of your video so that the
engineers can calibrate their equipment. To use the
color bars, drag the Test Pattern generator to the
beginning of your project. This will create an event
in a video track that contains the generated color bar pattern.
Text
The Text generator is only available in Vegas Video and Vegas Video LE.
Generating Text is probably the fastest and easiest way to create simple title sequences.
Aspects such as color, size, and font are all controlled with familiar tools.
To add simple titles:
1.
In the Plug-ins folder, open the Generator sub-folder.
2.
Drag-and-drop the Text generator plug-in to a track
above the background video.
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Text can also be inserted into a track by choosing Text Media from the Insert menu. A video
event that contains the generated Text is inserted into the timeline. The generated Text
media itself is placed in the Media Pool.
To edit generated Text media:
1.
Click the Modify Generator button ( ) on the event or right-click the event that
contains the generated Text and choose Edit Generator Media.
2.
Enter your text into the Text box. Use the standard word processor controls to modify the
font, style, and size of the text. The color of the text and the background can be changed
using the color picker to the right of the text box.
The Text generator is a Generator Plug-In. It creates a virtual media file that is placed in the
project (e.g. into the Media Pool), with a default frame rate and dimensions that match the
project's frame rate and dimensions. When inserted into the timeline, it is contained in a
video event with a default duration that can be changed in the Media Generator dialog or
by trimming it. The event acts just like any other video event: a virtual media file remains
unaffected by changes made to the event. Like other video events, it can be trimmed,
copied, stretched, and looped. Envelopes and Video Filters can all be used on these events.
The text can be changed at any time. The Video Preview window updates changes when you
preview the event. By default, the background is transparent, but any color can be selected
with the color picker.
Text box
Font style
Color picker
Alpha/
Transparency
control
Text
position
Keyframe
Controller
Media size
and duration
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Positioning the text
The Vertical and Horizontal text position lists allow you to roughly position the text on the
screen. Fine tuning the exact vertical position for single-line titles can be accomplished by
adjusting the Leading. Normally, Leading controls the spacing between lines of text, but for
single lines of text it can move the line up or down on the screen, provided there is a
carriage return before the text (i.e. the text is on the second line). Spaces before the text can
be used to fine tune the horizontal position. Tracking is used to set the spacing between
individual letters.
To make the background transparent:
1.
Select a background from the color picker group box.
2.
Slide the Alpha Control all the way to the bottom
(100% transparent).
The actual color is irrelevant since it is completely transparent. The text can also be made
transparent in a similar way.
These events behave exactly the same way other events do. You can fade in and out on a
Title event by dragging the Opacity envelope handles located at the upper corners of the
event towards the center. Click the Track Motion button ( ) to open the Track Motion
dialog to move or scroll the titles. A simple drop shadow can really emphasize titles set
against a complex video background. For more information, see Tra c k Moti on on page 316.
To add a drop shadow:
1.
Click the Track Motion button.
2.
Select the Shadow option on the Keyframe Controller at the bottom of the dialog.
3.
Set the shadow’s attributes. One good example for titles is to set the Offset to 1x1, the
Feather to 2.0, and the Intensity to 0.50. The results are pictured below.
100% opaque
100% transparent
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Title sequences with generated Text
Maintaining consistency between a series of different titles is very important. Since
generated text media acts as a virtual media file, duplicating the event on the timeline
duplicates the event containing the same title. Right-clicking the event, choosing Edit
Generator Media, and changing the generated text media changes the text in both events.
To duplicate the attributes of generated media:
1.
Modify the text in the Media Generator dialog (font, style, color, position, etc.).
2.
Enter a name for a new preset on the Preset list.
3.
Click the Save Preset button.
4.
Insert another Text generator plug-in into the timeline. This creates a new event and a
new generated media item in the Media Pool.
5.
Load the preset by selecting it from the drop-down list.
To maintain consistency between events that have been significantly modified (e.g.
elaborate Pan/Crop animations), duplicate the event, and then add the newly generated text
media to the duplicated event as a take.
To duplicate and change generated text media:
1.
Press and hold the key and drag the generated text event on the timeline to
duplicate it.
2.
Right-click on the Text generator in the Plug-Ins folder and drag the generator to the
duplicated event.
3.
Drop the generated text media onto the duplicated event. Choose Add As Take from the
menu.
4.
Right-click the event and choose Edit Generator Media. Change the generated text to the
new title (including selecting the appropriate preset, as previously outlined). You now
have two events with identical properties, each with a separate generated text media.
Keyframing generated text
Not all attributes of generated text media can be animated. You cannot, for example, morph
one text message into a different one. Some aspects can be easily and smoothly animated
using the Keyframe Controller at the bottom of the dialog: color, transparency, leading, and
tracking. Keyframes can be copied, individually or as a group, and pasted into other
Keyframe Controllers by right-clicking and selecting Copy or Paste. For more information, see
Keyframe animation on page 305.
Ctrl
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Other aspects of a generated text do not allow interpolated keyframe animation. For
example, if you set the text to “One” initially and then at five seconds change it to “Two”,
the text will suddenly jump to the new value at the five second keyframe. This behavior is
considerably different from the behavior of other keyframe animation techniques. Keyframes
can be used to have a title appear one letter at a time across the screen.
To create a typing effect:
1.
Insert a Text generator into the timeline.
2.
Right-click the new event and choose Edit Generator Media.
3.
Enter the first letter of the title, for example “T”.
4.
Click on the Keyframe Controller at the 1.000 second mark and enter the second letter,
for example “y”. The tile now reads “Ty”. A new keyframe is added to the Keyframe
Controller.
5.
Proceed down the Keyframe Controller to 2.000 and enter the letter “p”.
6.
Proceed down the Keyframe Controller repeating this process until the title is finished:
“Typing”.
The word “Typing” will appear one letter per second until finished.
Keyframe
Controller
Text box Initial keyframe
Fourth keyframe
Last keyframe
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Compositing
Compositing is the process of mixing visual elements together into a final output. In Vegas
this means mixing tracks together vertically. Masks, generated Text, and chromakeying all
involve compositing. Understanding how compositing works in Vegas is important to
understanding these and many other video track mixing techniques.
Video compositing of multiple tracks is only available in Vegas Video and Vegas Video LE.
Parent/Child track relationship
The key to understanding overlays, masks, transparency, and compositing is to understand
the parent/child relationship between tracks. In general terms, the Parent track is the
highest track in a group of tracks (often only two) and the behavior of the Child tracks (i.e.
how they are composited together) is determined by the Parent track. The first example
shows two independent tracks. The top track contains a generated text event that has a
transparent background. The second track therefore shows through the transparent areas in
the Preview Window. Since the second track does not have any transparent areas, any tracks
below it would be completely obscured.
In the second example, track two is the child track of track one, which is the parent track.
This was done by clicking the Compositing Child button ( ) on track two’s Track Header.
This makes the text in track one act as a mask over track two, allowing the fire to show
through the mask (i.e. the text). The region outside of the text is still transparent, but there
is nothing below these tracks, so it appears black.
Compositing
Child button
Parent track
Child track
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In the third example, another video event was added below the first two, which are paired in
a parent/child relationship. The video in track three shows through the transparent area of
the top two paired tracks. If you look closely at the output, you can also see a shadow under
the text. This shadow was created with the Track Motion tool on track one.
In the final example, the third track is the child of track two. The text in track one acts as a
simple overlay and track two now acts as a mask over track three, allowing portions of track
three to show through the fire. Since the fire video in track two does not make a particularly
effective mask, this example is of limited usefulness in the real-world.
Masks
Masks are the most important part of just about every Hollywood special effect. From the
meteorologist standing in front of a weather map to rocket ships flying through an asteroid
field, masks are used to create overlays, limit the effects of a filter, and to create transparent
titles. In their simplest form, masks work by making a particular color in an image or video
transparent. More complex effects can be created with gradients (smoothly blending
transparent areas together) and by altering the sensitivity of the mask.
Video compositing and masks are only available in Vegas Video and Vegas Video LE.
Image masks
Masks can be generated from just about any image file.
To create a simple mask:
1.
Create an image of a solid white circle on a black background in any paint program. This
will be the mask.
Parent track
Child track
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2.
Insert the mask into the top-most track on the timeline.
3.
Insert a video event just below the mask track. This is the background video behind the
mask and is the event that is masked.
4.
Click Compositing Child button ( ) located on the Track Header of the background
video (lower) track. This makes the lower track the child of the mask track, which is the
parent track.
In the following sample, the white circle is a *.bmp image file. Black is 100% opaque and
white is completely transparent.
Masks can also be partially transparent. By using gradients and grayscale images, smooth
blending can be achieved. Black is still 100% transparent and white is opaque, but the grays
in between are only partially opaque.
Compositing
Compositing
Child
indicator
Child
button
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The effects of the masks are very clear in these examples, but this is not how they would
actually be used in a real production. Masks are commonly used to isolate a portion of the
video from an effect. Masks do not need to be black and white, or grayscale, nor do they
need to be still images.
Note:
It is best to use images that are the
same size as your project’s frame size. You may
also need to change the Pixel Aspect Ratio of
an image file to get it to display correctly. For
more information, see Media file properties on
page 259.
Masks and tracks
Masks are rarely used as they were in the previous examples. The illustrations focus on the
effects of geometric masks applied to a single event in a single track. In the real world, masks
are used to hide or reveal a portion of an event that is then used as an overlay on top of
another video. Take a look at the first simple white circle mask again. The white area is
transparent revealing the background video that it masks. If another video event is added to
the track just below the background video, the newly inserted event shows through around
the mask. Another way to think about this is that the higher, masked tracks (parent mask
track+child video track) appear on top of the lowest track. It is important to note that this
lowest track is not a child of the higher tracks.
Video compositing of multiple tracks is only available in Vegas Video.
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Video masks
Video files can also be used to create masks, although the process can be more complicated
than using an image as a mask. The key to any mask is contrast. Increasing difference
between the light and dark areas of a video file can be accomplished using video filters.
To create a video mask:
1.
Insert the video that you want to use as a mask into a video track.
2.
Drag a Black and White filter to the event to remove the color.
3.
Drag a Brightness and Contrast filter to the event.
4.
Adjust the Brightness and Contrast to create the mask. Watch the Video Preview window
for a real-time preview of the mask. Ideally, the mask should be adjusted so that parts of
the video are completely black (opaque) and other parts are completely white
(transparent). This can often mean increasing the Contrast while decreasing the
Brightness.
5.
If necessary, mask areas can be inverted (reversing the black and white areas) with an
Invert filter or by selecting Invert from the Mask Generator dialog.
Brightness and Contrast filter settings.
Original color event Black and White filter Brightness and Invert filter
Contrast filter
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After you have created the mask, place it in the highest track. Add another video event to
another track below the mask and click the Compositing Child button ( ) on that track.
Any video that appears in a lower track below the Parent mask track and its Child will then
show through the areas outside of the mask. The entire setup is pictured in the following
illustration.
Fine tuning masks
Depending on the source material, creating a clean mask can be a tricky exercise. The video
mask generated above required significant experimentation to perfect. There are a couple of
tools and tricks that should be used to fine tune a mask.
•Solo the track - In a complicated project, click the Solo button ( ) on the Track Header
to mute all of the other video tracks in a project. This allows you to concentrate
exclusively on the mask.
•Toggle filters - Turn individual filters on and
off to isolate FX in a plug-in chain. Keep in
mind the fact that the order of the plug-ins in
the chain is important in determining the final, composited output.
•Isolate Channels - Individual color channels can be isolated in the
Video Preview window by clicking on the Isolate Channels button.
Click the button to toggle this feature on and off. Click the arrow
button to the right of the main button to select the specific channel
to be isolated and whether to display this channel in grayscale only.
The most useful function of this tool is to isolate the Alpha as
Grayscale, which isolates the Alpha Channel mask and displays it in
grayscale.
Mask track
Masked video
Background
(Parent)
(Child)
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Using the Mask filter
The Mask Generator is a plug-in that is specifically designed to control the transparency of
events that are intended to be used as masks. It is applied to an event (or a track) in the
same way as any other plug-in: just drag-and-drop. The Mask Generator plug-in can be
found on the Plug-ins tab (from the View menu, choose Plug-ins) in the Filters folder under
Video. This dialog is related to the Levels plug-in.
The Mask Generator is also an automatic part of the compositing process between parent/
child tracks. To open the Mask Generator dialog, click the Mask Generator button ( ) on
any track that is the parent of another. For more information, see Compositing on page 285.
Mask Generator
button
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How the Mask Generator works
The following illustration demonstrates some of the effects of the Mask Generator. The
background image is the original mask. There are five ellipses on the mask: white, red, green,
blue and an invisible Alpha Channel. Note especially the dashed-line ellipse in the lower
left of the mask; this is the Alpha Channel. Alpha Channels can be based on a color or they
can be defined in a paint program that supports Alpha Channel creation. Masks with Alpha
Channels must be saved in a format that supports this method of transparency, such as *.png
or *.tga. As in this example, the Alpha Channel may be invisible in the actual mask.
The top-right example is using the Luminance to determine the transparency in the mask.
The white area is completely transparent. Since white is made up of 100% values of red,
green, and blue (255,255, and 255), those three colors are all 33% transparent as well. In the
lower-right example, blue is the selected transparent index. The blue area is 100%
transparent and so are all areas that have a value of 255 for blue (0,0,255), including white
(255,255,255).
Chromakeying
The Chroma Keyer plug-in is only available in Vegas Video and Vegas Video LE.
Chromakeying or blue screening is a special case of overlay transparency. A color key is
simply a specific color, or a range of similar colors, in an image that are made transparent,
allowing a background video to show through. The idea is to take a video subject and film it
Luminance
Blue
Mask track
(Parent)
Masked track
(Child)
CHP. 12 VIDEO FX AND MASKS
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against a solid, uniform background color. It is critical that the color be smooth and
uniformly lit with no shadows, and that the color chosen for the background must not be
used in the subject.
The most important factors in successful
blue screening happen during shooting,
well before the footage is imported into
Vegas. Compression of the source video is
also an important consideration. While
almost all video is compressed in some way,
highly compressed video does not key well
because colors can be smeared together and
edges tend to not be very sharp.
If your source footage is good and the
captured video file is also of high quality,
color keying is an easy process.
To create a chromakey effect:
1.
Insert a video with a blue (or any solid colored) background into a track. This is the
overlay video.
2.
Insert the background video that will show through the blue areas into the next lower
track.
Note:
You do not need to set the lower
background track as a Child track when using
the Chroma Keyer filter as you would with a
mask.
3.
Click on the overlay video (foreground,
higher track) to select it.
4.
Open the Plug-Ins window and choose
Filters under the Video folder.
5.
Drag a Chroma Keyer filter onto the
overlay video.
6.
In the Event FX dialog (click the Event
FX button ( ) or, from the View menu,
choose Plug-Ins), click the Eyedropper
button ( ). The cursor changes to an
eyedropper icon.
Magnified
area
Uncompressed video
Compressed video
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VIDEO FX AND MASKS CHP. 12
7.
Draw (click and drag) a small rectangular selection area around the color(s) to key out.
Although you can select the color range from just about anywhere, the Video Preview
window is the best location.
Note:
Other effects that may change the color
of the event should be turned off when using
the Eyedropper tool.
When a subject is filmed against a solid colored
background in a studio, the background color can be
keyed out and made transparent using the Mask
Generator or the Chroma Keyer filter. A wider range
of colors can be selected using the Chroma Keyer
filter, making it the perfect tool for less-than-perfect
blue screens.
This procedure selects a small range of colors to use
as a key. In the example above, the blue sky around
the dome is far from uniform and it would be difficult
to key it out with a traditional blue screen key. The
color is uniform enough however, that a range of blues can be selected directly from the
preview image in Vegas. Use the controls at the bottom of the dialog box to determine the
sensitivity of the colors selected. Since the filter selects a range of colors, it is a good idea to
try to select a relatively small range of similar colors. Drawing a color selection area that
spans both blue and red colors would make very large sections of an overlay transparent. It is
possible to use multiple Chroma Keyer filters on a single event, keying out the blues with
one and the reds with the other, without keying out any colors between blue and red.
To select multiple colors:
1.
Add a Chroma Keyer filter and select a small range of colors to key out.
2.
Add a second Chroma Keyer filter. Select the second, contrasting range of colors to key
out.
3.
Repeat with as many separate Chroma Keyer filters as necessary on a single event.
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Compositing Modes
Track compositing is only available in the full version of Vegas Video and is limited to Alpha
transparency in Vegas Video LE.
The Compositing Mode button determines how
the transparency in a video track is generated.
Since lower tracks show through higher tracks, it
is the Compositing Mode of the higher track that
determines how much of the lower track shows
though. The Compositing Mode of the lowest
video track has no effect on a project (since it
would only determine how much of the next
track shows through, and there is no next track).
The Compositing Mode can be selected by clicking the Compositing Mode button ( ) and
choosing a mode. Source Alpha is the default. There are three basic Compositing Modes:
1.
Add: adds the colors of the tracks together.
2.
Subtract: subtracts the colors of the tracks from each other.
3.
Multiply: merges the colors of the tracks.
4.
Alpha (default): uses the Alpha Channel to determine transparency.
Note:
The Compositing Mode is based on the
Alpha Channel characteristics of an event or
media file. If no Alpha Channel is present, the
Source Alpha Compositing Mode has no
effect.
Level slider
The transparency or blending of the overlay can be precisely
controlled with the Level slider. Left is 100% transparent and
right is 100% opaque. You can also double-click the percent
to enter a specific numeric percentage.
This Compositing
This Compositing
Mode is important.
Mode is irrelevant.
Level slider
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The illustration on the right is of
four tracks that have been set up
to illustrate how the various
modes work. In each case, pairs
of tracks are matched in a Parent/
Child relationship to create a
mask. The Parent tracks (tracks
One and Three) each have a
simple image that is used as a
mask over a solid colored Child
track (tracks Two and Four). The
masks serve as the track’s Alpha
Channel. The top level track’s
Compositing Mode then
determines how the four tracks (two pairs of tracks) are composited together. If a fifth track
was added below these, it would show through the black areas (Alpha Channel), based on
the Compositing Modes of the two parent tracks.
The examples below abstractly illustrate the four modes of the Compositing Mode button
( ) on track One.
Transitions
Transitions are the final type of Video plug-in. Transitions occur between two video scenes,
smoothly blending one into another and are discussed in another chapter. For more
information, see Transitions on page 297.
Compositing
Mode button
Relevant
Source Alpha Add Subtract Multiply
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Video
Transitions and
Motion
One of the most fun and exciting aspects of editing video on a computer is adding special
effects. When you combine all of the transitions, filters, and motion generators, Vegas has an
almost unlimited variety of effects.
Transition effects are only available in Vegas Video and Vegas Video LE.
Transitions
Transitions occur between two video events and are an entertaining and interesting segue
way. Too many transitions in a single production can distract from your movie. Most
professional productions, on television or on the big screen, use only two types of transitions.
The first is a simple cut, where one scene immediately cuts to the other without delay or
effects. The other is a fade, otherwise known as a crossfade or a dissolve.
Cuts
A cut is actually not a transition. Instead, the last frame from an event is immediately
followed by the first frame of the next event. This is what happens when with two adjacent
events on the Vegas timeline, either in the same track or in different tracks. This can also
happen when an event is punched into another (with fade edge edits turned off).
Adjacent events Events on different tracks Punch-in events
13
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Fading
You can fade smoothly from one event into another or into the background color using an
Opacity envelope.
To fade to black:
1.
Insert a video event onto the timeline.
2.
Move the mouse pointer over the blue triangle at the upper
corners of the event. Notice that the cursor changes: ( ).
3.
Click and drag (horizontally) towards the middle of the
event.
The line that appears is a visual representation of the fade and
is known as an envelope. The timecode of the beginning of
the fade appears in the ToolTip. By default, the event will fade
to whatever the event overlays. If there are no additional
events in lower tracks, the event fades into the project’s
background color. Transitions can also be used in a transition-
to-black effect. For more information, see Adding transitions to
the ends of an event on page 300.
Right-click on an Opacity envelope and, from the shortcut menu, select
the exact progression of the fade: Slow, Linear or Fast. This technique is
not limited to fading out, but can also be used at the beginning of a video
event. By using a fade out at the end of one event and a fade in at the
beginning of the next, you can easily create a very effective fade to black
between major parts of your production. The two events can be placed
next to one another (without overlapping), or you can leave a one-second
gap for a more significant pause.
Crossfades
You can fade one event out and fade into the
next event by simply over lapping the two. The
duration of the transition is determined by the
amount of overlap.
To crossfade between two events:
1.
Insert a video event onto the timeline. (From
the Options menu, make sure Automatic
Crossfade [X] is toggled on.)
2.
Insert another video event onto the same track.
Slow
Fast
Linear
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3.
Drag the edge of the second event over the first.
You can see that the region of overlap changes and that there are
two crossed lines representing the transition. There are a number
of shapes (curves) that the crossfade can follow. Right-click on
the crossfade envelope and choose Crossfade from the shortcut
menu. Click on one of the nine types of fades to select it.
Using Transition effects
Transition effects are more complex than a simple crossfade. While each effect is different
and can be customized in many different ways, the basic procedure for adding a transition
effect is uniform.
Transition effects are only available in Vegas Video and Vegas Video LE.
Adding a transition
To add a transition effect:
1.
Insert a video event onto the timeline or a track.
2.
Insert another event so that it overlaps the first to
create an automatic crossfade.
3.
From the View menu, choose Plug-Ins [ALT+5].
4.
In the Transitions folder, browse for a transition
effect.
5.
Drag the effect to the timeline onto the automatic
crossfade between two events.
The duration of a transition is automatically
determined by the amount of overlap between the two
events. As with other events in Vegas, the precise duration of a transition can be controlled
by dragging the edges in and out.
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One of the fastest ways to convert a crossfade
to a transition event is to right-click the
automatic crossfade and from the shortcut
menu, choose the transition that you want to
insert (e.g. Insert Transition ‘Iris’). Some
transitions also have their own shortcut keys.
On the number pad of your keyboard, press
to insert a Crossfade, to insert an
Additive dissolve, and to insert a Linear
wipe. Holding the key while pressing any of these keys converts the transition to a cut at
the cursor position.
A and B rolls a are only available in Vegas Video and Vegas Video LE.
Transitions can also be viewed and modified in a different mode. Click the Expand A/B
rolls button ( ) to expand the track to reveal three sub-tracks within the main track.
These sub-tracks are known as rolls and they are called A roll, B roll, and Transition roll.
Adding transitions to the ends of an event
Typically a transition occurs between two events on a track, but
transitions can also be used to fade to and from the background,
whether that is an underlying image or video or a background color.
For example, you can drag a Clock Wipe transition to the end of a
video event and have a the wipe go from the video event to black.
Understanding the A/B roll
A and B rolls a are only available in Vegas Video and Vegas Video LE.
The concept of an A/B roll is fundamentally different from
Vegas’ multitrack philosophy. Every track is in some way
mixed (composited) into the final output in a multitrack
system, but events are not mixed on the A/B roll. Instead,
either the A roll or the B roll is playing, with the two trading
places during a transition. You could mix the two for as long
as you want with a transition, but they will not blend
without an intervening transition. Transitions move from
one roll and into the other. This could be from A to B or
from B to A. The direction of the transition is automatically set by Vegas. The small arrows
on the side of the Transition event indicate this direction. As the following sequence shows,
A roll
Transition
B roll
roll
/ *
-
Ctrl
Transition Direction Arrows
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the video output can shift from the A to the B and back to A many times during a
production, but there is only one video output from any particular roll at a time. This means
that the A and B rolls are not composited or mixed together.
The A roll is on top and the B roll is on the bottom, with the transition located between
them on the Transition roll.
Depending on the mode you have selected for the track, the transition can appear in one of
two ways. In Collapsed mode, the A/B roll is compressed and cannot explicitly be seen,
although it is still there. Instead, a rectangle in the middle of the two events displays the
name of the transition. This has no effect on the final video output.
Converting cuts to transitions
The transition between two events that are adjacent to each other on the same roll and
track is instantaneous and is called a cut. If the first event is trimmed back from the end and
the second event is trimmed back from the beginning (both have enough media to overlap),
the cut can be transformed to a transition effect, using this extra media.
Expanded Mode
Collapsed Mode
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To convert cuts:
1.
Right-click the line between two adjacent events at the cut position.
2.
From the shortcut menu, choose Transition and then select the transition that you want to
insert (e.g. Insert Sonic Foundry Iris).
Transitions can also be dragged to the cut from the Media Explorer.
The duration of the newly inserted transition event is determined by the Transition fade
time set in the Preferences dialog. To access this dialog, from the Options menu, choose
Preferences and go to the Video tab.
Note:
There must be enough media in the
respective events to cover the transition (e.g.
the end of the first event must not be the end of
the media file).
Cuts between audio events can also be converted to crossfades. Position the timeline cursor
on the cut and press on the number pad on your keyboard to create a crossfade. There
must be enough media on either side of the cut to create the crossfade. The specific duration
is set in the Preferences dialog on the Editing tab under Cut to overlap conversion.
This event’s media is
longer than the trim.
This event’s media extends
before the beginning.
Cut
Both events are now longer
and extend into the transition.
/
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Previewing a transition
The easiest way to preview a transition is to set the preview area
to the duration of the transition and then loop the playback. You
can then adjust the transition while it is playing, quickly making
your changes in real-time.
To preview a transition:
1.
Double-click the transition. This automatically sets the
selection (preview) area to the proper duration.
2.
Click the Loop button ( ) to toggle automatically repeated
playback. The selection area bar is dark blue when Loop is
turned on.
3.
Click the Play button ( ), or press the key.
Complicated transitions may need to be rendered. From the Too ls menu, choose Render to
Video Preview.
Modifying a transition
All of the transitions in Vegas include default settings that create a perfect transition. Most
transitions are highly customizable with many attributes that can be changed and even
animated.
To modify a transition:
1.
Click the FX button ( ) on the Transition event or right-click the transition and choose
Transition Properties from the shortcut menu. The Video Transition dialog appears.
2.
Change the parameters. Changes are updated in real-time in the Video Preview window.
3.
Use keyframe animation techniques to animate the transition. See the next section for
more information.
Each transition has individual controls and variables, the details of which are discussed in
the Transition Dictionary. For more information, see Video transition dictionary on page 308.
Space
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The Video Transition dialog is similar to the Effects dialog (pg. 266). One obvious difference
between the two is that you can only apply one transition event to a particular track at a
particular time. This means that the Effects Chain is limited to one effect.
After modifying a transition, it is possible to save the changes as a preset for use at a latter
time. Default and custom presets can be accessed from the Preset drop-down list.
To save a variation as a preset:
1.
Click the name in the Preset drop-down list.
2.
Enter a name for the new preset.
3.
Click the Save Preset button ( ).
Any additional changes can be instantly saved to the custom preset by clicking the Save
Preset button. Changes cannot be saved to the (Default) preset.
Attributes,
Properties,
and Controls
Keyframe
Controller
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Keyframe animation
Keyframe animation is only available in Vegas Video and Vegas Audio.
Keyframe animation is a technique that computer
artists use to quickly make complex animated
sequences. Instead of drawing every frame of a title
scrolling in from top to bottom by hand, an
animator simply has to set a starting and ending
position for the animation and let the computer
interpolate the intermediate frames. The animation
pictured on the right would have two keyframes: a
starting and ending keyframe. A third keyframe
could be added to pause the title briefly in the
middle or to change the direction of motion. More
complex animations use more keyframes.
While keyframing motion may be the most obvious
use for keyframe animations, just about any
parameter of an effect can be animated with
keyframes. Vegas uses keyframe animation
techniques in many areas, including transition
effects and filters. Color, brightness, transparency,
motion, size, perspective, and many other
parameters can all be easily controlled this way.
Keyframe Controller
The Keyframe Controller is only available in Vegas Video and Vegas Audio.
When you open the Video Event FX dialog, the Video Motion dialog or the Transition
dialog, the options available depend on which effect you are working with. The bottom of
the dialog contains the Keyframe Controller which is the same for every effect.
These three frames show the progression
of a title across three keyframes. Motion
between the frames is automatically
calculated by Vegas.
Keyframes
Cursor position
Previous Create Delete
First Last
Next
Sync
Cursor
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The cursor position is marked by a red line on the controller. This position can also be
automatically updated on the timeline, with the Video Preview window also updating in real
time to reflect changes. Position the cursor on the main timeline and click the Sync Cursor
button ( ) on the Keyframe Controller to move the cursor to the corresponding position
on the controller. For events, tracks and projects using more than one filter, each filter’s
keyframe information is displayed on a separate strip. Click the particular strip of the effect
that you want to modify to select it.
Adding a keyframe
Every effect has a starting keyframe at the beginning (left side) of the Keyframe Controller.
This sets the initial parameters for the effect. These parameters will not change during the
course of the effect. In order to animate the effect, it is necessary to add another keyframe to
the effect and change some of the parameters.
Note:
By default, when you move the cursor
to a new location on the Keyframe Controller
and change a parameter of an effect, a new
keyframe is automatically added.
To add a keyframe:
1.
Click on the Keyframe Controller timeline to move the cursor to where you want to add a
keyframe. The current position is marked by a blinking red cursor.
2.
Click the Add Keyframe button ( ).
The new keyframe’s attributes are copied from the previous keyframe. Since their attributes
are identical, no animation will occur between them. This is especially useful at the
beginning of an effect to lock the effect without any animation up to a certain time.
• To delete a keyframe, select the keyframe and click the Subtract Keyframe button ( ).
• Keyframes are added automatically by navigating to a particular time and changing any
parameters in the dialog.
• Use the keyframe navigation buttons to quickly jump directly to a keyframe.
• Press + or + (Left or Right Arrow) to move to the previous or next
keyframe.
Modifying keyframes
Keyframes on the controller can be copied, pasted, and duplicated.
To copy a keyframe:
1.
Right-click a keyframe.
Ctrl Ctrl
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2.
From the shortcut menu, choose Copy.
To paste the keyframe, right-click the Keyframe Controller and, from the shortcut menu,
choose Paste.
• Duplicate a keyframe by holding the key while dragging it.
• As with other objects, you can select multiple keyframes by holding the key while
you click on individual keyframes or hold the key to select a range.
By default, the animation that Vegas interpolates between any two frames is linear. The
right-click shortcut menu also allows you to select a different shape for the interpolation
curve. Hold Keyframe prevents any animation from being interpolated between two
keyframes. This is very similar to the envelope fade curves: Linear, Slow, and Fast. For more
information, see Setting an event’s fade in and out on page 170.
The relative positions of the keyframes can also be changed as a group. This can be useful if
you need to change the overall length of an animated sequence or if you need to copy a set
of keyframes to another event that has a different duration than the original.
To change the relative spacing of a group of keyframes:
1.
Hold the key and click the first and last keyframes in the sequence to select all of
the keyframes.
2.
Hold the key and drag to scale the keyframes.
When copying keyframes from longer event to shorter events, you need to temporarily
lengthen the duration of the shorter event so all of the keyframes will appear on the
Keyframe Controller, rescale the keyframes using the above procedure, and then resize the
event to its original length.
Keyframes and transition effects
Some aspects of a transition effect can be modified and animated with keyframes and some
cannot. Attributes that have a number of discrete states cannot be smoothly animated.
There is no halfway between Clockwise and Counter Clockwise, for example. In these cases,
the effect jumps to the new attribute at the keyframe, but no intermediate states are
rendered.
Ctrl
Ctrl
Shift
Event fade curves
keyframe
interpolation
curves (visual examples)
Shift
Alt
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Video transition dictionary
Transition effects are only available in Vegas Video and Vegas Video LE.
There are a number of transition effects
available in Vegas and each has its own
variables and parameters that can be
customized. Many of the examples in this
section are based on the video track pictured
at the right. The example transitions from the
beach scene in the A roll into the ornate
temple roof in the B roll. The samples in the
Transition window in Vegas display animated
thumbnails of the effects: click on a transition
thumbnail to view this animation.
The following is an alphabetical listing of the various transition effects and their options.
Additive Dissolve
Dissolves are also commonly known as fades. Additive simply means that the B roll video
sequence is gradually added on top of the A roll video, with the transparency of A increasing
while B’s transparency decreases until it is completely opaque. Because it is an additive
dissolve, the video becomes brighter during the transition. This transition is similar to an
Auto-crossfade or Fade.
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Barndoor
This transition effect is a variation of a wipe
transition. As the name implies, this wipe moves in
two direction, not unlike two barn doors. Video
transition barn doors can move in a number of
different directions however: vertically or
horizontally.
Clock Wipe
This wipe effect moves in a circular pattern, either
clockwise or counterclockwise.
Orientation Select Horizontal / Vertical for
doors that open side to side or
top to bottom.
Direction The transition can start from
the outside and move In
towards the center or start at
the center an move Out towards
the edges.
Slow In This controls the speed of the transition at the beginning of the effect.
Move the slider to the right to slow the beginning.
Slow Out This controls the speed of the end of the transition. Move the slider to the
right to slow the end of the transition.
Border Controls The barndoor transition does not have a border by default, but you can add
one with the following parameters. No border is visible if the Size and
Feather sliders are set all the way to the left.
Size Move the slider to the right to create a larger border.
Feather Feather determines how crisply the edge appears. Higher values yield a
softer edge.
Color Use these color boxes to select a color for the border.
Direction Select Clockwise or
Counterclockwise.
Feather Angle Determines how much of the
edge is feathered or
softened.
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Cross Effect
This is a composite transition effect that uses a crossfade combined with a Zoom, Pixelate or
Blur transition. The following illustration shows a Pixelate Cross Effect where the first video
gradually becomes more and more pixelated, then crossfades into a pixelated second event,
which finally resolves to the second event, thus completing the transition.
Fade Range Determines the duration of the crossfade that occurs at mid transition. The
fade takes place across the entire transition for a value of 1.
Effect Select the type of transition to combine with the crossfade: None, Zoom,
Pixelate or Blur.
Apply to Determines which events are involved with the zooming aspects of this effect:
Source, Destination or Both.
Max Zoom Sets the maximum amount of zooming at the mid point of the transition:
from 1 to 128%.
Source Center Determines the center of the first event (transition from).
Destination Center Determines the center of the second event (transition to).
Map Drag the center dots (red = source/ blue = destination) to visually determine
the center location.
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Iris
This effect allows you to select the shape of the
transition as it grows. The shape can be repeated any
number of times in rows and columns and can be
surrounded by a border. By freezing this transition in the
middle using keyframe animation techniques (pg. 307),
it is very easy to create a video window (in any of the
default shapes that are included with this effect) using
the transition as a mask.
Linear Wipe
At first glance, the Linear Wipe, Push, and Squeeze transitions look very similar. In a Linear
Wipe transition, a line moves across the video, revealing the second video, which was always
below the first and is unmoving. In a Push, the second video itself moves onto the screen as
the first one moves off. A Squeeze distorts the transitioning video events, squeezing one as
the other expands.
Center Enter the coordinates of the center of the effect into the text boxes or drag
the circle on the position map to the desired location.
X Repeat / Y Repeat X Repeat is how many times the shape is repeated across the image from left
to right (columns) and Y Repeat is the number of times the shape is repeated
from top to bottom (rows).
Iris Shape Sets the shape of the iris.
Feather Determines how smoothly the border fades into the background.
Border Controls The following three controls modify the border, if any, on the effect.
Border Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
Angle Use the slider to control the direction the wipe comes in from.
Feather This sets the size and softness of the edge of the wipe.
Linear Wipe SqueezePush
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Page Peel and Page Roll
These two Page transitions act as if the two video events involved in the transition are pages
in a book. The first page (first video event) can be turned to reveal the next page (second
video event). The difference between a peel and a roll is illustrated below, although it is
more clearly seen by actually previewing the two transitions in Vegas.
Push
Event two pushes in over the first event, from any direction, replacing it. See the illustration
accompanying the Linear Wipe effect.
Angle (Peel and Roll) This angle determines the corner the page is turned from. For example 0° to
90° is the lower right corner, with 45° being the exact center of the lower
right corner. The angle of the peel in the above examples is about 60°.
Fold radius This determines how high the page is lifted. Lower values keep the peel closer
to the page and make a much tighter roll, while higher values lift the peel
further and make for a much looser roll.
Slide amount This determines how much the entire first page slides away over the second.
Opacity (Peel and Roll) This sets whether you can see through the back of the page as it is turned.
Perspective This adjusts the viewer’s virtual perspective in relation to the page. Lower
numbers simulate a higher perspective above the page, while numbers
approaching 1.000 simulate a greater viewing angle.
Light color Use these color boxes to set the color of the light that is reflected off of the
back of the page.
Direction Select the direction from which the transition progresses: Up, Down, Left or
Right.
Push off previous image The first video pushes the second video off of the screen when this is
selected. When not selected, the second video merely slides over the first,
with the first remaining unmoved.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
Page Peel Page Roll
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Slide
In this transition event two slides over event one (Slide In) or event one slides away off
screen, revealing event two (Slide Out).
Spiral
This transition uses a circular sliding motion to exchange the events. The events can also
appear to zoom in or out during the transition. The following illustration shows a Spiral Out
effect that zooms out to 0.
Angle Determines the angle of the transition’s movement.
Direction Slide In: event two slides over event one. Slide Out: event one slides off screen.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
Turns Determines the number of rotations the transition undergoes before the
effect is completed.
Zoom Determines the level of magnification at the start/finish of the transition from
0 (minimum size) to 1 (full size).
Orientation Determines the starting position of the spiral: Left, Top, Right or Bottom.
Motion Determines the direction of the circular component of the spiral motion:
Counter-Clockwise or Clockwise.
Direction Spiral In: event two spirals in from the outside, covering event one. Spiral Out:
event one spirals away towards the center, revealing event two.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
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Split
In this effect, one of the transitioning events is split apart into four sections and gradually
covers, or reveals, the other event. The illustration uses Split Mode: Squeeze and Direction: In.
Squeeze
This effect is similar to Push and Linear Wipe. In a Squeeze effect however, the entire
contents of both videos is visible for the duration of the effect. See the illustration
accompanying the Linear Wipe effect for more information.
Center Determines the central offset of the transition. Drag the blue square to move
the center.
Split Mode Possible modes: Push, Wipe, or Squeeze. See the illustration accompanying
the Linear Wipe transition’s explanation for more information.
Direction Out: event one splits to reveal event two. In: event two slides in and over
event one.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
Start The effect can start from the Top or Bottom, Left or Right, or emerge from
the Center either Horizontally or Vertically.
Squeeze previous image The first video squeezes the second video off of the screen when this is
selected. When not selected, the second video merely slide over the first, with
the first remaining uncompressed.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
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Swap
In this effect, event one slides out of the way and then exchanges places with event two,
which comes to the forefront.
Zoom
The second video appears on top of the first as a point at the beginning of this effect and
gradually expands to cover the entire screen.
Direction Determines the initial direction that event one takes during the swap.
Border The following three controls modify the border, if any, on the effect.
Size Sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
Location Drag the circle on the location map to determine the starting point of the
effect.
Border The following three control the border, if any, on the effect.
Size This sets the width of the border.
Feather Determines how smoothly the border fades into the background.
Border Color Use the color boxes to select a color for the border.
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Track Motion
Track Motion is only available in Vegas Video.
The Track Motion dialog is used to move a video track across a background. This
background can be a solid color, but it is more common to use another video event or an
image. Picture-in-picture effects and scrolling title sequences are two simple cases where this
tool is important.
The Track Motion dialog is easy to use. The striped gray area in the center (covered by the
blue/gray rectangle) represents the actual screen or area that is visible in the movie. The
area outside of the main screen, which is filled with dotted lines, is the general workspace.
The video you are moving can be positioned off of the visible screen and then animated
onto and across the screen. The dots are markers to help position the video window. If snap
is turned on, these serve as ‘snap to’ points. The main window allows you to control the
placement, size, and orientation of the overlay video through time. The blue and gray
rectangle in the middle of the screen represents the area of the full screen. The large “F” is
used to represent the orientation of the track and is especially useful in indicating a track
that has been reversed.
You can also create blue guide lines to help you align objects by
moving to the edge of the ruler and dragging towards the center of
the workspace to create a new line. Existing guides can be
repositioned by dragging. Guidelines can also be used to snap the
video window.
Keyframe Controller
Handles
Orientation Clock
Move Tool [M]
Zoom Tool [Z]
Toggle Snap [SHIFT]
Lock Aspect Ratio [CTRL]
About Center [ALT]
Constrain Movement
Show Edit Controls Edit Controls
Orientation “F”
Track Area
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Track Motion context menu
When you right-click anywhere in the Track Motion window, a
shortcut menu appears:
•Restore returns the overlay to its original state.
• Match Aspect sets the aspect ratio to the frame value.
•Center moves the overlay to the center of the frame.
•Flip Horizontal flips the overlay backwards or left to right.
•Flip Vertical flips the overlay upside-down.
• Match Source Aspect sets the x,y ratio to the overlay value.
• Background sets the color of the overlay window.
Controlling the Track Motion workspace
The Track Motion workspace allows you to position the video within the project frame.
Select the Zoom tool ( ) and click on the workspace to zoom in. If you click and drag on
the ruler that surrounds the workspace, a hand icon appears and allows you to move around
the magnified workspace.
Keyframing and Track Motion attributes
Keyframe animation and the Track Motion tool are only available in Vegas Video.
The Keyframe Controller has three attributes that can be animated: Position, Shadow, and
Glow. Each effect can be animated independently. The Shadow and Glow effects can be
turned on and off. Each effect has its own set of controls that appear on the right-hand side
of the dialog. These controls can be accessed by clicking on the respective item on the
Keyframe Controller.
Position
Controlling the position of the overlay is easily
accomplished in the main window by dragging
the gray box. The controls in the dialog are
invaluable when you need precision. Zooming
can be used to shrink or expand the video
overlay. The Grid Density is only used to
control the ruler settings and snap to points.
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Shadow
This creates a simple drop shadow that
appears under the entire window or only
under the opaque (nontransparent) parts of
the overlay. The size and offset of the
shadow can be controlled and animated,
and you can specify the shadow color. A
shadow is especially effective under a
picture-in-picture window or to emphasize
text and titles. Use the Eyedropper tool to
select a specific color from anywhere on the
screen.
Glow
Glow is a bright haze surrounding an overlay. In
general, light colors are used for glow effects, but you
can emphasize bright text on complex backgrounds by
using a very small black glow, with little or no
Feathering, and 100% Intensity.
Shadows and Glow
Drop shadows are simple shadows under an object, window, or title. It is an especially
effective technique for emphasizing text against a complex background.
To create a drop shadow under titles:
1.
Use the Title generator to create a title. For more information, see Tex t on page 280.
2.
Click the Video Motion button ( ) on the track with the titles.
3.
Select Shadow on the Keyframe Controller at the bottom of the Video Motion dialog.
4.
In the Video Motion dialog, configure the following Shadow parameters:
Offset: 1.00 X 1.00 - This sets the location of the shadow one pixel off center.
Color Picker
Eyedropper
X, Y Offset
Edge softness
Transparency
Eyedropper
Edge softness
Transparency
Color
Picker
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Feather: 0 - This makes the shadow very crisp and small with no fuzzy edges.
Intensity: 1 - This is an opaque shadow. Other values near one will also work.
A Glow can be applied in a similar way. A Glow is not offset and is centered on the overlay
video, surrounding the overlay video with a diffuse colored border.
Modifying the shadow
The shadow can also be animated and modified independently of the main track area.
Picture-in-Picture
Picture-in-Picture is an easy technique to reproduce using the Track Motion tool.
To create a Picture-in-Picture effect:
1.
Insert the background video into a track.
2.
Insert the overlay video into another track just above the first.
3.
Click the Trac k M o t io n button ( ) on the upper overlay track.
4.
In the overlay dialog, position and resize the Track Area in the Track Motion dialog.
A simple one-pixel drop shadow added in the Video Motion dialog helps titles stand out.
Position can be modified. Shadow can be modified. Shadow position, rotation,
and size can be changed
by dragging.
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The illustration below shows some of the relevant parts of this procedure. Note the shadow
cast by the overlay video. This is added by selecting the Shadow option on the Keyframe
Controller. The attributes in this dialog can all be animated with keyframe animation
techniques. The Video Preview window displays the results.
Note:
As in the above example, overlay
picture-in-picture windows are often
completely opaque. Fade envelopes can be
used to fade the picture in and out.
Animating the overlay
Many aspects of an overlay can be animated using the keyframes at the bottom of the Track
Motion dialog.
To create a moving video window:
1.
Insert a video event onto the timeline and click on it to select it.
2.
Click the Tr a c k Moti on button ( ) located on the Track Header on the left side of the
track.
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321
3.
Drag the Resize Squares at the edges of the video to change the size.
4.
Drag the middle of the video to position it for the start of the animation.
5.
Click on the timeline of the Keyframe Controller at a later time to move the cursor to
that position.
Note:
You can also navigate to a new position
on the main timeline and then click the Sync
Cursor button ( ) in the Track Motion
dialog to automatically move the cursor on the
Keyframe Controller.
6.
Reposition the overlay. A new keyframe is automatically added to the Keyframe
Controller timeline.
When you preview the video, Vegas will interpolate the
position of the overlay between the two keyframes with a
smooth animation.
• To rotate the video overlay, move the cursor outside of the
Track Area box. The cursor changes to a circle with an
arrow on it. Drag to rotate.
• The clock icon in the Track Area shows the orientation of
the track and the exact angle is displayed in a small
ToolTip below the cursor.
• The position of the clock icon in the Track Area can be
dragged and determines the center of rotation.
Note:
Since this animation applies to an
entire track, each separate event that you want
to apply the same motion to must be placed on
a different track.
Scrolling titles - Video Motion technique
The Track Motion tool is only available in Vegas Video. The Title generator is only available in
Vegas Video and Vegas Video LE.
The Title generator can be used to quickly create titles. These title sequences can then be
animated using the Track Motion dialog. An alternate method is to create an image file
(*.bmp, etc.) and then scroll it across the video.
Rotating
Moving the
center of
rotation.
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To create scrolling titles - Video Motion:
1.
Insert a title sequence into a track above the main video.
2.
Click the Tr a c k Moti on button ( ) on the left side of the title (overlay) track in the
Track Header.
3.
Move the overlay titles above the screen area (see the illustration below).
4.
Move to the end of the title clip. One way to do this is to move the cursor to the end of
the event on the main timeline ( + + ) and then click the Sync Cursor button
() on the Keyframe Controller. You can also move the cursor directly on the Keyframe
Controller in the Track Motion dialog.
5.
In the Track Motion dialog, click the Constrain Motion button ( ) until it is in Move in
Y Only mode ( ). This keeps the titles vertically aligned.
6.
Move the track down and off of the bottom of the screen. A position keyframe is
automatically added to the Keyframe Controller at the bottom of the dialog.
Another tool that makes many operations in Vegas easier is the Snap tool. In the Track
Motion dialog, click the Toggle Snap button ( ) to turn this feature on, or simply hold
down the key to toggle it on temporarily. Another method for creating scrolling titles
is to use the Pan/Crop dialog. This alternate technique is preferable in many situations,
especially when the title sequence is long, such as during closing credits. For more
information, see Scrolling titles - Pan/Crop technique on page 246.
Ctrl Alt
Title sequence
Move in Y
Only button
Shift
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323
Saving and
Rendering
Projects
Vegas allows you to save and render projects into many different multimedia formats. The
chosen format is determined by how you want to deliver the media. When you render a
Vegas project to a different format, your project is not affected, and a single project may be
rendered in any number of different formats.
This chapter explains saving a project and using the Save As and Render As functions. In
addition, you will find reference information for the rendering options available in Vegas.
Saving your project
A project in Vegas is saved as a small *.veg file. This file contains all of the information
Vegas needs to recreate your project: source file locations, trimming, track and bus plug-ins,
volume and panning envelopes, bus assignments, assignable FX settings, etc. This is not the
same as creating a final media file, which is done with the Render As command.
To save the project:
1.
Select one of these save methods:
• From the File menu, choose Save.
• Click on the Save button .
• Press on the keyboard.
The first time a project is saved, the Save
As dialog appears.
In subsequent saves, the above dialog is
bypassed, your existing file name is
retained, and your project is updated to
include any implemented changes.
2.
Select Vegas Project (*.veg) from the Save as type list (default).
3.
Select the drive and folder where you want to store the project.
Ctrl + S
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4.
Type the project name in the File name box.
5.
Click the Save button in the Save As dialog.
To make a project more portable or to simply organize your project more efficiently, select
the Copy all media with project check box. This will create a copy of all of your source media
files in the destination directory. While this will initially require a lot of disk space because
there will be two copies of every file, it does allow you to organize a project into one
convenient location and then clean up your hard drive.
Creating a copy of a project (using Save As...)
After you have been working with your project, you may use the Save As command in the
File menu to create a copy of the small project file with a different name. Since multimedia
projects can be very complex, and since Vegas project files are so small, saving a number of
different versions of a project is a good way to try new techniques without risking ruining
your project.
To create a copy of the Vegas project:
1.
From the File menu, choose Save As. The Save As dialog appears.
2.
Select the drive and folder where you want to store the project.
3.
Type a new name in the File name field.
4.
Click the Save button on the Save As dialog.
Click the Copy all media with project check box if you want all the media copied into the same
folder as the project.
Save As dialog check boxes
The Save As dialog has three check boxes, which you can use when saving your file or
rendering it to a different format. These check boxes appear in the lower-left corner of the
dialog.
Vegas (*.veg) projects only. This option copies the media that is referenced in
the project to the same folder to which you are saving the project (for portability).
If you have a time selection in your project, this option ensures that the entire
project is rendered. If you do not select this option, only the time selection is rendered.
If your project contains markers or regions, you may save that information in the rendered
file. Saving markers into a media file can enhance the end user’s interaction with the media file.
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Rendering projects
Rendering refers to the process of converting the Vegas project into a single new multimedia
file and formatting it for the desired playback method: media player, Internet streaming
media, CD-ROM, video tape, etc. The project file is not overwritten, deleted, or altered
during the rendering process. You may return to the original project to make edits or
adjustments and render it again later. The following table describes the formats available for
rendering your Vegas project:
Format Name Extension Definition
Audio Interchange File Format *.aif The standard audio file format used on Macintosh computers.
MPEG Layer 3 *.mp3 Compressed audio format. You may render up to 20 *.mp3 files without
registering the optional plug-in (see note below this table).
RealMedia G2 *.rm The RealNetworks standard for streaming media via the Web. This option
renders both audio and video into one file.
Vegas EDL *.txt This option creates a text version of event placements in the Track View.
EDLs can be used by an outside studio to recreate your movie from the
source media files.
Vegas project *.veg This option saves the references to media files used in the project. Also saved
is project information, track plug-ins, envelopes, bus assignments, and output
properties. The *.veg file does not combine events into a single file.
Video for Windows *.avi The standard video file format used on Windows-based computers. This
option renders both audio and video into one file.
Wave (Microsoft) *.wav The standard audio file format used on Windows-based computers.
Windows Media Audio *.wma The Microsoft audio-only format used to create files for streaming or
downloading via the Web.
Windows Media Format *.wmv The Microsoft standard used for streaming audio and video media via the
Web.
QuickTime *.mov Apple QuickTime multimedia format.
Perfect Clarity audio *.pca A Sonic Foundry proprietary format that is compressed and completely
lossless.
Wave64 *.w64 A Sonic Foundry proprietary format that allows wave files that are
(practically) unrestricted by file size.
MPEG-1 and MPEG-2 *.mpg Some versions of Vegas also support MPEG-1 and MPEG-2 file creation
through the use of Ligos GoMotion technology.
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Rendering to an audio format
The audio-only formats that you can choose from are *.aif, *.mp3, *.wav, *.w64, *.pca, and
*.wma. The file formats *.aif, *.wav and *.w64 allow you to set the frequency, bit-depth,
channel, and sample rate to which the Vegas project will be rendered. The *.wma format
allows you to set the streaming qualities. The *.mp3 file format allows you to set its exclusive
controls for the best audio quality based on your delivery method. For more information, see
Creating *.mp3 files on page 336.
Rendering to a *.aif, *.mp3, *.wma or *.wav file
The procedure is identical for each audio format to which you want the project rendered.
The only difference is the selection from the File of type list on the Render As dialog.
To render a Vegas project to one of these formats:
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
Select the drive and folder where you want to save the rendered file.
3.
Type a new name in the File name field, if necessary.
4.
In the Save as type drop-down list, choose AIFF (.*aif), MP3 Audio (*.mp3), Wave
(Microsoft)(*.wav), or Windows Media Audio (*.wma).
5.
Click the Save button. A small dialog box appears displaying the progress of the render
and a status bar appears in the lower-left portion of Vegas.
Note:
You may cancel the rendering process
by clicking the Cancel button or the button
on the status bar.
About the *.w64 and *.pca formats
The *.w64 and *.pca formats are proprietary formats developed by Sonic Foundry to work
around some limitations inherent in other currently available formats. Currently, neither is
compatible with many other applications and may not be playable in other media players,
but both are excellent choices for Sonic Foundry projects.
•*.w64 files work around the maximum file size limitation inherent in the *.wav format.
The *.w64 format is unlimited by a maximum file size and is very useful in long format
productions.
•*.pca is the Sonic Foundry Perfect Clarity audio format and is a compressed format that is
completely lossless. Unlike *.mp3 and other highly compressed formats which are lossy,
100% of the quality of your audio is maintained by compressing your audio files to the
*.pca format.
Cancel
button
Status bar
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Rendering to a video format
The process of creating a video file is known as rendering and can take quite a bit of time,
depending on how many effects and transitions you have used, your CPU’s speed, and the
final format you have selected. For longer movies, you might want to plan to render your
movie overnight or when you are not otherwise using your computer.
There are four primary locations from where your final movie can eventually be played: on a
VTR or camcorder, on a hard drive on a computer, on a CD-ROM, or over the Internet.
This final location directly determines the format of your movie. For more information, see
Selecting a video format on page 335.
To render a Vegas project to an *.avi file:
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
Select the drive and folder where you want to save the rendered *.avi file.
3.
Type a new name in the File name field, if necessary.
4.
In the Save as type drop-down list, choose Video for Windows (.*avi).
5.
Click the Save button. A small dialog box appears displaying the progress of the render
and status bar appears in the lower left portion of Vegas. Upon completion of the render,
your Vegas project is ready for distribution and playback.
Partial rendering and timeline playback
Timeline playback is only available in Vegas Video and is also hardware dependent, meaning that it
will only work with video hardware that supports this feature. Additional information is available at
the Sonic Foundry Web site.
The rendering process for video can take many hours and require gigabytes of hard disk
space, depending on the size and complexity of your project. In some situations, it may not
be necessary to render an entire video project. Instead, you may be able to play the video
from a project back directly from the timeline out to your television, VTR, or camcorder.
This is an excellent method of giving your project a final video preview on a television
monitor (which differs significantly from a computer monitor) before executing a final
render. Again, this process will not work on all machines or in all situations:
• Timeline playback must be supported by your video hardware in order to work with Vegas.
The process is most likely to succeed with newer (but not all) DV video capture cards.
• Complex effects and/or transitions may not playback in real-time from the timeline.
What effects can and cannot be played back depends on the speed of your computer.
• Audio is not played back from the timeline to the external monitor.
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One solution to the second problem is to render the more complex portions of a project (e.g.
transitions) to temporary files. For more information, see Pre-render Video in Loop Region on
page 254. As long as these sections of the project remain unchanged, Vegas will not need to
re-render them. During timeline playback, Vegas will playback these files seamlessly with
the rest of the project.
Note:
The compression settings used to create
the pre-rendered video must be identical to
your captured files for timeline playback to
work.
Rendering to a streaming media format
Streaming media formats are excellent choices for projects that are destined for the Internet.
Vegas can render a project to either Windows Media (pg. 337) or RealMedia players. With
these formats, you may set the audio portion’s frequency, bit depth, channel, and sample
rate. In addition, you can set the frame rate, frame size and compression for the video
portion, depending on which version of Vegas you are using.
Rendering to a *.wmv, or *.rm file
This procedure is identical for each streaming format to which you want the project
rendered. The only difference is the selection from the drop-down list.
To render a Vegas project to one of these formats:
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
Select the drive and folder where you want to save the rendered file.
3.
Type a new name in the File name field, if necessary.
4.
In the Save as type drop-down list, choose Windows Media Video (*.wmv), or RealMedia
(*.rm).
5.
Select a template and/or customize the render settings.
6.
Click the Save button. A small dialog box appears displaying the progress of the render
and a status bar appears in the lower left portion of Vegas. Upon completion of the render,
your Vegas project is ready for distribution and playback.
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Using rendering format controls and templates
Every format has different variables and controls. Vegas has a number of templates that
appear on the Render As dialog’s Te m p l a t e drop-down list to automatically configure a
particular format for a particular destination. You may also save your own templates by
clicking the Custom button. However, in many cases, a template may provide the best
results for rendering your projects.
The following sections present and overview of each formats controls and template creation.
Central to the process of creating a multimedia file from your project is the compressor or
codec. A codec is simply the algorithm that is used to compress the media file. Many of the
codecs used for specific rendering formats are updated periodically by their creators. For
information about specific codecs, contact the codec’s manufacturer.
In some versions of Vegas, full customization of the rendering formats is not available. Instead, you
are limited to selecting from one of the many templates that most closely matches your needs.
Professional level control of all of the rendering parameters is only available in Vegas Video.
Customizing a render
Every project (*.veg) has default settings that are used to determine the format of the final
file created from a project. The settings are determined at the beginning of the project, but
can be changed at any time: from the File menu choose Preferences.
To customize the Render As settings:
1.
From the File menu, choose Render As.
2.
In the Render As dialog, choose the format [e.g Video for Windows (*.avi)].
3.
Click the Custom button and go to the Video tab.
Selected rendering
format
Selected template
Selected template’s
description
Click the Custom
button to change
control settings
or create/delete
a template
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• Select a Template from the list to automatically set up all of the settings on this tab. You
can also create a custom template and save it for future use. The Description box
summarizes the template properties.
• The appropriate frame rate and frame size are determined by the final destination of the
movie. See the next section in this manual and your video capture card’s manual for more
information.
• The Compression button opens a dialog to set up the exact codec used to compress the
video. This is a very important process. In short, codec stands for COmpressor/
DECompressor and it is the mathematical algorithm used to encode a video file. The
codec directly determines the size and quality of the movie, as well as its compatibility
with various playback devices. The final destination for the movie dictates the choice of
codec. Some codecs have additional options that can be adjusted by clicking the Configure
button.
4.
Click OK to close the Custom Settings dialog.
5.
Enter a name and location for the new file and click OK.
The customize settings that have been chosen here can be saved for future use. One of the
most important reasons to save a new template is to save the specific compression codec
used to create the movie, since this is not pre-determined by the project properties.
To save a new template:
1.
Modify the parameters in the Custom Settings dialog.
2.
In the Template drop-down list, enter a name for the new template.
3.
Click the Save Template button ( ).
Changes cannot be made to the default template. To use the new template in the future,
simply select it from the Template list in the Save As dialog. Custom Audio and Video
settings are saved in the same template.
Note:
To delete a template, select it from the
drop-down list and click the Delete button
().
Custom rendering settings
The format of the final file that is created from a Vegas project can be set by clicking the
Custom button in the Render As dialog. The Custom Setting dialog appears and has three
tabs: Audio, Video, and Project. The Attributes drop-down list displays available choices
depending on the Format option that you choose.
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Audio tab - Custom Settings
Format
This lists the rendering codecs that are available.
Sample rate
The sample rate directly affects the audio’s quality. The sample rate
is defined as the number of times a second that data is sampled in
an audio file. It is similar to the concept of resolution in an image
file. The higher the setting you choose, the better the quality, but
the larger the file size.
Bit depth
The bit depth directly affects the audio’s quality. The bit depth is
defined as how much data is used to save each sample (see above).
The higher the setting you choose, the better the quality, but the
larger the file size.
Channels
A project may be rendered by channel types: Stereo, Mono, Multiple Mono, and Multiple
Stereo.
Channel Description
Stereo Renders all the project’s busses to a stereo file. The signal is saved to the respective right and
left channels that you specified in the project. This may cause clipping in the rendered stereo
file. You can compensate for the clipping by reducing each channel’s volume fader prior to
rendering.
Mono Renders the project so that both the right and left channels are summed to one mono signal.
This may cause clipping in the mono file. You can compensate for clipping by reducing each
channel’s volume fader prior to rendering.
Multiple Mono Renders each of the project’s busses into two mono files: one left and one right. For example,
if your project has two busses, Vegas will render 4 mono files (two right and two left). This
feature is useful if you are using applications that do not work with stereo files. Therefore, if
you wanted to export tracks from Vegas into one of these applications, you would need to
export each channel as a mono file.
Multiple Stereo Renders each of the project’s bus into a stereo file. For example, if your project has two busses,
Vegas will render 2 stereo files. Therefore, each bus in your project (and the tracks assigned to
the bus) are rendered into a single stereo file.
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Video tab - Custom settings
There are many possible formats to select from when creating a video file. Not all options
are available for all types of video files. The particular compression chosen in the Video
format list determines which of these options are available. For more information, see Selecting
a video format on page 335.
Video size
The final frame size of the movie can be different from the project’s default settings. Frame
size also contributes to quality and file size.
Frame rate
The final rendered multimedia file can have a different frame rate from the project itself.
Frame rate is very important in determining the quality and size of the final media file.
Video format
The Video tab has a Compression button that is used to access the actual codecs or
compressors that are used to create the final video file.
Each codec is a small program by itself and many have additional custom controls that are
used to fine tune the output. Click the Configure button to adjust these parameters
manually.
Quality slider
If the codec chosen in the Video format list supports it, use this slider to adjust the quality of
the compression applied by the codec chosen from the Video format list.
Compression codecs
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Render Alpha Channel
If the codec chosen in the Video format list supports Alpha Channel transparency, select
this option to save this information with the file.
Interleave every
When enabled, this control allows you to specify how often the audio and video streams are
interleaved. Interleaving relates directly to how the data is saved in the file. For example,
during the rendering process, the audio data is written in between the video data based on
the frame setting that you specified.
Interleaving allows for optimal playback of the *.avi file.
Keyframe every
If the codec chosen in the Video format list supports compression keyframes, select this
option to set compression keyframes to adjust the quality of the compression. More
keyframes typically produce higher quality video, but a larger files size (and thus a higher
data rate).
Data rate
If the codec chosen in the Video format list supports a data rate ceiling, select this option
and enter a maximum data rate for the final file.
If possible don’t recompress frames
Select this option to ensure that video that has not been altered in any way in a project
other than simple trimming is not recompressed. This only works if the output format
matches the source media file format exactly. There are two significant advantages to not
recompressing video: (1) 100% quality is maintained and (2) significantly faster render
times.
Configure button
Click this button to access the advanced settings of the particular codec chosen in the Video
Format list.
Project tab - Custom settings
There are many possible formats to select when creating a video file. Not all options are
available for all types of video files. The particular compression chosen in the Video format
list determines which of these options are available. Many of these settings are identical to
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your Project Properties and can be saved as a part of a project template. Final render settings
over-ride Project Properties settings. For more information, see Project properties - Video tab on
page 256.
Image rendering quality
Higher quality settings result in longer rendering times. Good is the default.
Motion blur type
Motion blur can be used to smooth any animated effects created in Vegas, including Track
Motion and Pan/Crop effects.
Exposure time (seconds)
This determines the amount of Motion blur to apply. Specify a duration over which the blur
will occur. Smaller fractions of a second are recommended.
Interlace
Video that is displayed on a television monitor is interlaced. This means that every frame of
video is actually composed of two fields, each of which is made up of half of the lines that
make the final frame. These two fields are woven together in alternate lines, but which of
the two fields is displayed first can be important. The interlace can be ignored for video that
is going to be displayed on a computer: choose Progressive. For video on a television, most
hardware supports Lower First. If the output is jittery or shaky on a television, or your
hardware’s manual specifies it, choose Upper First.
Pixel aspect ratio
A pixel is a single picture element or dot on a television or computer screen. Computers
display pixels as squares: 1.0. Televisions display individual pixels as rectangles: 0.909, 0.899,
or anything other than square. Using the wrong pixel aspect ratio can result in distortions or
stretching of the video. Select the aspect ratio for the final movie’s destination. Consult your
hardware manual if you are in doubt about the appropriate ratio. The pixel aspect ratio is
unrelated to the frame’s aspect ratio.
Resample the frame rate of all video
This option resamples the frame rate for all source media files in a project that differ from
the target frame rate of the final movie where necessary. This may or may not improve the
quality of the final video, but will almost certainly increase rendering times. For more
information, see Resampling on page 258.
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Selecting a video format
When you create a final movie, you will find that there are literally dozens of formats to
choose from, each having dozens of options. The destination of your final movie is the most
important factor in selecting a format. Movies created for broadcast television must be of the
highest quality, but for many other destinations, such as a CD-ROM or the Internet, you are
going to have to sacrifice some quality when you render the file. Heavy compression may
create visible artifacts in the video, such as when you create streaming video for the
Internet. Every case is different and it is necessary to experiment to obtain the best results.
VCR or television
If you are creating a movie that you want to send back out to a television, a VCR or a
camcorder, there is only one choice:
Use the same settings as the original video.
There is no way to improve upon the quality of your original video (as far as compression is
concerned). If you have captured your video at 640X480, at 24fps in an MJPEG codec, then
that is how you should set up your final movie. This is the only way to maintain 100%
quality.
Computer
This can be the most complicated case because you have to decide exactly which computer
it is going to be played back on, how fast it is, what software is installed, and how you are
going to get it there (e.g. burned to a CD). Your biggest concern with creating a video file is
compatibility. When you create a movie, you must select a specific codec to compress the
video. That same codec must then be used to view the movie. This is not a problem if you
are viewing the movie on your own computer, since the appropriate codec is already
installed. To ensure that your audience has the appropriate software, you should use a fairly
universal codec. Intel Indeo, Cinepak, and QuickTime (which is not a codec, but installs
with a number of different codecs) are all widely available. Be careful not to use the latest
version of these codecs unless you are sure that your viewers’ systems are up to date. These
codecs are good for older computers and maintain pretty good quality, but they do not
provide high compression ratios and the resulting files are rather large.
Internet
When video on the Internet is discussed, people almost always mean streaming. There two
streaming media formats that come with Vegas: RealMedia and Windows Media Format.
There is nothing particularly magical about streaming video, and the three rules of creating
video files for the Internet are as follows: compress, compress, and compress. The smaller the
file size the better, and this inevitably results in a loss of quality. There are two main places
where you can save space: frame dimensions and frame rate. Typical Internet video files
should be about 160X120 and should rarely exceed 320X240. This is not very big, and video
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with lots of detail will not translate well to this frame size. The frame rate should also be as
low as possible, with 15fps being a good maximum. Fast action, pans, and moving
backgrounds (e.g. tree leaves or ocean waves) will not compress well. Streaming media files
need to be placed on a special Internet server in order to stream properly.
Miscellaneous formats
Creating *.mp3 files
Vegas allows you to render up to 20 *.mp3 files without registering the optional plug-in. This
feature gives you the opportunity to try the plug-in. After the 20th *.mp3 file is created, you
need to purchase the plug-in to create more *.mp3 files. To access this format’s controls,
click the Custom button in the Save As dialog. The MPEG 1 Layer 3 Templates dialog
appears.
To create a new *.mp3 template:
1.
In Te m p l a t e field, enter a name.
2.
Click the Settings button. The Sonic Foundry MP3 Plug-In dialog will appear.
Note:
If you have not registered the Sonic
Foundry MP3 plug-in, Vegas will launch a
Registration wizard. You may follow the
dialog’s instructions to purchase the plug-in
from Sonic Foundry, or click the I would like to
continue using the trial version radio button.
The trial version is good for up to 20 *.mp3
file renderings.
3.
On the Encode tab, choose a bit rate from the drop-down list.
4.
Click and drag the Quality slider and click the control check boxes that you want to use
for the rendered *.mp3 file.
5.
Click the ID3 Summary tab, to enter optional information about the file.
6.
Click the OK button to return to the MPEG 1 Layer 3 Templates dialog.
7.
Click the Save button ( ) to save the template.
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You may edit a previously saved template by choosing it from the drop-down list, making
your setting changes, and clicking the Save button ( ).
Creating *.wma or *.wmv files
Vegas allows you to render your project to Microsoft *.wma files, which can be used for
streaming or downloading via the Web. When you render to this format, Vegas displays
Microsoft’s encoding wizard that carries you through the rendering (encoding) process.
The *.wma format also allows you to set up Redirector settings, which will appear on the
Windows Media player. Click the Redirector button to display the WMV Redirector Setting
File dialog.
Templates
There are a number of included templates that may be chosen from the drop-down list.
These templates may also be accessed from the Render As dialog.
To create a new *.wma template:
1.
On the Render As dialog, click the Custom button. The Edit Template dialog will appear.
Enter path to multimedia server.
Enter path to graphic banner that will
display on the Windows Media player.
Enter the URL to which the user would link
if the graphic banner is clicked.
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2.
Click the Custom button to start the Windows Media Encoding template.
3.
In Template Name field, enter a name and then type a description (optional).
4.
Click the Next button to set the bandwidth settings.
5.
Click the Next button to set the Resample rate from the drop-down list.
6.
Click the Next button to choose an audio format form the Format drop-down list (There
is only one Audio codecs available from the Audio drop-down list.)
7.
Click the Finish button to save the template and return to the Edit Template dialog.
You may edit a previously saved template by choosing it from the drop-down list, clicking
the Edit button (starting the wizard again), and making your setting changes.
Selected template
Selected template’s
description
Detailed description of selected
templates codec usage, resample
setting, etc.
Click the Custom button
to start the Microsoft
encoding wizard
Bandwidth Resample
Audio
Format
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8.
Click the Next button to choose a video bit rate setting.
9.
Click the Next button to set the bandwidth settings.
10.
Click the Next button to set Resample rate from the drop-down list.
11.
Click the Next button to choose an audio codec, format and video codec from their
respective drop-down lists.
12.
Click the Finish button to save the template and return to the Edit Template dialog.
You may edit a previously saved template by choosing it from the drop-down list, clicking
the Edit button (starting the wizard again), and making your setting changes.
Creating MPEG files
Some versions of Vegas also support MPEG-1 and MPEG-2 file creation
through the use of Ligos GoMotion technology.
Creating MPEG video is as simple as creating any other type of video.
1.
From the File menu, choose Render As.
2.
In the Render As dialog, enter a name for the file.
3.
From the Save as type list, choose MPEG (*.mpg).
4.
Choose a template from the Template list or click the Custom button to adjust the
various MPEG settings.
Video
Bit-rate Bandwidth
Resample
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5.
Click the Save button.
MPEG renders can sometimes take more time than renders with some other formats. MPEG
video files can be played back on most computer systems. MPEG video files can also be
burned to CDs or DVDs for playback in standalone VCD, SCVD, and DVD players. Sonic
Foundry cannot guarantee the compatibility of MPEG files with VCD/DVD authoring
software or VCD, SCVD, and DVD standalone players. Please consult your specific
authoring software's documentation for information on what constitutes a valid file and
then customize the MPEG rendering properties to match.
CHP. 15 CUSTOMIZING VEGAS
CHAPTER
341
Customizing
Vegas
Vegas may be customized to your project needs and working preferences. Many of the
settings depend on your equipment or studio setup. Vegas can be set to work with the
components that you use in your studio.
In this chapter, you will find information about functions that allow you to customize the
appearance of Vegas, set a project’s properties, and set the application’s preferences.
Dockable Vegas windows
Vegas has eight dockable tool windows that you may use while working on a project. These
windows may be accessed from the View menu or by pressing the associated shortcut keys.
Window Shortcut keys Description
Explorer The Explorer window is similar to the Windows Explorer. Use the Vegas Explorer window
for selecting media files to place in your project (pg. 344).
Trimmer The Trimmer window is a good place to edit an audio event. When an event is placed in the
Trimmer window, you may take portions of the event and place them on separate tracks by
dragging and dropping.
Mixer The Mixer window gives you access to your project’s properties, bus assignments, output
levels, and FX chains (pg. 34).
Edit Details The Edit Details window provides an alternate and precise means of working with your
audio events.
Plug-ins The Plug-in Explorer window allows you to create, organize, and rename the plug-ins
compatible with Vegas.
Video
Preview
This Video Preview displays a project’s video event during project editing and playback.
Media Pool The Media Pool window acts as an organizer for a project’s media files. It is a database that
contains a wealth of information about individual files and how they are being used in a
project.
Transitions The Transition explorer window displays a thumbnail representation of the various
transitions. Transitions can be dragged to the Transition roll between two overlapping
events in opposite A/B rolls.
Alt + 1
Alt + 2
Alt + 3
Alt + 4
Alt + 5
Alt + 6
Alt + 7
Alt + 8
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When you display these windows, they can float freely on the workspace. You may let them
float, place them in the Windows Docking Area or even move them to another monitor on
a multi-monitor system.
Floating (undocking) a window
To float or undock a window, drag the float handle and drag the window away from the
Docking Area at the bottom of the program.
Docking a window
The Window Docking Area at the bottom of the workspace keeps frequently used windows
available, but out of the way, while you are working with a project. Since there are eight
possible windows that can be docked, windows can be next to each other, subdividing the
docking area, or they can appear as tabs on top of one another.
To dock a window:
1.
If the window is not already displayed, choose it from the View menu or press its shortcut
key.
2.
Click the window’s title bar and drag the window below the Track View. You control
where the window will be placed by moving the window to the left or right
3.
When the window’s title bar disappears, release the mouse. The window is now docked.
Float Handle
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Note:
If you dock a window on top of another
one, the newly docked window will appear on
the top layer. The window beneath it displays a
title tab, which you can click to bring it to the
top layer or press the window’s shortcut keys to
display it.
After a window is docked, you will see
a control bar on its left side.
This control bar enables you to close,
expand, and move the window out of
the Docking Area.
Close window
Expand window
Move window
Click tab to bring window to top
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Using the Explorer window
The Explorer window is very similar to the Windows Explorer. The Explorer window is
primarily used to browse for and to place media files into your projects. In addition, the
Explorer window can be used to locate, preview, rename, and delete media files.
The Explorer window is a dockable window and can be customized to fit your needs and
preferences.
Selects and opens the folder or drive one level
above the active folder.
Plays the selected media file.
Displays any content changes in the active
folder or drive if a file was added, renamed, or
deleted.
Stops play back of the selected media file.
Creates a new folder within an active folder or
drive.
When enabled, automatically plays a media file
when it is selected.
Removes a selected folder or media file. Opens your default Web browser to locate
media on the Internet.
Adds the selected folder to your Favorites
folder. The Favorites folder contains media
files that you use most often.
Displays Explorer viewing options.
Select drive/folder name Toolbar
Selected drive/folder
Contents List pane
Window tabs
Drive/folder
Tree View
Toolbar
Up Refresh New Delete Favorites Play Stop Browse View
Folder
pane
for Media
Summary view:
This area displays
information about
the selected file.
Auto
Preview
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Managing your media files
The Explorer window is used to organize your media files by moving them to new folders,
renaming, deleting, and playing back media files prior to placing them in a project. If the
Explorer window concept is new to you, the following instructions cover the basics of media
file management.
Finding your media files
The Explorer window’s Tree View pane is used to select the drive or folder and view its
contents in the Contents List pane.
To select a drive or folder:
1.
From the drop-down list, select the drive that you want to view or select any drive or
folder from the list that is already visible in the Tree View pane.
2.
Click the plus sign next to the drive or folder to display its contents. (The plus sign
becomes a minus sign. Click the minus sign to hide the drive or folders contents.)
3.
Click a folder from Tree View pane and the files in it will display in the Contents List
pane.
Tree View pane Content List pane
Drop-down list
Click plus sign Click minus sign
to expand to collapse
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Moving folders to different drives or other folders
Folders and their contents may be moved to different drives or placed in existing folders by
dragging them to a new location.
Note:
If you rename, move or delete files or
folders that contain media files that are being
used in projects, Vegas will prompt you to
locate the media files when that project is
opened again.
Moving media files to different folders
Drag media files to move them to new locations (folders, drives) either singly or in groups.
Creating a new media folder
New folders can be created from within Vegas Explorer window to store media files.
To create new folders:
1.
Navigate to the drive and folder location where you want to create the new folder.
2.
Click the New Folder button ( ). A folder will appear in the Contents List pane.
3.
Type the name of the new folder and press the key to save the name.
Once the new folder is created, you may begin moving media files to it or move it to a new
location.
Renaming media files and folders
Media files and folders that are not currently being used in an active (opened) project may
be renamed within the Explorer window. If you try to rename a media file or folder that is
used in an active project, Vegas will notify you of a sharing violation. Save and close the
open project before renaming these project items.
To rename a media file or folder:
1.
Select a media file or folder in the Tree View or Contents List pane.
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Rename.
4.
Type the new name for the media file or folder and press the key to save the name.
Enter
Enter
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Deleting media files and folders
Media files and folders that are not currently being used in an open project can be deleted
from within the Explorer window. If you try to delete a media file or folder that is used in an
open project, Vegas will notify you of a sharing violation. Save and close the open project
before deleting these project items. Click the Delete button( ) or right-click a selected
media file or folder and, from the shortcut menu, choose Delete.
Adding folders to Vegas Favorites
Vegas includes a Favorites folder found in the Tree View pane. Folders that contain media
files may be added to this folder. The Favorites folder allows you to quickly access frequently
used media files and place them in your project.
To add folders to Vegas Favorites:
1.
Select a folder in the Tree View or Contents List pane.
To select multiple folders, hold the or keys
2.
Click the Add to Favorites button ( ) or right-click a selected folder and, from the
shortcut menu, choose Add to Favorites.
The folder will appear under the Favorites folder in the Tree View pane.
Using the Explorer window Transport bar
The Explorer window contains a transport bar that allows you to listen to media audio files
before you place them into your project. When media files are played back, the volume level
can be monitored on the preview bus that is located in the Mixer window. For more
information, see Using the Audio Mixer on page 213.
Previewing a media file
One file at a time may be automatically previewed from the Contents List pane of the
Explorer window.
Shift Ctrl
Play Stop Auto Preview
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To preview a media file:
1.
Select the media file that you want to preview.
2.
Click the Play button ()
. The media file’s levels may be monitored on the preview bus.
3.
Click the Stop button ()
to quit playback before the media file finishes playing.
The Video Preview [ALT+6] window must be visible for video media files to be previewed.
Using Auto Preview
The Auto Preview button can be used to set Vegas to automatically preview media files
when you select them in the Contents List pane. When the selected media file begins
playback, you may monitor its volume level on the preview bus that is located in the Mixer
window. The Video Preview [ALT+6] window must be visible for video media files to be
previewed.
To automatically preview media files from Vegas Explorer, click the Auto Preview button
( ) to toggle it ON or OFF.
Changing the Explorer window views
The Explorer window can organize how files and folders are displayed. To toggle through the
display options, click the View button ( ) or select a display option from the buttons
submenu. The various view options are described below.
Tree View
This view option displays all of the available drives and folders that you may select to locate
media files.
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Region View
This information appears below the Contents List pane. It displays the embedded regions, if
any, that are contained in the selected media file. A file’s regions may be directly placed on a
track in your project. This option can save editing time because you do not need to place the
entire media file: just the region(s) that you want.
Summary View
Information about the selected media file appears below the Contents List pane.
Details
Information about a file’s size, type, and date of last modification is displayed in the
Contents List pane.
All Files
By default, Vegas Explorer only displays media files that are supported by Vegas. By selecting
the All Files option, all types of files are displayed; not all of these files can be used in Vegas.
Changing the Ruler format
The Ruler in Vegas can be customized to display a number of different standard formats. The
Ruler, located above the Track View, divides time in several different formats. The format
that you select affects how the Ruler and Time window will display time units. For more
information, see Timecode in Vegas on page 382.
To change the ruler’s format, right-click on the ruler and select the desired time format from
the shortcut menu or, from the Options menu, choose Ruler Format and select the desired
time unit. You may also change ruler settings on the Project Properties dialog’s Ruler tab. For
more information, see Ruler tab on page 360.
Right-click
to display
shortcut
menu
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The following us a description of the different time units available in Vegas:
Using Edit Ruler Offset
The ruler doesn’t necessarily need to start with zero at the far left side. An offset may be
entered to change the orientation of the ruler in a project. One use of this, for example, is to
create a lead in into a project. A five-second offset would mean that the Ruler would start at
- 5 seconds and would be at zero five seconds into the project.
To set the Ruler offset:
1.
Position the cursor to the desired location along the timeline.
2.
On the ruler, right-click to display a shortcut menu.
3.
From the shortcut menu, choose Edit Ruler Offset.
4.
Enter a time value using the number keys.
5.
Press the key to set the ruler’s time. The value that you enter at the cursor’s position
will affect the entire ruler.
Time format name units
Absolute Frame frames are numbered starting with 0.
Feet & Frames 16mm (40fpf) feet+frames, where 40 frames = 1 foot
Feet & Frames 35mm (16fpf) feet+frames, where 16 frames = 1 foot
Seconds seconds (to three decimal places)
SMPTE 30 (30fps, Audio) hh:mm:ss:ff
SMPTE Drop (29.97fps, Video) hh:mm:ss;ff
SMPTE EBU (25fps, Video) hh:mm:ss:ff
SMPTE Film Sync (24fps) hh:mm:ss:ff
SMPTE Non-Drop (29.97fps, Video) hh:mm:ss:ff
Time hh:mm.ss.sss
Time & Frames hh:mm:ss.ff
Samples in Hz
Measures & Beats measures.beats.seconds (to three decimal places)
Enter
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Grid spacing
Grid spacing is different from the Ruler and provides an alternate method of subdividing a
project’s time. This may be useful if you want the Ruler to display SMPTE video time code,
but you need to create your music in terms of beats and measures. The grid spacing may be
set in time, frame, measure, or note units. The grid may also be set to match the Ruler’s time
format. The grid appears across all track in your project and the grid’s lines can be used as
snap points.
To change the grid spacing:
1.
From the Options menu, choose to Grid Spacing. A submenu will appear.
2.
From the submenu, choose the desired time unit. The grid spacing changes to reflect your
selection.
Note:
In some cases, the grid lines and the
Ruler will not match. This is because they are
two independent functions.
Working with the Toolbar
Vegas is preset to display the Toolbar below the Menu bar. However, you may move, resize,
hide, and customize the Toolbar to suit your preferences. The setting that you apply to the
Toolbar will remain set until you change them again.
Moving the Toolbar
You may move the Toolbar and have it float anywhere on the Vegas workspace. The Toolbar
may then be returned to its preset position, below the Menu bar, where it will dock into
place.
To move the Toolbar from its preset location:
1.
Place the mouse pointer on the move handle located on the left side of the Toolbar.
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2.
Drag the Toolbar to the desired location. Notice that the Toolbar now has a title bar.
3.
Release the mouse to drop the Toolbar on the Vegas workspace.
Note:
To return the Toolbar to its preset
position, simply drag it up to the Menu bar and
release the mouse. The Toolbar will
automatically dock in position.
Resizing the Toolbar
Vegas allows you to resize the Toolbar after it has been moved away from the original docked
position.
To resize the Toolbar:
1.
Drag the Toolbar’s frame in a horizontal or vertical direction.
2.
Release the mouse when the Toolbar is at the preferred size.
Hiding and displaying the Toolbar
The Toolbar may be hidden to create more workspace if you prefer to use the Vegas shortcut
keys for editing and arranging. For more information, see Keyboard command reference on page
37. After the Toolbar is hidden, you may display it again where it will appear in its preset
position, below the Menu bar.
Hiding the Toolbar
There are two ways to hide the Toolbar depending on whether it is floating or not.
• If the Toolbar is docked or floating, choose Toolbar from the View menu. The check mark
next to the command is removed and the Toolbar disappears. The Toolbar will remain
hidden until you display it again.
Drag the Toolbar
to desired location.
To dock the Toolbar,
drag it back to the
Menu bar.
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• If the Toolbar is floating, you may simply click the Close button in the upper right hand
corner of the Toolbar.
Displaying the Toolbar
From the View menu, choose Toolbar. A check mark will appear next to the command and
the Toolbar will appear in its preset position. The Toolbar will remain visible until you hide
it again.
Reordering the Toolbar buttons
Vegas allows you to easily change the order of the buttons on the Toolbar by dragging them
or via the Customize Toolbar dialog to suit your work preferences.
To reorder buttons by dragging:
1.
Press and hold the key.
2.
Click and drag the button that you want to move to the new location on the Toolbar. The
cursor changes to a hand within an outline of the button ( ) that you are moving.
3.
Release the mouse to drop the button in its new location.
Note:
If you drag and drop the button off the
Toolbar, the button will be removed.
The Customize Toolbar dialog allows you to control the available buttons and their order
from the Toolbar. The Toolbar may be returned to its default settings by clicking the Reset
button on the Customize Toolbar dialog.
To use the Customize Toolbar dialog:
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog will
appear.
Shift
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2.
On the Current toolbar buttons: pane, select the button you want to move and click the
Move Up and Move Down buttons.
3.
Click the Close button to save the changes and close the Customize Toolbar dialog.
Adding buttons to the Toolbar
Vegas includes a series of function buttons that you may add to the Toolbar. These buttons
are listed in the Customize Toolbar dialog. You may also add separators on the Toolbar to
organize the buttons to your preferences.
The Toolbar may be returned to its default settings by clicking the Reset button on the
Customize Toolbar dialog.
To add a button to the Toolbar:
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog
appears.
2.
On the Available toolbar buttons pane, select the button that you want to add.
3.
On the Current toolbar buttons pane, select the button that you want the newly added
button to precede in order.
Order of current buttons
on the Toolbar
Buttons available to
add to the Toolbar
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For example, if you want to add the Trim/Crop button and want it to precede the Cut
button, select the Cut button on the Current toolbar buttons pane.
4.
Click Add or double-click the button to add it above the selected button on the Current
toolbar buttons pane.
Removing buttons from the Toolbar
Buttons and separators may be removed from the Toolbar. If you have added buttons to the
Toolbar, removing unused or unwanted buttons allows you to maximize the Toolbar’s space
for buttons that you may want. Toolbar buttons may be removed by dragging them or via the
Customize Toolbar dialog.
To remove buttons by dragging:
1.
Hold the key.
2.
Drag the button that you want to remove off the Toolbar. You will see a hand icon ( )
within an outline of the button that you are removing.
3.
Release the mouse to remove the button.
To remove buttons via the Customize Toolbar dialog:
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog
appears.
2.
On the Current toolbar buttons pane, select the button that you want to remove.
3.
Click the Remove button or double-click the button to remove it from the Toolbar.
The Toolbar may be returned to its default settings by clicking the Reset button on the
Customize Toolbar dialog.
...above this
selected button
Selected button
will be added...
The Trim/Crop button,
in this example, will be
added above and
precede the Cut button
on the Toolbar.
Shift
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Using the Time Display window
The Time Display window reflects the cursor’s position on the time line and the end point of
a time selection. The Time Display window’s time settings may be customized, including
what time the window displays, and color usage.
The Time Display window may be moved from its docked position, above the Track List, to
float on the Vegas workspace. In addition, the Time Display window may be docked in the
Windows Docking Area. For more information, see Docking a window on page 342.
Changing the Time Display window’s settings
The Time Display window always reflects the ruler settings that are selected. You may
change the ruler settings via the Time Display window or vice versa. For more information,
see Changing the Ruler format on page 349.
To change the time settings:
1.
Place the mouse pointer on the Time Display window.
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose Time Format to display a submenu.
4.
From the submenu, choose the desired time format.
Both the Time window and ruler will display the chosen time format.
Changing the Time Displays colors
The background and text color used by the Time Display may be changed.
To change the color usage:
1.
Right-click on the Time Display to display the shortcut menu.
2.
From the shortcut menu, choose Custom Text color or Custom Background color. The
Color dialog will appear.
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3.
On the Color dialog, choose the color setting that you want.
4.
Click the OK button to set the text or background color or click the Cancel button to
keep the existing color settings and close the Color dialog.
Note:
To return the Time Display’s text or
background color to its default settings, select
either Default Text color or Default
Background color from the shortcut menu.
Setting the Time Display to monitor MIDI time code
The Time Display window can be set up to monitor the status of incoming or out going
MIDI time code. Vegas can monitor MIDI time code being generated from an external
device and monitor MIDI time code and MIDI clock information that is being generated.
From within Vegas, the Time Display settings work in conjunction with your project’s
properties and MIDI setup options. For more information, see Sync tab on page 367.
To change the Time Display to monitor MIDI input or output:
1.
Place the mouse pointer on the Time Display window.
2.
Right-click to display a shortcut menu.
3.
From the shortcut menu, choose the type of MIDI monitoring that Vegas will display.
Once you have made your selection, the Time Display window displays both the MIDI code
being input or output and a status message.
Monitors incoming MIDI time code
Monitors Vegas generated MIDI time code
Monitors Vegas generated MIDI Clock
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Working with project properties
Vegas supports a large range of formats and various types of media files. Some settings in a
project’s properties are simply informational details about the project, while others control
how Vegas will work and handle your project and its output. If you have multiple projects,
Vegas stores the settings used for each project and these settings can be saved as templates
for future use.
The Project Properties dialog may be accessed in three ways:
•From the File menu, choose Properties.
•Click the Project Properties button ( ).
• Press the + shortcut keys.
The Project Properties dialog has four tabs: Summary,
Audio, Video, and Ruler. To display a properties page,
click the desired tab. An overview of each tab and its setting options is presented below. The
following list describes how to work with this dialog:
• To enter information, click inside a field and type.
•Click Apply to save information, but keep the Project Properties dialog open.
•Click OK or press the key to save the information and close the Project Properties
dialog.
•Click Cancel to keep the original settings and close the Project Properties dialog.
Summary tab
This tab allows you to enter information about the project. These tab fields may be left
blank or, if information exists, you may change it at any time.
Field Description
Title Enter the name or title of the open project.
Artist Enter the name of the narrator, band, or artist(s)
being recorded into the project.
Engineer Enter the name(s) of the people who mixed and
edited the project.
Copyright Enter the date and ownership rights of the
project.
Comments Enter information that identifies and describes
the project.
Check box Select the Start all new projects with these
settings check box if your projects’ requirements
do not change or you want consistent settings
for future projects.
Alt Enter
Enter
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Audio tab
This tab allows you to set different characteristics the project will use to handle the audio.
This page also displays the available drive space where Vegas stores recorded audio.
Video tab
This tab allows you to set different characteristics the project will use to handle the video.
Also, this tab displays information about the video contained in your project. For more
information, see Project properties - Video tab on page 256.
Item Description
Number of
stereo busses
Enter the number of stereo busses that you
want in your project. You may add up to 26
busses. The busses appear in the Mixer.
Sample rate Choose a sample rate from the drop-down
list or enter your own rate. The sample rate
range is 2,000 Hz to 96,000 Hz. Higher
sample rates result in better quality sound,
but also mean larger audio files.
Bit-depth Choose a bit depth from the drop-down list.
A higher bit-depth results in better quality
sound, but also means larger audio files.
Recorded files
folder
Displays the path where recorded audio is
stored. The Browse button allows you to
select a new location to store recordings.
Free storage
space in
selected folder
Displays the available disk space where
recorded audio is stored.
Check box Select the Start all new projects with these
settings check box if your projects’
requirements do not change or you want
consistent settings for future projects.
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Ruler tab
This tab allows you to change the ruler settings used in your project. You may also change
ruler settings on the Tack View. For more information, see Changing the Ruler format on page
349.
Using Vegas preferences
The Preference options are different from project Properties. The distinction to remember is
that Project properties are unique to each project, while preferences affect and control how
Vegas works as an application. Adjusting preferences allow you to set Vegas to optimally
function with your equipment and process audio in a variety of ways. Some of these options
you will probably set up one time, while others may be adjusted on a project basis.
Any changes that you make to the preferences, will remain set until you change them again
or reset Vegas to use the default presets.
The Preferences dialog may be accessed by choosing Preferences from the Options menu.
This dialog contains four tabbed pages: General, Video, Audio, Routing, Editing, Sync, and
External Monitor.
The following sections explain the preference settings on each tab.
Item Description
Ruler time
format
Choose a ruler time format from the drop-
down list.
Ruler start time Enter a value that the ruler will use at the
beginning of your project. This feature is
useful for sychronization purposes.
Beats per
minute (tempo)
Enter the desired number of beats per minute
for the project.
Beats per
measure
Enter the desired number of beats to occur
per measure for the project.
Note that gets
one beat
The value entered will determine the time
signature used by the ruler when its format is
set to Measures and Beats. For example, if
the entered value is 4, then a quarter note
gets one beat.
Check box Click the Start all new projects with these
settings checkbox if your projects’
requirements do not change or you want
consistent settings for future projects.
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General tab
These preferences are found by clicking the Options menu, choosing Preferences and then
going to the General tab. The following is a list of these preferences and their meaning. An
“x” means it is selected by default and an “o” means it is unselected.
Default Preference Description
xAutomatically open last project
on startup
When Vegas is run, the last project saved automatically opens.
xShow logo splash screen on
startup
Briefly shows the Vegas logo while the program is loading. The
logo does not increase loading time.
oShow a Tip of the Day on
startup
Select this item to show a special tip every time Vegas is run.
This can be a good way to gradually learn new techniques.
oShow active take name in
events
Display the name of the take that is active in an event.
xDraw waveform and frames in
events
Draws a graphical representation of an audio file’s waveform
and thumbnail images of a video file’s frames.
xShow video event button Shows/hides the Event FX, Pan/Crop, and Generated Media
buttons on video events.
xAnimate video frames in
Trimmer
Animates the thumbnail representations of frames in a media
file opened in the Trimmer. This can visually aid trimming.
xPrompt to keep files after
recording
Opens a dialog to enter a name and select a location to save a
file to after recording into a track.
xCreate undos for FX parameter
changes
Allows you to undo changes made in the FX, Transition, Pan/
Crop and Track Motion dialogs.
xConfirm media deletion from
project when still in use
When deleting media in the Explorer or Media Pool, Vegas will
warn you if any events in the project are using these files.
oDouble-click on media file in
Media Pool or Media Explorer
loads Trimmer
The default Explorer double-click behavior is to insert an event
at the cursor position on the timeline. Select this option to
open the media file in the Trimmer instead.
xShow Trimmer history with file
name first, then folder
The Trimmer history drop-down list displays the media file’s
name first, followed by the folder it is in. Select this to reverse
the names.
oAutomatically save Trimmer
markers and regions with
media file
Markers and regions created at the media file level in the
Trimmer can be saved to the file.
xShow progress in Video Preview
window while rendering
Frames can be displayed in the Video Preview during a render.
This will slow a render somewhat.
xSave active previews on project
close
Full quality preview renders are cleaned up and deleted when a
project is closed, Select this if you want these to be available
later.
xClose media files when Vegas is
not the active application
This allows media files to be edited in external editors (audio,
image, etc.) while they are contained in events in Vegas.
xEnable multimedia keyboard
support
This allows you to use a multimedia keyboard to control
playback of a project.
oRender large Wave files as
Wave64
The *.wav format is limited by a maximum file size of ~2GB.
You can choose to render larger files as Sonic Foundry Wave64
files.
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Recently used project list - Select the number of files listed.
Temporary files folder - Select a location for all temporary files.
Video tab
The Video tab in the Preferences dialog controls the display of video media, video events
and video tracks in Vegas.
Show source frame numbers on event thumbnails as
None; absolute Frame Numbers starting with 0; Time in
hours; Timecode.
Preferred video capture application
Browse for the application to be launched when the
Open Video Capture button is clicked.
Video Preview display options
•Action Safe Area and Tile Safe Area - This is used to set the reference overlay safe areas in the
Preview window. For more information, see Safe Areas on page 253.
•Horizontal Grid Divisions and Vertical Grid Divisions - This sets the spacing of the grid overlay
in the Preview window used in aligning visual elements in a project.
•Display square pixels - Determines how the video is displayed in the Preview window. In
short, televisions display rectangular pixels and computer monitors display square pixels.
This can result in a distorted preview, although the source media and rendered video is
unaffected.
•Display at project size - This sets the preview window to always display the video at full
project size.
•Background color - This sets the background color of the Preview window (black by default)
that shows either when there is no visual content or when using a transparent overlay
with no background visual content.
xAutomatically name regions
and markers if not playing
When regions and markers are added, this option
automatically prompts you for a name. This does not happen
when adding markers on-the-fly during playback.
oAlways use Sonic Foundry DV
reader
DV files can be read by Microsoft or other readers by default, or
you can select this option to use the latest DV reader from
Sonic Foundry.
oStrictly conform to AVI2
specifications
Select this option to create 100% AVI2 compliant files. While
these files conform to the standards, not all applications follow
these specifications and some programs may not be able to
read them.
xCreate project file backups
(*.veg, *.bak)
Automatically create backups of your project files.
oUse alternate technique to
read QuickTime video
It can sometimes be slow to work with QuickTime files. Select
this option to change how Vegas handles these files.
Timecode numbering on thumbnails
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Audio tab
The Audio tab allows you to set
preferences to optimize how Vegas uses
your computer’s components efficiently to
handle the resource-intensive audio that
you are using in your projects. The
following table briefly describes each
preference. More details of each
preference is discussed later in this
section.
Adjusting the Playback Buffering slider
The playback buffer controls how much memory is used by Vegas when playing back your
project. This preference is useful but must be carefully adjusted. If you set the buffer size too
high, you may experience gapping during playback.
Conversely, if you set the buffer size too low, you may experience gapping as well because
Vegas has too little memory to work with during playback.
The Playback Buffer slider needs to be set in such away to balance RAM usage and playback
buffering. The rule is to set this slider as low as possible without introducing gapping.
To adjust the slider to avoid gapping during play back:
1.
Open a project that has multiple events.
2.
On the Audio preferences tab, click the Playback Buffer (seconds) slider and move it to
0.25.
Item Description
Playback Buffering
(seconds)
Sets the amount of memory
Vegas uses during project
playback.
Automatically Fade
Edit Edges (ms)
Sets the fade length of a split
or resized event.
Normalize Peak
Level (dB)
Sets the maximum level that
Vegas will use when
normalizing an event.
Location of
Preferred Audio
Editor
Displays the path of the audio
editor that you can start
directly from Vegas to
perform destructive edits to
audio.
Metronome sound
files
Allows you to select sound
files to be used as the
metronome beats.
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3.
Start playing back the project.
4.
If the playback still gapping, increase the Playback Buffer (seconds) slider slightly.
As you increase the buffer size, the RAM meter at the bottom of Vegas will indicate more
RAM is being used.
You may have to experiment to find the correct settings. If you continue to experience
gapping and the RAM meter begins to display in yellow or red, you are experiencing gapping
due to lack of RAM. You can try the following to control the gapping within Vegas:
• Decrease the number of events you are trying to play back. This may mean muting tracks
or soloing a couple of tracks. RAM is mostly affected by the number of unique events that
are playing back simultaneously.
• Use the Mix to New Track feature to combine all the events into one event.
If you are still experiencing gapping, you may need to add RAM to your computer. Vegas
only requires a minimum of 64 MB of RAM, but 128 MB of RAM is recommended for
optimum performance.
Adjusting the fade length for editing events
This control allows you to set Vegas to automatically fade events at their edges where you
have trimmed audio information. You can specify, in milliseconds, the length of the fade.
The fade affects transitions between event edges so that popping is not introduced during
playback.
Setting the Normalize peak level
This control allows you to specify the maximum decibel level used when normalizing an
event.
Setting advanced audio preferences
From the Audio preferences tab, you may access advanced settings by clicking the Advanced
button. The Advance Audio Preferences dialog will appear. This dialog displays all of the
audio devices that are installed on your computer.
If you select one of these devices from the list, you may set the controls that Vegas will use
with the device. Each device may be set up independently of the other devices. Following
are descriptions of each control.
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Interpolate position
During project playback, you may notice that the cursor position is different than what you
are hearing. This problem stems from inaccuracies in some audio devices.
Select this control’s check box and Vegas will attempt to compensate for the inaccuracies by
interpolating the cursor’s correct position during playback or recording.
Position bias
The position bias control gives you additional cursor control when it is inaccurately
displayed during project playback and recording.
If you have enabled the Interpolate position control and are still experiencing cursor position
inaccuracies, move the Position bias control forward or backward to compensate for the
inaccuracies of the audio device.
Do not pre-roll buffers before starting playback
When this option is not selected, Vegas will begin storing (buffering) project audio
information prior to playback. This storing is very fast and unnoticeable in most cases.
However, some audio devices stutter when you begin playback as a result of the buffering
process. If your audio stutters when you start playback, select this check box to prevent
Vegas from buffering audio information prior to playback.
Routing tab
Multiple busses are only available in Vegas Video and Vegas Audio.
The Routing tab allows you to configure Vegas to the equipment that is connected to your
computer. When you installed Vegas, it automatically determined the hardware available for
output on your computer. These options are available on the Routing tab.
In the table on this tab, you will see virtual bus designations that you may add to a project.
For more information, see Audio tab on page 359. Each bus may be routed to a specific output
device of your choosing. You may notice that some of the busses are grayed out because they
have not been added to your project yet. However, you may still configure the busses not
currently in use, so they will be ready when you add them later. You can add busses to your
project using the Project Properties Audio tab. For more information, see Audio tab on page
359.
To route busses to hardware:
1.
Select the Use a Custom Routing radio button.
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Note:
When the Always Use Sound Mapper
radio button is selected, you can not assign the
busses to different hardware devices. All busses
will use the hardware that is assigned to the
Microsoft Sound Mapper. To view this
information, access the Multimedia control
panel on your computer.
2.
In the table, click the radio button in the output device’s row and in the bus’s column to
assign a bus to a specific output device.
Note:
Multiple busses may be mapped to a
single sound card.
3.
From the Default recording device drop-down list, select a device used when recording.
Editing tab
Enable looping on events by default - This sets events that are trimmed longer than their
source media to automatically loop. When this option is not selected, extended events
repeat the final frame of a video file.
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Collapse loop region when no time selection is present - When selected, loop region do
not persist when there is no time selection. This means that when you click on the timeline
and move the cursor (destroying the any previous time selection), the loop region is also
reset to zero. By default, this option is not selected and loop regions persist until modified or
until a new time selection is created.
Fade edge edits of audio event - This sets a fast fade on the edges of audio events (10ms by
default) to soften potentially harsh beginnings and endings.
Fade edge edits of video events - This can be used to automatically fade a few frames in and
out of inserted video events.
New still image length - This sets the default duration of inserted still image files (e.g. BMP,
PNG).
Cut to overlap conversion - This sets the behavior of the cut-to-overlap feature. For more
information, see Converting cuts to transitions on page 301.
•Amount - Sets the duration of the extended overlap.
•Alignment - Determines the direction of the extension: To C u r s o r, Centered on Cursor, From
Cursor.
Sync tab
The following table briefly describes each preference found on the Sync tab in the
Preferences dialog. These preferences are used to set up Vegas to generate or chase MIDI
time code to and from external MIDI devices. For more information, see Synchronizing MIDI
Time Code on page 225. More details of each preference is discussed later in this section.
Item Description
Generate MIDI
Time Code
settings
Select the output device and
frame rate that Vegas will use
when generating MIDI time
code.
Generate MIDI
Clock settings
Select the output device that
Vegas will use when generating
MIDI Clock information. This
device may be set to the same
one that you selected for
Generate MTC.
Chase to MIDI
Time Code
settings
Select the input software or
device and frame rate that
Vegas will use when chasing
MTC.
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Note:
When Sync is active (chasing MTC),
media files are not closed (i.e. cannot be edited
outside of Vegas) when Vegas is not the active
application. You will also not be prompted to
rename or delete recorded takes as this may
interrupt the synchronization.
Setting advanced Sync preferences
From the Sync preferences tab, you may access advanced settings by clicking the Advanced
button. The Advanced Sync Preferences dialog will appear and display three tabs for MTC
input, MTC output, and MIDI Clock Output. The following sections display the selected
tab followed by definitions of the controls.
MTC input
This tab contains controls for MTC input. It is
displayed only if a device is selected for MTC input
on the Sync tab.
When Trigger playback only (do not chase) is selected,
Vegas will not chase its playback speed to the
incoming MTC data. Instead, Vegas will simply
trigger at the appropriate time. There are two
situations when you may want to use this option.
• If your computer does not have the speed required
to accurately chase time code. This method is best
used for shorter periods of time. We recommend
not using this feature for long periods of time
because Vegas may fall out of sync.
• If your sound card has an external “Word Clock”
input, this clock source will keep your digital signals
locked together and eliminate the need for Vegas to
chase. This is the preferred option.
When Free-wheel for time code loss is selected, Vegas will continue to play for a specified
period of time without chasing if time code is lost. Enabling this option can compensate for
infrequent losses in time code monitoring. If losses in time code are frequent,
troubleshooting should be done on your hardware to find the cause of the problem.
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The Free-wheel slack time field specifies the amount of time that time code can be lost before
the Free-wheel playback time starts. A longer time is more tolerant of loses in the incoming
time code.
The Free-wheel playback time field specifies the amount of time that Vegas will play back after
the Free-wheel slack time has been exceeded.
The Sychronization delay time field specifies the amount of time required for Vegas to
synchronize itself to incoming time code. On slower computers this time should be set to
around two seconds. On faster computers, it may be set lower. However, setting this value
too low can sometimes result in audible pitch shifting at the start of playback.
MTC output
This tab contains controls for MTC output. It is
displayed only if a device is selected for MTC input
on the Sync tab.
When the Use internal timer for MTC generation check
box is enabled, the MIDI Time Code that Vegas
generates will be based off of your computer’s internal
clock. Otherwise, Vegas will generate MTC based on
the sound card’s clock.
The Internal timer resolution field allows you to control
MTC resolution.
When the Sync tab’s Generate MIDI Time Code is used,
the Full-frame message generation radio button list
specifies when Vegas will send full-frame time code messages.
Full-frame messages are used by some external audio synchronizers to seek a proper location
prior to synchronization. For example, tape-based recorders benefit from seeking to full-
frame messages because of the time required to move the transport to the proper location.
However, full-frame messages are ignored by some devices and may actually cause
unexpected behavior in other devices. Check your hardware documentation to find out if it
supports full-frame messages.
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MIDI Clock Output
This tab contains controls for MIDI Clock output. It
is only displayed if a device is selected for MIDI
Clock output on the Sync tab.
When Send Start instead of Continue when beginning
playback option is selected, Vegas will send a Start
command rather than a Continue command when
Generate MIDI Clock is enabled on the Sync tab.
Normally, Vegas will send a Continue command to
allow the chasing device to start at a specific time.
However, some older MIDI sequencers do not
support the Continue command and must start from
the beginning every time.
When the Use internal timer for MIDI Code generation option is selected, the MIDI Clock that
Vegas generates will be based on your computer’s internal clock. Otherwise, Vegas generates
MIDI Code based on the sound card’s clock.
When the Always send MIDI clock option is selected, Vegas will send MIDI Clock information
when Generate MIDI Clock is enabled on the Sync tab. Some applications and devices listen
for MIDI Clock information, even when the master application is not playing. This listening
allows the applications and devices to synchronize faster. If your MIDI Clock slave device
does not support this feature, we recommend that you disable this feature. For more
information, see Chasing MIDI Time Code on page 228.
Song Position Pointer generation
The Song Position Pointer generation radio button list specifies when Vegas will send Song
Position Pointer messages when Generate MIDI Clock is enabled on the Sync tab. Song Position
Pointer messages are used by MIDI applications and devices to seek to a proper location prior
to starting the synchronization process.
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External Monitor tab
External Monitor support is only possible with the full version of Vegas Video.
This tab allows you to control how video is displayed on an external monitor through OHCI
compliant IEEE-1394 DV capture cards and some MJPEG capture cards. There are two cases
where Vegas can play back to an external monitor. One is when you have special hardware
that has both computer and television monitor outputs. The other is for (OHCI compliant)
DV capture cards where DV data can be previewed out through your DV camcorder to an
external monitor. The following procedure configures Vegas to use an external monitor.
To configure an external monitor:
1.
Connect your camera to the IEEE-1394 card and turn it on in VTR mode.
2.
Run Vegas.
3.
From the Options menu, choose Preferences.
4.
Click the External Monitor tab.
5.
Select your device from the Device list (e.g. OHCI Compliant IEEE-1394/DV).
The output from Vegas will be directed out to the camcorder through the IEEE-1394 card.
You can preview this output on the camcorder’s LCD screen or connect the camera to a
television monitor to preview the output there. Once you have verified that the external
monitor settings are working correctly, you can use it to preview your project.
To verify that everything has been correctly configured:
1.
Click the Preview on External Monitor button ( ) on the Preview Window.
2.
Open a properly formatted AVI (e.g. a DV AVI) file in the Trimmer in Vegas.
3.
Click the Play button to test the output.
Timeline playback of a project is sensitive to the complexity of a project and the speed of
your computer. Heavy use of Plug-Ins, effects, and complex compositing will play back at a
slower frame rate. Even in these situations, an external monitor can still be useful in
reviewing cropping and color presentation.
This can be a complex hardware issue. More detailed information is available at the Sonic
Foundry Web site:
http://www.sonicfoundry.com/Support/Productinfo/OHCI.asp
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CHAPTER
373
Troubleshooting
Why are some of my DirectX plug-ins not working correctly?
Vegas is a nondestructive time-based editor. As a result, there are certain types of DirectX
plug-ins that perform poorly in Vegas as Assignable FX, Track FX or Bus FX. These types of
plug-ins are roughly classified as any plug-in that outputs a different amount of time than
what goes in. This includes all plug-ins such as time compress/expand, gapper/snipper and
pitch shift without preserving duration. However, these types of FX plug-ins may perform
suitably as Bus FX, but only if only one bus is used in the project. Plug-ins that require a lot of
pre-buffering will also perform poorly, such as Sonic Foundry Acoustic Mirror when using
long impulse files.
Why do I hear gaps in my audio playback?
There are a few reasons that your audio playback can gap:
• Playing back too many tracks simultaneously can overload your hard drives.
• Not enough physical RAM can cause Windows to use virtual memory, which is slower.
• Your CPU may not be able to process a complex mix of plug-ins.
• Older sound card drivers may not process some DirectX plug-ins correctly.
Following are some things you can check and do to make sure your system is optimized to
prevent gapping.
RAM usage meter
If the RAM usage meter at the bottom of the Vegas Track View indicates that most of your
physical RAM is in use, you could be gapping because Windows virtual memory is being
used. Virtual memory is a method used by Windows to write information to your hard drive
to make room in physical RAM. This process uses a lot of your computer’s resources.
RAM usage meter
A
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To minimize the amount of RAM being used:
• Exit all background applications not in use.
• Adjust the playback buffering slider on the Preferences’ Audio tab.
Adjust this slider as low as possible, but setting it too low will cause gaps as well.
• Mute/Solo some of the events or tracks in the mix.
• Add more RAM to your computer.
Disk meter
If the Disk meter at the bottom of the Track View ever bounces near or above 50%, you will
probably experience gapping. This issue is due to the data not being read off the hard drive
fast enough.
To optimize the reading of data off the hard drive:
1.
Fully defragment your audio hard drives regularly.
2.
Split audio usage between different physical hard drives, not just different partitions of
the same drive.
3.
Run fewer events simultaneously. It is not how many tracks you have in the project, but
how many different events are playing simultaneously that matters.
4.
Make sure that you trim out any silent sections of events to minimize the wasted disk
access.
5.
Use hard drives with fast seek times and spindle speeds of 7200 RPM or greater. SCSI
drives usually have better prolonged data transfer performance than IDE drives. Under
Windows NT and 2000, Vegas can take advantage of SCSI asynchronous reads, which
can be a big performance advantage.
Disk usage meter
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CPU usage
If neither the RAM or Disk meter looks out of the ordinary and you are still experiencing
gapping, you can try to adjust how Vegas utilizes the central processing unit (CPU).
To minimize CPU usage:
• Zoom out ( + ) fully on the Track View while playing so that the screen does not
have to scroll to keep the cursor on it.
• Run fewer DirectX plug-ins.
• Make sure that the peak files are built for all of the audio data in the project before
playing. Peaks are only built for those files on screen. You can get into the situation where
the screen scrolls as it plays and Vegas ends up building peaks on the fly. You can play
while peaks are being built, but gapping is a distinct possibility. Press F5 before playback
to Rebuild Peaks for all of the events, on or off of the screen.
QuickTime Video Audio/Video Synchronization Issues
Vegas is able to open QuickTime audio/video files using Microsoft DirectShow codecs.
However, there is an implementation issue that sometimes causes the audio and video to fall
out of sync. This may happen fairly frequently and it is not consistent in its offset. Therefore,
this issue makes working with these types of files troublesome.
If you are experiencing this problem, one workaround is to separately save out the video and
audio portions of the files into *.avi and wave files, respectively. After that, you can reload
them into Vegas, re-synchronize them so that the synchronization will stay constant.
Why do mono events increase 6 dB when panning a track hard?
In Vegas, all audio events are considered stereo. A mono audio event is interpreted as a
stereo event with the same data in both channels. The Vegas track-pan control preserves
some amount of stereo separation when panning a stereo signal and gradually mixes the
level from channel to channel. Therefore, with a mono audio event, Vegas is adding a
duplicate of the event on top of itself. This duplication doubles the amplitude and results in
a 6 dB increase in volume when you pan a track hard left or right. To compensate for this
increase, adjust the tracks volume with the fader. Or, lower the event’s sustain portion using
an event envelope (ASR).
Trouble-free video: software solutions
There are literally dozens of possible configurations of hardware for editing video on a PC.
While it is impossible to go into detail for each and every system, the following explains
some of the concepts behind the various settings in Vegas. Editing and playing back full-
frame, 30fps video is one of the most demanding activities for any computer. The hardware
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you use is an important part of the equation, but there are a number of things you can do to
optimize your PC for video. The following list is arranged from the most to the least
important.
• Close all other applications. When capturing video or playing it back, it is critical that no
other applications interrupt this process. Close any applications that are not vital. This
includes screen savers, task schedulers, and even virus-detection software. You can ensure
that you have closed all unnecessary applications by pressing + + , selecting
the individual applications, and clicking the End Task button to close them. Certain
processes are required and should not (cannot) be terminated (for example Explorer).
• Check your virtual memory. Windows uses virtual memory when RAM is low. This is a
method for Windows to use the hard disk to create more memory and is sometimes called
a swap disk. If Windows tries to write to the swap disk during playback or capture, this can
interrupt the video software and cause problems. Make sure that Windows is using a
different disk drive for virtual memory other than the one from which you are capturing
or playing your video. If you have enough space, force Windows to use C:\ for virtual
memory and use a physically distinct drive for capturing and playing back video.
• Make sure you have the latest drivers for your video card and capture card and the latest
updates and patches to all relevant software. One caveat to this is that you shouldn’t try
to fix a program that is working correctly. Many times patches and updates fix relatively
minor bugs that only affect a small number of users. If you are not experiencing any
problems, it is probably best not to upgrade unless the manufacturer recommends it.
• Uncompressed video may be high quality, but it results in very large files with very high
data rates. Selecting a more appropriate compression scheme (codec) will definitely
improve the situation. If you are creating movies that need maximum quality however,
this may not be an option.
Trouble-free video: hardware solutions
Even with a fast computer, video is still a hardware challenge. On the other hand, it is
definitely possible to properly configure a Pentium 200 to work with large video files. There
are three parts of your PC that are important and the speed of your CPU is not necessarily
the most critical. The following list is arranged from the most to the least important.
Video subsystem
Many graphics cards (video boards, primary display cards) on a PC cannot handle full-
screen, full-frame rate video. While this leads to jerky, hesitating playback, it may not
actually be a serious problem. A common video configuration is to have a separate video
capture card and a primary display card. In this case, the playback using the primary display
on the computer may be jerky, but when you finally output the video to tape and view it on
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your television monitor there may not be any problems. If you are not creating movies to go
back to the television or VCR and you are experiencing stuttering playback, you should
consider using a smaller frame size (320X240) and frame rate (15fps).
Hard disk
The second most common problem is slow hard disks. Until recently, fast, expensive SCSI
AV hard disks were required to properly capture and play back video on a PC. Slow hard disk
problems also manifest themselves with jerky video playback, although the stutters are less
frequent and of longer duration than if the video subsystem is the problem. Slower hard disks
(e.g. 5400 RPM IDE) can cause an occasional dropped frame, which is devastating if you are
trying to achieve perfection. Digital Video (DV) enthusiasts have fewer problems due to the
low data rate (~3.6MB/sec) of that format. The following section outlines some
recommendations arranged in order of importance.
•Buy a dedicated video drive. This is easily the most important piece of hardware advice.
A dedicated, physically distinct hard drive is almost a requirement for any type of serious
video work. This means that you have one primary C:\ drive (or wherever Windows is
installed) and a separate drive for video. You can use your dedicated drive for other
purposes, especially storage, but it is a good idea not to run any applications from it and to
keep Windows virtual memory off of it. It is very important that the drive only be used for
video when playing and capturing, and that other programs (including Windows) are not
trying to access it. Since video files are so large, a dedicated drive is not an unreasonable
item even if digital video is just a hobby. You can never have too much hard disk space.
•Buy a faster hard drive. Older 5400 RPM hard drives may not be fast enough for
capturing and playing back video for any length of time, while newer 7200 RPM drives
are almost always adequate. Be careful: manufacturers are usually talking about burst
transfer rates when they talk about the speed of a drive. A drive that can transfer data at
80MB/sec is worthless for video if it cannot sustain a much slower rate of 8MB/sec for
thirty minutes (or more) without dropping a frame. Look to other computer video
enthusiasts for additional advice. Again, the RPMs are a very good indicator, because
7200 RPM IDE drives are usually newer (c.1998) and older 7200 RPM drives are usually
SCSI, which are already higher quality drives to begin with.
•IDE vs. SCSI. While this was a big issue just a few years ago, it has fortunately faded in
importance. Hard drives can be hooked up to your computer in a number of ways, with
the two largest divisions being IDE and SCSI. This interface simply determines how
much data can be transferred to and from the drive in a second. The interface almost
always far outstrips the performance of even the best hard disks and even the slower
interfaces exceed the transfer requirements of video data. SCSI hard disks are usually
more expensive and require a special controller, and while SCSI-2 promises 80MB/sec
transfer rates, this is overkill for most people. Newer IDE hard disks with designations of
EIDE, DMA, Ultra-DMA, ATA-33, and ATA-66 (and newer drives that came out after
this writing) can all handle most sustained video requirements.
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CPU and RAM (memory)
While the CPU and the RAM are probably the most important overall aspects of a PC’s
speed and performance, these factors are only third on the list for video. For the most part,
these critical components do not affect the capture or playback of video. This does not mean
that a faster CPU or more RAM will not help, because bigger and faster is always better:
CPU and RAM will definitely impact rendering speeds. Creating a final *.avi file, especially
in a movie project that uses a lot of effects and transitions, can take a long time. A thirty-
minute movie could easily take six or more hours to render, depending on the format and
effects used. CPU speed is also important for more advanced compression codecs, such as
MPEG and newer streaming formats.
The 2GB limitation
Certain older file systems did not allow files larger than 2GB. At 6 MB/sec for typical
MJPEG video, the 2GB limit is reached at around six minutes. This is not a problem for the
creators of short music videos, but is a major issue in longer productions.
Vegas does not necessarily have this limitation. Large *.avi files are supported through the
ODML file standard, which means that Vegas is only limited by the operating system and/or
file system. When Vegas is run in Windows 98SE for example, files of up to 4GB are possible
under the FAT32 file system. The NTFS file system (Windows NT, 2000) does not have this
limit.
Unfortunately, other multimedia applications may still be unable to handle these larger files
correctly. One area where this might be a problem is if your capture card and its software is
unable to read these larger files when you want to output your final video to tape. If this is
the case, you will need to break your project into 2GB sections, render these to separate files,
and then queque them up in your output software for seamless playback (if supported).
Audio proxy files (*.sfap0)
Working with certain types of media files with particular audio compression schemes can be
inefficient and slow. To compensate for this, Vegas creates audio proxy files for formats that
are known to dramatically impact performance. There are two cases where this occurs.
Multimedia video files often contain both video and audio information. In certain formats,
these two streams can be packed together in such a way as to make editing slow and
inefficient. Vegas therefore takes the audio stream from these files (e.g. type-1 DV,
QuickTime 4) and saves it to a separate and more manageable audio proxy file.
QuickTime 4 audio-only files can also be compressed in a way that makes editing slower.
Vegas also uses audio proxy files in this situation as well. While audio proxy files may be
large (because they are uncompressed), the performance increase is significant.
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The file is saved as a proprietary *.sfap0 file, with the same name as the original media file
and has the same characteristics as the original audio stream. So movie.avi yields a
movie.avi.sfap0 audio proxy. Additional audio streams in the same file are saved as
movie.avi.sfap1, movie.avi.sfap2, etc. This is a one-time process that will greatly speed up
editing. The conversion happens automatically and does not result in a loss of quality or
synchronization. The original source file remains unchanged (the entire process is
nondestructive). Audio proxy files can be safely deleted at any time since Vegas will recreate
these files as needed.
Note:
Audio proxy files are saved to the same
folder as the source media. If the source media
folder is read-only (e.g. a CD-ROM), the files
will be saved to a temporary directory.
Interlacing and field order
Field order in interlaced video is an important parameter that can severely impact the
quality of video on a television monitor. While the concept is easy enough to understand,
the lack of standards in both technology and terminology clouds the issue.
The path of the electron gun across the screen is fundamentally different between television
monitors and computer monitors. Computer monitors scan every line in order, from left to
right and top to bottom. This is known as progressive scanning. On a standard television
monitor, the electron gun scans every other line from, top to bottom, twice for every picture
or frame. For example, the first scan from top to bottom might scan all of the odd numbered
lines first, then jump back to the top of the screen and, in the second scan, draw all of the
remaining even numbered lines, completing the frame. The two fields are said to be
interlaced together to form a single frame. The reason for this behavior lies in technical
issues surrounding the development of color television in the mid-1950's. It is an elegant
solution to some rather difficult problems.
This following illustration shows how two frames in a video are actually composed of two
fields each, for a total of four fields. These fields can be referred to as field one (F1) and field
two (F2). Obviously, it is critical that these two fields are paired together to create a whole
frame. What may not be so obvious is that the actual order of these two fields is not
particularly important. In other words, F1 could be scanned first and then F2, or F2 could be
scanned first and then F1. Both situations would create a perfectly valid, error-free frame of
video. While that may sound like good news, in reality this is the source of all of the
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APPENDIX A
problems associated with field order. Since both methods are technically correct, both
methods have been used. It is important to use the correct order when rendering video files
for your particular hardware (capture card).
The next illustration shows the effects of incorrectly interlacing a frame of video. In this
case, F2 from frame one is combined with F1 from frame two. Remember that there is
nothing inherently right or wrong with a field order of F2/F1; it just happens to be wrong in
this case. At a minimum, this can create slightly blurry or hazy video. In most situations, the
video is jumpy or jittery and is unwatchable. Interlacing problems can be especially
noticeable when two adjacent frames are significantly different; for example, at a cut or in
video with fast moving action. It can also manifest itself in certain computer-generated
special effects; for example, in slow-motion sequences.
The basic problem is that there is no standard correct field order. Some capture cards use F1/
F2 and some use F2/F1. If this were the extent of our troubles, we could check out our
hardware manual, look up the correct field order and that would be that. Unfortunately (if
F1 F2 F1 F2
frame 1 frame 2
frame 1 frame 1 frame 2 frame 2
F2 F1
frame on television
frame 1 frame 2
APPENDIX A
381
this information is even available) the terminology used can be equally baffling. F1 may be
called the odd, upper, or A field, or (more rarely) it may be called the even, lower, or B field.
Add into the mix the fact that the first scan line might be numbered 0 or 1 (which changes
whether the field is considered odd or even), and that cropping may change which line is
ultimately scanned first, and you can see that this is not a very clear-cut problem. The
remainder of this section deals with how to sort this out in Vegas. Fortunately, you will only
have to determine the correct settings once for any particular hardware setup.
Identifying problems
Vegas Video refers to the two fields as Upper field first and Lower field first. These are
probably the most common terms used to distinguish the two fields, and you may find a page
in your hardware's manual that says something like "Use a field order of lower first." In many
cases (but not all or even most), Upper=Odd=A and Lower=Even=B.
In Vegas, you can select the field order of a project by clicking the File menu and clicking
Properties. The pre-configured templates should work for almost everyone (e.g. if you are
editing and outputting DV video in the US, select the NTSC DV template). If you have
problems, on the Video tab you can manually select a different Field order: Upper field first
or Lower field first. You can also override the project settings and set the field order when
you render a video file. Click the File menu and choose Render As. Then, click the Custom
button and set the Field order on the Video tab of the dialog that opens. Field order can also
be set at the level of the media file or event. Right-click a media file in the Media Pool or in
and event on the timeline and select Properties. The field order is found on the Media tab.
Vegas automatically detects the correct field order in most situations.
Interlacing problems only manifest themselves on television monitors. Video that is only
going to be played back on a computer does not need to be interlaced, and you can use None
(progressive scan) for the Field order. Rendered video must be displayed on a television
monitor to identify any problems. The only way to see interlacing problems is to record
(print) a rendered video file out to tape and play back the tape on a television. Problems will
be most apparent in video that has a lot of motion or that has been modified in some way;
for example, a slow-motion effect. (Some codecs force the correct field order during a render,
making it difficult or impossible to create video with the wrong field order.)
Solving interlacing problems in Vegas Video
If your hardware's documentation does not contain any information about the proper field
order, you will need to determine this information for yourself. It is not a difficult process,
and involves rendering one video file with an upper first field order and another with a lower
first field order. Source material that will dramatically and clearly demonstrate the
improperly interlaced video is important: use a media file with a lot of motion in it and then
slow the event down with a velocity envelope or by time stretching the event.
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APPENDIX A
Timecode
Timecode is a method of measuring time in video. It is primarily important for synchronizing
video (in frames per second) with time in the real world and, in Vegas’ case, with other
media in a project. Changing the timecode used to measure a video file does not alter the
contents of the file. For example, no frames are ever “dropped” or removed when using
SMPTE 29.97 drop frame timecode. Instead, specific frame numbers are periodically dropped
to compensate for differences between timecode and time in the real world. Confusion
between using drop versus non-drop timecode can cause synchronization problems between
video and audio. For very short periods of time, the error would be unnoticeable. After about
a half an hour, you might notice that mouths and words do not quite match in shots of
people speaking. Longer stretches of time will show larger discrepancies in synchronization.
Changing the timecode displayed on an event is not equivalent to converting a video to
another format. You cannot convert NTSC video at 29.97fps to PAL video at 25fps by
simply changing the timecode. To convert NTSC video to PAL video in Vegas, you need to
re-render the video in the new format. In this situation, the conversion process will
necessarily result in some frames of video actually being removed from the original sequence.
Timecode in Vegas
Video timecode crops up fairly frequently in Vegas. Being a multimedia production tool,
time in Vegas can be measured in real-world time (hours, minutes, seconds), in video
timecode (involving frames of video), or in musical time (measures and beats).
Ruler format and timecode
The ruler in Vegas can be set to measure time in any way that is convenient. This setting
does not change how the final file is rendered, but does control the grid lines and how
snapping behaves. Right-click the ruler and select a time format from the shortcut list. See
the table at the end of this section for specific time format details.
Preferences dialog timecode settings
From the Options menu, select Preferences and click the Video tab to adjust the Source frame
numbering. These settings take precedence over those found in the source media Properties
dialog (see the next topic) and are displayed on events inserted into the timeline. None
means that no numbers are displayed on events, Frame Numbers marks frames in the media
file starting with 0, Time displays the time in seconds, and Timecode allows the source media’s
timecode to be detected or selected.
APPENDIX A
383
Source media timecode format
Right-click an event, choose Properties, and click the
Media tab to view these properties. By default, Use
timecode in file is selected. See the table at the end of this
section for specific time format details.
Note:
These settings may be over-ridden by
the settings on the Video tab of the Preferences
dialog. Select Timecode from the Source frame
numbering list to allow event level
specification. See the previous topic.
Render media file format
The timecode of a final rendered media file is determined by the specified format. The frame
rate of the project ultimately determines the timecode and is often constrained by the type
media file being rendered or the codec being used for compression. For example, NTSC DV
is typically limited to a frame rate of 29.97fps and uses SMPTE Drop Frame timecode.
Time formats in Vegas
The following table lists all of the possible methods of displaying time in Vegas (hh=hours,
mm=minutes, ss=seconds, and ff=frames).
Time format name units
Absolute Frame frames are numbered starting with 0.
Feet & Frames 16mm (40fpf) feet+frames, where 40 frames = 1 foot
Feet & Frames 35mm (16fpf) feet+frames, where 16 frames = 1 foot
Seconds seconds (to three decimal places)
SMPTE 30 (30fps, Audio) hh:mm:ss:ff
SMPTE Drop (29.97fps, Video) hh:mm:ss;ff
SMPTE EBU (25fps, Video) hh:mm:ss:ff
SMPTE Film Sync (24fps) hh:mm:ss:ff
SMPTE Non-Drop (29.97fps, Video) hh:mm:ss:ff
Time hh:mm.ss.sss
Time & Frames hh:mm:ss.ff
Samples in Hz
Measures & Beats measures.beats.seconds (to three decimal places)
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APPENDIX A
Troubleshooting DV hardware issues
Vegas (and sonic Foundry Video Capture) is designed to integrate seamlessly with OHCI
compliant IEEE-1394 DV video capture hardware and DV camcorders. While most people
never have any problems, the vast number of hardware configuration possibilities makes this
a potentially complex issue. Although Sonic Foundry is exclusively a software company,
there are a number of resources at Sonic Foundry’s Web site that may be able to assist you.
More detailed information is available at:
http://www.sonicfoundry.com/Support/Productinfo/OHCI.asp
APPENDIX B
APPENDIX
385
Glossary
A-Law
A companded compression algorithm for voice signals defined by the Geneva
Recommendations (G.711). The G.711 recommendation defines A-Law as a method of
encoding 16-bit PCM signals into a non-linear 8-bit format. The algorithm is commonly
used in United States’ telecommunications. A-Law is very similar to µ-Law, however, each
uses a slightly different coder and decoder.
Adaptive Delta Pulse Code Modulation (ADPCM)
A method of compressing audio data. Although the theory for compression using ADPCM is
standard, there are many different algorithms employed. For example, Microsoft’s ADPCM
algorithm is not compatible with the International Multimedia Association’s (IMA)
approved ADPCM.
Aliasing
A type of distortion that occurs when digitally recording high frequencies with a low sample
rate. For example, in a motion picture, when a car’s wheels appear to slowly spin backward
while the car is quickly moving forward, you are seeing the effects of aliasing. Similarly,
when you try to record a frequency greater than one-half of the sampling rate (the Nyquist
Frequency), instead of hearing a high pitch, you may hear alias frequencies in the low end of
the spectrum.
To prevent aliasing, an anti-aliasing filter is used to remove high-frequencies before
recording. Once the sound has been recorded, aliasing distortion is impossible to remove
without also removing other frequencies from the sound. This same anti-aliasing filter must
be applied when resampling to a lower sample rate.
Amplitude Modulation (AM)
A process whereby the amplitude (loudness) of a sound is varied over time. When varied
slowly, a tremolo effect occurs. If the frequency of modulation is high, many side frequencies
are created which can strongly alter the timbre of a sound.
B
386
APPENDIX B
Analog
When discussing audio, this term refers to a method of reproducing a sound wave with
voltage fluctuations that are analogous to the pressure fluctuations of the sound wave. This
is different from digital recording in that these fluctuations are infinitely varying rather than
discrete changes at sample time (see Quantization).
Attack
The attack of a sound is the initial portion of the sound. Percussive sounds (drums, piano,
guitar plucks) are said to have a fast attack. This means that the sound reaches its maximum
amplitude in a very short time. Sounds that slowly swell up in volume (soft strings and wind
sounds) are said to have a slow attack. See the section on ASR (Attack Sustain Release)
envelopes for more information.
Audio Compression Manager (ACM)
The Audio Compression Manager, from Microsoft, is a standard interface for audio
compression and signal processing for Windows. The ACM can be used by Windows
programs to compress and decompress *.wav files.
AVI
A file format of digital Video for Windows. Vegas allows you to open, edit and create new
*.avi files.
Bandwidth
Refers to the EQ plug-in that is built in. Each frequency band has a width associated with it
that determines the range of frequencies that are affected by the EQ. An EQ band with a
wide bandwidth will affect a wider range of frequencies than one with a narrow bandwidth.
Bandwidth can also refers to the amount of data that can be transferred via a connection,
such as a network or modem. For example, streaming media must be compressed due to the
limited bandwidth of most Internet connections.
Beats Per Measure (BPM)
In music theory, the time signature of a piece of music contains two pieces of information:
the number of beats in each measure of music, and which note value gets one beat. Vegas
uses this notion to determine the number of ticks to put on the Time ruler above the Track
View, and to determine the spacing when the ruler is displaying Measures & Beats.
Beats Per Minute
In music theory, the tempo of a piece of music can be written as a number of beats in one
minute. If the tempo is 60 BPM, a single beat occurs once every second. Lower BPM’s equal
slower tempo, and vice versa.
APPENDIX B
387
Bit
A bit is the most elementary unit in digital systems. Its value can only be 1 or 0,
corresponding to a voltage in an electronic circuit. Bits are used to represent values in the
binary numbering system. As an example, the 8-bit binary number 10011010 represents the
unsigned value of 154 in the decimal system. In digital sampling (specifically the PCM
format), a binary number is used to store individual sound levels, called samples.
Bit Depth
The number of bits used to represent a single sample. Vegas uses either 8, 16, or 24-bit
samples. Higher values will increase the quality of the playback and any recordings that you
make. While 8-bit samples take up less memory (and hard disk space), they are inherently
noisier than 16 or 24-bit samples.
Byte
Refers to a set of 8 bits. An 8-bit sample requires one byte of memory to store, while a 16-bit
sample takes two bytes of memory to store.
Clipboard
The Clipboard is where data that you have cut or copied in Vegas is stored. You can then
paste the data back into Vegas at a different location, or paste it into other applications.
Some data, such as audio, cannot be pasted into applications such as Microsoft Word or
Notepad, but the text data from the Edit Details window can be pasted. This allows you to
then print or format the data. The Video Preview window also lets you capture still frames to
the Clipboard for use in any image editing program.
Clipping
Clipping is what occurs when the amplitude of a sound is above the maximum allowed
recording level. In digital systems, clipping is seen as a clamping of the data to a maximum
value, such as 32,767 in 16-bit data. Clipping causes sound to distort.
CODEC
An acronym for COmpressor/DECompressor. A codec is an computer algorithm that is used
to compress video and audio data, shrinking file sizes and data rates.
Composite
Compositing is the term used to describe the way separate video sources are mixed together.
Overlay titles are composited onto a background video sequence.
Crossfade
Mixing two pieces of overlapping audio or video by fading one out as the other fades in.
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APPENDIX B
Cutoff frequency
The cutoff-frequency of a filter is the frequency at which the filter changes its response. For
example, in a low-pass filter, frequencies greater than the cutoff frequency are attenuated
while frequencies less than the cutoff frequency are not affected.
DC Offset
DC Offset occurs when hardware, such as a sound card, adds DC current to a recorded audio
signal. This current causes the audio signal to alternate around a point above or below the
normal -infinity dB (center) line in the sound file. To visually see if you have a DC offset
present, you can zoom all the way into a sound file and see if it appears to be floating over
the center line.
Decibel (dB)
A unit used to represent a ratio between two numbers using a logarithmic scale. For
example, when comparing the numbers 14 and 7, you could say 14 is two times greater than
the number 7; or you could say 14 is 6 dB greater than the number 7. Where did we pull that
6 dB from? Engineers use the equation dB = 20 x log (V1/V2) when comparing two
instantaneous values. Decibels are commonly used when dealing with sound because the ear
perceives loudness in a logarithmic scale.
In Vegas, most measurements are given in decibels. For example, if you want to double the
amplitude of a sound, you apply a 6 dB gain. A sample value of 32,767 (maximum positive
sample value for 16-bit sound) can be referred to as having a value of 0 dB. Likewise, a
sample value of 16,384 can be referred to having a value of -6 dB.
Device Driver
A program that enables Windows to connect different hardware and software. For example,
a sound card device driver is used by Windows software to control sound card recording and
playback.
Digital Signal Processing (DSP)
A general term describing anything that alters digital data. Signal processors have existed for
a very long time (tone controls, distortion boxes, wah-wah pedals) in the analog (electrical)
domain. Digital Signal Processors alter the data after it has been digitized by using a
combination of programming and mathematical techniques. DSP techniques are used to
perform many effects such as equalization and reverb simulation.
Since most DSP is performed with simple arithmetic operations (additions and
multiplications), both your computer’s processor and specialized DSP chips can be used to
perform any DSP operation. The difference is that DSP chips are optimized specifically for
mathematical functions while your computer’s microprocessor is not. This results in a
difference in processing speed.
APPENDIX B
389
Dithering
The practice of adding noise to a signal to mask quantization noise. See also “Noise
Shaping”.
Drag and Drop
A quick way to perform certain operations using the mouse in Vegas. To drag and drop, you
click and hold a highlighted selection, drag it (hold the left-mouse button down and move
the mouse) and drop it (let go of the mouse button) at another position on the screen.
Dynamic Range
The difference between the maximum and minimum signal levels. It can refer to a musical
performance (high volume vs. low volume signals) or to electrical equipment (peak level
before distortion vs. noise floor). For example, orchestral music has a wide dynamic range,
while thrash metal has a very small (always loud) range.
Endian (Little and Big)
Little and Big Endian describe the ordering of multi-byte data that is used by a computer’s
microprocessor. Little Endian specifies that data is stored in a low to high-byte format; this
ordering is used by the Intel microprocessors. Big Endian specifies that data is stored in a
high to low-byte format; this ordering is used by the Motorola microprocessors.
Envelopes (Audio and Video)
Envelopes, as used by Vegas, are a way of automating the change of a certain parameter over
time. In the case of Volume, you can create a fade out (which requires a change over time)
by adding an envelope and creating an extra point to the line that indicates where the fade
starts. Next, you pull the end point of the envelope down to infinity.
Equalization (EQ)
The process by which certain frequency bands are raised or lowered in level. EQ has various
uses. The most common use in Vegas is to simply adjust the subjective timbrel qualities of a
sound.
Event
Media files that have been dragged onto the timeline in Vegas are referred to as events. An
event is actually a window into a media file and is a reference, or pointer, to the file. It can
display all or part of a media file and can be edited without altering the source media
(nondestructive). See also Media Files.
390
APPENDIX B
File Format
A file format specifies the way in which data is stored on your floppy disks or hard drive. In
Windows for example, the most common audio file format is the Microsoft *.wav format.
However, Vegas can read and write to many other file formats so you can maintain
compatibility with other software and hardware configurations.
Frame Rate (Audio)
Audio uses frame rates only for the purposes of synching to video or other audio.
Frame Rate (Video)
The speed at which individual images in the video are displayed on the screen. A faster
frame rate results in smoother motion in the video. However, more times than not, frame
rate is associated with SMPTE standard frame rates for video: 29.97 for NTSC, 25 for PAL or
24 for film.
Frequency Spectrum
The Frequency Spectrum of a signal refers to its range of frequencies. In audio, the frequency
range is basically 20 Hz to 20,000 Hz. The frequency spectrum sometimes refers to the
distribution of these frequencies. For example, bass-heavy sounds have a large frequency
content in the low end (20 Hz - 200 Hz) of the spectrum.
Hertz (Hz)
The unit of measurement for frequency or cycles per second (CPS).
Insertion Point
The Insertion Point (also referred to as the Cursor Position) is analogous to the cursor in a
word processor. It is where pasted data is placed or other data is inserted, depending on the
operation. The Insertion Point appears as a vertical flashing black line and can be moved by
clicking the left mouse button anywhere in the waveform display of a data window.
Markers
Saved locations in the sound file. Markers are stored in the Markers and Regions list and can
be used for quick navigation.
Markers can be displayed in the Trimmer window for sound files that contain them, but
more often, markers and regions are used at the project level to mark interesting places in
the project.
APPENDIX B
391
Media Control Interface (MCI)
A standard way for Windows programs to communicate with multimedia devices like sound
cards and CD players. If a device has a MCI device driver, it can easily be controlled by most
multimedia Windows software.
Media File
A media file, or multimedia file, is any image, audio or video file on a computer. These files
can be browsed for in Vegas’ Explorer window and can be dragged to the timeline or inserted
into the Media Pool. Media files that have been dragged to the timeline are referred to as
events. See also Events.
Media Player
A Microsoft Windows program that can play digital sounds or videos using MCI devices.
Media Player is useful for testing your sound card setup. For example, if you can’t hear sound
when using Vegas, try using Media Player. If you can’t play sound using Media Player, check
the sound card’s manual. Please contact your sound card manufacturer before calling
Technical Support at Sonic Foundry.
MIDI Clock
A MIDI device specific timing reference. It is not absolute time like MIDI Time Code
(MTC); instead, it is a tempo-dependent number of “ticks” per quarter note. MIDI Clock is
convenient for syncing devices that need to do tempo changes mid-song. Vegas supports
MIDI Clock out, but does not support MIDI Clock in.
MIDI Port
A MIDI Port is the physical MIDI connection on a piece of MIDI gear. This port can be a
MIDI in, out or through. Your computer must have a MIDI port to output MIDI Time Code
to an external device or to receive MIDI Time code from an external device.
MIDI Time Code (MTC)
MTC is an addendum to the MIDI 1.0 Specification and provides a way to specify absolute
time for synchronizing MIDI capable applications. Basically, it is a MIDI representation of
SMPTE time code.
Mix
The process of combining multiple audio events and effects into a final output. The
analogous process of combining video events together is called compositing.
392
APPENDIX B
Multiple Stereo
This allows you to assign individual tracks to any number of stereo output busses. In single
stereo mode, all tracks go out the same stereo bus. Multiple stereo configuration output
allows you to keep your signals from the Tracks discrete and save each channel to a separate
audio file.
Musical Instrument Digital Interface (MIDI)
A standard language of control messages that provides for communication between any
MIDI compliant devices. Anything from synthesizers to lights to stage equipment can be
controlled via MIDI. Vegas utilizes MIDI for synchronization purposes.
Noise-shaping
Noise-shaping is a technique which can minimize the audibility of quantization noise by
shifting its frequency spectrum. For example, in 44,100 Hz audio, quantization noise is
shifted towards the Nyquist Frequency of 22,050 Hz. See also “Dithering”.
Non-Destructive Editing
This type of editing used by Vegas that involves a pointer-based system of keeping track of
edits. When you delete a section of audio in a non-destructive system, the audio on disk is
not actually deleted. Instead, a set of pointers is established to tell the program to play the
active sections during playback.
Non-Linear Editing (NLE)
A method of editing video non-sequentially or in random order. Editing video in Vegas is
non-linear as opposed to editing video tape, which is linear.
Normalize
Refers to raising the volume so that the highest level sample in the file reaches a user-
defined level. Use this function to make sure you are fully utilizing the dynamic range
available to you.
Nyquist Frequency
The Nyquist Frequency (or Nyquist Rate) is one-half of the sample rate and represents the
highest frequency that can be recorded using the sample rate without aliasing. For example,
the Nyquist Frequency of 44,100 Hz is 22,050 Hz. Any frequencies higher than 22,050 Hz
will produce aliasing distortion in the sample if an anti-aliasing filter is not used while
recording.
Pan
To place a mono or stereo sound source perceptually between 2 or more speakers.
APPENDIX B
393
Peak File (*.sfk)
Vegas displays the waveform of audio files graphically on a computer monitor. This visual
information must be generated by Vegas when the audio file is opened and can take a few
seconds. Vegas then saves this information as a Peak file (*.sfk).This file stores the
information for displaying waveform information, so that opening a file is almost
instantaneous. The peak data file is stored in the directory in which the file resides and has a
*.sfk extension. If the peak data file is not in the same directory as the file, or is deleted, it
will be recalculated the next time you open the file.
Plug-In
An effect that can be added to the product to enhance the feature set. Vegas supports
DirectX compatible plug-ins. The built-in EQ, Compression and Dithering effects are also
considered plug-ins because they work in other DirectX-compatible applications.
Plug-In Chain
Plug-ins can strung together into a chain so that the output of one effect feeds into the input
of another. This allows for complex effects that couldn’t otherwise be created.
Pre-roll/Post-roll
Pre-roll is the amount of time elapsed before an event occurs. Post-roll is the amount of time
after the event. The time selection defines the pre- and post-roll when recording into a
selected event.
Preset
A snapshot of the current settings in a plug-in. Presets are created and named so that you
can easily get back to a sound or look that you have previously created.
A preset calls up a bulk setting of a function in Vegas. If you like the way you tweaked that
EQ, but do not want to have to spend the time getting it back for later use, save it as a preset.
All presets show up in the combo box on the top of most function dialogs in Vegas.
Pulse Code Modulation (PCM)
PCM is the most common direct binary representation of a level of an uncompressed audio
signals. This method of coding yields the highest fidelity possible when using digital storage.
Punch-In
Punching-in during recording means automatically starting and stopping recording at user-
specified times. In Vegas, shorter events can be punched into longer ones.
394
APPENDIX B
Quadraphonic
A mixing implementation that allows for four discrete audio channels. These are usually
routed to two front speakers and two back speakers to create immersive audio mixes.
Quantization
The process by which measurements are rounded to discrete values. Specifically with respect
to audio, quantization is a function of the analog-to-digital conversion process. The
continuous variation of the voltages of a analog audio signal are quantized to discrete
amplitude values represented by digital, binary numbers. The number of bits available to
describe these values determines the resolution or accuracy of quantization. For example, if
you have 8-bit analog-to-digital converters, the varying analog voltage must be quantized to
1 of 256 discrete values; a 16-bit converter has 65,536 values. Quantization is to level as
sampling rate is to time.
Quantization Noise
A result of describing an analog signal in discrete digital terms (see Quantization). This
noise is most easily heard in low resolution digital sounds that have low bit depths and is
similar to a “shhhhh” type sound while the audio is playing. It becomes more apparent when
the signal is at low levels, such as when doing a fade out. See also “Dithering”.
Region
A subsection of a sound file denoted by a start and end point. You can define any number of
regions in a sound file.
Resample
The act of recalculating samples in a sound file at a different rate than the file was originally
recorded. If an audio file is resampled at a lower rate, Vegas decreases sample points. As a
result, the file size and the frequency range are reduced. Resampling to a higher sample rate,
Vegas will interpolate extra sample points in the sound file. This increases the size of the
sound file but does not increase the quality. When down-sampling, one must be aware of
aliasing (see Aliasing). Vegas automatically resamples all audio to the project’s sample rate.
Ripple; Ripple Editing
A type of editing where events are moved out of the way to make room for newly inserted
events as opposed to simply being overwritten. When a one minute event is ripple inserted
into a project, the duration of a project lengthens by one minute. If ripple editing is turned
off, the same operation would not affect the overall duration of the project.
APPENDIX B
395
Roll
Originally, a conventional studio typically had two source decks that were used to play back
video to a final destination or output deck. These two source decks were commonly referred
to as the A and B rolls. In Vegas, a video track can be configured to display an A and a B
roll, which appear as sub-tracks. The concept is extended further in Vegas to include a
Transition roll and a Mask roll.
Ruler, Time
The Time Ruler is the area on a data window above the tracks display window that shows
the horizontal axis units.
Sample
The word “sample” is used in many different (and often confusing) ways when talking about
digital sound. Here are some of the different meanings:
• A discrete point in time which a sound signal is divided into when digitizing. For
example, an audio CD-ROM contains 44,100 samples per second. Each sample is really
only a number which contains the amplitude value of a waveform measured over time.
• A sound which has been recorded in a digital format; used by musicians who make short
recordings of musical instruments to be used for composition and performance of music or
sound effects. These recordings are called samples. In this manual, we try to use sound file
instead of sample whenever referring to a digital recording.
• The act of recording sound digitally, i.e. to sample an instrument, means to digitize and
store it.
Sample Rate
The sample rate (also referred to as the sampling rate or sampling frequency) is the number
of samples per second used to store a sound. High sample rates, such as 44,100 Hz provide
higher fidelity than lower sample rates, such as 11,025 Hz. However, more storage space is
required when using higher sample rates. Sampling rate is to time as quantization is to level.
Sample Size
See Bit Depth.
Sample Value
The sample value (also referred to as sample amplitude) is the number stored by a single
sample. In 16-bit audio, these values range from -32768 to 32767. In 8-bit audio, they range
from -128 to 127. The maximum allowed sample value is often referred to as 100% or 0 dB.
*.sfk
See Peak File.
396
APPENDIX B
Shortcut Menu
A context-sensitive menu which appears when you click on certain areas of the screen. The
functions available in the shortcut menu depend on the object being clicked on as well as
the state of the program. As with any menu, you can select an item from the shortcut menu
to perform an operation. Shortcut menus are used frequently in Vegas for quick access to
many commands. An example of a shortcut menu can be found by right-clicking on any
waveform display in a data window.
Signal-to-Noise Ratio
The signal-to-noise ratio (SNR) is a measurement of the difference between a recorded
signal and noise levels. A high SNR is always the goal.
The maximum signal-to-noise ratio of digital audio is determined by the number of bits per
sample. In 16-bit audio, the signal to noise ratio is 96 dB while in 8-bit audio it’s 48 dB.
However, in practice this SNR is never achieved, especially when using low-end electronics.
Small Computer Systems Interface (SCSI)
A standard interface protocol for connecting devices to your computer. The SCSI bus can
accept up to seven devices at a time including CD-ROM drives, hard drives and samplers.
Society of Motion Picture and Television Engineers (SMPTE)
SMPTE timecode is used to synchronize time between devices. The timecode is calculated
in Hours:Minutes:Seconds:Frames, where Frames are fractions of a second based on the
frame rate. Typical frame rates for SMPTE timecode can be 24, 25, 29.97 or 30 frames per
second, depending on your local standards.
SMPTE Drop Frame Timecode:
A method of measuring time in video. Drop frame involves skipping two frame numbers (no
frames are actually dropped) every ten minutes to compensate for the different between
NTSC 29.97 fps video and 30 frame counts per second.
Tempo
Tempo is the rhythmic rate of a musical composition, usually specified in Beats Per Minute
(BPM).
Time Format
The format by which Vegas displays the Time Ruler and selection times. These include:
Time, Seconds, Frames and all Standard SMPTE frame rates. The status format is set for
each sound file individually.
APPENDIX B
397
Time Signature
See Beats per Measure.
Timecode
For more information, see Timecode on page 382.
Track
A discrete timeline for audio or video data. Events are placed on tracks and determine when
sound or images start and stop. Multiple audio tracks are mixed together to give you a
composite sound that you hear. Multiple video tracks are composited on top of each other to
create the final video output.
Trim
A function that will delete all data in a sound file outside of the current selection.
µ-Law
µ-Law (mu-Law) is a companded compression algorithm for voice signals defined by the
Geneva Recommendations (G.711). The G.711 recommendation defines µ-Law as a
method of encoding 16-bit PCM signals into a non-linear 8-bit format. The algorithm is
commonly used in European and Asian telecommunications. µ-Law is very similar to A-Law,
however, each uses a slightly different coder and decoder.
Undo Buffer
This is the temporary file created before you do any processing to a project. This undo buffer
allows the ability to revert to previous versions of the project if you decide you don’t like
changes you’ve made to the project. This undo buffer is erased when the file is closed or the
Clear Undo History command is invoked.
Undo/Redo
These commands allow you to change a project back to a previous state, when you don’t like
the changes you have made, or reapply the changes after you have undone them. The ability
to Undo/Redo is only limited by the size of your hard drive. See Undo Buffer.
Undo/Redo History
A list of all of the functions that have been performed to a file that are available to be
undone or redone. Undo/Redo History gives you the ability to undo or redo multiple
functions as well as preview the functions for quick A/B-ing of the processed and
unprocessed material. To display the history list, click the down-arrow button next to the
Undo and Redo buttons.
398
APPENDIX B
Unsigned
Data that has only positive values and uses half the maximum value to represent silence.
This is a format option when opening and saving RAW sound files.
Video for Windows (AVI)
See AVI.
Virtual MIDI Router (VMR)
A software-only router for MIDI data between programs. Vegas uses the VMR to receive
MIDI Time Code and send MIDI Clock. No MIDI hardware or cables are required for a
VMR, so routing can only be performed between programs running on the same PC. Sonic
Foundry supplies a VMR with Vegas called the Sonic Foundry Virtual MIDI Router.
Waveform
A waveform is the visual representation of wave-like phenomena, such as sound or light. For
example, when the amplitude of sound pressure is graphed over time, pressure variations
usually form a smooth waveform.
Waveform Display
A section inside of the Trimmer window that shows a graph of the sound data waveform.
The vertical axis corresponds to the amplitude of the wave. For 16-bit sounds, the amplitude
range is -32,768 to +32,767. For 24-bit sounds, the range is -8,388,607 to +8,388,607. The
horizontal axis corresponds to time, with the left-most point being the start of the waveform.
In memory, the horizontal axis corresponds to the number of samples from the start of the
sound file.
Zero-crossing
A zero-crossing is the point where a fluctuating signal crosses the zero amplitude axis. By
making edits at zero-crossings with the same slope, the chance of creating glitches is
minimized. Vegas simulates zero crossings by applying short (10 mS default) fades to
trimmed audio.
Zipper noise
Zipper noise occurs when you apply a changing gain to a signal, such as when fading out. If
the gain does not change in small enough increments, zipper noise can become very
noticeable. Vegas fades are accomplished using 64-bit arithmetic, thereby creating no zipper
noise.
i
Index
A
Active take, selecting, 235
Adding empty tracks, 177
Additive Dissolve, 308
AIFF
rendering, 326
Alpha Channel, 292
Animation, 267
Arming tracks for recording, 225
Arming tracks to record, 99
ASR See Envelopes
Assignable FX, 194–195
assigning track to, 191
routing to busses, 195
send, 102
tracks, See Track FX
video filters, 264
volume adjustment, 191
Audio plug-in dictionary, 203–210
Audio preferences, 363
advanced control settings, 364
controls, 363–364
Audio property settings, 359
Audio proxy files, 378
Audio tab, 359
Auto-crossfades to transitions, 300
Automatic Crossfade, 298
Auxiliary bus, 102
track assignment, 190
volume adjustment, 190
AV I
bit-depth, 331
channels, 331
creating a movie, 107
format, 331, 335
frame rate, 330, 332
frame size, 330, 332
rendering, 327
sample rate, 331
template, 330
video compression, 330, 332
B
Background
transparent, 282
Black and White filter, 270
Blue screening, 292
Blur, 276
Broadcast Colors, 271
Busses, 216–221
adding to project, 216
adjusting faders, 220
adjusting for clipping, 220
assign track to, 189
assigning plug-ins to, 193
assignment, 99
ii
controls, defined, 216
deleting from project, 217
meter resolution, 220
muting, 220
naming/renaming, 221
routing to hardware, 218
soloing, 221
Bypassing
track plug-ins, 199
C
Capturing video, 84
Chasing MIDI Time Code, 228
Child tracks, 285
Child, compositing, 287
Chromakeying, 292
multiple keys, 294
Clean Pre-Rendered Video, 255
Clearing the edit history, 130
Clock Wipe, 309
Color
track, 180
Color key, 292
Color Surfaces, 280
Command markers, 135, 256
defined, 138
editing, 138
placing, 137
Scott Studios, defined, 137
Command Ruler, 137
Compositing, 285
Compositing Child, 287
Compositing Modes, 295
Compression plug-in, 206
amount control, 207
attack control, 208
auto gain comp. control, 208
controlling clipping, 206
input gain control, 207
output gain control, 207
presets, 207
reduction meter, 207
release control, 208
smooth saturation control, 208
threshold control, 207
Converting format See Rendering a project
Copying events, 114
time and events, 116
time selections, 115
Creating a movie, 107, 262
Cross Effect, 310
Crossfade, 299
Crossfades, 127–128, 298
automatic, 127
curve types, 128
curve types, changing, 128
Fade Type, 299
manually setting, 127
video, 298
Cursor movement, 109
Customizing Vegas, 341–371
docking windows, 341
Explorer window, 344–349
preferences, 360–370
project grid spacing, 351
project properties, 358
project ruler, 349
time display window, 356–357
toolbar, 351–355
Cuts, 297
to transitions, 301
Cutting events, 116
ripple mode, 146
time and event selection, 117
D
Deleting
tracks, 178
Deleting envelope points, 184
iii
Deleting events, 126
ripple mode, 146
Deleting multiple takes, 237
Desktop shortcut, 24
Digital multitrack setup, 224
DirectX plug-ins, 193
Dither plug-in, 210
dither depth, 210
noise shape type control, 210
quantization control, 210
Docking Vegas windows, 341–343
Drop shadow, 282
Duplicating
events, 120
tracks, 178
DV capture cards, 371, 384
E
Edge trimming, 121
Edit Decision Lists (EDL), 262
Edit Details window, 34, 159
commands category, 162
customizing, 162
displaying, 159
edit functions, 159
events category, 160
markers category, 161
regions category, 161
selected events category, 161
Edit history, clearing, 130
Edit Media FX, 89
Editing
time vs. event, 111
Editing audio in external editor, 139
Editing Tools
Envelope, 174
Normal, 111
Selection, 111
Zoom, 97
Empty events, 121
Envelope Edit Tool, 174
Envelopes, 169–170
adding points, 172, 183
Event, 169
fade in and out, 170, 298
Fade Type, 299
Fade Types, 170
Opacity, 171, 298
setting points, 184
Track, 182
Velocity, 171
video, 171, 186
Volume (event), 169
volume fade curves, 184
Equalization plug-in, 204
band mode, 205
bandwidth control, 206
enable control, 205
frequency control, 205
gain control, 205
presets, 204
rolloff control, 206
Equipment setup, 223–225
basic, 223
mixer, 224
with digital multitrack, 224
with MIDI option, 224
Event edge fade, setting, 364
Event editing, 114
Event properties
displaying names, 152
name, changing, 152
pitch shift, 149
Event switches, 164–169
locking, 165
looping, 165
maintain aspect, 167
muting, 164
normalizing, 166
Event takes
adding, 151
iv
changing active, 152
deleting, 152, 237
displaying names of, 152
renaming, 152, 236
video, 151
Events
automatic crossfades, 248
copying, 114
crossfades, 298
crossfading, 127
cutting, 116
defined, 84
deleting, 126
duplicating, 120
editing, 52, 54
empty, 121
envelopes (ASR), 169, 171, 186
grouping, 55, 174–175
locking, 52
moving in time, 93
moving multiple, 94
moving single, 93
name, changing, 153
name, displaying, 153
pasting, 117–119
placing, 50, 91, 92
recording into, 232
removing audio from video, 95
ripple editing, 145
selecting multiple, 111
selecting with time, 114
shifting the contents of, 125
snapping, 141
splitting, 122
splitting with time selection, 53
switches, 164
trimming, 121
Expanding a track, 181
Explorer window, 33
all files view, 349
auto preview, 348
details view, 349
managing media files, 345–347
previewing media files, 347
region view, 349
summary view, 349
toolbar, 344
transport bar, 87, 347
tree view, 348
using, 47, 85, 344
view options, 86, 348–349
External Monitor, 371
F
Fader
Assignable FX, 191
auxiliary bus, 190
track, 181
Fades, 298
to black, 298
to color, 186
Faster render times, 333
Field order, 256, 379
Filters
animating, 267
keyframes, 267
modifying, 266
ordering, 266
removing, 265
transitioning into, 268
video, 264
Focus, 110
Frame by frame cursor movement, 110
G
General editing, 109–139
event vs. file, 84
General preferences, 361
Generators, 279, 280
Color Surface, 280
Test Pattern, 280
Text, 280
Glossary, 385–398
Glow, 318
Grid lines
v
changing type, 143
enable/disable snapping, 142
safe areas, 253
snapping events to, 142
spacing, 351
Grouping events, 55, 174–175
clearing, 175
creating new, 174
H
Hold Keyframe, 307
I
IEEE-1394 DV capture cards, 371, 384
Ignore Event Grouping, 175
Images, working with, 248
Importing media from other projects, 149
Insert
empty event, 121
time, 146
Inserting media, 91
Installation, 24
system requirements, 21
Interlace, 256, 379
Iris, 311
Isolate Channels, 290
K
Keyboard commands, 37–40
cursor placement, 38, 109, 113
edit, 37
event, 39
miscellaneous, 40
playback, 39
project file, 37
selection, 38
track view, 40
Trimmer, 41
view, 40
window view, 37
Keyframe animation, 267, 305
generated text, 283
Keyframe controller, 305
Keyframes
adding, 306
deleting, 306
interpolation curves, 307
modifying, 306
Keying, 292
L
Labeling busses, See Naming busses
Labeling tracks, See Naming tracks
Launch Video Capture, 84
Level slider, 295
Linear Wipe, 311
Locking events, 165
Locking events to track envelopes, 187
Loop playback, 114
Looping events, 165
Luminance, 292
M
Main window, 29
Maintaining quality, 333
Managing media files, 345–347
adding folder to Favorites, 347
creating folders, 346
deleting files and folders, 347
finding media files, 345
moving files, 346
renaming files and folders, 346
Marker
deleting, 132
naming, 131
navigating, 132
placing and moving, 131
Marker bar, 30
vi
Markers and regions, 131–138
snapping events to, 144
Mask filter
using, 291
Masks
and tracks, 288
fine tuning, 290
video, 289
Match Media button, 256
Media files
adding to Favorites, 347
auto preview setting, 87
creating folders, 346
deleting, 347
finding, 345
inserting, 91
moving, 346
opening, 86
previewing, 87
properties, 259
renaming, 346
video placement options, 92
Media Pool
replacing media in events, 89
using the, 88
window, 36
metronome, 226
Microsoft Encoding wizard, 337
MIDI Clock output, 370
MIDI Time Code
chasing, 228
input devices, 368
output devices, 369
time display window, 357
Mixer, 213
busses, 216
preview fader, 214–215
toolbar, defined, 214
viewing/hiding, 213
window, 34
Mixer setup (external), 224
Mixing multiple tracks to a new track, 187
Mixing video tracks, 285
Mouse scroll-wheel shortcuts, 41
MPEG
rendering, 326
saving a template, 336
template, 336
MTC, 228
Multiple takes
previewing, 234
recording, 234
Mute button, 100
Muting
all audio or video tracks, 182
Assignable FX, 164
busses, 220
tracks, 181
N
Name, takes, 152
Naming
busses, 221
Naming tracks, 179
Noise Gate plug-in, 209
attack time control, 209
presets, 209
release time control, 209
threshold control, 209
Non Real-Time Event FX, 202
Normal Edit Tool, 111
Normalize
audio event, 166
peak level, 364
O
OHCI 1394-IEEE cards, 371, 384
Online Help, 27
accessing, 27
icon, 27
vii
PDF manual, 28
Tip of the day, 28
via the web, 28
What’s This? Help, 28
Online registration, 25, 26
Opacity envelope, 298
Optimizing previews, 253
Ordering of effects, 267
Organizing tracks, 179
Overlays
animating, 320
compositing modes, 295
Safe Areas, 253
transparency, 292
P
Pan/Crop, 241
Pan/Scan, 241
Panning, 102, 183
Parent track, 287
Parent/Child tracks, 285
Partial rendering, 327
Paste insert, 118
Paste repeat, 118
Pasting events, 117–119
pca format, 326
PDF online manual, 28
Peak files, 89
Perfect Clarity audio format, 326
Picture-in-Picture, 319
Pitch shift, 149
Pixel Aspect Ratio, 256
Placing media
as takes, 91
double-clicking, 92
dragging/dropping, 91
multiple files, 91
same track, 91
separate tracks, 91
Playback
buffer control, 363
interpolate cursor position control, 365
position bias control, 365
pre-roll buffer control, 365
scrubbing, 104
video, 50
Plug-in chain
changing order, 198, 266
changing order from Track FX dialog, 198
creating on tracks, 195
saving presets, 266
video hierarchy, 44
Plug-ins
audio, 203
filters, 264
generators, 279
masks, 286
transitions, 299
video, 263
window, 35
Position, Track Motion, 317
Post-roll, 232
Preference settings, 360–370
audio tab, 363
audio tab, advanced settings, 364
Editing tab, 366
External Monitor tab, 371
General tab, 361
routing tab, 365
Sync tab, 362, 367
sync tab, advanced settings, 368
viewing dialog, 360
Pre-render Video in Loop Region, 254
Pre-roll, 233
Preset chains, 200–202
editing, 201
organizing, 201
saving from existing chains, 200
viii
Presets, saving, 304
Preview fader
adjusting for clipping, 215
adjusting volume, 214
hiding/viewing, 215
meter resolution, 215
Previews
optimizing, 253
partial, 254
rendering, 102
resolution, 254
to media player, 105
transitions, 303
Project playback
entire, 103
media player, 105
time selection, 103
Project property settings, 358
audio tab, 359
ruler tab, 360
summary tab, 358
video tab, 359
Projects, 81
saving, 83
starting, 81
Properties
events, 163
events, setting, 163
media file, 259
project, 82
project - video, 256
Proxy files, audio, 378
Punch-In, 119
Punch-in, 232
Push, 312
Q
Quick Blur, 276
Quick start, 81–107
R
RealMedia (*.rm)
commands, defined, 136
rendering, 328
Rebuild Peaks, 90
Recompressing frames, 333
Recording, 223–239
arming tracks, 225
choosing an active take, 235
deleting a take, 237
deleting multiple takes, 237
into a time selection, 231
into an empty track, 229
into an event, 232
into an event with time selection, 232
multiple takes, 234
previewing takes, 234
renaming a take, 236
selecting track input devices, 192, 227
specifying storage folder, 238
starting and stopping, 227
stereo, left, right channel options, 192, 226, 227
track setup, 192
Redo/Undo commands, 129–130
clearing history, 130
multiple, 130
Region, 133
deleting, 134
naming, 133
navigating, 134
placing and adjusting, 133
selecting, 134
Registering Vegas, 25
online, 25, 26
telephone, 26
Remove
All Unused Media From Project, 88
Selected Media From Project, 88
Removing plug-ins, 199
Renaming a project Save As..., 83, 324
Render As, 325
ix
Rendering
AIFF (*.aif), 326
custom settings, 329
increasing speed of, 333
MPEG (*.mp3), 326
RealMedia (*.rm), 328
selecting a video format, 335
to new track template, 188
Video for Windows (*.avi), 327
Wave (Microsoft)(*.wav), 326
Windows Media Audio (*.wma), 326
Windows Media Format (*.asf), 328
Rendering a project, 78, 106, 325–328
audio formats, 326
controls and templates, 329
format options, 78, 106, 325
streaming formats, 328
video format, 327
Reordering tracks, 179
Resample an event, 172
Resampling
event properties, 257
explained, 258
Resampling, example, 150
Resolution and quality, 254
Reversing a video event, 173
Ripple editing, 145–149
across all tracks, 147
cutting events, 146
deleting events, 146
pasting multitrack information, 148
Trimmer, 145
Routing hardware preferences, 365
Ruler, 31
format, 349
offset, setting, 350
property settings, 360
time formats, 350
Ruler tab, 360
S
Safe Areas, 253
Saving a project, 56, 106, 323–324
options, 83
Saving As
dialog commands, 324
project, 324
Scott Studio commands, 137
Scribble Strip, 100
Scrolling, 96
Scrolling titles
Pan/Crop, 246
Track Motion, 321
Scrub control, 33
Scrubbing, 104
Selecting
all members of a group, 175
events and a time range, 114
multiple events, 111
range of events, 111
time range, 112
Selecting a video format, 335
SFAP files, 378
SFK files, 89
Shadow, 282, 318
adding, 318
modifying, 319
Shifting the contents of an event, 125
Signal flow, 43
Simultaneous Play & Record, 228, 230
Skipping, 110
Slide, 313
Slide show, creating, 248
Snap offset, 142
Snapping events, 141–144
disabling, 144
x
snap offset, 142
to grid lines, 142
to marker lines, 144
Solo button, 100
Soloing
busses, 221
tracks, 182
Sound editor program, 138–139
opening from Trimmer, 158
opening from Vegas, 139
setting up, 138
Source Alpha, 295
Spiral, 313
Split, 314
Splitting, 122–125
event selection, 124
time selection, 124
Splitting events, 53
Square pixels, 256
Squeeze, 314
Starting a project, 81
Starting Vegas, 24
Status bar, 32
Streaming media commands, 136
for RealPlayer, 136
for Windows Media, 136
Summary tab, 358
Swap, 315
Switches, 164–169
Lock, 165
Loop, 165
Maintain aspect ratio, 167
Mute, 164
Normalize, 166
Sync. preferences, 367
advanced control settings, 368
Synchronizing audio with video, 51, 54
Synchronizing MIDI Time Code, 225
System requirements, 22
common, 22
T
Takes, 151
adding events to, 151
changing the name of, 152
deleting, 152
duplicating events and, 120
Target media player, previewing on, 105
Technical support, 22
Technical support Title page
Telephone registration, 26
Text Media, 281
Text, generated
duplicating, 283
keyframing, 283
positioning, 282
Time Code, 225
Time display window, 356
changing color usage, 356
changing time format, 356
MIDI Time Code settings, 357
Time selection, 112
copying, 115
cutting, 117
editing, 53
recording into, 231
with events, 114
Timecode, 382
Timeline
moving events along, 93, 95
Timeline playback, 327
Tip of the day Help, using, 28
Titles
automatic crossfade, 251
Safe Areas, 253
scrolling - Pan/Crop, 246
scrolling - Track Motion, 321
sequences, 283
xi
Toolbar, 30
adding buttons to, 354
hiding/displaying, 352
moving, 351
removing buttons from, 355
reordering buttons on, 353
resizing, 352
Track envelopes, 182
changing volume curves, 184
deleting from track(s), 185
hiding on track(s), 185
Track FX, 193–210
adding via Plug-in Chooser dialog, 195
adding via Plug-in Explorer window, 196
bypassing plug-ins, 199
Compression plug-in, 206
creating a plug-in chain, 195
Dither plug-in, 210
Equalization plug-in, 204
Noise Gate plug-in, 209
rearranging chain order, 198
reference, 203–210
removing plug-ins from chain, 199
Track FX button, 99
Track Header, 31
Track Motion, 316
glow, 318
Picture-in-Picture, 319
position, 317
shadow, 282, 318
Track Number, 98
Track panning envelopes
adding, 183
Tra ck View, 32
Track volume envelopes
adding, 183
adding points, 183
colors defined, 183
setting points, 184
Tra cks
adding empty, 177
arm for record button, 99
Assignable FX send, 102
Assignable FX, assigning, 191
auxiliary bus, 102
auxiliary bus, assigning, 190
basics, 177–192
bus assignment, 99
bus, assigning, 189
color, changing, 180
deleting, 178
duplicating, 178
expanding the view, 181
fader, using, 181
FX button, 99
height, changing, 180
mixing to a single track, 187
multi-purpose slider, 101
mute button, 100
muting, 181
naming/renaming, 179
Number, 98
organizing, 179
panning, 102, 183
recording into, 192, 229
reordering, 179
scribble strip, 100
solo button, 100
soloing, 182
view buttons, 98
view options, 180
volume fader, 101
Transitions, 297
adding, 299
animating, 305
dictionary of, 307
from auto-crossfades, 300
from cuts, 301
keyframing, 307
modifying, 303
using, 299
window, 36
Transparency, 171
and overlays, 292
backgrounds, 282
Transport bar, 32, 50, 102
reference, 104
xii
Triggering recording from MIDI device, 228
Trim, 122
Trimmer window, 34, 154–158
events, placing on track, 156
mark in and out points, 156
overview, 154
regions and markers, adding, 157
ripple editing, 145
sound editor, opening from, 158
working with, 155
Trimming events, 122
time and event selection, 122
Troubleshooting
Audio, 373–375
Video, 373–383
Tutorial, 45–79
aligning audio with video, 51, 54
editing time selection, 53
editing voice-over, 52
equalization (EQ) settings, 60
event editing, 54
folder, copying, 45
grouping audio and video, 55
locking events, 52
placing music bed, 58
rending the project, 78
saving the project (*.veg),78
splitting an event, 53
time selection editing, 53
video compression settings, 79
video placement, 48
video playback, 50
Video Preview window, 49
voice-over placement, 50
volume envelope, 58
U
Undo/Redo commands, 129–130
clearing history, 130
V
Vegas
creating a copy of a project, 324
registering, 25
renaming a project, 83
rendering a project, 106, 325–328
saving a project, 323
starting, 24
Vegas Audio, 23
Vegas overview, 29–43
Edit Details window, 34
Explorer window, 33
Keyboard commands, 37
Main window, 29
Marker bar, 30
Media Pool window, 36
Mixer window, 34
Plug-ins window, 35
Ruler, 31
Scrub control, 33
Toolbar, 30
Track Header, 31
Track view, 32
Transport bar, 32
Trimmer window, 34
Video Monitor window, 35, 36
Windows Docking Area, 33
Vegas Video, 23
Vegas windows, docking, 342
Velocity envelope, 171
Version Limitations, 23
Video capture, 84
Video compression, 79
Video events
moving along timeline, 95
placing, 48
removing audio, 95
Video filters, 264
Video masks, 289
Video Motion, 316
Video plug-ins, 263
Video Preview window, 35, 49
Video property settings, 359
xiii
View buttons, 98
Volume
Assignable FX fader, 191
auxiliary bus fader, 190
track fader, 181
Volume envelopes, 183–185
adding, 58
deleting from track(s), 185
hiding on track(s), 185
setting points, 59
W
w64 format, 326
Wave (Microsoft)
rendering, 326
Waveforms, displaying, 89
Web site
Help, using, 28
What’s This? Help, using, 28
Window Docking Area, 33, 342
Windows Media Audio
Microsoft encoding wizard, 338
rendering, 326
saving a template, 337
template, 337
Windows Media Format (*.asf)
rendering, 328
Windows Media streaming command, defined, 136
Z
Zoom, 315
Zoom Edit Tool, 97
Zooming, 96

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