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Table of Contents Table of Contents 13 Introduction 23 Technical Support 25 About Vegas Pro 25 Interactive Tutorials 26 The Vegas Pro Window 27 Toolbar 27 Editing Tool 29 Time Display 32 Track List 32 Scrubbing 33 Timeline 34 Marker Bar 35 Transport Controls 36 Viewing the Status Bar 37 Window Docking Area and Floating Window Docks 39 The Explorer Window 40 The Trimmer Window 42 The Master Bus Window 43 The Video Preview Window 43 The Project Media Window 44 The Edi
The Media Manager Window 50 The XDCAM Explorer Window 51 The Mixing Console Window 51 The Device Explorer Window 52 Working with projects Creating a New Project 53 Setting Project Properties 53 Opening a Project or Media File 62 Creating Rotated Projects 65 Nesting Projects 67 Opening a Recent Project 68 Saving a Project 68 Automatic Project Saving 68 Saving and Renaming a Project (Save As) 69 Project References in Rendered Files 70 Sharing a Project Online 71 Uploading Your Mo
Importing Broadcast Wave Format Files 100 Importing Video from a DVD Camcorder 101 Editing Video from an XDCAM Station with StreamChase 102 Using the Device Explorer 105 Creating Proxy Files for High-Definition Editing 107 Using HitFilm Effects 108 Sorting Your Media with Bins 108 Viewing or Changing Media File Properties 110 Recording audio 116 Metronome 121 Capturing Video 121 Capturing from an SDI Card 122 Capture Preferences 125 Converting Video to 24p 129 Extracting Audio fr
Adjusting an Event's Length 158 Expanded Edit Mode 161 Slipping and Sliding Events 164 Repairing Audio/Video Synchronization Offsets 165 Event Envelopes 166 Stabilizing Video Clips 170 Reversing an Event 170 Using Takes as Alternate Versions of Events 171 Grouping Events 173 Using Sync Links 174 Applying Switches to Events 175 Audio Streams 177 Audio Channels 177 Opening Events in an Audio Editor 178 Opening a Copy of an Event in an Audio Editor 179 Editing Event Properties 18
Aligning left- and right-eye views and adjusting depth 210 Rendering a stereoscopic 3D project 212 Using markers, regions, and commands 217 Inserting markers 217 Inserting regions 218 Using Media Markers and Regions 220 Inserting Commands 221 Inserting CD Track Regions 224 Inserting CD Index Markers 225 The Marker Tool 225 Track Editing 227 Inserting Audio Tracks 227 Inserting Video Tracks 227 Selecting Tracks 227 Arranging Tracks 229 Grouping Tracks 229 Duplicate Track 231
Keyframe Animation Applying Effects 301 Adding audio track effects 301 Adding/Editing Audio Event Effects 303 Using Bus Effects 304 Applying Non-Real-Time Event Effects 306 Using Assignable Effects 306 Adding an Assignable Effects Chain 307 Routing Tracks to an Assignable Effects Chain 308 Using Assignable Effects Envelopes 309 Removing an Assignable Effects Chain 310 Creating and Using Effects Packages 310 Bypassing All Audio Effects 310 Editing Audio Plug-Ins 311 Applying video e
The Mixing Console 347 The Mixing Console Toolbar 348 The Channel List Pane 350 The View Controls Pane 351 Channel Strips 352 Using the Mixing Console 354 Adding Track, Assignable FX, and Bus Channels 354 Audio Track Channel Strips 355 Bus Channel Strips 363 Input Bus Channel Strips 369 FX Send (Assignable Effects) Channel Strips 375 Creating a Cue (Headphone) Mix with the Mixing Console 382 Compositing Video 385 Compositing and Masks 385 3D Compositing 391 Video Signal Flow Di
Specifying the color space in a custom rendering template 5.1 surround projects 433 Setting up your 5.1 surround project 433 5.1 surround panning and mixing 436 Audio panning modes 444 Rendering your 5.
Trigger from MIDI Timecode 490 Burning Discs 493 Track-at-Once (TAO) CD Burning 493 Disc-at-Once (DAO or Red Book) CD Burning 494 Burning a Blu-ray Disc from the Timeline 499 Burning a DVD from the Timeline 502 Printing Video to Tape 503 Printing Video to Tape from the Timeline 503 Printing Video to HDV Tape 511 Rendering Projects (Render As) 515 Rendering Multichannel Audio Files 518 Rendering MPEG Files 521 Rendering Projects for Use in DVD Architect Pro 521 Media File Settings f
Preferences - General Tab 576 Preferences - Video Tab 582 Preferences - Preview Device Tab 585 Preferences - Audio Tab 593 Advanced Audio Preferences 596 Preferences - Audio Device Tab 598 Preferences - MIDI Device Tab 601 Preferences - VST Effects 601 Preferences - Editing Tab 601 Preferences - Display Tab 606 Preferences - CD Settings Tab 608 Preferences - Sync Tab 609 Preferences - External Control & Automation Tab 611 Keyboard Shortcuts 615 Glossary 631 Index 651 TABL
Chapter 1 Introduction Sony Creative Software Inc. proudly introduces Vegas Pro, a full-featured nonlinear editor (NLE) for video and multitrack digital audio designed for video postproduction and multichannel audio recording and mixing. What's new in version 12.0 Video n n n n n Added new video plug-ins: o LAB Adjust allows you to manipulate colors in the Lab (L*a*b* or L*, a*, b*) color space. o Color Match allows you to automatically match the color between clips.
Audio n You can now preview audio through supported AJA and BlackMagic Design video preview devices. n Added 64-bit Gracenote support. n Added support for 64-bit Noise Reduction (Audio Restoration, Click and Crackle Removal, Clipped Peak Restoration, and Noise Reduction), Acoustic Mirror, élastique Timestretch, and Wave Hammer plug-ins.
n Additional search fields for media bins and new smart bin feature. n You can now edit properties for multiple media files. n The Explorer window has been redesigned. n Extensions are now saved in window layouts. n You can now simultaneously adjust the fades of all selected events. n Multiple rows of docked windows are now supported. n Display of thumbnail images in the Project Media window has been refreshed. n If you have HitFilm Ultimate 2.
Before contacting Technical Support, click the Computer tab to display information about your computer. Interactive Tutorials From the Help menu, choose Interactive Tutorials to start an interactive guide that will show you each part of the Vegas Pro interface and teach you how to create projects.
Chapter 2 The Vegas Pro Window The Vegas Pro window is where you edit your project, and the screen is divided into several areas. Tips: n n If you prefer to work with the timeline at the bottom of the window and the docking area at the top of the window, select the Display timeline at bottom of main window check box on the Display tab of the Preferences dialog.
The toolbar contains buttons that enable you to select frequently used commands quickly. You may customize it by adding, removing, or reordering buttons. For more information, see "Customizing the Toolbar" on page 567. Button Name 28 Description New Empty Project Creates a new blank project using the default settings. For more information, see "Creating a New Project" on page 53. Open Opens an existing project or media file. For more information, see "Opening a Project or Media File" on page 62.
Button Name Description Lock Envelopes Select this button if you want envelope points to follow an event to Events when it is moved along the timeline. For more information, see "Video Track Automation" on page 260. Ignore Event Grouping Select this button to override event groups without removing the groups. For more information, see "Grouping Events" on page 173. Normal Tool Select this button to perform normal editing functions. For more information, see "Editing Tool" on page 29.
Changing an event's length Drag either edge of an event to change its length. The event edge will snap to grid lines if snapping is on. Hold the Shift key while dragging to temporarily suspend snapping. For more information, see "Enable Snapping" on page 139. Envelope To use the Envelope tool submenu. , choose Editing Tool from the Edit menu, and then choose Envelope from the The Envelope tool is designed to manipulate envelopes in events.
Zoom To use the Zoom tool , choose Editing Tool from the Edit menu, and then choose Zoom from the submenu. You can use the zoom tool to change the magnification of the Vegas Pro project. Click the Zoom button in the corner of the timeline to temporarily change the cursor into the Zoom tool. Select an area of the timeline that you want to magnify, and the cursor will revert to the previously active tool.
Previous Tool Choose Previous Tool (or press Shift+D) to switch to the next tool in the list. For example, if you're using the Erase tool, Previous Tool selects the Paint tool. Time Display The Time Display window shows the current cursor position, MTC input, MTC output, or MIDI clock output time. Right-click the window and choose a command from the submenu to change the display format. Item Description Time at Cursor Displays the current cursor position using the current time format.
Scrubbing You can use scrubbing to scroll playback of your project at varying speeds. Choose a setting from the JKL / shuttle speed drop-down list on the Editing tab of the Preferences dialog to control the scrub speed and range when you scrub with the JKL keys or with a multimedia controller. For more information, see "Using a Multimedia Controller" on page 557. Scrubbing with the playhead Drag the playhead edit point.
Scrubbing with the cursor 1. Hover over the cursor in an area of the timeline that does not contain an event and press Ctrl. The mouse pointer is displayed as a . When the Allow Ctrl+drag cursor style scrub over events check box on the General tab of the Preferences dialog is selected, you can scrub with the mouse even when the cursor is over an event. 2. Drag left or right to scrub playback. Scrubbing with the keyboard Press the J, K, or L keys to use the keyboard as a scrub control.
Item Description Time Ruler Displays the time in the format you select. For more information, see "Time Ruler" on page 571. Marker Tool Click the Marker Tool button in the top-right corner of the timeline to navigate and edit multiple selected markers. For more information, see "The Marker Tool" on page 225. Vertical Scroll Bar Drag the scroll box to pan the view of the project up or down.
Item Description Markers/Regions Choose a command from the submenu to add or delete markers or regions. For more information, see "Inserting markers" on page 217 and "Inserting regions" on page 218. Quantize to Frames Forces edits to occur on frame boundaries. For more information, see "Quantize to Frames" on page 142. Enable Snapping When snapping is enabled, the Snap to Grid and Snap to Markers commands become available. For more information, see "Enable Snapping" on page 139.
Button Name Loop Playback Description Plays only the events in the loop region in a continuous mode. Play from Start Starts playback from the beginning of the project regardless of the current cursor position. When you stop playback, the cursor returns to its original position. Play Starts playback from the cursor position.
CHAPTER 2
Chapter 3 Window Docking Area and Floating Window Docks You can use the window docking area to keep frequently used windows available, but out of the way, while you are working with a project. Tips: n n If you want to display the window docking area at the top of the Vegas Pro window, select the Display timeline at bottom of main window check box on the Display tab of the Preferences dialog. Clear the check box to display the docking area at the bottom of the Vegas Pro window.
The Explorer Window From the View menu, choose Explorer to toggle the display of the Explorer window. Like the Project Media window, you can use the Explorer window to view, preview, and add media files to your project. Learning more about the Explorer window Item Name Description Back/Forward Use the Back and Forward buttons to navigate the folder history. Address Bar Displays the path to the current folder. Tree View Displays all of the available files and folders where you can find media files.
Item Name Description CD Info If CD information is not available, you can click this button to display a dialog box where you can edit the CD information and submit it for inclusion in the Gracenote Media Database. Get Media from the Web Opens the Get Media from the Web dialog, where you can download files to use in your project. Views Allows you to change the way the files are viewed in the list view.
Favorites are saved in the following file:C:\Users\user name\AppData\Local\Sony\Vegas Pro\12.0\NewExplorerFavorites.txt. The file is saved whenever you close the Explorer window or exit the application. You can copy the file to different computers or user accounts to migrate Favorites settings. To see this file, you must have the Show hidden files and folders radio button selected on the View tab of the Folder Options Control Panel. Adding a folder to the Favorites folder 1.
The Master Bus Window The Master Bus window provides you with a streamlined view of your project's master output. For more information, see "Using the Master Bus Window" on page 331. The Video Preview Window From the View menu, choose Video Preview to toggle the display of the Video Preview window. The Video Preview window displays a project's video output at the current cursor position during editing and playback. The playback includes any effects that you have applied to it.
The Project Media Window From the View menu, choose Project Media to toggle the display of the Project Media window. You can use the Project Media window to collect and arrange all the media you will use in your project. You can add media, preview it, view and change file properties, and add effects to a file. For more information, see "Using the Project Media window" on page 83. The Edit Details Window From the View menu, choose Edit Details to toggle the display of the Edit Details window.
The Transitions Window From the View menu, choose Transitions to display or hide the Transitions window. Use this window to choose and preview transition effects that you can use to control how a video event begins or ends, or to change the way one event flows into another. The left pane lists each of the available transitions organized in folders. Click the Expand and Collapse buttons to open and close the folders, and select a plug-in name.
The Video FX Window From the View menu, choose Video FX to toggle the display of the Video FX window. The left pane lists each of the available video effects organized in folders. Click the Expand and Collapse buttons to open and close the folders, and select a plug-in name. The thumbnail images in the right pane represent each of the existing presets for the selected effect. Hover your cursor over a preset to see an animated example. You can type in the Search plug-ins box to find plug-ins.
The Media Generators Window From the View menu, choose Media Generators to toggle the display of the Media Generators window. You can use this window to add text, titles, backgrounds, and other generated media. The left pane lists each of the available media generators organized in folders. Click the Expand and Collapse buttons to open and close the folders, and select a plug-in name. The thumbnail images in the right pane represent each of the existing presets for the selected generator.
The Compositors Window From the View menu, choose Compositors to toggle the display of the Compositors window. You can use this window to add compositing effects. The left pane lists each of the available compositors organized in folders. Click the Expand and Collapse buttons to open and close the folders, and select a plug-in name. The thumbnail images in the right pane represent each of the existing presets for the selected compositor. Hover your cursor over a preset to see an animated example.
The Video Scopes Window From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. Broadcast video uses a narrower range of color than the RGB you see on your computer. When you broadcast a project that contains out-of-gamut (out-of-range) colors, you can introduce image problems or even noise into the audio stream.
The Surround Panner Window From the View menu, choose Surround Panner to toggle the display of the Surround Panner window. Use the Surround Panner window to pan tracks, busses, and assignable effects chains. For more information, see "5.1 surround projects" on page 433. The Media Manager Window If you've installed the Media Manager, you can use it to search for media and manage your collection of audio and video media so you can find just the right media for your Vegas Pro projects.
The XDCAM Explorer Window From the View menu, choose XDCAM Explorer to toggle the display of the XDCAM Explorer window. You can use this window to export, manage, and export XDCAM clips. For more information, see "Using the XDCAM Explorer Window" on page 407. The Mixing Console Window From the View menu, choose Mixing Console to display the Mixing Console window.
The Device Explorer Window The Device Explorer allows you to browse and import clips from AVCHD, XDCAM EX, NXCAM, XAVC, Panasonic P2, and RED ONE/EPIC/SCARLET devices; CompactFlash-based memory recording units such as the HVR-MRC1; and hard-disk-based recording units such as the HVR-DR60. For more information, see "Using the Device Explorer" on page 105.
Chapter 4 Working with projects A project (.veg) file saves the relevant information about your source media: file locations, edits, insertion points, transitions, and effects. A project file is not a multimedia file. It contains pointers to the original source files, so you can edit your project nondestructively — you can be creative without worrying about corrupting your source files. Creating a New Project The first step in creating your masterpiece is to create a Vegas Pro project file.
Video Use the Video tab to adjust the video format of your project. You can also click the Project Video Properties button on the Video Preview window to display this tab. Item Description Template Allows you to select a preset template to automatically configure the controls in the dialog. You may also manually change the settings and save them as a custom template for future use. To create a new template, enter a name in the text box and click the Save Template button .
Item Description Output rotation Choose a setting from the drop-down list to rotate your project's output. Use output rotation to edit projects for display in portrait (rather than landscape) or inverted orientation: In this example, the video was shot with the camera tripod rotated 90 degrees. However, with the project output unrotated, the video is pillarboxed within the standard landscape frame.
Item Description Pixel format Choose a setting from the drop-down list to indicate whether you want to perform video processing (compositing, scaling, previewing, rendering, and most video plug-ins) using 8-bit or 32-bit, floatingpoint arithmetic. n n n 8-bit: Performs video processing using 8-bit arithmetic and in the video (studio RGB, or 16-235) color space. 32-bit floating point (video levels): Performs video processing using 32-bit arithmetic and in the video color space.
Item Description Full-resolution rendering quality Choose a setting from the drop-down list to set the quality of the rendered video. Unless you have specific performance problems, choose Good. Choosing Best can dramatically increase rendering times. Good uses bilinear scaling without integration, while Best uses bicubic scaling with integration. If you're using high-resolution stills (or video) that will be scaled down to the final output size, choosing Best can prevent artifacts.
Item Description Deinterlace method Choose a setting from this drop-down list to determine the method used to render effects and deinterlace the two fields that make up a frame. n n n None: Performs no deinterlacing. Blend fields: Uses contents from both fields and works well for high-detail, low-motion video. Interpolate: Uses a single field at a time and works well for high-motion, low-detail video. No deinterlacing occurs in the Draft and Preview video preview modes.
Audio Use the Audio tab to change the data format of the current project. Item Description Master bus mode Choose Stereo from the drop-down list to create a two-channel stereo project. Choose 5.1 Surround if you want to perform advanced 5.1-channel mixing. For more information, see "5.1 surround projects" on page 433. Number of stereo busses Enter the number of stereo busses for the project. For more information, see "Adding Audio Busses" on page 334.
Item Description Recorded files folder When you record audio tracks, your recorded files are saved in a single folder. If you want to change the location of the folder, click the Browse button and choose a location. Ideally, this location should be on a different hard drive than the one where your operating system is installed. For more information, see "Recording audio" on page 116.
Item Description Beats per measure Specify the number of beats in each measure. This tempo is used to determine the scale of the ruler (if you choose Measures & Beats from the Ruler time format drop-down list) and to specify the tempo used by the metronome. Note that gets one beat Specify the note that receives one beat. For example, if this value is four, then a quarter note gets one beat.
Opening a Project or Media File From the File menu, choose Open to open a media file or Vegas Pro project. You can open multiple Vegas Pro projects by launching another instance of the application (if your computer has enough resources). n n Opening a project closes the current project and displays the opened project in the Vegas Pro window. Opening a media file will place the event that contains the media onto a new track in the current project. Opening a Vegas Pro project 1.
The file is added to the Project Media window and an event is created where you drop the project in the timeline or at the cursor position before you opened the Import Media dialog. Open a media file 1. From the File menu, choose Open. The Open dialog box is displayed. 2. Choose the folder where the file you want to open is stored: n n Choose a drive and folder from the Look in drop-down list.
6. Click Open to display the Media Properties dialog, where you can view or edit information about the sequence. For more information, see "Viewing or Changing Media File Properties" on page 110. 7. Click OK. A new event is created at the cursor position in the selected track (a new track will be added if no track is selected). Each image in the sequence will be displayed for one frame.
Creating Rotated Projects The use of rotated displays — monitors that display vertical media — has become increasingly popular: you can see them in kiosks, presentations, and even on the nightly news. If you have a project that you'd like to display in a rotated format, Vegas Pro makes it easy. 1. Create a new project. 2. Set your project properties as needed, and then choose a setting from the Output rotation dropdown list to indicate the orientation of your destination display device.
b. Choose a setting from the Rotation drop-down list to indicate the direction you want to rotate your media. After choosing 90° clockwise from the Rotation drop-down list, the media is rotated, and the video fills the frame. c. Click OK to close the Media Properties dialog and save your changes. To rotate multiple files quickly, select them in the Project Media window, right-click a selected file, and then choose Rotate 90° Clockwise or Rotate 90° Counterclockwise from the shortcut menu. 5.
Nesting Projects Nesting allows you to add a Vegas Pro project to the timeline of another project. Nesting can help you organize a timeline or create other effects: n n n n n n Create a single element — such as a lower-third graphic or watermark — that you can use in multiple timeline locations or projects. Create a complex composited element that you can use as a single media object in the timeline. For more information, see "Compositing Video" on page 385.
n The audio from a nested project will require that a proxy file be built. To avoid building proxy files, delete audio from nested projects and use the master project to create your audio. From the Tools menu, choose Rebuild Offline Nested Audio to rerender any offline audio proxy files in your project. Audio proxy files can be offline if you cancel rendering when adding a nested project. n n n Markers and regions in the nested project are displayed in the timeline as media markers in the event.
When you save a project, .veg.bak files are created in your project folder to allow you to return to the project's last-saved state. Creation of backup files is independent of automatic project saving. Saving and Renaming a Project (Save As) From the File menu, choose Save As to save the current project to a different location or with a new name. 1. From the File menu, choose Save As. 2. Select the drive and folder where you want to store the project. 3. Type a name in the File Name box. 4.
n Select the Create trimmed copies of source media radio button and enter a value in the Extra head and tail box to reduce the number and size of media files necessary to represent your project. Your project will be scanned to determine how much of each media file is being used and those regions will be rendered to new media files. The amount of time specified in the Extra head and tail setting will be added before and after the media file to allow subsequent edits.
Editing a referenced project 1. Perform one of the following actions: n Right-click a media file in the Explorer window. n Right-click a media file in the Project Media window. n Right-click an event on the timeline. 2. From the shortcut menu, choose Edit Source Project. An ACID, Vegas Pro, or Sound Forge window will open with the source project.
1. From the File menu, choose Upload to YouTube. The Upload to YouTube dialog is displayed. 2. Type your YouTube username and password in the YouTube username and YouTube password boxes. If you have a Gmail address linked with your YouTube account, you can use your Gmail username and password to log in. 3. Type a title to identify your video in the Title box. The information from the Title box of on the Summary tab of the Project Properties dialog is used by default.
Importing and Exporting AAF Files You can use AAF (Advanced Authoring Format) files to exchange projects between applications. For example, if your postproduction facility uses a tool other than Vegas Pro, you could provide your project as an AAF file. Creating an AAF file If you intend to export your project as an AAF file, please note the following usage guidelines and plan your project accordingly: n Audio and video cuts are preserved.
n Audio is exported using frame units when the AAF Export - Use frame unit for audio check box is selected on the General tab of the Preferences dialog. Clear the check box if you want to use sample units for exported audio (use this setting only if your project contains audio only or if you know the application that will import your AAF supports frame units for video and sample units for audio). For more information, see "Preferences - General Tab" on page 576. 1.
Importing an AAF file into a new Vegas Pro project If you intend to import an AAF file into a Vegas Pro project, please note the following usage guidelines and plan your project accordingly: n Audio and video cuts are preserved. n Track-based audio gain and panning are preserved when saving or importing AAF files. When you import an AAF file, the track- and clip-based gain envelopes are combined and imported as track envelopes.
n n n Final Cut Pro 7/DaVinci Resolve (*.xml): imports an XML file from Apple Final Cut Pro 7 or DaVinci Resolve. Final Cut Pro X (*.fcpxml): imports an XML file from Apple Final Cut Pro X. EDL Text File (*.txt): imports an EDL text file. For more information, see "Edit Decision Lists" on page 80. The Import dialog is displayed. 2. Choose the folder where the project you want to open is stored: n n Choose a drive and folder from the Look in drop-down list.
4. Click Save. If elements in the project could not be exported, a report is displayed. Working with P2 Video The following steps will guide you through the process of using P2 video in your Vegas Pro project. 1. Shoot your video with a P2 camera. 2. Start a new Vegas Pro project, and set your project properties to the format that most closely matches your desired output format (or use the Match Media Video Settings button in the Project Properties dialog to match an existing media file).
5. Use the Output File controls to choose where the files will be rendered. The P2 file format has strict file-naming requirements, so when you render P2 files, you choose an output folder rather than rendered file names. Click the Browse button to choose where you want to render: n n To render to a P2 camera that's connected to your computer, choose the CONTENTS folder on the camera's memory card. To render to a folder on your computer, choose a folder.
4. The Title box displays the title of your project from the Summary tab of the Project Properties dialog. This title will be displayed on the PSP™ system. Editing the title in the Export to PSP™ (PlayStation®Portable) dialog will also update the Project Properties dialog. 5. The File path box displays the folder and file name that will be used to render your movie. Click the Refresh button if you need to rescan the device. 6.
Edit Decision Lists An Edit Decision List (EDL) is a text summary of a project. An EDL lists of all of the media files used, where they are placed on the timeline, and how they are trimmed. Vegas Pro EDLs are not the same as those used in traditional linear editing suites and are not intended as a project interchange for other editing applications. Because of the significant differences between editing applications, projects that are converted from EDLs (or exported to EDLs) are necessarily simplified.
Closing a Project From the File menu, choose Close to close the current project. If you have not saved the project since changes were last made, a dialog appears asking if you want to save your changes. n Click No if you want to close the project without saving it. n Click Yes to save your changes. n Click Cancel to return to your current project. Use the Save As command to save your project under a different name or file type.
CHAPTER 4
Chapter 5 Adding, Managing, and Arranging Media After you've created a project, you're going to need to add media to it. The objects you work with in Vegas Pro projects are referred to as media files and events: n n Media files are the source audio and video files that are stored on your hard disk. Vegas Pro projects do not operate on or modify these files. Files can be accessed from the Explorer window. An event is an occurrence of a media file on the Vegas Pro timeline.
Item Description Extract Audio from CD: click to extract a track from an audio CD. For more information, see "Extracting Audio from CDs" on page 130. Vegas Pro is not intended, and should not be used for, illegal or infringing purposes, such as the illegal copying or sharing of copyrighted materials. Using Vegas Pro for such purposes is, among other things, against United States and international copyright laws and contrary to the terms and conditions of the End User License Agreement.
When you add tags to media files, media bins are created for each tag under the "Tags" folder. For more information, see "Sorting Your Media with Bins" on page 108. Adding tags 1. Select one or more media files in the Project Media window. 2. Type the tag text in the Add tags box. 3. Press Enter to add the tag to the media files. You can also add tags using keyboard shortcuts. For more information, see "Creating Quick Tags" on page 85. Removing tags 1.
Editing Quick Tags Right-click the Quick Tags area and choose Edit Quick Tags to display the Edit Quick Tags dialog. You can use this dialog to edit the text of existing Quick Tags or create new Quick Tags. Configuring 24p pulldown removal Right-click a DV AVI file in the Project Media window and choose File Format Properties from the shortcut menu to edit file settings from the file format plug-in associated with the media file type.
Adding effects to a media file Click the Media FX button to add an effect to every occurrence of the selected media file in your project (the source media file is not affected). Media FX are used for video files only. For more information about adding video effects, see "Applying video effects" on page 315. Previewing a media file Select the media file you want to preview.
Item Description The Comments field can be used to add notes about a file in the Project Media window. Double-click the field to enter text. This information is saved with the project and is not saved with the media file itself. Depending on your current time ruler format, you may see inconsistencies in the timecode values for clips that you captured. Video Capture uses SMPTE drop time (29.97 fps).
Replacing a media file You can replace a file in the Project Media window with a different file. Replacing a media file updates every occurrence of the event to use the new media file contents. 1. Right-click a file in the Project Media window, and choose Replace from the shortcut menu. The Replace Media File dialog is displayed. 2. In the Replace Media File dialog, select the file that you want to use in place of the current file. 3. Click the Open button.
Match project video settings to a media file Right-click a file in the Project Media window and choose Match Project Video Settings to update your project video settings to match the selected file. If you choose a Vegas Pro project (.veg) file, Vegas Pro will match the settings of the project, not the media within the project. For more information, see "Setting Project Properties" on page 53.
Adjusting audio preview volume The Preview control in the Master Bus window allows you to view and adjust the playback volume level. If the control is not visible, choose Mixer Preview Fader from the View menu. Item Description Fader Drag the fader to adjust the playback volume while previewing the audio file. Meter Displays the playback level. Right-click and choose a command from the shortcut menu to adjust the range of the meter, reset clip indicators, or hold peaks/valleys.
Notes: n n n n n n n n Select the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog if you want to remove pulldown when you open 24 fps progressive-scan DV video files. When the check box is cleared, 24p video will be read and edited as 29.97 fps interlaced video (60i). For more information, see "Preferences - General Tab" on page 576.
Using the Windows Explorer to add media and create events If you're using the Windows Explorer to browse your computer for media, you can add a media file quickly by dragging it to the Vegas Pro window. The media file is added to the Project Media window, and an event is created where you drop the file. If you drop the file on an area of the timeline that does not contain a track, a new track will be created.
Adding multiple files and creating events If you're using the Explorer or Project Media window, you can add several media files to your project at once. 1. Select the media files or Vegas Pro projects you want to use. 2. Right-click the selected files and drag them to the timeline. A shortcut menu is displayed. 3. Choose a command from the shortcut menu to indicate how you want to arrange the events on the timeline.
Adding media over other events (punching-in vs. inserting) When you drop a file on a blank spot on the timeline, an event is created at that location. What happens if you drop a file on an existing event? You can either punch-in or insert an event. Punch-in If you add a media file in the middle of another event, a punch-in is created: an event is created where you drop the file, and the new event simply lies on top of any existing events on the track. 1.
1. Select the Auto Ripple button . 2. Drag a media file from the Vegas Pro Explorer or Project Media window to a position on the timeline between two events (or position the cursor and double-click a file in the Vegas Pro Explorer or Project Media window). If you want to insert an event in the middle of an existing event, you can split the existing event before adding the media file. For more information, see "Splitting events" on page 149. 3.
3. When you release the mouse button, a shortcut menu is displayed. Choose Add Across Tracks to import the PSD layers across tracks in the timeline. The PSD layers, including the composite layer, are now available as streams. You can change an event’s stream by right-clicking an event, choosing Stream from the shortcut menu, and then choosing the stream you want to use for the event.
7. For added interest, you can use event panning and cropping and keyframes add motion to your images. For example, you could pan across an image or zoom in to simulate camera motion. a. Click the Pan/Crop button on an event. The Event Pan/Crop dialog is displayed. b. Verify the Lock Aspect Ratio button is selected on the left side of the dialog, and then right-click the image on the right side of the dialog and choose Match Output Aspect from the shortcut menu.
3. Select a file in the browse window or type a name in the File name box. Detailed information about the selected file appears at the bottom of the dialog box. To limit the files displayed in the dialog, choose a file type from the Files of Type drop-down list or enter *. and an extension in the File name box. For example, enter *.wav to display all wave files in the current folder, or enter *guitar*.wav to display all wave files that have the word guitar in the file name.
5. Click Open. 6. The project's media is added to the Project Media window. For more information, see "Using the Project Media window" on page 83. Importing Broadcast Wave Format Files You can use Broadcast Wave Format (BWF) files to exchange audio between audio editors or broadcasting platforms. Broadcast Wave Format files are similar to standard .wav files, but they contain additional metadata including timestamps that tell the software where to add audio on the Vegas Pro timeline.
5. If you chose Add across tracks in step 4, choose a setting from the Order tracks drop-down list to indicate how you want to arrange the tracks in the track list: Setting Description By timestamp Sorts tracks chronologically using the timestamp in each file. Select a file in the Import Broadcast Wave dialog to display its timestamp at the bottom of the dialog. Alphabetically by filename Sorts tracks alphabetically using the names of the files you import. 6.
2. From the File menu, choose Import, and then choose DVD Camcorder Disc from the submenu. The Import DVD Camcorder Disc dialog is displayed. 3. From the Source drop-down list, choose the disc that contains the video you want to import. 4. The Destination box displays the folder where the video will be imported. The folder name is based on the disc's volume label. Click the Browse button if you want to choose a different folder. 5. Click the OK button to start importing video.
1. Begin ingesting a clip on the XDCAM Station device. 2. Import the clip into your Vegas Pro project: n n From the File menu, choose Import > Media, and then browse to the clip you want to import. Using Windows Explorer or the Vegas Pro Explorer window, drag a clip from the XDCAM Station to the Vegas Protimeline. An event is created on the timeline and the clip is added to the Project Media window.
3. While the clip is ingesting, refresh the file to work with the most recent material available. To update the clip's length, right-click it in the Project Media window and choose Refresh from the shortcut menu. For more information, see "Using the Project Media window" on page 83. Notice that the clip's Length value (displayed at the bottom of the Project Media window) increases each time the clip is refreshed during ingest if new media is available.
b. If you want to resize the event to the current media length, drag the right edge of the event back to the notch to set the event length. If Enable Snapping is selected, the event edge will snap to the notch. For more information, see "Enable Snapping" on page 139. For more information about adjusting events, see "Adjusting an Event's Length" on page 158. 4. Continue to edit your project, refreshing StreamChase clips as needed. For more information, see "Editing events on the timeline" on page 133.
Tips: n n If you want to use clips from a folder on your computer, right-click the left pane of the Device Explorer window and choose Browse from the shortcut menu. In order for some devices to appear in the Device Explorer window, you may need to change the device's USB Connect setting from Automatic or MTP to Mass Storage. Previewing clips Select your camera on the left side of the Device Explorer window.
n If no clips are selected in the Device Explorer window, all new clips are imported. Right-click a clip in the Device Explorer window and choose Open in Trimmer or Import and Add to Project to choose how you want to import clips. 3. You can then use the Project Media window to organize your clips and add the imported video to your project just like any other media file. For more information, see "Adding media files to your project" on page 91.
Using HitFilm Effects If you have HitFilm Ultimate 2.0 installed, you can use HitFilm projects in your Vegas Pro timeline. Adding a HitFilm project to the timeline You can add HitFilm projects to your Vegas Pro project in the same way you add other media files: simply add the HitFilm project (.hfp) file to your project. For more information, see "Adding media files to your project" on page 91. Adding HitFilm effects to an event 1.
Media bins are virtual folders that are saved with your project. They do not affect the way media is saved on your computer. Tips: n n Bins are automatically created for each media tag. For more information, see "Tagging media files" on page 84. Bins are automatically created for each type of media in your project: audio, video, and still images. Creating a bin Right-click the parent bin where you want to create a new bin and choose Create New Bin from the shortcut menu.
4. Your search is added to the folder list. Click the Search Results icon to view the matching files. Right-click the Search Results icon and choose Save as Bin from the shortcut menu to save the results of your search as a new media bin. Using smart bins Smart bins are saved search results that are automatically updated when new media items match the search results. You can also edit the search criteria of an existing smart bin.
Editing properties for an audio file Select an audio file in the Project Media window and click the Media Properties button Properties dialog. to display the You can also view the properties for the media file associated with an event. Right-click the event, choose Properties from the shortcut menu, and click the Media tab. The following settings are available for audio files. Item Description File name Displays the current media file name and location.
Item Description Attributes Displays the frame size, in pixels (x,y). color depth, and length of the file. Field order Choose a setting from the drop-down list to change the field order of the file. Consult your capture/video output card's manual for the proper field order. n n n None (progressive scan) – Select this option when viewing the video on a computer. This option ignores interlacing.
Item Description Rotation Choose a setting from the drop-down list to rotate a media file's orientation. In this example, the video was shot with the camera tripod rotated 90 degrees. The project is rotated, but the media doesn't match the project orientation, so the video is letterboxed within the frame. After choosing 90 clockwise° from the Rotation drop-down list, the media is rotated, and the video fills the frame.
Item Description Stereoscopic 3D mode Choose a setting from the drop-down list to choose the stereoscopic 3D mode for the media file. For more information, see "Stereoscopic 3D editing" on page 201. n n n Off – Choose this setting for 2D media or to treat a multistream video as 2D. Pair with next stream – Choose this setting for multistream 3D video, such as video from paired files CineForm Neo3D files (version 5.1 or later), or files from a 3D camera.
Editing properties for multiple video files Select two or more video files in the Project Media window and click the Media Properties button display the Properties dialog. to The following settings can be edited for multiple video files: n Frame rate n Field order n Pixel aspect ratio n Alpha channel and Background color n Color space n Stereoscopic 3D mode n Swap Left/Right If a setting is not the same for all selected video files, (differing values) is displayed.
Recording audio Vegas Pro can record audio into multiple mono or stereo 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 event selection.
3. Select the Arm for Record buttons enables it for recording. on the tracks where you want to record. Arming a track When a track is armed, the track meter displays the track's level. If input monitoring is not on, the meter displays the level of your input source. If input monitoring is turned on, the meter shows the level of the input source plus the track effects chain. 4. Click the Record button on the Transport bar to start recording. 5.
1. Select the event and position the cursor at the beginning of the event. 2. Select the Arm for Record button 3. Click the Record button on the track that contains the event. on the Transport bar to start recording. 4. To stop recording, click the Record button again or click the Stop button The Recorded Files dialog is displayed. Select the Loop Playback button selected event. on the Transport bar.
3. Select the Loop Playback button if you want to record multiple takes of each event. A new take will be created each time the cursor passes through the selection. 4. Select the Arm for Record button 5. Click the Record button on the track that contains the event. on the Transport bar to start recording. If input monitoring is turned on, the track's original audio is played until the cursor reaches the selected event.
To choose your recording input, click the Record Input button , choose an audio device from the menu, choose Mono or Stereo from the submenu, and then choose an input. To record from an input bus, click the Record Input button then choose an input bus from the submenu. , choose Input Busses from the menu, and For more information, see "Using Input Busses" on page 338.
When Input Monitoring Auto is selected, you will hear the input monitor signal when playback is stopped and during recording. If you're recording into selected events, you'll hear the input monitor signal only when the cursor passes over the selected events. When Input Monitoring On is selected, the behavior is similar to Input Monitoring Auto mode, but you will always hear the input monitor during recording—monitoring is not toggled on and off when recording in to a selected event.
Notes: n n If you are using a DVD-based video camera, you can use the Import DVD Camcorder Disc dialog to import your video into your Vegas Pro project. For more information, see "Importing Video from a DVD Camcorder" on page 101. If you are using an XDCAM camera, you can use the XDCAM Explorer window to import XDCAM clips from a camera or deck. For more information, see "Importing XDCAM Discs" on page 410. 1. From the File menu, choose Capture Video (or click the Capture Video button Media window).
Important: n n n n Blackmagic Design DeckLink HD Extreme/Intensity Pro/HD Extreme 3D and AJA Io Express, KONA 3x, LH, LHe, LHi, LS, and LSe cards are supported. Please note that AJA XENA cards are now branded as KONA cards. For more information, see http://www.aja.com/products/kona/transition.php. HDMI capture is supported on the Blackmagic Design DeckLink HD Extreme/Intensity Pro/HD Extreme 3D, AJA Io Express, and AJA KONA LHi cards. Vegas Pro does not support analog video inputs for SDI cards.
5. Click the Stop button to end the capture procedure. Your clip is saved to the folder specified in the Capture Folder box. If you selected the Add new clips to project media check box on the General tab of the Capture Preferences dialog, the clip is also added to the Project Media list, from which you can add it to the timeline. If you've configured your capture device to capture multiple channels of audio, the audio will be added across tracks when you add the clip to the timeline.
4. The Capture folder box displays the path to the folder where your video will be saved. You can click the Browse button to choose a different folder. For uncompressed capture, select a folder on a fast RAID drive. 5. Click the Clip Log tab on the right side of Video Capture window. 6. Click the Capture Clips button and choose a command from the drop-down list to start capturing clips to the folder specified on the Disk Management tab of the Capture Preferences dialog.
3. Click the Capture Preferences button dialog. in the Capture window to open the Capture Preferences Vegas Pro does not support analog video inputs for SDI cards. However, Vegas Pro does support component video output for external preview. General tab Item Description Stop device on loss of focus Stops the selected capture device when focus is switched away from the capture application. Show video when device is stopped Displays the current frame when the selected capture device is stopped.
Item Description Maximum RAM buffer size Drag the slider to allocate a portion of your system memory as a buffer. During capture, this buffer is used to prevent dropped frames if your hard disk is unable to write a frame. When performing compressed capture to MXF format, increasing the buffer size can help prevent dropped frames when encoding complex frames. MPEG video quality When capturing to compressed formats, you can drag the slider to adjust performance.
Item Description Audio Choose a setting from the drop-down list to specify the desired number of channels for capturing SDI-embedded audio. Multichannel audio capture is available only if supported by your camera or deck. Use progressive segmented frame (psf) video formats Select this check box if you want to capture from a device that stores and transfers progressive-scan frames by dividing fields.
Item Description Use 10-bit encoding Select this check box if you want to capture 10-bit source material for increased color resolution. Source material with gradients in the background can benefit from 10-bit encoding. When you use 10-bit video in your project, choose 32-bit floating point (video levels) from the Pixel format setting on the Video tab of the Project Properties tab. For more information, see "Setting Project Properties" on page 53.
1. Start a new project. For more information, see "Creating a New Project" on page 53. 2. Set your project properties: a. From the File menu, choose Properties. The Project Properties dialog is displayed. b. From the Template drop-down list, choose NTSC DV 24p. c. Click OK to close the Project Properties dialog and apply your changes. 3. Add the video to the timeline. For more information, see "Adding media files to your project" on page 91. 4.
2. Choose a setting from the Action drop-down list to indicate how you want to extract audio: Item Description Read by track Choose to extract individual CD tracks. Select the tracks you want to extract in the Tracks to extract list. Each CD track is extracted to a new track in your project. Read entire disc Choose to extract the current CD to a single file. The disc is extracted to a new track in your project. Read by range Choose to extract a time range.
1. Insert a CD in your drive. 2. Use the Extract Audio from CD dialog, or browse to the CD in the Explorer window. Gracenote attempts to obtain matching CD information and displays artist, album, and track data: n n If the service locates an exact match, this information is automatically displayed. No additional action is necessary. If the service locates multiple possible matches, the Multiple CD Database Entries dialog is displayed. Proceed to step 3. 3.
Chapter 6 Editing events on the timeline More often than not, you probably won't want to use an entire media file as an event on a track. The Vegas Pro timeline makes it easy for you to manipulate and arrange events. If Vegas Pro cannot read frames in a video event, they will be displayed in red in the timeline (those frames will be black in the Video Preview window and the rendered output): Inserting an Empty Event From the Insert menu, choose Empty Event to insert a blank audio or video event on a track.
1. Select the tracks where you want to insert time. If no events are selected, time is inserted across all tracks. If you have events selected, time will be inserted at the cursor position in the selected events. 2. Position the cursor where you want to begin. 3. From the Insert menu, choose Time. The Insert Time dialog box appears. 4. Specify the amount of time you want to insert and click OK. Selecting time and events Selecting events is the first step in a variety of editing tasks.
Selecting all events From the Edit menu, choose Select, and then choose Select All from the submenu (or press Ctrl+A) to select all tracks and events in your project. Selecting all events to the end of a track Right-click an event and choose Select Events to End from the shortcut menu. The event and all subsequent events on the same track are selected. You can also use this command with events selected on multiple tracks.
Selecting a time range Click and drag along the marker bar, CD layout bar, or a blank area of the timeline to select a time range. All events — and portions of events — within the region are highlighted. Tips: n n n n Double-click an event and drag left or right to extend the selection to the next fade or event edge on that track. Dragging within an event will change the event's position on the timeline. To create time selection without moving the event, hold Ctrl+Shift while dragging.
Moving events An event's position on the timeline determines where it will be played in your project. You can use snapping to help you align events to the grid, frame boundaries, or markers. For more information, see "Enable Snapping" on page 139. When the Allow edit cursor to be dragged check box is selected on the General tab of the Preferences dialog, dragging the cursor changes its position on the timeline.
2. Drag the events to the position where you want them to be played. You can also use keyboard shortcuts to move events. Press 1 or 3 on the numeric keypad to move one frame left or right, or press 4 or 6 on the numeric keypad to move one pixel left or right. For more information, see "Keyboard Shortcuts" on page 615. Cutting, copying, and pasting events In the same way you might use a word processor, you can use Vegas Pro to cut, copy, and paste events along the timeline. 1. Click an event to select it.
2. Choose a transition type from the submenu to convert a crossfade to a transition, or choose Insert Other to choose another transition type from the Plug-In Chooser. For more information about using transitions, see "Adding Transitions" on page 318. Drag a transition from the Transitions window to a video crossfade to quickly convert a crossfade to another transition type.
Tips: n When you drag a group of selected events, the first and last event will snap to other snap points on the timeline. If the leftmost event has an event snap offset established, the offset will be used as the left snap point. n When snapping is enabled, you can hold the Shift key to temporarily override snapping. n When snapping is not enabled, you can hold the Shift key to temporarily enable snapping. n n You can edit snap indicator colors on the Display tab of the Preferences dialog.
Snapping to markers When snapping is enabled, you can also choose to have elements in the timeline snap to markers in the timeline. From the Options menu, choose Snap to Markers (or press Shift+F8) to toggle snapping for all marker types: n Markers n Regions n CD track regions n CD index markers n Command markers If the Event Media Markers command is selected on the View menu, you can also use media markers as snap points when you click in an event or edge-trim an event.
Quantize to Frames From the Options menu, choose Quantize to Frames to force edits to occur on project frame boundaries. This setting is independent of grid and marker snapping. When Quantize to Frames is turned on, the following actions will always occur on frame boundaries: n Moving video events If Quantize to Frames is on while dragging an audio event and the selection group contains video, the movement is quantized so the first video event is quantized (instead of the audio event).
Cutting events Select the events you want to remove and click the Cut button removed from the track and placed on the clipboard. (or press Ctrl+X). The selected events are From the Edit menu, choose Group, and choose Cut All from the submenu. The selected events and any events that are grouped with the selected events are cut to the clipboard. If you want to shuffle existing events to fill the space left by cut events when using a time selection, use post-edit ripple mode.
Tips: n n Hold Ctrl while dragging to create copies of selected events. From the Edit menu, choose Group, and choose Copy All from the submenu. The selected events and any events that are grouped with the selected events are copied to the clipboard.
Pasting the contents of the clipboard multiple times From the Edit menu, choose Paste Repeat (or press Ctrl+B) to insert events from the clipboard multiple times at the current cursor position. You may also specify the time increments for which you want the events to be spaced. 1. Copy events to the clipboard. 2. Position your cursor where you want to begin pasting the events. 3. From the Edit menu, choose Paste Repeat. The Paste Repeat dialog box appears. 4.
Deleting all events in a time selection If you want to automatically move events to fill the space left by deleted events when using a time selection, use post-edit ripple mode. For more information, see "Post-Edit Ripple" on page 147. 1. Create a time selection. 2. Press Ctrl+Shift+A to deselect all selected events. 3. From the Edit menu, choose Delete. Events across all tracks are removed from the timeline.
Trimming events From the Edit menu, choose Trim to remove all data from the events except the selected data. This command has no effect if there is no selected data. 1. Drag the cursor to make a timeline selection (or hold down the Shift key and use the Arrow keys to make the selection). 2. From the Edit menu, choose Trim. All data outside of the selection is deleted. Events that are not selected will not be trimmed.
2. From the Edit menu, choose Post Edit Ripple, and choose a command from the submenu: Item Description Affected Tracks Ripples events, keyframes, and envelopes on tracks where you performed the edit. Affected Tracks, Bus Tracks, Markers, and Regions Ripples events, keyframes, and envelopes on tracks where you performed the edit.
3. Perform one of edits listed above. In the following example, the second event is being trimmed, and the arrow above the timeline indicates where the post-edit ripple will occur and the direction the affected events move. 4. The contents of the timeline are rippled after the edit according to the option you choose. In the following example, the post-edit ripple has closed the space between the second and third events.
2. From the shortcut menu, choose Shuffle Events. After the shuffle, event 3 appears between events 1 and 2: Using the Trimmer From the View menu, choose Trimmer to toggle the display of the Trimmer window. The Trimmer window allows you to select portions of a piece of media that can be placed into events on tracks. You can also create subclips in the Trimmer window.
n When the Trimmer window is too narrow to display all buttons on the toolbar, the hidden buttons can be found in the More Buttons drop-down list. Opening a media file in the Trimmer Drag a file from the Windows Explorer, Vegas Pro Explorer, or Project Media window to the Trimmer window. This method is sometimes more convenient than placing the entire media file on a track and then editing the event.
n n If you want to display a dedicated video monitor in the Trimmer window, right-click the media file in the Trimmer window and select Show Video Monitor. When the video monitor is on, you can click the media file in the Trimmer window and select Show Video Frames to show or hide video frames in the Trimmer timeline. If you want to display the Trimmer cursor position on an external monitor, select the Trimmer on External Monitor button .
Selecting data Perform any of the following actions to select data in the Trimmer window: n n n Use the transport controls to play your media file. Press I or [ to mark the beginning of the selection, and press O or ] to mark the end of your selection. Drag in the Trimmer window to select a range of data. If you know the timecode of the beginning and end of your selection, double-click the boxes at the bottom of the Trimmer window and type timecode values.
c. Press ] or O to mark the end of the selection. You can also select two points in the timeline and a single point in the Trimmer to perform three-point editing. In this mode, ripple editing is not applied. 3. Position the cursor in the timeline where you want to add the event. 4. Click the Add Media from Cursor button to insert the selection after the cursor position in the currently selected track, or click the Add Media up to Cursor button the cursor.
Using markers and regions in the Trimmer Adding markers or regions 1. Position the cursor or make a selection in the Trimmer window. 2. Press M (or click Insert Marker ) to place a marker or R (or click Insert Region ) to place a region. Trimmer markers and regions function identically to timeline markers and regions. Saving Trimmer markers and regions Click the Save Markers/Regions button file. .
Media markers/regions visible in Trimmer window Media markers/regions displayed in event Tips: n n From the View menu, choose Event Media Markers, and then choose Show Marker Labels from the submenu to toggle the display of marker labels in events. When media markers are displayed, you can use them as snap points for positioning the cursor and for edge-trimming if Snap to Markers is selected on the Options menu.
Using subclips Creating a subclip 1. Create a selection in the Trimmer window. 2. Click the Create Subclip button . The Create Subclip dialog is displayed. When an event has been trimmed or split so it plays only a portion of an event, you can also right-click the event in the timeline and choose Create Subclip from the shortcut menu to create a subclip using that portion of the media file. 3. In the Name box, type the name you want to use to identify the subclip in the Project Media window.
Opening files in the Trimmer by default You can automatically load files into the Trimmer window by selecting the Double-click on media file loads into Trimmer instead of tracks check box on the General tab in the Preferences dialog. For more information, see "Preferences - General Tab" on page 576. When this check box is selected, no events are created when you double-click a media file in the Vegas Pro Explorer or Project Media window.
1. If you want downstream events to ripple as you trim, click the Auto Ripple button Auto Ripple mode. For more information, see "Post-Edit Ripple" on page 147. to turn on 2. Select the event you want to trim. 3. Press [ or ] (or 7 or 9 on the numeric keypad) to move the cursor to the event edge you want to trim. [ or 7 selects the beginning of an event or moves to the previous event edge. ] or 9 selects the end of the event or moves to the next event edge.
Hold Ctrl+Alt+Shift while dragging the event edge between two events to ignore event grouping for fast J and L cuts. Trimming all but the selected portion of an event 1. Drag to make a timeline selection (or hold down the Shift key and use the arrow keys to make the selection). 2. From the Edit menu, choose Trim. All data outside of the selection is deleted. For more information, see "Trimming events" on page 147.
Tips: n n Hold Alt+Shift while dragging any portion of an event to slip-trim the right edge. The left edge of the event will remain fixed on the timeline, and the media is slipped past the left edge of the event. This slip mode is useful when you want to slip an event without changing its last frame. Hold Hold Ctrl+Alt+Shift and drag an event to split it at the point you click and trim the event in the direction you drag (eraser mode). For more information, see "Slipping and Sliding Events" on page 164.
1. Select the event you want to edit. 2. Perform any of the following actions to enter expanded edit mode: n Choose Edit > Select > Enter Expanded Edit Mode. n Press 5 on the numeric keypad. n Double-click the event edge. In expanded edit mode, a red bracket is displayed to indicate which event edge will be trimmed, and the track is displayed in an A/B roll: events before the edit point are displayed in the A roll and subsequent events are displayed on the B roll.
n n n n n Hold Ctrl while pressing 4 to time compress one pixel left, or press 6 to time stretch one pixel right. Hold Alt while pressing 1 to slip trim (the media moves with the event edge) one frame left, or press 3 to slip trim one frame right. Hold Alt while pressing 4 to slip trim one pixel left, or press 6 to slip trim one pixel right. Hold Ctrl+Alt while pressing 1 to slide a crossfade or transition one frame left, or press 3 to slide one frame right (adjacent trim).
Slipping and Sliding Events To help you picture what happens when you slip and slide events, think of an event as a window to a media file. The window can display the entire media file or a small section. When the window displays only a portion of the media file, you can move either the window or the underlying media to adjust the media that is played by an event: n n When you slip an event, your event maintains its place on the timeline, but the media file moves in the direction you drag.
. As you drag, the relative position of the media remains fixed on the track, and the event position changes. You can use this technique when you want to maintain an event's length, but have the event play a different section of the source media file at a different point in your project. Sliding a crossfade or transition Hold Ctrl+Alt while dragging the overlapping area between two events. The cursor is displayed as a .
Item Description By Moving Moves the event you clicked so it is synchronized to its corresponding audio or video event. In the sample events above, the audio event would move to the left if you right-clicked it and chose Synchronize > By Moving. If you right-clicked the video event and chose Synchronize > By Moving, it would move to the right. By Slipping Slips the contents of the event you clicked so the audio and video are synchronized.
Adjusting an audio event's volume 1. Hover over the top of an audio event. 2. When you see the envelope cursor ( ), drag the volume line to the desired level. As you drag the line, the event’s gain is displayed in dB. Tips: n n Hold Ctrl (or hold the right mouse button) while dragging the sustain portion of the envelope to adjust the value in fine increments. When you have multiple events selected, the gain of all selected events is adjusted simultaneously. Fading an audio event in or out 1.
1. Hover over the top of a video event. 2. When you see the envelope cursor ( ), drag the opacity line to the desired level. As you drag the line, the event’s opacity is displayed as a percentage. As opacity decreases, the event becomes more transparent. Tips: n n Hold Ctrl (or hold the right mouse button) while dragging to adjust the envelope in fine increments. When you have multiple events selected, the opacity of all selected events is adjusted simultaneously.
1. Right-click a video event, choose Insert/Remove Envelope from the shortcut menu, and then choose Velocity from the submenu. A velocity envelope is drawn on the event. 2. Drag the envelope up to increase the playback speed of the event, or drag down to decrease its speed. Tips: n n Right-click an envelope point and choose a command from the shortcut menu to choose from velocity presets from 100% reverse-speed playback to 0% playback (a freeze-frame effect) up to 300% (triple-speed) playback.
Stabilizing Video Clips You can apply the Stabilize plug-in to analyze and remove camera shake from video. 1. In the Project Media window, select the video you want to stabilize. If you're using only a portion of a longer media file, you can use the Trimmer window to create a subclip that contains only the portion of the media that is used in your project. Stabilizing a subclip requires less processing than stabilizing a full media file. For more information, see "Using the Trimmer" on page 150. 2.
1. Right-click an audio or video event in the timeline. 2. Choose Reverse from the shortcut menu. The event is reversed on the timeline, and a subclip is created in the Project Media list for the reversed event. For more information about subclips, see "Using the Trimmer" on page 150. An arrow is displayed on the event to indicate that it has been reversed: Using Takes as Alternate Versions of Events You can use takes to associate multiple media files with an event.
2. From the shortcut menu, choose Add as Takes. The media file is added to the event as the active take, and the original media file remains in your project as a take. Choosing the active take in an event 1. Right-click the event that contains the takes. 2. From the shortcut menu, choose Take, and select Choose Active from the submenu. The Take Chooser dialog box appears. 3. Click the take you want to use and click OK. Click the Play and Stop buttons in the Take Chooser dialog box to preview takes.
Stretched audio events will display a percentage in the lower-right corner of the event to indicate the stretched playback rate. If the media has a known tempo, the effective playback tempo (after stretching) is listed in parentheses after the stretch amount. Audio and video events that are not synchronized will be highlighted in the timeline, and the amount of offset will be displayed. Very small offsets that are below the resolution of the timeline may be displayed as 0.00.
Clearing a group You can ungroup all events by clearing the entire group. Clearing a group does not remove events from your project. Right-click one of the members of the group, choose Group, and choose Clear from the submenu. Temporarily ignoring grouping Select the Ignore Event Grouping removing the groups. button (or press Ctrl+Shift+U) to override event groups without Cutting, copying, or deleting grouped events 1. Select the events you want to cut or delete. 2.
Removing a sync link 1. Select the events in the sync link. To quickly select all events in a sync link, right-click one event in the sync link, choose Sync Link from the shortcut menu, and then choose Select All from the submenu. 2. Right-click the event that should be the sync event and choose Remove Sync Link from Selected Events from the shortcut menu. Unlinking an event in a sync link 1. Select the event you want to unlink from a sync link. 2.
Switch Description Mute Excludes the selected event from playback. Muted events are darkened on the timeline to indicate their muted state. In the following example, the middle events are muted: Lock Locks an event so that it cannot be moved or edited. Loop Enabling the Loop switch on an event will allow you to drag the right edge of the event out and have it repeat the file over and over rather than inserting silence. Invert Phase (audio only) Reverses the phase of the sound data.
Switch Description Resample (video only) Select a radio button to determine how video frames will be resampled when the frame rate of a media file is lower than the project’s frame rate. This can occur either when the event has a velocity envelope or when the frame rate of the original media is different than the Frame rate setting on the Video tab of the Project Properties dialog.
2. Choose a command from the submenu to specify how to treat the channels in your file. For events that use multichannel audio: Item Description Channel x Treats the event as a mono file using the audio from the channel you choose. Channels x/y Treats the event as a stereo file using the audio from the channels you choose. For events that use stereo audio: Item Description Both Treats the event as a normal stereo file. Left Only Creates a mono event using only the left channel of your media file.
Notes: n n Audio events from nested projects cannot be edited in a sound editor. For more information, see "Nesting Projects" on page 67. When you first install Vegas Pro, it searches for Sony Sound Forge software. If the software is detected, it is automatically assigned as your sound editor. However, if you do not have Sound Forge software, you may specify the location of your preferred audio editor on the Audio Tab in the Preferences dialog.
Editing Event Properties Right-click an event and choose Properties from the shortcut menu to use the Event Properties dialog to modify an event. Editing the name of the active take If you have recorded multiple takes, you can edit the take names in the Event Properties dialog. 1. Right-click the event and choose Properties from the shortcut menu. 2. On the Audio Event tab, enter or edit the take name in the Active take name box. 3. Click OK. Changing event switches 1.
If Active Take Information is selected from the View menu, the event's pitch shift is displayed in the bottom-left corner of the event. If the media has a known root note, the new root is displayed in parentheses: Editing in the Event Properties dialog 1. Right-click the event and choose Properties from the shortcut menu. 2. On the Audio Event tab, choose a setting from the Method drop-down list. Setting Description None Turns off time stretching and pitch shifting.
Setting Description ėlastique The élastique method uses technology from zplane.development, and provides enhanced real-time time stretching and pitch-shifting capabilities. The élastique method also allows you to preserve and shift a clip's formants, which are the characteristic resonant frequencies of a sound. 1.
Setting Description Classic Allows you to time stretch the audio by specifying a new event length. You can specify a pitch shift amount or lock the pitch to the time stretching. 1. Type the desired event length in the New length box. 2. Type the desired pitch shift (in semitones) in the Pitch change box. If you want to change the event length without changing pitch, type 0 in the box. If you want the pitch to be determined by the amount of time stretching, select the Lock to stretch box.
Changing the playback rate of or undersample a video event 1. Right-click the event and choose Properties from the shortcut menu. 2. On the Video Event tab, adjust the Playback rate and Undersample rate controls. Setting Description Playback rate Enter a value in the box to set the rate of playback. For example, a setting of 1 will play at normal speed, while 0.5 will play at half speed. Each video event in your project has a specific duration that is not changed by adjusting the playback rate.
Copying and Pasting Event Attributes Copying and pasting event attributes allows you to apply properties from one event to other events. The following attributes will be pasted: n Event switches n Audio event pitch shift n Video event playback rate and undersample rate n Video event effects and effect keyframes n Video event pan/crop settings n Video event velocity envelopes 1. Select the event from which you want to copy attributes.
2. From the Show drop-down list, choose the project information you want to see. Item Description Audio CD Track List Displays the information for each CD track and index marker that you've inserted in your project. Use this view for arranging a disc-atonce (Red Book) CD. For more information, see "Disc-at-Once (DAO or Red Book) CD Burning" on page 494. Commands Displays the settings for each metadata command that you've inserted in your project.
1. Right-click a still image on the timeline (or in the Project Media window) and choose Red Eye Reduction from the shortcut menu. 2. Click the center of the red eye and drag to create a selection around the red portion of the eye. Click the or buttons to change the magnification of the image, or roll the mouse wheel forward or backward to zoom around the cursor position. 3. Drag to position the selection box over the portion of the eye you want to correct.
Reversing a series of Undo actions When you reverse an Undo, you also reverse all Undo actions above it in the list. 1. Click the arrow next to Redo button displayed. . A list of the most recent actions that you can redo is 2. Select the action you want to redo. If the action does not appear in the list, use the scroll bar to scroll through the list. The selected action and all actions above it are redone. Undoing all edits From the Edit menu, choose Undo All to reverse all edits in the undo history.
n n Click the Zoom Out Track Height button tracks. to decrease the track height zoom level to show more Click and drag the area between the buttons to increase or decrease track height zoom level. Press Ctrl+Shift+Up/Down Arrow to increase or decrease the height of all tracks. Zoom in to an event n Click the Zoom In Time button n Click the Zoom Out Time button timeline. n to increase the horizontal zoom level to show more event detail.
CHAPTER 6
Chapter 7 Multicamera Editing Vegas Pro makes it easy to work with video from multiple cameras right from the timeline. You can capture and edit video for a single scene from multiple cameras or for a single scene shot multiple times from one camera. Multicamera work is generally completed in five steps.
Capturing Multicamera Video You can use the Sony Video Capture application included with Vegas Pro to capture recordings from each camera in your multicamera shoot just as you would normally. However, when you capture multicamera video, it is especially important to give each tape (or disc) a unique name; Vegas Pro uses this information to create a track for each camera. Before you begin the capture process, enable scene detection in the capture application so each segment is captured as a separate clip.
3. Use Shift+Up Arrow to magnify the waveforms if necessary. 4. Click the event and press 1 or 3 on the numeric keypad to nudge the event by frames to the left or right. Adjusting alignment using video You can also align your events using the video. These steps require snapping to be enabled, so if you have not already done so, turn snapping on by clicking the Enable Snapping button . For more information, see "Enable Snapping" on page 139. 1. Solo the video track. 2.
2. Once all of your cameras are laid out across tracks, synchronized, and ordered to your satisfaction, select the tracks from which you want to create a multicamera track (or press Ctrl+A to select all tracks). For more information about synchronizing your video, see "Synchronizing Video in Multicamera Projects" on page 192. 3. From the Tools menu, choose Multicamera, and choose Create Multicamera Track from the submenu.
Previewing multiple takes In multicamera editing mode, the Video Preview window switches into multicamera mode, with a multicamera tiled view showing the contents of all takes simultaneously. The active take is highlighted with a colored border. Notes: n n Vegas Pro can preview many takes at once in multicamera mode, but your computer performance will limit the playback frame rate.
Setting the active take indicator color You can select the color that highlights the active take in the Video Preview window. 1. From the Options menu, choose Preferences, and then click the Video tab. 2. Click the Active take indicator color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the button to switch between RGB and HSL color modes, or click the eyedropper to sample a color from your screen.
Recutting sections You can change the take used for an entire time selection. When possible, events using the same take are merged. If a take is not available for part of the time selection, those events are unchanged. There are several methods you can use for choosing takes, such as pressing number keys or by clicking the takes in the Video Preview window. When you choose a take, Vegas Pro switches the active take for the multicamera event.
Expanding a multicamera track to multiple tracks Vegas Pro can expand a multicamera track to multiple component tracks. 1. Select a multicamera track in the track list. 2. From the Tools menu, choose Multicamera, and then choose Expand to Multiple Tracks from the submenu. 3. You are prompted to either keep unused takes as muted events or delete them. If you keep unused takes as muted events, you can recreate your multicamera track later. Click Yes to keep unused takes or No to delete them.
Expanded multicamera track with deleted unused takes . Resetting camera changes To reset a range of time to use a single take (perhaps in order to redo the take choosing), select a range of events in the timeline and right-click one event. From the shortcut menu, choose Take, and then choose the take to use for all selected events.
CHAPTER 7
Chapter 8 Stereoscopic 3D editing You can use Vegas Pro to edit stereoscopic 3D (S3D) projects without any add-ons or additional tools. Editing a stereoscopic 3D project is just like editing a standard Vegas Pro project and requires minimal adjustment to your workflow: 1. Start a new project and set your project properties to choose a stereoscopic 3D mode. 2. Set up your Video Preview window and external monitor (optional). 3. Add media to the timeline. 4.
Setting Description Side by side (half) Choose this setting when your project will contain left- and right-eye views in a single frame. Left- and right-eye views are displayed as half of the available horizontal resolution. In this example, the left-eye image is tinted blue, and the right-eye image is tinted red: Side by side (full) Choose this setting when your project will contain left- and right-eye views in a single frame.
Setting Description Top/bottom (full) Choose this setting when your project will contain left- and right-eye views stacked in a single frame. Left- and right-eye views are displayed using the full vertical resolution. In this example, the left-eye image is tinted blue, and the right-eye image is tinted red: Anaglyphic (red/cyan) Anaglyphic (amber/blue) Left- and right-eye views use color filters to allow anaglyphic glasses to separate the left- and right-eye views.
Setting Description Checkerboard Choose this setting when your project will be displayed on a DLP-based 3D monitor. Left- and right-eye views are tiled using half of the available horizontal and vertical resolution. In this example, the left-eye image is tinted blue, and the right-eye image is tinted red: Left only Right only Choose the Left only or Right only setting for editing on a 2D monitor or if you're creating separate output files for the left- and right-eye outputs.
Setting Description Difference Choose this setting when performing vertical adjustments to minimize vertical disparity. 3. Select the Swap Left/Right check box if you need to switch the left- and right-eye pictures. This setting is useful if you're using a line-alternate display that displays the right eye on top, if you're using magenta/green anaglyphic glasses, or to create cross-eye free-view 3D. 4. Drag the Crosstalk cancellation slider if you experience image bleed-through.
n If you're using a 3D television connected to your computer via a IEEE 1394 (FireWire) connection, choose the OHCI Compliant IEEE 1394/DV setting from the Device drop-down list in the Preview Device tab and use the Stereoscopic 3D mode drop-down list to choose the method your television uses to display stereoscopic 3D content. During playback, select the Video Preview on External Monitor button in the Video Preview window to enable your 3D display.
n Two separate files with names ending in _L and _R. When the left file is added to the project, Vegas Pro automatically adds the right file as well and creates a stereoscopic 3D subclip.
1. Add your media to the timeline using Add Across Tracks mode so the video for the left and right eyes is on separate tracks. In the following example, the left-eye track is above the right-eye track. 2. Use one of the following methods to align the audio and video so the video output is synchronized. n If you used a slate or a loud clap for your synchronization point, you can align the events to within a frame of each other using the audio waveforms: a.
a. Solo the video track. b. Position the cursor at the synchronization point and drag the event's snap offset so it snaps to the cursor. c. Repeat steps a and b for each clip. d. Drag the cursor to a snap point, and then snap the other clips to the cursor. If the cameras were not genlocked together (shooting at the same cadence) you may find one to be up to half a frame ahead of the other.
Tips: n n You can also select tracks to pair stereoscopic subclips. Select both tracks, right-click one of the tracks, and choose Pair as Stereoscopic 3D Subclips. Overlapping events on the tracks are paired as stereoscopic subclips. If there is an empty track remaining, it is deleted. If your camera rig used mirrors or inverted cameras and produced flipped or rotated images that were not corrected in camera, you can correct the clip with the Stereoscopic 3D Adjust plug-in.
Item Description Auto Correct Click to analyze left- and right-eye views and automatically calculate values for Vertical Offset, Zoom, Keystone, and Rotation. Flip Horizontal Choose a setting from the drop-down list to flip the image for inverted cameras. Flip Vertical Choose a setting from the drop-down list to flip the image for mirror rigs or inverted cameras.
Rendering a stereoscopic 3D project When you render your project, the Stereoscopic 3D mode setting from the Video tab in the Project Properties dialog is used by default. If you want to use a different rendering format (to deliver separate left- and right-eye masters, for example, or to create multiple versions of your project), you can change the rendering mode. Supported 3D rendering formats: n n n n Video in a frame-compatible format.
3. Use the Output Format controls to choose the type of file you want to create. The Output Format box displays the file types and formats you can use to render your file. You can double-click headings (or click the arrow buttons) to expand or collapse lists of available templates. 4. Click the Customize Template button to create a new template. 5. In the Custom Settings dialog, click the Project tab. 6.
Setting Description Side by side (full) Choose this setting when your rendered video will contain left- and right-eye views in a single frame. Left- and right-eye views are displayed using the full horizontal resolution. Top/bottom (half) Choose this setting when your rendered video will contain left- and right-eye views stacked in a single frame. Left- and right-eye views are displayed as half of the available vertical resolution.
Setting Description Blend Choose this setting to blend the left- and right-eye images. This setting is useful when adjusting events. Difference Choose this setting when performing vertical adjustments to minimize vertical disparity. 7. Select the Swap Left/Right check box if you need to switch the left- and right-eye pictures.
CHAPTER 8
Chapter 9 Using markers, regions, and commands Markers and regions serve as reference points along the timeline and help arrange events on the timeline. You can use markers for annotations, to insert metadata commands, or to mark track and index entries for a disc-at-once CD project. Inserting markers From the Insert menu, choose Marker to add a marker at the cursor position. Markers can be used to indicate points of interest in projects or to make notes in the project.
Moving a marker Drag the marker tag to a new location. Hold Shift while dragging to temporarily override the current snapping setting. Deleting a marker Right-click the marker tag and choose Delete from the shortcut menu. Deleting all markers and regions from your project Right-click a blank area of the Marker Bar, choose Markers/Regions, and choose Delete All from the submenu. All markers and regions in the project are removed.
Moving the cursor to a region tag Click a region tag . To move the cursor to the start or end of a region, right-click either region tag and choose Go to Start or Go to End from the shortcut menu. Deleting a region Right-click either region tag and choose Delete from the shortcut menu. Deleting all markers and regions in project Right-click a blank area of the marker bar, choose Markers/Regions from the shortcut menu, and choose Delete All from the submenu.
Using Media Markers and Regions From the View menu, choose Event Media Markers to toggle the display markers (including XDCAM essence marks) and regions that are saved in a media file. These markers are displayed in the timeline in events that refer to the media file. Media markers and regions cannot be edited within the event. However, when you edit the markers in markers and regions in the Trimmer window or in an external audio editor, the event will reflect your changes.
Tips: n n From the View menu, choose Event Media Markers, and then choose Show Marker Labels from the submenu to toggle the display of marker labels in events. When media markers are displayed, you can use them as snap points for positioning the cursor and for edge-trimming if Snap to Markers is selected on the Options menu. If a media file's frame rate does not match your project frame rate, frame quantization will occur after the snap if Quantize to Frames is selected on the Options menu.
4. In the Parameter box, type the argument that should be passed to the command. For example, if you're using an URL command, type the address of the Web page you want to display. Command Player Type Description URL Windows Media Indicates when an instruction is sent to the user's Internet browser to change the content being displayed. In the Parameter box, type the URL that will display at a specific time during the rendered project’s playback.
Command Player Type Description 608CC1 — Used for primary-language closed captions. In the Comment box, type the closed caption control commands. Tips: n n If you type captioning text in the Comment box and do not specify captioning markup, a pop-on caption is created. You can use your keyboard to create standard text and punctuation. To insert special characters and punctuation, use the Character Map (Start > All Programs > Accessories > System Tools > Character Map).
Using command templates If you frequently insert commands that use similar settings, you can create a template to insert command settings automatically. Creating a template 1. From the Insert menu, choose Command to display the Command Properties dialog. 2. Type the settings you want to use in the Command, Parameter, Comment, and Position boxes. 3. In the Template box, type the name you want to use to store the template. 4. Click the Save button . Recalling a template 1.
Tips: n From the Options menu, choose Quantize to Frames to turn off frame quantization before creating a CD layout. For more information, see "Quantize to Frames" on page 142. n Double-click a region tag to select the duration of the track. n Press Ctrl+Period to seek to the next track. n Press Ctrl+Comma to seek to the previous track. Inserting CD Index Markers From the Insert menu, choose Audio CD Track Index to add an index marker at the cursor position. You can use indices to subdivide a track.
3. Edit your markers: n Dragging any selected marker will move all selected markers in the active bar as a group. n Pressing Delete will remove all selected markers in the active bar. The marker tool is inactive when you change focus to another portion of the Vegas Pro window.
Chapter 10 Track Editing Tracks are containers along the timeline where you arrange audio and video events. Events sit on tracks to determine when an event starts and stops, and multiple tracks are together to produce your final output. Inserting Audio Tracks From the Insert menu, choose Audio Track to add a new, blank track at the end of the track list. If you want to add a track in a specific location, right-click a track header and choose Insert Audio Track from the shortcut menu.
When multiple tracks are selected, you can perform editing tasks on all selected tracks simultaneously. For example, if you want to adjust the volume of several audio tracks while preserving their relative levels, select the tracks and drag the Volume fader on any of the selected tracks. All the faders will move together. Selecting a single track Click anywhere in the track header of the track you want to select. The track is highlighted.
If you have selected a track that you do not want to select, simply click on the track again. 2. When you have selected all of the tracks, release the Ctrl key. Selecting all tracks From the Edit menu, choose Select, and then choose Select All from the submenu to select all tracks and events in your project. Arranging Tracks Tracks can be moved to create logical groupings at any time during a project's creation. To move a track, drag its icon to a new location in the track list.
2. Right-click one of the tracks, choose Track Group, and then choose Group Selected Tracks. The tracks are grouped together. Click the Collapse/Expand Track Group button in the track group header to close and expand the tracks in the group. When a track group is collapsed, dark gray bars indicate the length and location of events in the collapsed tracks.
Selecting all tracks in a group Click a track group header or grouping lane to select all tracks in the group. Renaming track groups Every track group in your project has a scribble strip where you can type a name for the track group. 1. Double click the scribble strip. Any existing name is highlighted on the strip. 2. Type the new track group name. 3. Press Enter to save the track group's name.
Tips: n n Audio track controls are duplicated on audio track channel strips in the Mixing Console window. "Audio Track Channel Strips" on page 355. To move faders and sliders in fine increments, hold Ctrl while dragging the control. Changing a track's color You can change the color of your tracks to create logical track groups. To change a track's color, right-click the header and choose Track Display Color from the shortcut menu.
Arming a track for recording Click the Arm for Record button on an audio track to prepare it for recording. When you click the Record button on the main transport bar, all armed tracks will begin recording. For more information about recording audio, see "Recording audio" on page 116. Inverting the phase of a track Click the Invert Track Phase button to reverse the phase of all events on an audio track.
Adjusting mute automation When you select the Automation Settings button the button to edit mute automation. , the Mute button is displayed as , and you can use Soloing a track Click the Solo button to mute all unselected tracks. Click the Solo button on additional tracks to add them to the solo group. To remove a track from the solo group, click its Solo button again. Click the Solo button in a track group header to isolate all tracks in the group for playback.
If you want to send a track to multiple outputs — for creating cue mixes or effects sends — you can use the multipurpose fader to control the level of the track sent to each bus or assignable effects chain. "Creating a Cue (Headphone) Mix with the Mixing Console" on page 382 and "Using Assignable Effects" on page 306. Monitoring track output levels During playback, a responsive meter is displayed in the track header to monitor the track's output.
The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB. When adjusting the mix of your tracks, remember to look at the meters on the Master Bus. Because you are adding the volumes of all of the tracks together, it is easy to clip the audio output. Make sure that the meters never display the red Clip indication during playback.
Adjusting the track panning automation level When you select the Automation Settings button , the Pan slider handle is displayed as a , and you can use the control to edit pan automation. For more information, see "Audio Track Automation" on page 255. Changing the pan mode Right-click the fader handle and choose a pan type to change the behavior of the Pan slider. For more information about pan modes, see "Audio panning modes" on page 444.
Adjusting the assignable effects trim level 1. Deselect the Automation Settings button . 2. Click the label on the multipurpose slider and choose an assignable effects chain from the menu. 3. Drag the FX fader to control the level of the track sent to each of the assignable FX chains that you have created. Dragging the fader to the left cuts the volume; dragging to the right boosts the volume.
Tips: n n Bus sends are pre-volume (and pre-mute) by default. When bus sends are pre-volume, you can create a cue mix that is independent of your main mix (like the monitor out on a hardware mixer)."Creating a Cue (Headphone) Mix with the Mixing Console" on page 382. To change to post-volume, click the Pre/Post Volume Send button (or right-click the bus fader and choose Post Volume from the shortcut menu.
Adjusting bus send automation When you select the Automation Settings button , the fader thumb is displayed as a , and you can use the control to edit bus send level automation. For more information, see "Audio Track Automation" on page 255. Adjusting trim levels The controls in the track header can function as trim controls or automation controls for track volume, panning, assignable effects send, and bus send levels.
After minimizing or maximizing a track, click the Minimize or Maximize button again to return a track to its previous height. The following keyboard shortcuts are also available: n n n Press Ctrl+Shift+Up Arrow or Down Arrow to change the height of all tracks at once. Press ` to minimize all tracks. Press again to restore tracks to their previous height.
Bypass the motion blur envelope If you've applied a motion blur envelope to the video bus track, the envelope affects all tracks. To bypass motion blur for a track, select the Bypass Motion Blur button in the track header. For more information, see "Video Bus Track" on page 248. Apply track motion Click the Track Motion button to display the Track Motion window. You can use this window to animate a video track or create picture-in-picture effects.
For more information, see "Compositing and Masks" on page 385. Adjusting mute automation You can edit mute automation settings by adding a mute envelope to the track or by using the controls in the track header. 1. Select the Automation Settings button 2. Click the Mute button . The Mute button is displayed as . to change the track's mute automation state.
When you have a group of tracks soloed, hold Ctrl while clicking the Solo button on an unsoloed track to remove all other tracks from the solo group. Hold Ctrl while clicking the Solo button on a soloed track reset all Solo buttons. When you have multiple levels of parent and child tracks, clicking the Solo button on a parent track solos the parent track and its compositing children. Other nonsoloed tracks at the same compositing level are bypassed.
Adjusting the compositing trim level 1. Deselect the Automation Settings button . 2. Drag the Level slider to control the transparency or blending of each track: left is 100% transparent, and right is 100% opaque. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 100% opaque. If multiple tracks are selected, all selected tracks are adjusted.
1. Select the Automation Settings button mode. . The slider thumb is displayed as a in automation 2. Drag the Fade slider. The slider behaves differently when you change the track automation recording mode: n n n When the track automation mode is set to Off, the slider adjusts the fade level of the entire track. When the track automation mode is set to Read, the slider will follow the envelope during playback but cannot be adjusted.
Muting a track Click the Mute button to prevent a bus track from being played in the mix. Click the Mute button on additional tracks to add them to the mute group. To unmute a track, click the Mute button again. Muting or unmuting a bus track 1. Deselect the Automation Settings button 2. Click the Mute button . . When you have a group of tracks muted, hold Ctrl while clicking the Mute button on an unmuted track to remove all other tracks from the mute group.
n Drag a bus track's bottom border to set its height. n Click Minimize to minimize a track vertically. n Click Maximize to zoom in vertically so a bus track fills the lower portion of the timeline. n n After minimizing or maximizing a bus track, click the Minimize or Maximize button again to return a bus track to its previous height. Press Ctrl+Shift+Up/Down Arrow when the bus track area has focus to resize all bus tracks at once.
Frame with motion blur 1. Right-click the video bus track, choose Insert/Remove Envelope from the shortcut menu, and then choose Motion Blur Amount from the submenu. 2. Edit motion blur automation settings: n Add and adjust envelope points as necessary to set the time interval that will be used for blurring. For more information, see "Adjusting Envelopes" on page 266. Increasing the value emphasizes the blur effect.
The effect of video supersampling is less apparent with video that contains fast motion, and supersampling cannot improve the appearance of existing video. Motion blur without supersampling—multiple exposures are visible Motion blur with supersampling—multiple exposures appear smoother 1. Right-click the video bus track, choose Insert/Remove Envelope from the shortcut menu, and then choose Video Supersampling from the submenu. 2.
Adding effects to a bus track Click the Video Output FX button in the bus track header to add or edit video output effects. If there are no video output effects, clicking this button displays the Plug-In Chooser. If you've already set up video output effects, clicking the button displays the Video Output FX window. For more information, see "Applying video effects" on page 315. Muting the video output Click the Mute button again. to mute the video output.
n Drag a bus track's bottom border to set its height. n Click Minimize to minimize a track vertically. n Click Maximize to zoom in vertically so a bus track fills the lower portion of the timeline. n n After minimizing or maximizing a bus track, click the Minimize or Maximize button again to return a bus track to its previous height. Press Ctrl+Shift+Up/Down Arrow when the bus track area has focus to resize all bus tracks at once.
3. Click OK. Restoring the original track settings 1. Right-click a track header and choose Set Default Track Properties from the shortcut menu. 2. Select the Restore original defaults check box. 3. Click OK. Render to New Track From the Tools menu, choose Render to New Track to mix multiple tracks to a single track. This function is similar to track bouncing in the analog world. When your project contains many tracks and effects, mixing down can help conserve processing power.
CHAPTER 10
Chapter 11 Using Automation Automation allows you to control audio and video levels, panning, and effect parameters over time. You can create fades, apply stereo panning, and add effects with parameters that change throughout your project. Automation is represented on the Vegas Pro timeline as an envelope or set of keyframes.
Applying mute automation 1. Select an audio track. 2. From the Insert menu, choose Audio Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the shortcut menu. 3. From the submenu, choose Mute. A check mark is displayed next to the command, and an envelope is added to the timeline. Mute automation is either on or off with no fade between the on and off states. If you want to use fades, apply volume automation. 4.
4. If you want to change the track's volume or pan setting throughout the track, edit the envelope in the timeline. For more information, see "Adjusting Envelopes" on page 266. Panning envelopes will use the current panning mode for the Pan slider in the track list. For more information about panning modes, see "Audio panning modes" on page 444. 5. If you want to change volume or pan settings by recording automation, select the Automation Settings button in the track header.
5. Click the label on the multipurpose slider and choose an assignable effects chain from the menu. 6. Drag the FX fader to control the level of the track sent to each of the assignable FX chains that you have created. The fader behaves differently depending on the track's automation recording mode. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270.
5. Click the label on the multipurpose slider and choose a bus from the menu. 6. Drag the fader to control the level of the track sent to the selected bus. Dragging the fader to the left cuts the volume; dragging to the right boosts the volume. The fader behaves differently depending on the track's automation recording mode. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270.
Locking envelopes to events From the Options menu, choose Lock Envelopes to Events move with an event when it is moved along the timeline. if you want envelope points and position to This button also locks track-level keyframes to the events on the track. When keyframes are locked, you can move events along the timeline, and their associated keyframes move with them. Video Track Automation Video track envelopes allow you to vary compositing levels or fade a track between two colors.
4. You can adjust the automation by editing the envelope in the timeline or by clicking the Mute Automation button in the track header. For more information, see "Adjusting Envelopes" on page 266. Click the Automation Settings button Automation modes. in the track header to toggle between Mute and Mute When you apply mute automation to a track, it's possible to have a track that is muted and soloed simultaneously if you use the Mute and Solo buttons in the track header.
6. Drag the Level slider. The slider behaves differently if the track has a composite level envelope and when you change the track automation recording mode. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270. n n n When the track automation mode is set to Off, the slider adjusts the composite level of the entire track. In this mode, the automation control acts as a second trim control.
6. Drag the Fade slider. The slider behaves differently when you change the track automation recording mode. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270. n n n When the track automation mode is set to Off, the slider adjusts the fade level of the entire track. When the track automation mode is set to Read, the slider will follow the envelope during playback but cannot be adjusted.
For more information about audio effects, see "Adding audio track effects" on page 301, "Using Bus Effects" on page 304, and "Using Assignable Effects" on page 306. Adding effect automation 1. Click the down arrow next to the Track FX button FX Automation Chooser. and choose FX Automation to display the If no track effects exist, clicking the Track FX button will display the Plug-In Chooser. Effects that can be automated are indicated by the icon in the chooser.
Adjusting effect automation parameters You can adjust automated effect parameters by editing the envelopes in the timeline or by recording automation with the controls in the effects window. For more information, see "Adjusting Envelopes" on page 266 and "Recording Track Envelope and Keyframe Automation" on page 270. If you've enabled the Bypass parameter for a plug-in, you can click the Bypass button in the plug-in's banner to toggle the Bypass envelope at the cursor position.
If no track effects exist, clicking the Track FX button will display the Plug-In Chooser. Effects that can be automated are indicated by the icon in the chooser. The first time you select a plug-in, the application will determine whether it can be automated and will update the plugin's icon and add it to the Automatable folder in the Plug-In Chooser. 2. Click an effect button at the top of the FX Automation Chooser. A list of the effect's automatable parameters is displayed: 3.
n n n n Hold Ctrl while dragging an envelope point or segment to adjust the value in fine increments without changing the envelope points' timeline positions. Hold Ctrl+Alt while dragging an envelope point or segment to adjust the value in normal increments without changing the envelope points' timeline positions. Hold Alt while dragging an envelope point to move the point's timeline position without changing its value. With the Envelope tool selected track.
3. Release the mouse button when you're finished drawing. If the Smooth and thin automation data after recording or drawing check box is selected on the External Control & Automation tab of the Preferences dialog, the number of envelope points will be reduced when you release the mouse. For more information, see "Preferences - External Control & Automation Tab" on page 611.
Setting fade properties You can adjust the fade curve for each envelope segment individually. To change the fade curve, right-click an envelope segment and choose a command from the shortcut menu. Fade Type Fade In/Out Envelope Linear Fade Fast Fade Slow Fade Smooth Fade Sharp Fade Hold Cutting, copying, and pasting envelope points 1. Select the Envelope tool . 2. Select the envelope points you want to copy: a. Create a time selection that contains the envelope points you want to copy. b.
Copying an envelope to another track 1. Select the Envelope tool . 2. Select the envelope you want to copy: a. Double-click above the time ruler to create a time selection that matches the length of your project. b. Click the envelope you want to copy. If the envelope isn't displayed, you can right-click the track, choose Show Envelopes from the shortcut menu, and then choose an envelope from the submenu. 3. From the Edit menu, choose Copy. 4.
n Track-level mask generator plug-in settings (using the controls in the Video Track FX window when Sync Cursor is selected) If you want to thin envelope points after recording automation, you can select the Smooth and thin automation data after recording check box on the External Control & Automation tab of the Preferences dialog or right-click the envelope and choose Thin All Points or Thin Selected Points from the shortcut menu.
When you stop adjusting the control, automation recording stops and the existing envelope points/keyframes are unaffected. Use Touch mode for touching up sections of your recorded automation settings. 1. Select the Automation Settings button . To toggle automation controls for all tracks, press Ctrl+A before selecting the Automation Settings button. 2. Click the next to the Automation Settings button and choose Automation Write (Touch) from the menu. The icon in the track header is displayed as a . 3.
1. Select the Automation Settings button on the track you want to edit. 2. Click the next to the Automation Settings button and choose Track Automation: Write (Touch) or Track Automation: Write (Latch) from the menu. 3. Select the parameter you want to edit: n n For a track envelope, select the envelope tool and click the envelope point you want to edit. You can right-click a point and choose Properties from the shortcut menu to display an effect's property page.
Track Icon Mode Write (Latch) Description The envelope/keyframe value is applied during playback, and the control follows the envelope/keyframe settings during playback and when you position the cursor. Envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control's last setting overwrites the existing envelope points/keyframes.
Chapter 12 Animating Video Events and Tracks Using animation, you can pan and crop video, add motion to still images to create a Ken Burns effect, or animate a video track as an overlay. Panning and Cropping Video Events From the Tools menu, choose Video, and choose Video Event Pan/Crop from the submenu to crop, zoom, rotate, or pan the selected video event. You can also use panning and cropping to add motion to video events created with still images.
1. From the Tools menu, choose Video, and choose Video Event Pan/Crop (or click the Pan/Crop button on the video event). The Pan/Crop plug-in is displayed in the Video Event FX window. 2. Adjust the selection area to change the viewable portion of the event. n To resize the selection box, drag the handles located around the perimeter of the box. To type specific dimensions for the selection box, expand the Position heading on the left side of the window and type new values in the Width and Height boxes.
Each event can contain multiple Bézier masks. Video Tracks Bézier Mask Video Output Double-click the mask shape in the workspace to edit its properties. For more information, see "Editing a mask" on page 279. Creating a rectangular or oval mask Use the Rectangle or Square Mask Creation Tool or Oval or Circle Mask Creation Tool on the left side of the Video Event FX window to quickly create new masks. Each event can contain multiple masks. 1.
4. Click and drag in the workspace to create a mask. n Hold Shift while dragging to constrain the mask to a square or circular shape. n Hold Ctrl while dragging to scale the mask shape from its center. n n When creating an oval or circular mask, hold the left or right Alt key to create a half-oval (or half-circle) mask. When creating a rectangle or square mask, hold Alt to create a mask with rounded corners. 5. Double-click the mask shape in the workspace to edit its properties.
4. Choose Yes from the Apply to FX menu. When you choose Yes, the video event effects will be applied only to the mask area: When you choose No, the mask is applied to the frame: Editing a mask After you create a Bézier, rectangular, or circular mask, you can use the tools in the workspace to edit the mask 1.
2. Click the Positive Mask or Negative Mask button area inside or outside the mask shape. to choose whether you want to mask the You can also choose Positive or Negative from the Mode drop-down list in the Path heading on the left side of the Pan/Crop plug-in. 3. If you want to feather the edge of the mask shape, select the Feather Inside , Feather Both or Feather Outside button and drag the slider below the mask shape to adjust the feather amount.
3. Drag the corner of the selection box to rotate the event. Your cursor is displayed as a . To type a specific rotation angle, expand the Rotation heading on the left side of the window and type a new value in the Angle box. 4. If you want to rotate your video around a center point other than the center of the selection box, drag the point at the center of the selection point. To type a specific center point, expand the Rotation heading and type new values in the X Center and Y Center boxes.
3. To resize the selection box, drag the handles located around the perimeter of the box. To type specific dimensions for the selection box, expand the Position heading on the left side of the window and type new values in the Width and Height boxes. Select the Lock Aspect Ratio button if you want the selection box to retain its aspect ratio during resizing. When the button is not selected, the height and width can be resized independently.
If you want to adjust temporal interpolation how motion occurs over time change a keyframe type by right-clicking a keyframe and choosing a new interpolation curve type (linear, fast, slow, smooth, sharp, or hold). During playback, intermediate frames are interpolated to create smooth motion. For more information, see "Keyframe Animation" on page 294. Use the Default Pan/Crop smoothness control on the Editing tab of the Preferences dialog to set the default Smoothness value for new keyframes.
Item Description Y offset To pan the display up or down, select the Y offset box and type a new setting, or select the box and click the button to display a slider that you can use to adjust the offset. Negative values move the video up, positive values move the video down, and 0 represents the vertical center of the workspace.
Editing the selection box Use the controls in the Edit heading on the left side of the Pan/Crop plug-in to edit the selection box in the window. Item Description Snap to grid Choose Yes from the drop-down list if you want to snap the edges of the selection box to the workspace grid when you drag to resize or move the box. When you choose No, you can move and resize the selection box freely.
Saving or recalling a keyframe preset Keyframe presets save the settings of the selected keyframe row at the cursor position. Presets for the Position and Mask keyframe rows are saved separately: presets you create in the Position row will not be available in the Mask row. Saving a preset 1. Adjust your Position or Mask settings as desired to create a keyframe. 2. Type a name in the Preset box. 3. Click the Save Preset button . Recalling a preset 1.
Zooming or panning a video track When you use a single setting for the track, you move all video on the track. When you add keyframes to change track motion settings through the duration of the track, you can create animation. For more information, see "Keyframe Animation" on page 294. 1. Click the Track Motion button on the track that contains the overlay you want to animate. The Track Motion window is displayed. 2.
5. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the duration of the track. During playback, intermediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation.
4. Adjust the size position of the shadow by dragging the box in the workspace or using the Position, Orientation, and Rotation controls on the left side of the window. For more information about manipulating the selection box, see Crop, zoom, or pan a video track in this section. 5. To animate the shadow, click in the 2D Shadow row of the Keyframe Controller to set the cursor to a later time and adjust the shadow settings.
2. Select the 2D Glow row in the keyframe controller. When the 2D Glow row is selected, glow controls are displayed in the Track Motion dialog. Select the 2D Glow check box to apply the shadow so you can see the results of the glow effect in the Video Preview window, or clear the check box to bypass the glow. 3.
4. Adjust the size position of the glow by dragging the box in the workspace or using the Position, Orientation, and Rotation controls on the left side of the window. For more information about manipulating the selection box, see Crop, zoom, or pan a video track in this section. 5. To animate the glow, click in the 2D Glow row of the Keyframe Controller to set the cursor to a later time and adjust the glow settings.
2. Click the Parent Motion button on the parent track. The Track Motion window is displayed. Parent track motion is applied to the parent track and all child tracks. In the sample track list, parent track motion on track 1 will affect tracks 1 through 6. Parent track motion applied to track 4 will affect only tracks 4 through 6. 3. Choose a setting from the Composite Mode drop-down list to specify how your tracks will be composited over other tracks. 4.
Item Description Enable Rotation Select this button if you want to be able to rotate, or spin, the video. When the button is not selected, video is locked so you can move it horizontally or vertically, but the track cannot be rotated. Enable Snapping to Select this button if you want your editing to snap to the grid. Grid Edit in Object Space Select this button if you want to edit in the object's space rather than the camera's space.
Saving a preset 1. Adjust your Position, 2D Shadow, or 2D Glow settings as desired to create a keyframe. 2. Type a name in the Preset box. 3. Click the Save Preset button . Recalling a preset 1. Click in the Position, 2D Shadow, and 2D Glow keyframe row to select a row and position the cursor where you want to apply the preset. 2. Choose a setting from the Preset drop-down list. If no keyframe exists at the cursor position, one is created using the settings from the preset.
Adding a keyframe 1. In the Keyframe Controller, click to position the cursor where you want to add a keyframe. 2. Click the Insert Keyframe button . A keyframe is added to the Keyframe Controller timeline. The new keyframe's attributes are copied from the previous keyframe to allow you to make subtle changes without recreating all your settings. To quickly add a keyframe, double-click on the Keyframe Controller timeline, or position the cursor on the timeline and modify your effect parameters.
1. Add an effect to an event or track. For more information, see "Applying video effects" on page 315. The Video FX window is displayed. 2. Click the Animate button to display the keyframe controller at the bottom of the window. 3. In they keyframe controller, click to position the cursor where you want the effect to start. Select the Sync Cursor button Keyframe Controller timeline. 4. Click the Insert Keyframe button to synchronize the cursor positions on the main timeline and . 5.
In the Curves view of the Video FX dialog, you can manually adjust a keyframe's spline curves. Click the Lanes/Curves button to toggle between Lanes and Curves views. Right-click a keyframe and choose Manual from the shortcut menu to display the spline curve handles. Drag the handles to adjust the curve. Right-click a keyframe and choose Split Manual from the shortcut menu to independently adjust the curve on each side of the keyframe.
Adding track keyframes 1. Click the Expand/Collapse Track Keyframes button . 2. Double-click to add a keyframe to the track view. The keyframe will use the same settings and interpolation curve as the previous keyframe. Moving track keyframes Drag the keyframe to a new position in the timeline. If track keyframe rows are collapsed, overlapping keyframes will move together. To move multiple keyframes, select the Envelope tool and create a time selection that includes the keyframes you want to move.
Editing track keyframes Individual keyframe parameters cannot be adjusted in the track view. To edit a keyframe, open the effect's property page. 1. Click the Expand/Collapse Track Keyframes button to expand track keyframe rows. 2. Double-click a keyframe to open its property page. For more information about using an effect, see "Applying video effects" on page 315.
CHAPTER 12
Chapter 13 Applying Effects You can use effects to manipulate the audio and video components of your project. The included audio plug-ins can improve the quality of the audio in your project or create unique sounds. Vegas Pro supports additional DirectX and VST effects from a variety of vendors. Audio effects can be applied to all events on a track, to busses, or as assignable effects. The included video plug-ins are comprised of effects, transitions, and text/background generators.
Creating a track effects chain 1. Click the Track FX button on the track where you want to add effects. The Audio Track FX window is displayed.For more information, see "Editing Audio Plug-Ins" on page 311. The Track FX button is displayed in gray when a track does not have effects assigned. When no effects exist on a track, clicking the Track FX button displays the Plug-In Chooser. 2. Click the Plug-In Chain button to display the Plug-In Chooser. 3.
n n When the button is selected, effect automation envelopes are ignored and the effect's initial state is used for the duration of the track. If you delete all automation envelopes from a plug-in, the Bypass FX Automation button is unavailable. Learning more about a specific plug-in For more information about using specific plug-ins, click the Plug-In Help button window to display the plug-in's help file.
see "Editing Audio Plug-Ins" on page 311. Learning more about a specific plug-in For more information about using specific plug-ins, click the Plug-In Help button window to display the plug-in's help file. in the Audio Event FX Using Bus Effects In addition to assigning effects to individual tracks, you may also apply DirectX and VST effects to busses. Bus effects will be applied to all tracks assigned to that bus.
2. Select each plug-in you want to add and click the Add button, or browse to an FX package. To reorder the plug-ins within the chain, simply drag a plug-in button to a new location, or click the Move Plug-In Left or Move Plug-In Right buttons. 3. When you have finished adding the plug-ins, click the OK button. Editing effects on a bus 1. Click the Bus FX button FX window is displayed. located on the audio bus track. If the bus has an effects chain, the Bus 2.
Applying Non-Real-Time Event Effects Most processing in Vegas Pro is nondestructive: editing events and adding effects does not modify your source media. You can use non-real-time event effects to add effects to an event and render a new media file that includes the processed audio. Non-real-time effects are useful for large projects or for processor-intensive plug-ins. To add effects quickly, you can drag plug-ins and plug-in packages from the Plug-In Manager window to an event in the timeline.
Adding an Assignable Effects Chain From the Insert menu, choose Audio Assignable FX (or click the Insert Assignable FX button in the Mixing Console toolbar) to create an effects chain to which you can route tracks in your project. You can create up to 32 assignable effects chains in your project, and each chain can contain up to 32 effects. To add effects quickly, you can drag plug-ins and plug-in packages from the Plug-In Manager window to the Mixing Console window.
If the Mixing Console Window is visible, you can use the Insert FX control region in the assignable effects channel strip to edit the assignable effects chain. For more information, see "FX Send (Assignable Effects) Channel Strips" on page 375. Deleting an assignable effects chain When you remove an assignable effects chain, it is deleted from the project. You must recreate the chain if you want to use it again.
If you can't see the multipurpose fader, drag the bottom edge of the track header to increase its height. 2. Drag the fader to adjust the level of the track sent to the assignable effects chain. If you set the Dry Out faders in your effects chain to -inf, you can adjust the wet/dry balance using the Volume fader Faders control region of the assignable effects channel strip. For more information, see "FX Send (Assignable Effects) Channel Strips" on page 375.
Removing an Assignable Effects Chain When you remove an assignable effects chain, it is deleted from the project. You must recreate the chain if you want to use it again. If you want to keep the chain, but do not want to use it in your current project, you may save the chain as a preset. For more information, see "Creating and Using Effects Packages" on page 310. To bypass an assignable effects chain without removing it from the project, select the Mute button in the Assignable FX Control. 1.
When effects are bypassed, you can choose whether bypassed effects remain open. When the Keep bypassed FX running check box on the General tab of the Preferences dialog is selected, effects remain open so you can bypass/enable effects with no pause for A/B testing. When the check box is cleared, effects are fully bypassed, conserving processing power. Editing Audio Plug-Ins Audio plug-in settings are displayed when you click the button on a track, bus, or assignable FX control.
Adding or removing effects 1. Click the Plug-In Chain button to display the Plug-In Chooser. 2. Select a plug-in button, and then click the Add or Remove button. The modified chain is displayed at the top of the window. n Effects that can be automated are indicated by the icon in the Plug-In Chooser. n VST plug-ins are indicated by the n If you select a plug-in package, that chain will replace the current chain. icon in the Plug-In Chooser. 3. Click the OK button.
Loading a preset for an individual VST plug-in 1. Click the Open VST Preset button . 2. The Open VST Preset dialog is displayed. 3. Browse to the .fxp file that you want to use. 4. Click the Open button. 5. The current VST preset is replaced with the settings stored in the .fxp file. Loading a bank of VST plug-in presets 1. Click the Open VST Bank button . 2. The Open VST Preset Bank dialog is displayed. 3. Browse to the .fxb file that you want to use. 4. Click the Open button. 5.
Saving a preset for an individual VST plug-in 1. Type a name in the Preset box. 2. Click the Save VST Preset As button . 3. The Save VST Preset dialog is displayed. 4. Browse to the folder where you want to save the .fxp file and type a name in the File name box. 5. Click the Save button. The current plug-in settings are saved in the .fxp file. Saving a bank of VST plug-in presets 1. Click the Save VST Bank As button . The Save VST Preset Bank dialog is displayed. 2.
Automating effect parameters If a plug-in supports it, you can use envelopes to automatically adjust effect parameters over time. Automation envelopes can be added to tracks and bus tracks to control individual effect parameters for track effects, bus effects, and assignable effects. For more information about using automation envelopes on tracks, see "Automating Audio Effect Parameters" on page 263.
The FX button is displayed in gray when no effects have been applied. Clicking the gray FX button displays the Plug-In Chooser. n n n n Click the Event FX button on a video event to apply an effect to a single event. Click the Track FX button on a track header to apply an effect to every event on a track.For more information, see "Video Track Controls" on page 240.
4. Click the Remove Selected Plug-In button to remove the current plug-in from the chain. Applying video event effects before or after event panning or cropping To prevent unwanted blurring, you can choose whether effects are applied to the event before or after any event panning and cropping by arranging the Pan/Crop button in the plug-in chain at the top of the Video Event FX window. For more information, see "Panning and Cropping Video Events" on page 275.
When you choose Video Bus Track from the View menu, a bus track is displayed for the video output. You can add keyframes to adjust effect parameters over time. For more information, see "Keyframe Animation" on page 294. For more information about using the video bus track, see "Video Bus Track" on page 248. Learning more about a specific plug-in The video plug-ins that are installed on your system will vary depending on the version of the software that you are using.
3. After you've found the setting that you want to use, drag it to the position where you want it to occur on the timeline. You can drop the transition at either end of an event, between two overlapping events, or between two adjacent events. The Video Event FX dialog is displayed to allow you to edit the transitions settings, and a Transition Properties button is displayed in the timeline to show you where the transition takes place. You can also click this icon to edit the transition's settings.
To change the length of the transition for cuts that are converted to transitions, use the Cut-tooverlap conversion settings on the Editing tab of the Preferences dialog. For more information, see "Preferences - Editing Tab" on page 601. Changing the speed/duration of a transition After you've added a transition to an event, you can easily adjust its duration, which will change the speed at which the transition occurs. Adjusting a transition at the beginning or end of an event 1.
1. Right-click a transition. 2. From the shortcut menu, choose Insert/Remove Envelope, and then choose Transition Progress from the submenu. An envelope is added to your transition. 3. Add points and adjust the fade curves as desired. For more information, see "Adjusting Envelopes" on page 266. In the following example, the transition starts, progresses to 50%, reverses direction, and then finishes.
Converting a crossfade or transition to a cut 1. Click to position the cursor within the transition. 2. Hold Ctrl while pressing the / key on your numeric keypad. The transition is converted to a cut, using the Cut-to-overlap conversion settings on the Editing tab of the Preferences dialog to determine where the cut occurs. For more information, see "Preferences - Editing Tab" on page 601.
Editing a generated media event 1. Click the Generated Media button on an event. The Video Media Generators dialog is displayed. 2. Use the controls in the Video Media Generators dialog to adjust the plug-in's settings. n Click the Match Event Length button the length of the event. n Click the Media Properties button to edit information about the generated media, such as the frame size, frame rate, field order, pixel aspect, and rotation.
Learning more about a specific plug-in For more information about using specific plug-ins, click the Plug-In Help button Generators window to display the plug-in's help file. in the Video Media Using the Titles & Text Plug-In When you add the Titles & Text plug-in to your project, the Video Media Generators dialog is displayed. Use the controls in the Video Media Generators dialog to control the appearance of your text.
Item Description Scale Drag the slider to adjust the size of your text. A setting of 1 applies no scaling; drag to the right to enlarge the text, or drag left to shrink the text.
Item Description Location Click the arrow to show or hide the text location controls. Perform any of the following actions to position the text within your project's video frame: n Drag the point in the position box: n Type coordinates in the position box. 0.00, 0.00 represents the lowerleft corner of the frame, 0.50, 0.50 represents the center, and 1.00, 1.00 represents the upper-right corner.
Item Description Outline Color Click the arrow to show or hide the outline color controls. You can use the color picker, type color values, or use the eyedropper to sample a color from your screen. Shadow Click the arrow to show or hide the controls for adding a shadow behind your text. Shadow Enable Select the check box to display a shadow behind your text. Shadow Color Click the arrow to show or hide the shadow color controls.
1. From the View menu, choose Media Generators to display the Media Generators window. 2. In the left pane, select the ProType Titler plug-in. The available presets are displayed in the right pane. 3. Drag a preset to a position on the timeline to create a generated media event. If you want text to appear as an overlay, add it to a track above the video you want to overlay and use a transparent background. For more information, see see "Compositing and Masks" on page 385. 4.
7. Click the Compositing Mode button to set the title track to Source Alpha (default). Notes: n n If your title is saved as a TGA image, the alpha channel may not be detected automatically. Use the Media Properties dialog and choose a new setting from the Alpha channel drop-down list. For more information, see "Viewing or Changing Media File Properties" on page 110. If your image does not have an alpha channel, you can apply the Chroma Keyer filter to the image to key out the background.
CHAPTER 13
Chapter 14 Mixing Audio You can mix your audio tracks in three ways: The audio track controls in the track list allow you to adjust relative track volumes, panning, assignable FX send levels, and bus send levels for individual tracks. n The Master Bus window allows you to adjust the overall level of your project. n The Mixing Console window allows for advanced multichannel mixing using multiple busses and assignable effects using a traditional hardware-style mixer view.
Item Description Downmix Output Downmixes your audio from 5.1 surround to stereo or from stereo to mono so you can ensure your mix will sound the way you intended it-even if your audience's hardware has fewer channels than the original mix. The button represents the current playback mode: n 5.
Item Automation Settings Description The controls in the bus control list can function as trim controls or automation controls for bus volume, panning, and muting. Click the button and verify Show Automation Controls is not selected if you want the bus control to function as a trim control. Adjusting a trim control affects the entire track. Click the button and choose Show Automation Controls to adjust automation settings. For more information, see "Using Automation" on page 255.
For example, if you wanted to control the master level of all your drum tracks to a relative level, you could create a bus and assign all drum tracks to that bus. After your drums are mixed, you can adjust the overall volume of the drum tracks by adjusting the bus volume. You can also use busses to create channel mappings for rendering multichannel audio files. For more information, see "Rendering Multichannel Audio Files" on page 518. To see the audio signal flow, see "Signal Flow Diagram" on page 338.
When you remove a bus from a project, any tracks assigned to that bus will be reassigned to the previous bus. For example, if you have assigned 4 busses to your project (busses A-D), and later decrease the number of busses by one, the tracks assigned to Bus D will be assigned to Bus C. Assigning Tracks to Busses Assigning tracks to busses allows you to apply settings to a series of tracks or route tracks to a hardware output.
If you can't see the multipurpose slider, drag the bottom edge of the track header to increase its height. 2. Drag the fader to adjust the level of the track sent to the bus. Tips: n n n You can also use the Sends control region on the bus channel strip to adjust bus send levels. For more information, see "Bus Channel Strips" on page 363. Bus sends are pre-volume by default. When bus sends are pre-volume, you can create a cue mix that is independent of your main mix.
2. Click the Playback Device Selector button on the audio bus track and choose a bus from the menu. For more information, see "Audio Bus Tracks" on page 246. n The button is displayed as a when a bus is routed to the master bus. n The bus letter is displayed ( , , and so on) when a bus is routed to another bus. n The button is displayed as a when a bus is routed to a hardware output. To prevent feedback, you cannot perform circular routing.
Signal Flow Diagram Using Input Busses You can use input busses to input, process, record, and mix external audio sources with your Vegas Pro project. Following are some examples of how you can use input busses in your projects: 338 n Use an input bus as a recording input, allowing you to apply effects and record a wet signal. n Use an input bus as a mixer input for an external device, such as a synthesizer.
n Use an input bus as a return for hardware-based effects. n Use an input bus to monitor a source such as a talkback microphone. Adding or Deleting Input Busses From the Insert menu, choose Input Bus (or click the Insert Input Bus button toolbar) to add an input bus to your project. in the Mixing Console You can add up to 26 input busses, and you can change the number of busses at any time. Adding a bus From the Insert menu, choose Input Bus.
Recording Using an Input Bus When you use an input bus to record audio, you can include input bus effects with the recorded signal. For example, imagine that you need to record an electric guitar with an amplifier-modeling plug-in. Scenario 1: Plug your guitar into your sound card's instrument input and choose that input as your recording input: In this scenario, you could then add your amplifier-modeling plug-in as a track effect and record with input monitoring on.
b. In the I/O control region of the input bus channel strip, click the Input Source button and choose the sound card input you want to record: c. Click the Output button in the I/O control region of the input bus channel strip and choose Off. The bus output is left off so we can monitor the input through the track. 3. Set your track to record from your input bus: a. Click the Record Input button, choose Input Busses from the menu, and choose your input bus. b.
5. Select the Arm for Record buttons it for recording. on the track where you want to record. Arming a track enables When a track is armed, the track meter displays the track's level. If input monitoring is not on, the meter displays the level of your input source. If input monitoring is turned on, the meter shows the level of the input source plus the track effects chain. 6. Click the Record button on the Transport bar to start recording. 7.
b. Connect the output of your effects processor to an input on your sound card (for this example, we'll use Inst 1). 2. Add a bus to your project. This bus will be used as a destination to send a track to your effects processor. For more information, see "Adding Audio Busses" on page 334. 3.
b. Click the Output button and choose the output where you want to send your processed signal. We’ll send this signal to the master bus so it is included with your main mix and will be included when performing a real-time render. This input bus provides a signal path from your effects processor's output to your project. 6. Send your track to the effects processor: Click the bus button on the track header and choose the bus you created in step 2.
Notes: n n n When you start real-time rendering, any track that is armed for recording will be unarmed. You cannot arm a track for recording or start recording in real-time rendering mode. When rendering a project that does not use external audio hardware, real-time rendering and normal rendering will produce the same output. Real-time rendering will take longer to complete, allowing you to monitor the rendered file as it is created.
CHAPTER 14
Chapter 15 The Mixing Console From the View menu, choose Mixing Console to toggle the display of the Mixing Console window. The Mixing Console window provides an integrated view of all tracks and busses in your project using the appearance of a traditional hardware-based mixer.
The Mixing Console Toolbar The Mixing Console toolbar is displayed at the top of the Mixing Console window and allows you to quickly configure the window's display; downmix audio; dim the output; or add tracks, assignable effects, or busses. Item Description Views Click the down arrow and choose a command from the menu: n Channel List – Displays or hides the Channel List on the left side of the Mixing Console window.
Item Properties and Layout Description Click the Properties and Layout button to open the Audio tab in the Project Properties dialog, or click the down arrow and choose a command from the menu: n n n n n n n Audio Properties – Displays the Audio tab in the Project Properties dialog. Show Channels – Choose a command to configure which channel strips are displayed in the Mixing Console window. o Show All Channels – Displays all channel strips in the Mixing Console.
Item Description Downmix Output Downmixes your audio from 5.1 surround to stereo or from stereo to mono so you can ensure your mix will sound the way you intended it —even when your audience's hardware has fewer channels than the original mix. The button represents the current playback mode: n 5.1 surround output n Stereo output n Mono output Dim Output Attenuates the volume of all busses that are routed to hardware outputs by 20 dB so you can check your mix at a lower level (or answer the phone).
The View Controls Pane The View Controls pane is displayed on the left side of the Mixing Console window. If the Channel List pane is visible, the View Controls Pane is displayed below the Channel List pane. To show or hide the pane, click the down arrow next to the Views button press Shift+R). and choose View Controls (or You can use the buttons in this pane to show or hide components in the Mixing Console.
Item Description Audio Busses Click to show or hide channel strips for busses. If your project does not contain any busses, this button is unavailable. Input Busses Click to show or hide channel strips for input busses. If your project does not contain any input busses, this button is unavailable. Assignable FX Click to show or hide channel strips for assignable effects chains. If your project does not contain any assignable effects chains, this button is unavailable.
Tips: n If you want to change the order in which channel strips are displayed, you can click the channel label and drag a channel strip to a new location. n Hover over a fader and roll your mouse wheel to change its setting. n To edit a fader value quickly, you can double-click the displayed value to type a new value. n Hold Ctrl while dragging a fader to move it in fine increments. The Insert FX control region displays the insert effects chain for a track or bus.
The VU Meters control region displays volume unit (VU) and peak program (PPM) meters to help you determine the perceived loudness of your audio signal (peak program meters provide faster response times to volume increases than VU meters). To change the range of all VU meters in the Mixing Console, right-click a meter and choose a range from the shortcut menu.
Insert Bus Adds a bus to your project. The Audio tab in the Project Properties dialog is updated to reflect the new number of busses. For more information, see "Bus Channel Strips" on page 363. To delete a bus, right-click the channel strip for the bus and choose Delete from the shortcut menu. Insert Input Bus Adds an input bus to your project. For more information, see "Input Bus Channel Strips" on page 369.
Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name. When the Insert FX control region isn't visible, you can click the Track FX button control region to display the Audio Plug-In window for the track's effects chain. in the Faders Adding a plug-in Click the effects chain.
When the Automation Settings button in the Faders control region is not selected, click the Channel Send button and choose a bus or assignable effects chain from the menu, and then drag the fader to adjust the send level. When the Automation Settings button displayed as a in the Faders control region is selected, the fader handle is , and you can use it to edit send volume automation on the track.
Monitor track levels with VU/PPM meters When the VU Meters control region is visible, you can display volume unit (VU) and peak program (PPM) meters to help you determine the perceived loudness of your audio signal (peak program meters provide faster response times to volume increases than VU meters). To show or hide the VU Meters control region, click the VU Meters button in the View Controls pane.
Item Description UK PPM The UK peak program meter (also known as a BBC meter) is a Type II meter and is displayed with a scale of 1 to 7, which corresponds to a range of -12 to 12 dBu: UK Marks EBU PPM dBu 7 12 6 8 5 4 4 0 3 4 2 8 1 -12 The EBU peak program meter is a Type II meter and is displayed with a scale of –12 to +12, which corresponds to -12 dBu to 12 dBu. 0 on the EBU PPM equals 0 dBu.
If the Meters control region is not visible, peak meters are displayed in the Faders control region. Right-click the meter and choose a setting from the shortcut menu (or hover over the meter and roll your mouse wheel) to change the resolution and display options. Right-click the peak meters and choose Show Peak Meter to show or hide meters for individual channels.
n When the track automation mode is set to Touch or Latch , the control edits the envelope setting at the cursor position. If the track does not have an envelope, an envelope will be added when you adjust the control. Click the button (so the Automation Settings button is not selected) if you want the Fader control region controls to function as trim controls. Adjusting a trim control affects the entire track.
Arming tracks for recording Select the Arm for Record button recording. on the tracks where you want to record. Arming a track enables it for When a track is armed, the track meter displays the track's level. If input monitoring is not on, the meter displays the level of your input source. If input monitoring is turned on, the meter shows the level of the input source plus the track effects chain. Toggling record input monitoring Click the Input Monitor Mode button and choose a command from the menu.
The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For example, setting the trim control to 9% left has the same effect as moving every envelope point 9% to the left. Adjusting volume When the Automation Settings button overall (trim) volume of the track.
Adding or editing bus (insert) effects When the Insert FX control region is visible, each bus displays its effects chain at the top of the channel strip. To show or hide the Insert FX control region, click the Insert FX button in the View Controls pane. Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name.
Adjusting bus send levels When the Sends control region is visible, each bus displays controls you can use to route the bus to assignable effects chains or to busses that are routed to hardware outputs. A bus cannot send to a bus that is directly or indirectly routed to the Master bus. To show or hide the Sends control region, click the Sends button in the View Controls pane.
To choose an output device, click the Output button and choose a bus or hardware output from the menu. When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you render your project.
If the Meters control region is not visible, peak meters are displayed in the Faders control region. Right-click the meter and choose a setting from the shortcut menu (or hover over the meter and roll your mouse wheel) to change the resolution and display options. Right-click the peak meters and choose Show Peak Meter to show or hide meters for individual channels. Muting or solo a bus When the Faders control region is visible, each bus displays Mute and Solo buttons.
Adjusting bus panning or volume When the Faders control region is visible, each bus displays a Pan slider and a Volume fader. The Pan slider is displayed only when an input bus is routed to the master bus or an auxiliary bus. It is not available when the input bus is routed directly to a hardware output. To show or hide the Faders control region, click the Faders button in the View Controls pane.
The Pre/Post Fader Send button allows you to create cue mixes that are not affected by the gain (or mute/pan) stages of the bus or track. For more information, see "Creating a Cue (Headphone) Mix with the Mixing Console" on page 382. n When Pre Fader Insert FX and Pre Fader Send are selected, your audio signal flows as follows: bus effects — bus send — bus pan — bus volume.
Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name. Tips: n n When the Insert FX control region isn't visible, you can click the Input Bus FX button Faders control region to display the Audio Plug-In window for the bus effects chain. in the Input bus insert effects are always applied pre-fader. Adding a plug-in Click the effects chain.
Adjusting input bus send levels When the Sends control region is visible, each bus displays controls you can use to route the input bus to assignable effects chains or to busses that are routed to hardware outputs. A bus cannot send to a bus that is directly or indirectly routed to the Master bus. To show or hide the Sends control region, click the Sends button in the View Controls pane.
Choosing an output device To choose an output device, click the Output button and choose a bus or hardware output from the menu, or choose Output Off. Setting the output to Output Off is useful when you're using an input bus as a recording input and want to monitor the bus through the track or when using an input bus as a talkback mic. When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you render your project.
Monitoring bus levels with VU/PPM meters When the VU Meters control region is visible, you can display volume unit (VU) and peak program (PPM) meters to help you determine the perceived loudness of your audio signal (peak program meters provide faster response times to volume increases than VU meters). To show or hide the VU Meters control region, click the VU Meters button in the View Controls pane.
Right-click the peak meters and choose Show Peak Meter to show or hide meters for individual channels. Muting or soloing a bus When the Faders control region is visible, each bus displays Mute and Solo buttons. To show or hide the Faders control region, click the Faders button in the View Controls pane. Muting a bus When the Automation Settings button is not selected, you can click the Mute button to prevent a bus from being played in the mix.
the right, and dragging to the right will place the bus in the right speaker. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button is selected, the Pan slider handle is displayed as a can use it to edit pan automation on the bus track. , and you The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied.
Mixing Console is updated when you press Enter. Adding or editing effects When the Insert FX control region is visible, each assignable effects chain displays its effects at the top of the channel strip. To show or hide the Insert FX control region, click the Insert FX button in the View Controls pane. Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name. Adding a plug-in Click the effects chain.
n n Choose Show to open the Audio Plug-In window, where you can adjust the plugin's controls. Choose Bypass to temporarily bypass a plug-in. When an effect is bypassed, its button is displayed in red text. n n n Choose Remove to remove a plug-in from the effects chain. Choose Presets, and then choose a setting from the submenu to load a new preset. The current preset is indicated by a bullet (•).
Adjusting assignable effects input levels When the Sends control region is visible, each assignable effects chain displays controls you can use to adjust and monitor the input volume of the effects chain. To show or hide the Sends control region, click the Sends button in the View Controls pane. Changing an effects chain's output device When the I/O control region is visible, each assignable effects chain displays controls you can use to set the chain's output device.
Right-click the meter and choose a setting from the shortcut menu (or hover over the meter and roll your mouse wheel) to change the resolution and display options. Item Description Show VU/PPM Use this command to show or hide meters for individual channels. Reset Clip Clears clipping indicators. Traditional VU The traditional VU meter is displayed with a scale of –10 dB to +2 dB. 0 dB on the VU meter equals 4 dBu. Extended VU The extended VU meter is displayed with a scale of –30 dB to +8 dB.
Item Description Nordic PPM The Nordic peak program meter is a Type I meter and is displayed with a scale of –42 dB to +12 dB, which corresponds to -42 dBu to 12 dBu. 0 dB on the Nordic PPM equals 0 dBu. Show Labels Toggles the meter level labels on and off. Show Peaks Toggles peak level indicators on the top of the meter. Hold Peaks When selected, the highest peak levels are represented by a thin line on the meter.
Muting an assignable effects chain When the Automation Settings button is not selected, you can click the Mute button to prevent an assignable effects chain bus from being played in the mix. Click the Mute button on additional chains to add them to the mute group. To unmute a chain, click the Mute button again. When the Automation Settings button is selected, the Mute button is displayed as the button to edit mute automation on the bus track.
Adjusting panning When the Automation Settings button is not selected, you can drag the Pan slider to control the position of the bus in the stereo field: dragging to the left will place the bus in the left speaker more than the right, and dragging to the right will place the bus in the right speaker. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0.
4. First, let's click the Insert Bus button alternative mix. in the Mixing Console window to create a new bus for our 5. By default, the bus is named Bus A. Let's double-click the bus label and type "Mark's Headphones" in the box to give our bus a more descriptive name. 6. Now we need to route our headphone bus to one of our sound card's outputs. a. In the Mixing Console, click the Output button in the I/O control region on the cue mix bus. A menu is displayed that lists all of our sound card's outputs.
b. Click the Pre/Post in each track's Sends control region to select Pre Volume Send mode. When bus sends are pre-volume, the cue mix is independent of the main mix. c. Drag the fader on each track's channel strip to adjust the level of the track that is sent to the headphone mix bus. If multiple tracks are selected, you can adjust their bus-send levels at the same time.
Chapter 16 Compositing Video Compositing is the process of mixing the tracks to create a single layered output. You can also adjust the opacity of part or all of a clip, and you can superimpose clips on top of one another for special effects, transitions, or to add different backgrounds. Compositing and Masks Compositing is the process of mixing video tracks to create a single layered output. You can use compositing in conjunction with masks to cover portions of video or to limit the effects of a filter.
Learning more about parent and child tracks 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.
For examples of how parent/child track relationships affect 3D compositing, see "3D Compositing" on page 391. Learning more about compositing modes and transparency The Compositing Mode button determines how the transparency in a video track is generated. Because 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 adjusts its transparency against the background.
Mode Description Multiply (Mask) Merges the colors of the tracks. Source Alpha Uses the alpha channel to determine transparency. 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 mode has no effect. Add Combines the color values in the composite group. Subtract Subtracts the overlay color values from the background. Cut Cuts out the overlay color values from the background.
Mode Description Example Lighten Compares the overlay and background pixel by pixel and selects the lighter color value for each pixel. Difference Compares the overlay and background pixel by pixel and subtracts the darker color value from the lighter color to generate a new color value. Difference Squared Remaps color values along a parabolic curve. The color values of the layers in the composite group are subtracted, and then the subtracted values are squared.
Creating a mask 1. If you have not already done so, place and position the image or video you want to use as a mask on the top-level track in your project. For more information, see "Adding media files to your project" on page 91. 2. Place video files on the tracks below the mask. 3. Ensure your mask is a compositing parent the tracks below are child tracks. 4. Click the Compositing Mode button menu. on the mask track and choose Multiply (Mask) from the If your mask image is grayscale, you're done.
3D Compositing 3D compositing is like track motion on steroids. With 3D compositing, you can move video tracks anywhere in space. With 2D compositing (and in previous versions of Vegas Pro), you can move video or images along the X or Y axes, and you can rotate video along the Z axis. With 3D compositing, you can move or rotate along the X, Y, or Z axes to create distance, depth, and perspective. There are two basic rules to 3D compositing: 1.
Moving a track in the 3D space 1. Click the Track Motion button on the track that contains the overlay you want to animate. The Track Motion window is displayed. 2. From Compositing Mode drop-down list, choose 3D Source Alpha. 3. Choose a setting from the Layout drop-down list to choose the workspace display you want to use. The Layout setting allows you to see your track from various points of view. 4. Adjust the selection area to change the viewable area of the track and its position in space.
Rotating forward or backward around the X axis Rotating around the Z axis 5. Use the buttons at the top of the dialog to allow or prevent movement or scaling. See the Change editing options heading in this topic for more information. Right-click the workspace to display a shortcut menu that displays commands to restore, center, or flip the selection box. You can also force the box to match the source media's aspect ratio or your project's output aspect ratio.
3. Click the Parent Motion button on the parent track. The Track Motion window is displayed. Parent track motion affects the parent track and all child tracks. In the sample track list, parent track motion on track 1 will affect tracks 1 through 6. Parent track motion applied to track 4 will affect only tracks 4 through 6. 4. Choose a setting from the Layout drop-down list to choose the workspace display you want to use. The Layout setting allows you to see your track from various points of view. 5.
6. Use the buttons at the top of the dialog to allow or prevent movement or scaling. For more information, see "Changing editing options" on page 396. Right-click the workspace to display a shortcut menu that displays commands to restore, center, or flip the selection box. You can also force the box to match the source media's aspect ratio or your project's output aspect ratio.
Item Description Depth Adjust Type a value in the box (or click the to display a slider you can drag) to displace the left-and right-eye images to set the depth of your 3D image. You usually want all of the action behind the screen plane, only crossing the screen plane for dramatic or special effect. However, make sure never to create divergence, where the left-eye picture would appear more than 2.5 inches to the left of the right-eye picture on the largest screen where your movie will be shown.
Item Description Prevent Scaling (X) Select this button if you want to lock the horizontal dimension of the selection box. Prevent Scaling (Y) Select this button if you want to lock the vertical dimension of the selection box. Prevent Scaling (Z) Select this button if you want to lock the Z-axis dimension of the selection box. Saving or recalling a keyframe preset Keyframe presets save the settings of the selected keyframe row at the cursor position.
In the next example, clicking the Make Compositing Parent button on track 3 forces the track below (at the same compositing level) to be rendered in 3D and composited as a 2D image. Track 4 (green-and-gray checkerboard) now has the appearance of depth—the checkerboard tapers to a vanishing point—but is inserted in the composited output as a 2D image at a depth of zero on the Z axis. Track 2 is still rotated in 3D space.
COMPOSITING VIDEO 399
Video Signal Flow Diagram Signal flow for tracks 400 CHAPTER 16
Compositing signal flow The following diagram refers to 2D compositing only.
CHAPTER 16
Chapter 17 HDV Editing with Vegas Pro HDV cameras record high-definition video to standard DV tapes using a highly compressed variation of the MPEG-2 format. Because of this compression, you can capture HDV clips at data rates that are no higher than DV capture. You can use HDV files just like any other supported media type on the timeline. For more information about printing HDV video to tape, see "Printing Video to HDV Tape" on page 511.
Select the Enable HDV scene detection check box on the General tab of the Capture Preferences dialog if you want to create multiple files if scene changes are detected. When the check box is cleared, HDV clips will be captured to a single file. For more information, see "Capture Preferences" on page 125. 4. You're ready to start editing on the timeline. For more information, see "Editing HDV Video on the Timeline" on page 404.
Chapter 18 Working with XDCAM Video Vegas Pro software provides all the tools you need to edit proxy and full-resolution HD and SD XDCAM MXF files natively, with no transcoding required. Vegas Pro supports all HD and SD XDCAM compression types, all frame rates, all aspect ratios, multichannel audio, and essence marks. All proxy and full-resolution XDCAM source file types can be mixed in a single timeline, edited, and transferred back to XDCAM.
4. Edit your project as needed. For more information, see "Editing events on the timeline" on page 133. 5. Render your project for your destination format. You can also render to XDCAM EX format by choosing XDCAM EX (*.MP4) in the Output Format box in the Render As dialog. The following notes apply when rendering XDCAM EX format files: n n n Only embedded XML metadata is included with rendered files.
1. Click the Device button in the Export Video to XDCAM Disc or Import XDCAM Disc dialog. The XDCAM Device Settings dialog is displayed. n n To display the Export Video to XDCAM Disc dialog, click the Export Video to Sony XDCAM Disc button in the XDCAM Explorer window. To display the Import XDCAM Disc dialog, click the Import XDCAM Disc button XDCAM Explorer window. in the 2. Choose the XDCAM device where you want to import/export clips.
Item Description Disc List Displays a list of all XDCAM discs from which you've imported clips. Select a disc name to display its clips in the right side of the window. The imported disc is not associated with the current project. Imported discs are available in the XDCAM Explorer window until you delete them from your computer. Right-click a disc and choose Rename from the shortcut menu to change a disc's name.
Item Description Delete Selected XDCAM Disc from Capture Folder Select a disc in the left pane and click this button to delete the disc's clips from your computer. Play Clip Click to play the selected clip. Stop Click to stop playback. Auto Preview Automatically preview media files when you click them in the Explorer window. Views Click the down arrow and choose a command from the menu to change the way clips are displayed in the XDCAM Explorer.
Item Description Conform XDCAM Media in Current Project Click to replace proxy-resolution files with full-resolution files before rendering your project or exporting your video to an XDCAM disc. If the full-resolution clips are not available on your computer, the Conform XDCAM Media in Current Project dialog is displayed. Insert the specified disc and click Continue to import the full-resolution clips to your computer.
2. Click the Import XDCAM Disc button dialog is displayed. in the XDCAM Explorer window. The Import XDCAM Disc 3. The XDCAM Device box displays the current XDCAM camera or deck. If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see "Setting up an XDCAM Device" on page 406. For information about using your camera or deck, please refer to its documentation. 4.
7. Click the OK button to start importing clips. The disc label is added to the left pane in the XDCAM Explorer window, and the clips are displayed in the right pane. You're ready to start editing your XDCAM clips on the timeline. For more information, see "Editing XDCAM Clips on the Timeline" on page 412. Notes: n n n Select the Import MXF as multichannel check box on the General tab of the Preferences dialog if you want to import MXF files from XDCAM cameras and decks with multichannel audio.
3. Drag clips from the XDCAM Explorer window to the timeline if you want to create events, or drag them to the Project Media window to add to your project without creating events. Right-click an edit list and choose Add to Current Project Using Proxy Files or Add to Current Project Using Full Resolution Files from the shortcut menu to add the edit list to the timeline at the cursor position.
Exporting video from the timeline Use this procedure to export the current project to an XDCAM disc. If you are exporting a rendered file to an XDCAM disc, the file must precisely conform to the target disc format, or the export will fail. 1. If you want to export only a portion of your project, create a time selection that includes the section of your project. 2. Choose File > Export> XDCAM Disc (or click the Export Video to XDCAM Disc button XDCAM Explorer window).
6. Select the Render loop region only check box if you want to export only the portion of your project that you selected in step 1. 7. Select the Delete file after print check box if you want to delete the rendered file from your hard drive after successfully exporting it to disc. If the export fails, the rendered file remains on disk so you can adjust your XDCAM device settings and export again without having to render again. 8.
CHAPTER 18
Chapter 19 Working with RED Camera Clips RED ONE®, SCARLET®, and EPIC® cameras record 4K footage as REDCODE™ RAW (.r3d) files that you can add directly to the Vegas Pro timeline and edit like any other supported media type. Using RED camera clips in a Vegas Pro project 1. Use the Device Explorer to browse and import clips from your RED camera's memory card or hard drive to your local hard drive. For more information, see "Using the Device Explorer" on page 105. 2.
Modifying properties for multiple files n n n When multiple files are selected, check boxes appear for slider settings that do not match across all selected files. When you drag the slider or type a new value, the check box is automatically selected, and the new value is applied to all selected files when you click OK. Clear the check box to leave the setting unchanged for the selected files.
Chapter 20 Working with AVCHD Video You can edit files recorded with AVCHD camcorders just like any other supported media type on the timeline. The following steps will guide you through the process of using AVCHD video in your Vegas Pro project. 5.1-channel audio will be downmixed to stereo when importing into a stereo project. When importing into a 5.1 surround project, audio will be added to separate tracks for the center, front, rear, and LFE channels. 1. Shoot your video with an AVCHD camcorder. 2.
If you want to render to AVCHD format and export the rendered file to an AVCHD camera, please use the following steps: 1. Verify that your Vegas Pro project is set to 5.1 surround mode. For more information, see "5.1 surround projects" on page 433. 2. From the File menu, choose Render As. 3. In the Render As dialog, choose Sony AVC/MVC in the Output Format box. 4. Use one of the following templates: n AVCHD 1440x1080 NTSC 5.1 Surround n AVCHD 1920x1080 NTSC 5.1 Surround n AVCHD 1440x1080 PAL 5.
Chapter 21 S-Log and ACES workflow in Vegas Pro 12.0 Vegas Pro 12.0 supports the expanded dynamic range of cameras using S-Log encoding, such as the Sony PMW-F3 camera. S-Log is a technique for recording the full dynamic range of the camera, and is not restricted to the limited number of stops available in display-referenced Rec. 709 encoding.
In order to capture the full dynamic range that the camera is capable of, Sony developed the S-Log encoding system, which reproportions the pixel encoding values using a logarithmic curve to capture greater dynamic range.
Here is a scene shot with a Sony PMW-F3 camera without S-Log enabled: While the foreground is exposed nicely, the background is washed out. With conventional Rec. 709 video, these levels are all lost, clipped at full white, which you can see in the Video Scopes window: S-LOG AND ACES WORKFLOW IN VEGAS PRO 12.
You could use the image as-is, but if you wanted to do any color grading, the clipped levels would quickly become a problem. For example, if we bring the levels down in post, the water just gets darker: This is because traditional video is "display referenced," which means it is made to be shown directly on a display. No levels outside the monitor's range are captured. Capturing a wider dynamic range in the scene would provide more levels to work with when we're doing color grading.
Here is the same scene shot with the same PMW-F3 camera, but this time using the Sony S-Log1 (F35/F3) color space (viewed here in 8-bit mode): You can see that it doesn't have any clipping in the histogram (no telltale spike at the right): However, the picture is very low contrast and is not ready for delivery. When you shoot with S-Log, you aren't supposed to deliver that image as your final picture.
If we apply some gain to the image using the Brightness and Contrast plug-in, it starts to look like the regular video again, with a little more high-contrast film look: 426 CHAPTER 21
In the previous image, whites are clipped. However, when we bring down the level on the shot, all of the original dynamic range is still there. In fact, if we take the level down low enough, we can even see the sun glinting off the waves, which would have been impossible with the first shot: S-LOG AND ACES WORKFLOW IN VEGAS PRO 12.
All of the level detail is present for color grading, film-like crossfades, fades to black, and so on. This is the beauty of S-Log and the ACES scene-linear color space. For a deeper look at color management for cinematic workflows, see http://cinematiccolor.com/. Enabling color management in your Vegas Pro project Follow these steps to enable color management for your project. 1. From the File menu, choose Properties to display the Project Properties window. 2.
4. Click OK. When color management is active, the selected view transform is displayed in the Video Preview window. S-LOG AND ACES WORKFLOW IN VEGAS PRO 12.
Specifying the color space for individual shots The color space setting for media files is used only when color management is enabled for your project. 1. Select one or more shots in the Project Media window and click the Media Properties button display the Properties window. to 2. On the Media tab, choose a setting in the Color space list. Item Description Default The Default setting uses the Rec. 709 color space for compatibility with earlier versions of Vegas Pro.
6. On the Project tab, choose a setting in the Color space list. Item Description Default The Default setting uses the project's View transform setting for 8-bit and 10-bit sRGB and Rec. 709 formats, or the reference color space for floating-point formats such as OpenEXR. ACES Use ACES for OpenEXR files in the ACES color space. Log A mathematically idealized log space, which spans the dynamic range currently used by the ACES RRT.
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Chapter 22 5.1 surround projects Create a 5.1-channel mix to wrap a listener in your remixes or prepare audio for DVD-Video or 5.1-channel music projects. 5.1 surround is a standard audio format consisting of five full-range channels and a low-frequency effects (LFE) channel. The five full-range channels are reproduced by left, right, and center speakers positioned in front of the listener and left and right surround speakers positioned behind the listener.
5. Click OK. The track headers and Master Bus window switch to 5.1 surround mode. Routing the master bus outputs When you're working in 5.1 surround mode, you'll need to indicate where to send the output from your 5.1channel mix. Setting your default routing Use the Audio Device tab of the Preferences dialog to set default routing for 5.1 surround projects. For more information, see "Preferences - Audio Device Tab" on page 598. 1. From the Options menu, choose Preferences.
1. Open the Master Bus window. 2. Click the Audio Device Selector button output device from the submenu. , choose a channel from the menu, and choose an 3. Repeat step 2 for each pair of channels. Connecting your amplifier and speakers Using a 5.1-compatible sound card n n Connect powered speakers to your sound card's outputs as indicated by your sound card's documentation.
n Connect your sound cards' outputs to the appropriate inputs on a 6-channel amplifier/home theater receiver. Connect front, rear, center, and LFE speakers to the amplifier. Multiple sound card setups may not work with ASIO drivers. You can only use a single ASIO driver at a time, and some ASIO drivers can conflict with other audio driver models (such as WDM and wave drivers). The audio cables you'll need will depend on your specific hardware.
Adjusting volume and send levels Adjusting track volume You can adjust track volume using the Vol fader in the track header the same way you do in stereo projects. The fader in the track header can function as a trim control that adjusts the overall volume of the track, or it can adjust track volume automation settings. The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied.
Adjusting the center channel trim level 1. Deselect the Automation Settings button 2. Double-click the surround panner on the track or bus you want to adjust. on the track. The Surround Panner window is displayed. 3. Drag the Center fader to boost or attenuate the volume of the center channel. When the fader is set to 0.0 dB, no gain is applied. The Center fader is not displayed if the center channel is muted. Click the center channel icon to unmute the channel.
Panning controls can adjust automation (dynamic) settings, or they can function as trim (nonautomated) controls. If your automation is not behaving as expected, you may have applied a trim value that is offsetting your automation settings. When the surround panner is set to adjust trim levels, it is displayed as a automation levels, it is displayed as a . . When it is set to adjust Adjusting panning trim levels 1. Deselect the Automation Settings button 2.
Notes: n Use bus tracks to add panning keyframes to busses. From the View menu, choose Show Bus Tracks to display bus tracks at the bottom of the track view. For more information, see "Audio Bus Tracks" on page 246. n Center-channel gain cannot be automated. n Muting and soloing channels cannot be automated. 1. Select the track (or bus track) you want to pan. 2. Select the Automation Settings button in the track or bus. 3.
n n n Double-click the pan point to reset it to the front-center listening position. Double-click in the Surround Panner window to move the pan point to the point you click. To constrain the motion of the pan point, click the button to toggle through Move freely , Move left/right only and Move front/back only modes. You can also use the surround panner in the track header to pan your track. Keyboard and mouse shortcuts can help you position the pan point quickly and accurately.
3. Adjust the Smoothness slider as necessary to adjust the curve between keyframes. You can also edit a keyframe by selecting the keyframe and dragging the pan point in the track or bus surround panner. Adding keyframes Double-click in the keyframe bar to add a keyframe to the timeline. The new keyframe will use the same settings and interpolation curve as the previous keyframe. Deleting keyframes Right-click a keyframe and choose Delete from the shortcut menu.
Routing audio to the low-frequency effects (LFE) channel Perform either of the following actions to send audio to the low-frequency effects (LFE) channel: n n Click the button in the Surround Panner window to switch to LFE mode. Right-click the surround panner Only from the shortcut menu.
Audio panning modes When you pan stereo audio tracks, 5.1 surround tracks, or busses, you can right-click the fader handle (or surround panner) and choose a pan type to change the panning model. If you want to set the default pan type for new tracks, set a track's pan type, and then use the Set Default Track Properties dialog to set that track's pan type as the default. For more information, see "Setting Default Track Properties" on page 252.
Mode Description Balance (0 dB center) In a stereo project, this mode can help you adjust the relative signal levels of the channels in stereo source material. As you pan from the center to either side, the opposite channel begins at the specified center value (0 dB -3 dB, or -6 dB), and decays to -infinity. The signal in the side you are panning toward progresses from the specified center value (0 dB -3 dB, or -6 dB) to 0 dB.
Mode Description from begins at the specified center value and decays to -infinity. Constant Power This mode is most useful for panning monaural source material. In this mode, sound will maintain its volume when you pan across channels. If you pan a stereo file 100% R, only the right channel of your media file is played, and this channel is sent to both output channels.
Mode Description Film This mode allows you to pan between pairs of adjacent speakers in 5.1 surround projects using a constant power model. This mode is optimized for theater-style speaker placement. In stereo projects, Film mode functions identically to Constant Power. As you drag the pan point to the center speaker, the sound becomes diffused through the front and rear speakers. When the track is panned fully to the center speaker, there is no output from the front and rear speakers.
Tips: n n When you render a 5.1 surround project to AIFF (.aif), Perfect Clarity Audio (.pca), Wave64 (.w64), or Wave (.wav) formats, you can save each of the surround master busses to a separate file by choosing the multiple mono setting from the Template drop-down list. For example, if you'd typed My Film.wav in the File name box, the following files would be rendered: My Film Right.wav, My Film Right Surround.wav, My Film LFE.wav, My Film Left.wav, My Film Left Surround.wav, and My Film Center.wav.
Exporting a Vegas Pro project to DVD Architect Pro You can avoid unnecessary transcoding or recompression by rendering your media files in the appropriate formats prior adding them to your DVD Architect Pro project. Render your audio and video separately using templates that match the required file formats for DVD or Blu-ray Disc. For more information, see "Rendering Projects for Use in DVD Architect Pro" on page 521 and "Media File Settings for Blu-ray Disc Projects" on page 523.
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Chapter 23 Closed Captioning Vegas Pro software supports adding closed captions to video files and rendering those files as XDCAM HD and XDCAM HD422 MXF files. You can also add captions to video files and render as Windows Media Video for use in Windows Media Player. Adding Closed Captioning to Video Files Closed captions help make your video productions accessible to a wider audience.
When the captioning markers are read, Vegas Pro creates an .SCC file in the media file's folder using the same base name as the media file. The .SCC file is used when you use the media in the future so the application doesn't need to scan the media again. When you're finished editing your project, you can promote the embedded captioning markers to the timeline: 1. Select events with captions. 2. From the Tools menu, choose Scripting, and then choose Promote Media Closed Captioning.
Markers are aligned with the start of captioning for paint-on captions or with the display time for pop-up style captions. When the captioning markers are read, Vegas Pro creates an .SCC file in the media file's folder using the same base name as the media file. The .SCC file is used when you use the media in the future so the application doesn't need to scan the media again. When you're finished editing your project, you can promote the embedded captioning markers to the timeline: 1.
Printing closed captions to tape over HD SDI When you print to tape over HD SDI, closed captions are included as VANC data. For more information, see "Printing Video to Tape from the Timeline" on page 503. Importing closed captions from a closed captioning file If your media does not contain embedded captioning markers, you can import markers from an external file. The following file types are supported: n Scenarist Closed Caption (.SCC) If an .
4. From the Show drop-down list, choose Commands. Your captioning commands are now displayed in the Edit Details window. 5. In the timeline, position the cursor where you want to start inserting captions. 6. Select a row in the Edit Details list to select the first caption you want to insert. 7. Click the Play button to start playback. 8. When you're ready to insert your first caption, press Ctrl+K.
Item Description Comment Type closed caption control commands here. Commands must conform to standard caption markup, and command strings are case and space sensitive. For more information about captioning markup, please see "Captioning markup and examples" in this help topic. You can use your keyboard to create standard text and punctuation.
—or— {RU4}{CR}{R13In00Wh}{TabOff1}First Row{R14In00Wh}{TabOff1}Second Row{R15In00Wh}{TabOff1} Third Row Paint-On Caption A paint-on caption appears on screen one letter at a time and displayed like a pop-on caption. Paint-in captions are most often used at the beginning of a program. {RDC}{R14In04Wh}{TabOff3}First Row{R15In04Wh}{TabOff3}Second Row Captioning Markup Caption Markup Description Usage Notes {RCL} Resume Caption Loading Starts a pop-on caption.
Caption Markup Description Usage Notes {RyyGrU} Row yy [00 to 15], Green Underlined {RyyBl} Row yy [00 to 15], Blue Text {RyyBlU} Row yy [00 to 15], Blue Underlined {RyyCy} Row yy [00 to 15], Cyan Text {RyyCyU} Row yy [00 to 15], Cyan Underlined {RyyRd} Row yy [00 to 15], Red Text {RyyRdU} Row yy [00 to 15], Red Underlined {RyyYl} Row yy [00 to 15], Yellow Text {RyyYlU} Row yy [00 to 15], Yellow Underlined {RyyMa} Row yy [00 to 15], Magenta Text {RyyMaU} Row yy [00 to 15], Magenta Un
Caption Markup Description {BlUTxt} Blue Underlined {CyTxt} Cyan Text {CyUTxt} Cyan Underlined {RdTxt} Red Text {RdUTxt} Red Underlined {YlTxt} Yellow Text {YlUTxt} Yellow Underlined {MaTxt} Magenta Text {MaUTxt} Magenta Underlined {ITxt} Italicized Text {IUTxt} Italicized Underlined {BgWh} Background White {BgWhSemi} Background Semitransparent White {BgGr} Background Green {BgGrSemi} Background Semitransparent Green {BgBl} Background Blue {BgBlSemi} Background Semitranspa
Caption Markup Description {BlkTxt} Black Text {BlkUTxt} Black Underlined {StdCharSet} Standard Character Set {DSzCharSet} Double Size Character Set {1PCharSet} First Private Character Set {2PCharSet} Second Private Character Set {CHNCharset} People’s Republic of China Character Set {KORCharSet} Korean Character Set {1RgCharSet} First Registered Character Set {TH} Time Holder Usage Notes You can use the character set commands to switch between character sets in your captions.
1. Create and edit your captions as described in this help topic. 2. From the Tools menu, choose Scripting, and then choose a command from the submenu: Item Description Export Closed Captioning for DVD Architect Creates a subtitle (.SUB) file that can be used by DVD Architect software. The .SUB file contains timecode values and text that will be used to create subtitle events in DVD Architect. Export Closed Captioning for QuickTime Creates a text (.TXT) and .SMIL file for each subtitle service.
a. Hold Shift and click in the Command column for the first caption you want to change. b. Hold Shift and click in the Command column for the last caption you want to change. All captions between the first- and last-selected rows are selected. 4. Right-click the Command column for any selected caption and choose Edit from the shortcut menu. 5. Type a new value in the box — in this case, you'd type 608CC3 — and press Enter. All selected captions are changed to 608CC3.
Entering captioning text from a script The previous method of entering captions is fine for small projects that contain relatively few captions, but what if you're working with a large project that requires many captions? No problem. You can easily create captioning markers from a spreadsheet or other tab-delimited format. 1. Create a list of each caption you want to insert: a. Create a four-column, tab-delimited spreadsheet. b. In the first column, enter 00:00:00:00 as a placeholder.
9. Click the Play button to start playback. 10. When you're ready to insert your first caption, press Ctrl+K. The first caption is inserted at the cursor position, the Position setting is updated, and the next caption is selected. 11. Press Ctrl+K to insert each subsequent caption. 12. Render your file in Windows Media format. For more information, see "Rendering Projects (Render As)" on page 515.
Chapter 24 Previewing Your Project Vegas Pro provides three options for previewing your project: you can play back in the Vegas Pro window, render a file to preview in a media player, or prerender selected video frames for playback within the Vegas Pro window. Loop Playback From the Options menu, choose Loop Playback to repeatedly play back a section of your project. 1. Drag the cursor to make a timeline selection (or hold down the Shift key and use the arrow keys to make the selection). 2.
Tips: n n If you want to emphasize frame rate during preview, right-click the Video Preview window and select Adjust Size and Quality for Optimal Playback. When the command is not selected, video quality is emphasized, and the frame rate will be reduced if necessary.
If you have not specified a device, the Preview Device tab will be displayed when you click the Preview on External Monitor button. Video is sent to the external monitor and the Video Preview window at the same time. If you experience dropped frames, try clearing the Display frames in Video Preview window during playback check box on the Preview Device tab of the Preferences dialog. For more information, see "Using an External Video Monitor" on page 474 and "Preferences - Preview Device Tab" on page 585.
If you want the preview to fill the Video Preview window, right-click the display and choose Scale to Fit Preview Window from the shortcut menu. Tips: n n If you want to emphasize frame rate during preview, right-click the Video Preview window and select Adjust Size and Quality for Optimal Playback. When the command is not selected, video quality is emphasized, and the frame rate will be reduced if necessary. Try setting the preview quality to Preview > Full and enabling Scale to Fit Preview Window.
Preview Mode Description Grid Choose Grid to display vertical and horizontal lines over your video. You can use the grid to help you align objects. Set the grid spacing using the Horizontal grid divisions and Vertical grid divisions settings on the Video tab in the Preferences dialog. Safe Areas The Video Preview window displays the entire video frame, although most television monitors will not display all of this data.
When multicamera editing mode is active, video envelopes, effects, and motion are bypassed in the Video Preview window to preserve your playback frame rate. Copy the current frame to the clipboard Click the Copy Snapshot to Clipboard button to copy the current frame to the clipboard. You can change the size of the image using the Preview Quality button: choose Auto or Full to capture the frame at its full resolution, or choose Half or Quarter to capture a smaller image.
Command Description Preview Displays the frame size, color bit depth, and frame rate that will be used for previewing. Right-click the Video Preview window and select Display at Project Size if you want to preview only using the project settings. Frame Displays the number of the current frame. Display Displays the current frame size, color bit depth, and frame rate of your preview.
Button Description Previous Frame Moves the cursor one frame to the left. Click and hold the Previous Frame and Next Frame buttons to move the cursor multiple frames. Next Frame Moves the cursor one frame to the right. Split-Screen Previews Click the Split-Screen View button in the Video Preview window to turn split-screen previews on or off.
Double-click in the Video Preview window to select the full window, or drag again to replace the existing selection. Showing the video at the cursor position and the contents of the clipboard 1. Position the cursor on the timeline and click the Copy Snapshot button window to copy a frame to the clipboard. in the Video Preview 2. Position the cursor at another point on the timeline. 3. Click the down arrow next to the Split-Screen View button menu. 4.
Setting up your cache 1. From the Options menu, choose Preferences and select the Video tab. 2. Enter a value in the Dynamic RAM preview (max) box to set the amount of RAM that you want to dedicate to video previews. The maximum size of the RAM cache is displayed to the right of the control. You must leave at least 64 megabytes available for Vegas Pro (more if you are creating complex projects). If you reserve excessive amounts of RAM for your RAM cache, performance may decrease. 3. Click OK.
Notes: n n Vegas Pro allows you to use one external video device at a time. The external monitor display will be unavailable during video capture. When using an external video monitor, you need to enable external-monitor preview each time you start Vegas Pro. This change was made to prevent the possibility of hiding the main Vegas Pro window behind the secondary display when monitors are improperly configured.
External Monitor via IEEE-1394 You can send video directly from the timeline to a television monitor. With this feature, you can make your final editing decisions on a broadcast monitor (which differs significantly from a computer monitor) before printing the project to tape. IEEE-1394/FireWire external monitor requirements: n OHCI-compliant IEEE-1394 DV card. n DV camcorder or DV-to-analog converter. Notes: n n Vegas Pro allows you to use one external video device at a time.
Previewing audio External monitor previewing differs in one respect from printing to tape from the timeline: no audio is sent through the IEEE-1394 card. As shown in the illustration in the previous heading, audio is sent to the sound card and then on to the mixer (if present) and speakers so you can mix your audio on better speakers than are typically found in television monitors. Before printing to tape, you may wish to preview the audio through the television monitor speakers to ensure a good "TV mix.
2. Select the Preview on External Monitor button in the Video Preview window. You can turn off external preview by pressing Alt+Shift+4. Video is sent to the external monitor and the Video Preview window at the same time. If you experience dropped frames, try clearing the Display frames in Video Preview window during playback check box on the Preview Device tab in the Preferences dialog.
n You'll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your project properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DVcheck box on the General tab of the Preferences dialog. Use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template if you intend to use the file on the Vegas Pro timeline.
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Chapter 25 Monitoring Video with Scopes From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. Broadcast video uses a narrower range of color than the RGB you see on your computer. When you broadcast a project that contains out-of-gamut (out-of-range) colors, you can introduce image problems or even noise into the audio stream.
4. The vectorscope monitor displays the chroma values of the video signal: Frame Vectorscope Description Colors are within legal broadcast limits. Note that the dots for each color in the test pattern are centered in the appropriate target. The image has too much blue. Note that the display is distributed toward the blue portion of the vectorscope. The red in the boat cover is out of range. Note that the display extends beyond the red target. 5.
4. The waveform monitor displays the luma values of the video signal: Frame Waveform Description The dark left half of the frame is displayed on the left of the waveform, and the light right half is displayed on the right. Most luma values are concentrated toward the top of the monitor, with some values exceeding the recommended peak of 110. The resulting image appears washed out. Most luma values are concentrated toward the bottom of the monitor. The resulting image appears too dark.
1. From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. 2. Choose Histogram from the drop-down list. 3. Choose a histogram type from the menu: Histogram Description Luminance Charts the luminance or brightness of colors in your video. Red Charts the red tones in your video. Green Charts the green tones in your video. Blue Charts the blue tones in your video. Alpha Charts the alpha channel (transparency) in your video.
5. Use the histogram to evaluate the colors in your video. The Mean value Indicates the average intensity of all pixels in the graph, and the Standard Deviation value indicates the average percentage by which pixels in the graph vary from the Mean value. Histogram Description Underexposed — pixels are concentrated on the left side of the graph, and the resulting image will appear unnaturally dark. Banded — there are sharp changes between the shades of the selected color.
Histogram Description Balanced — the graph is fairly well centered within the range of the selected color, with few sharp transitions between shades. The RGB Parade Monitor The RGB parade monitor in the Video Scopes window displays waveforms for the red, green, and blue components of your video signal. The monitor plots RGB values from 0-255. The parade monitor helps you determine whether the individual RGB components of your video signal are within limits and whether the total video signal is clipping.
Video Scope Settings Click the Settings button in the Video Scopes window to set your display options. These options adjust the display of data in the Video Scopes window and have no effect on your data. Toggle 7.5 IRE setup If your video hardware will add a 7.5 IRE setup, you can configure the Video Scopes window so the display will be consistent with an external scope connected to a device that adds 7.5 IRE setup. NTSC video in the United States adds 7.5 IRE setup to convert black to 7.5 IRE.
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Chapter 26 Timecode Synchronization Vegas Pro can generate MIDI timecode and MIDI clock or be triggered from MIDI timecode. These features allow you to synchronize your Vegas Pro project with other audio applications and external audio hardware. Generate MIDI Timecode From the Options menu, choose Timecode, and choose Generate MIDI Timecode from the submenu if you want to generate MIDI timecode (MTC) when you click Play .
Generate MIDI Clock From the Options menu, choose Timecode, and choose Generate MIDI Clock from the submenu if you want to generate MIDI clock when you click Play . MIDI clock differs from MIDI timecode in that it contains tempo as well as positional information. MIDI clock is essentially measured in ticks from the beginning of the project. MIDI clock sends 24 ticks per quarter note, and the tick length is dependent on the Measures and Beats settings on the Ruler tab of the Project Properties dialog.
Triggering playback from MIDI timecode 1. Connect a word clock signal between your computer and triggering device to lock synchronization. 2. Configure your trigger device to send MIDI timecode (MTC) to your computer. 3. Configure Vegas Pro to receive MTC: a. From the Options menu, choose Preferences and select the Sync tab. b. From the Input device drop-down list, choose the port from which you will receive MTC. c.
This display will also show status and error information. If Trigger from MIDI Timecodeis enabled but no MTC is detected, the display will show Listening... If the wrong frame rate of MTC is being detected the display will show Wrong format.
Chapter 27 Burning Discs You can create several types of discs to archive and distribute your project: n n Track-at-once (TAO) CDs can be burned in multiple sessions over a period of time. Before you can use a TAO disc in an audio CD player, however, you must close the session. TAO CDs are convenient for sharing your projects and testing your mix, but are generally not acceptable as masters for duplication. Disc-at-once (DAO or Red Book) CDs are burned in a single session.
2. Choose a setting from the Action drop-down list: Item Description Burn audio Begins recording audio to your CD when you click the Start button. You will need to close the disc before it can be played in an audio CD player. Test, then burn audio Performs a test to determine whether your files can be written to the CD recorder without encountering buffer underruns. Recording begins after the test if it is successful.
Right-click the ruler and choose Audio CD Time from the shortcut menu to help you arrange your project. The ruler will display hh:mm:ss:ff (hours:minutes:seconds:frames), and the Time Display window will display tt+mm:ss:ff (track number +/- minutes:seconds:frames). Audio CD time uses a frame rate of 75 fps. If your first track region begins before 00:00:02:00, a timeline offset is automatically added so the first track begins at exactly two seconds.
3. On the timeline, select the length of the track and choose Audio CD Track Regionfrom the Insert menu (or press N) to add track regions. A Red Book CD can contain up to 99 tracks. CD track numbering is based on the First track number on disc setting on the Audio CD tab in the Project Properties dialog. For more information, see "Setting Project Properties" on page 53. Double-click a region tag to select the duration of the track. 4.
Most CD recorders require that the space before Track 1 be exactly two seconds, which eliminates the possibility of hiding tracks at the beginning of a CD. Check your CD recorder's documentation for specific information about your drive. Adding a bonus track at the end of a CD You can hide a track at the end of a CD by adding silence at the end of the last track and adding the new track after the silence. Drag the final region tag to the new end of the CD.
Item Description End Displays the timeline position of the end of the track. Length Displays the length of the track (including the two-second pause between tracks). Name Enter a name that will be used to identify the track in the timeline. Prot Select the check box to add a flag to the Q subcode to prevent digital copying of your CD. In order to use copy protection, the CD player must support the copyprotection flag. Emph Select the check box to add a pre-emphasis flag to the Q subcode.
burn. 1. From the Tools menu, choose Burn Disc, and choose Disc-at-Once Audio CD from the submenu. The Burn Disc-at-Once Audio CD dialog is displayed. 2. From the Drive drop-down list, choose the CD drive that you want to use to burn your CD. 3. From the Speed drop-down list, choose the speed at which you want to burn. Max will use your drive's fastest possible speed; decrease the setting to prevent the possibility of buffer underruns. 4.
Stereoscopic 3D projects will be burned to a Blu-ray 3D™ Disc. For more information about working with stereoscopic 3D projects, see "Stereoscopic 3D editing" on page 201. Vegas Pro burns Blu-ray BDMV format to BD-R and BD-RE recordable media. Tips: n n n n A 25 GB single-layer BD recordable disc can store approximately 3 hours, 42 minutes of AVC video (15 Mbps) or 2 hours, 15 minutes of MPEG-2 video (25 Mbps).
5. Choose a setting from the Audio template drop-down list to specify the parameters that should be used for rendering your audio stream. AC-3 audio for Blu-ray Disc uses Dolby Digital 2.0- or 5.1-channel encoding at 192 Kbps or 448 Kbps respectively. Wave64 (PCM) audio for Blu-ray Disc can use any of the following formats: n 48 kHz, 16 or 24-bit, stereo or 5.1 surround (available only for 5.1 surround projects) n 96 kHz, 16 or 24-bit, stereo or 5.1 surround (available only for 5.1 surround projects) 6.
Burning a DVD from the Timeline From the Tools menu, choose Burn Disc, and then choose DVD from the submenu to render your project and burn it to a DVD. The rendered project can be played in a DVD player or on any computer with a DVD drive. 1. From the Tools menu, choose Burn Disc, and then choose DVD from the submenu to display the Burn DVD dialog. 2. Choose a setting from the Video format drop-down list to specify the parameters that should be used for rendering your video stream.
Chapter 28 Printing Video to Tape Vegas Pro provides two methods for printing your final movie to tape: you can print to tape directly from the Vegas Pro timeline, or you can use Sony Video capture to print an existing rendered file to DV tape. Printing Video to Tape from the Timeline From the Tools menu, choose Print Video to Tape to print your project to a camera or deck. Important: n n n Prerendered files can require significant drive space.
You'll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your project properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog. Use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template if you intend to bring the file back into the timeline as source material. For more information, see "Preferences - General Tab" on page 576.
d. Select the Prerender audio to proxy file check box if you want to prerender the audio portion of your project before printing to tape. The Prerendered files folder box displays the path to the folder where prerendered files are saved. Video files are saved to this folder so that you don't need to rerender the project every time you view it. If you want to change the location of the folder, click the Browse button and choose a new location.
Setting Description Auto Edit Select this radio button if your deck supports Auto Edit/Insert Edit mode. When using Auto Edit mode, use a striped tape to ensure continuous timecode over the portion of the tape where you plan to record. a. Select the Preview only check box if you want to preview your print-to-tape operation without engaging the deck's record head. Use Preview only mode to double-check and adjust your Start printing at timecode setting as needed. b.
Printing to a tape deck connected to an SDI card 1. If you want to print only a portion of your project, create a time selection that includes the section of your project. 2. From the Tools menu, choose Print Video to Tape. The Device Setup dialog is displayed. 3. Use the Device Setup dialog to configure your camera or deck: a. From the Device type drop-down list, choose AJA Video Device or Blackmagic Design DeckLink. b.
h. Choose a setting from the Genlock drop-down list if you want to synchronize your video output with a reference signal (AJA SDI cards only). Setting Description Video In Synchronizes to the SDI input when SDI is selected in the Output drop-down list or synchronizes to the HDMI output when HDMI is selected in the Output drop-down list. Ref In Synchronizes to an external reference input signal. Free Run Ignores all input signals and uses internal timing. i. Click the Next button.
5. Use the Leader and Trailer dialog to set up the data that will be printed before and after your project: a. Select the Add test pattern leader check box if you want to print a test pattern before your video. b. From the Test pattern style drop-down list, choose a test pattern type and video format. c. Type a value in the Duration box to determine the length of the test pattern. d. Select the Play 1 kHz tone with test pattern check box to add an audio test tone that will play along with the test pattern.
6. Use the Device Control dialog to indicate whether Vegas Pro will have control of your deck: Setting Description Manual Select this radio button if the application is unable to obtain device control of your deck. You will need to cue the tape and press the Record button on your deck before recording. Crash Recording Select this radio button if the application can perform basic device control of your deck. You will need to cue the tape to the location where you want to begin printing.
7. Click Finish. If you have not already prerendered, portions of your project that cannot be rendered and printed to tape in real time will be selectively prerendered. For more information, see "Selectively Prerender Video" on page 478. n n n If you're using Manual mode, a dialog will be displayed after rendering is finished. You can enter a delay time in the Delay box and select the Beep check box if you want to count down before sending video to your deck.
e. Select the Delete file after print check box if you want to delete the rendered file after the print-to-tape operation is finished. f. Select the Use project output rotation setting check box if you're rendering a rotated project and want to use the Output rotation setting from the Project Properties dialog for your rendered file.
1. Load your HDV project. 2. If you want to print only a portion of your project, create a time selection that includes the section of your project. 3. From the Tools menu, choose Print Video to HDV Tape. The HDV Print to Tape - Device page is displayed. 4. Choose your HDV camera or deck from the Device drop-down list. 5. Click Next. The HDV Print to Tape - Select Format/File page is displayed. 6. Choose the file you want to print: a. Select the Use an existing file radio button. b.
CHAPTER 28
Chapter 29 Rendering Projects (Render As) When you're finished editing your project—or when you want to see it in its final form—you can choose Render As from the File menuto convert your project to another format and create a single file on your hard drive. 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.
1. From the File menu, choose Render As to display the Render As dialog. 2. Use the Output File controls to choose where you want to save your file: a. The Folder box displays the path to the folder where your file will be saved. Click the down arrow to choose a recently used folder, or click the Browse button to specify a new folder. b. Type a name in the Name box, or click the Browse button and select a file in the browse window to replace an existing file. 3.
4. If you're rendering to .wav, .w64, .avi, or .mxf format, you can select the Enable multichannel mapping check box to render a file with multiple audio channels. For more information, see "Rendering Multichannel Audio Files" on page 518. 5. Select or clear the check boxes in the Render Options section as needed: a. Select the Render loop region only check box if you want to save only the portion of the project that is contained within the loop region.
7. Click the Render button. A dialog is displayed to show rendering progress. Render progress is displayed in the Windows taskbar. If the render time is greater than a minute, a sound is played when rendering is complete. To change the sound, go Control Panel in Windows and click Sound. Click the Sounds tab and expand the Vegas Pro 12.0 entry. When you select the Render Complete event, you can preview the current sound, assign a new sound, or turn off the Render Complete sound. 8.
WMV/WMA, AC-3, and ATRAC support multichannel surround formats; channel mapping is not supported. 1. Create your project. 2. In the Mixing Console window, add a bus for each channel (or channel pair) you want to include in your rendered file. For example, if you wanted to create a six-channel .wav file, you could set up your project with three or six busses. If you use three busses, the left and right channels of each bus will be saved to a separate channel.
If you choose a template that specifies fewer channels than you have set up in the Channel Mapping dialog, the setting from the template will be used. Additional mapped channels will be ignored. 9. Select or clear the check boxes in the Render Options section as needed: a. Select the Render loop region only check box if you want to save only the portion of the project that is contained within the loop region. Loop Playback does not need to be selected for this option to work. b.
Rendering MPEG Files Use the MainConcept plug-in to render MPEG files. The plug-in includes templates that will work well for most of your encoding needs, and you can create custom templates if you have special encoding requirements. Notes: n n Vegas Pro does not create Video CDs, but you can use the MPEG plug-in to render files for your VCD-creation application. Consult the application's documentation to determine the file requirements before rendering.
The Sony Creative Software Inc. AC-3 and MainConcept MPEG-2 encoders provide templates that will produce files that do not require recompression (unless the file size is too large to fit on a DVD). AC-3 audio (.ac3) Sample Rate Bit Rate Channels 48,000 Hz 192 Kbps Stereo (64 Kbps to 640 Kbps is supported) 48,000 Hz 448 Kbps 5.1 surround (64 Kbps to 640 Kbps is supported) PCM audio (.wav or .
Frame Size Frame Rate (fps) Aspect Ratio Maximum Group of Pictures Max. Bit Rate 720x480 16:9 29.97 or 23.976 + 2-3 pulldown 36 9.8 Mbps The MainConcept MPEG-2 encoder in Vegas Pro renders with the Low Delay flag turned off. If you’re rendering with a different encoder, ensure Low Delay is turned off. PAL MPEG video (.m2p, .mp2, .mpg, .mpeg, .
AC-3 audio (.ac3) Sample Rate Bit Rate Channels 48,000 Hz 192 Kbps (64 Kbps to 640 Kbps is supported) Stereo 48,000 Hz 192 Kbps (64 Kbps to 640 Kbps is supported) 5.1 surround PCM audio (.wav or .w64) Sample Rate Bit Depth Channels Compression 48,000 Hz 16 or 24 bit Stereo Uncompressed 96,000 Hz 16 or 24 bit Stereo Uncompressed AVC video If you're using Vegas Pro software, you can use the AVCHD rendering templates to render a compliant video file including 5.1 surround AC-3 audio.
Frame Size Frame Rate (fps) Aspect Ratio Maximum Bit Rate 1920x1080 25 interlaced 16:9 40 Mbps 1920x1080 24.000 16:9 40 Mbps 1920x1080 23.976 16:9 40 Mbps MPEG-2 video If you're using Vegas Pro software, you can use the Blu-ray rendering templates to render your video stream. You'll need to render your audio stream separately according to the parameters listed in the AC-3 audio or PCM audio headings in this help topic. Aspect Ratio Maximum Group of Pictures Maximum Bit Rate 1920x1080 23.
Frame Size Frame Rate (fps) Aspect Ratio Maximum Group of Maximum Bit Rate Pictures 720x576 25 interlaced 16:9 25 40 Mbps 1280x720 59.940 16:9 60 40 Mbps 1280x720 50 16:9 50 40 Mbps 1280x720 24.000 16:9 24 40 Mbps 1280x720 23.976 16:9 24 40 Mbps 1440x1080 29.970 interlaced 16:9 30 40 Mbps 1440x1080 25 interlaced 16:9 25 40 Mbps 1440x1080 24.000 16:9 24 40 Mbps 1440x1080 23.976 16:9 24 40 Mbps 1920x1080 29.
4. Use the Custom Template dialog to set the template's properties. For information about specific controls in each file type's Custom Template dialog, click the help ? button. 5. Click the Save Template button . 6. Click OK to return to the Save As or Render As dialog. Deleting a template 1. Use the Render As dialog to specify a location and name for the file you want to save. 2. Select a template in the Output Format box and click the Customize Template button to open the Custom Template dialog. 3.
Project tab Some file formats include a Project tab in the Custom Template dialog. Item Description Video rendering quality Choose a rendering quality if you want to override the Full-resolution rendering quality setting in the Project Properties dialog. Stereoscopic 3D mode Choose the stereoscopic 3D mode you want to use for the template. For more information, see "Rendering a stereoscopic 3D project" on page 212.
Chapter 30 Using Hardware Controllers Vegas Pro supports several types of hardware devices you can use to adjust controls in the user interface, from a full-featured, professional control surface to a simple gaming joystick. A hardware controller lends a tactile element to your editing sessions, providing a hands-on feel that your mouse just can't duplicate.
b. In the Make these devices available for MIDI output box, select the check box for the MIDI port that is connected to your control surface's In port. c. In the Make these devices available for MIDI input box, select the check box for the MIDI port that is connected to your control surface's Out port. d. Click Apply. 3. Choose your control surface: a. Select the External Control & Automation tab in the Preferences dialog.
3. Click the Automation Settings button for each track you want to edit with the control surface and choose Automation Write (Touch) or Automation Write (Latch) to enable automation recording. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270. To enable automation recording for audio busses or the main video output, use audio bus tracks or the video bus track. For more information, see "Audio Bus Tracks" on page 246 and "Video Bus Track" on page 248. 4.
3. Double-click your Mackie Control in the Active control devices list to display the Configure Mackie Control dialog. The current channel mapping is displayed on each device's LCD. 4. Choose the channels you want to control with the Mackie Control Universal: a. From the Device Type drop-down list, choose Mackie Control. b. From the Channel Mapping drop-down list, choose the channels you want to adjust with the Mackie Control Universal. 5.
Channel section (not shown) The channel section includes V-Pots (knobs), buttons, and faders that you can use to edit your tracks and busses. Area Description V-Pot Adjusts values for panning, volume (when Flip button is selected), video track opacity (when Flip button is selected), video track fadeto-color, and effect parameter values. n Adjusts track volume when the Pan or Sends button is selected and the Flip button is selected. n Adjusts audio track panning when the Pan button is selected.
Area Description Fader Adjusts the track or bus level (unless the Flip button is selected). When the Automation button is selected, the fader adjusts the automation envelope if the track is in Automation Write (Touch) or Automation Write (Latch) mode. The fader can also adjust settings for the following items when you select other buttons in the Channel section. n n n n n Adjusts audio track panning when the Pan and Flip buttons are selected.
Control buttons The buttons in the Control section determine the operation of the V-Pots and faders in the channel section of your Mackie Control. In every mode, the fader adjusts track volume, and the V-Pot adjusts the selected control mode. You can press the Flip button to reverse the V-Pot and fader function. Button Description Output / Compositing Press the Output button to set the output device for each track or bus.
Button Description Inserts Press to adjust effects settings. Press the button once to display PL in the Mackie Control Assignment display. The Mackie Control LCD displays the effects that are assigned to each track or bus. The following example shows a threetrack project: Turn the V-Pot to scroll through the effects, and press the V-Pot to edit the current effect. In editing mode, PE is displayed in the Assignment display.
Button Description displayed with a *. Press the next V-Pot (to the right) to add the effect. Settings Press to adjust track or bus settings using the F1 through F6 buttons. n n n n n F1: Hold the button and turn the V-Pot to change the automation recording mode for each track and bus track. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270. F2: Hold the button and turn the V-Pot to change the current panning mode.
Button Description Channel Press the left or right arrow button to scroll the channels 1 unit at a time. For example, if tracks 1-8 are currently displayed, pressing the right arrow will change to tracks 2-9. Hold the Option button while pressing either Channel button to change track order. For example, if track two is selected and you press Option+ < Channel, track two becomes track one. Conversely, if track one is selected and you press Option + Channel >, track one becomes track two.
Markers buttons The Markers buttons control additional track and channel settings. Button Description Marker 1/9 Automation Mode Press to place the cursor at marker 1, or hold Shift and press to place the cursor at marker 9. When the Settings button is selected, hold the button and turn the VPot to change the automation recording mode for each track and bus track. For more information, see "Recording Track Envelope and Keyframe Automation" on page 270.
Button Description Marker 7/15 Press to place the cursor at marker 7, or hold Shift and press to place the cursor at marker 15. Marker 8/16 Press to place the cursor at marker 8, or hold Shift and press to place the cursor at marker 16. Add New buttons The Add New buttons add busses or tracks to your project. Button Description Track Press to add a new audio track. When the Video button is selected, a new video track is added. Bus Press to add an audio bus to your project.
Modifiers buttons The Modifiers buttons extend the functionality of other buttons on the Mackie Control. Button Description Shift Hold the Shift button while pressing a button labeled with inverse text to perform the shift function. For example, hold Shift while pressing the Undo/Redo button to reverse an undo action. Option/ Track Order Hold the Option/Track Order button while pressing a button in the Settings, Add New, or Windows group for alternative functions.
Button Description Ctrl Hold the Ctrl button while using a control for alternative functions. Alt Hold the Alt button while using a control for alternative functions. Hold Alt while pressing F1 through F10 to run scripts 1-10 from the Tools > Scripting submenu. Audio/Video buttons The Audio/Video buttons control various audio and video settings for your project. Button Description Automation Press to place the controls on the Mackie Control in automation mode.
Button Description Save Press to save your project. Undo/ Redo Press to reverse edit operations. Hold Shift while pressing the button to reverse an undo operation. OK Not used. Cancel Not used. Timeline buttons The Timeline buttons perform various commands for the project timeline. Button Description Marker/ CD Index Press to place a marker at the cursor position. Hold the Shift button while pressing the Marker/CD Index button to place a CD index marker at the cursor position.
Button Description Event Trim/ Center Cursor Press to toggle event edge-trimming mode. Press the right or left arrow button to select the next or previous event edge, and then turn the jog dial to trim the event edge. Hold the Shift button while pressing the Event Trim/Center Cursor button to center the cursor in the timeline view. For more information, see "Adjusting an Event's Length" on page 158. RTZ/ End Press to move the cursor to the beginning of the project.
Button Description Left/Right When the Zoom button is not selected:, n n n n n Press the left or right arrow button to move left or right by grid marks. When the Event Trim button is selected, pressing the left or right arrow button selects the previous or next event edge. You can then use the jog dial to trim the event edge. Hold Shift while pressing the left or right arrow button to select left or right by grid marks.
Navigating the timeline When playback is paused and the Scrub button is not selected, the jog dial performs the following functions: n n n When the Zoom button is not selected, turn the dial clockwise or counterclockwise to navigate the timeline by frames. When the Zoom button is selected, turn the dial clockwise or counterclockwise to navigate the timeline by pixels. Hold the Shift button and turn the dial to create a time selection or extend a selection.
Control Function Shift Function Track Focus to previous track or mixer control. Insert audio track. Track Focus to next track or mixer control. Rec Arm track for record. Mute Mute track. Solo Solo track. Undo Undo. In Set loop start. Out Set loop end. Punch Toggle metronome. Loop Toggle looped playback. Redo. Toggle jog wheel control of volume, panning, input, or output device for tracks or Mixer controls. 1. Press Track adjust. or Track to select the track you want to 2.
Adjust track or bus volume 1. Press Track or Track to select the track or mixer control you want to adjust. 2. Press Shift+Loop until the TranzPort displays volume. 3. Hold Shift while rotating the jog wheel to adjust the volume of the selected track or mixer control. Adjust track or bus panning 1. Press Track or Track to select the track or mixer control you want to adjust. 2. Press Shift+Loop until the TranzPort displays panning. Not all mixer controls allow panning adjustment. 3.
Control Function Shift Function Fader Adjusts volume for the active channel. Pan Adjusts panning for the active channel. Mute Mutes the active channel. Solo Solos the active channel. Rec Arm the active track for recording. Channel Scroll to previous track or Mixing Console channel strip. Scrolls by 8 channels when Bank is selected. Bank Toggles scroll channel/bank mode. Channel Scroll to next track or Mixing Console channel strip. Scrolls by 8 channels when Bank is selected.
Adjusting track or bus volume 1. Press Channel or Channel to select the track or Mixing Console channel strip you want to adjust. 2. Move the fader to adjust the volume of the selected track or channel strip. If you want to use the FaderPort knob to adjust channel volume, select the Proj button. Adjusting track or bus panning 1. Press Channel or Channel to select the track or Mixing Console channel strip you want to adjust. 2.
A generic control surface can control either trim or automation settings. In order to control automation settings, you must assign a button to place the control surface in automation mode, and the Automation Settings button on the track or bus you want to edit must be set to Automation Write (Touch) or Automation Write (Latch). Customizing your control mappings Use the External Control & Automation tab in the Preferences dialog to select the control surfaces you want to use and adjust their configuration.
3. Double-click the Generic Control entry in the Active control devices list to display the Configure Generic Control dialog. 4. Click the Open button and browse to the mapping file you want to use. 5. Click OK to apply your changes and return to the Preferences dialog. 6. Click OK to close the Preferences dialog. Configuring a Generic Control Surface If you have a MIDI controller that includes buttons and knobs or faders, you can use the device as an external control surface.
7. Now, let's assign buttons to shift the channel banks up and down so you can control all the tracks in your project. For example, when you start using the controller, the knobs will adjust tracks 1-8. When you shift the banks down, you can control tracks 9-16, and so on. a. From the View function group drop-down list, choose Channels. b. Select the Learn check box. c. Select Channel Bank Down from the Host Command list. d. Press the button or key you want to use to switch to the next group of 8 tracks. e.
12. From the Options menu, choose External Control to enable your controller. You're ready to start using your controller. n n Turn each knob on your controller and notice that turning knob 1 adjusts the volume (trim) of track 1, turning knob 2 adjusts the volume of track 2, and so on. Press the button that you assigned to scroll the channel bank down in step 7.
Control Function Button 2 Reset control to default for faders that take focus or Color Corrector color wheels. Centers track panning for stereo projects. Open/close Surround Panner window. Button 3 Move to previous panning keyframe, Mixer control, or Color Corrector color wheel. Button 4 Move to next panning keyframe, Mixer control, or Color Corrector color wheel. Button 5 Hold button and adjust throttle control to adjust Volume fader in track list.
Control Function Button 7 Hold button and adjust throttle control to adjust Volume fader in track list. Hold button and adjust throttle control to adjust bus Volume or assignable effect Output fader in the Mixing Console. Hold button and adjust throttle control to adjust Center fader in the Surround Panner window. Throttle control 556 Combine with button 7 to adjust the selected control.
Using the Gravis Eliminator Precision Pro joystick Control Function Trigger Enable joystick. Stick Move the control that has focus. Hat (POV) switch Move pan point to edges or corners of surround panner or Surround Panner window. Button 2 Change pan curve in Surround Panner window. Button 3 Move focus to previous track, Mixing Console channel strip, or Color Corrector color wheel. Button 4 Move focus to next track, Mixing Console channel strip, or Color Corrector color wheel.
For specific information about your multimedia controller, please refer to the manufacturer's documentation. Contour ShuttlePro default settings Default setup ShuttlePro .pref files are included with your Vegas Pro installation. You can use these files to configure the Contour ShuttlePro or ShuttlePro v2 for use with Vegas Pro. If you have version 2.5 or later of the Shuttle Pro driver, you can use the driver's Export Settings Info feature to create a graphical representation of your current settings.
Editing events with a ShuttlePro or ShuttleXpress You can use the second row of buttons and the jog dial to make the keyboard-based event edge-trimming method even better. 1. If you want downstream events to ripple as you trim, click the Auto Ripple button Auto Ripple mode. For more information, see "Post-Edit Ripple" on page 147. to turn on 2. Press the Deselect All button on the ShuttlePro to deselect all events. 3. Select a track and position the edit cursor over the event you want to edit. 4.
CHAPTER 30
Chapter 31 Using Scripting You can use scripting to streamline repetitive tasks, integrate with external applications, and implement customized features. From the Tools menu, choose Scripting and choose a command from the submenu. You can find the scripting API (application programming interface) and sample scripts in the Extras folder of the Vegas Pro application disc or on our Web site: http://www.sonycreativesoftware.com/download/step1.asp?CatID=15.
2. From the Tools menu, choose Scripting, and then choose Rescan Script Menu Folder to update the menu. Using Vegas Pro extensions Vegas Pro extensions are compiled scripts that are available under the Extensions submenu in the View, Edit, or Tools menus. These extensions are loaded when Vegas Pro starts and remain loaded as long as the program is running. Extensions can respond to changes in project data, control playback, and display a nonmodal interface.
1. Create a copy of the script (.vb or .js) file you want to edit, assigning a descriptive name to the copy. 2. Open the new copy of the script in your text editor. Edit the script as needed. The comments in the script will help you find the parameters you need to edit. Comments are indicated with double forward slashes: //. For example, the AddEffectToAllMedia.js script includes the following lines: // This is the full name of the effect plug-in you want to add.
Using Vegas Pro command-line options You can use the following commands to start Vegas Pro from the command line, open projects, start scripts, pass arguments to scripts, or start Vegas Pro extensions. NOLOGO Starts Vegas Pro without displaying the application splash screen. Example: Vegas120.exe /NOLOGO OPEN Starts Vegas Pro and opens the specified media file or project. Examples: Vegas120.exe /OPEN "E:\Video\Wildflowers 001.avi" —or— Vegas120.exe /OPEN "E:\Vegas_Projects\24p widescreen.
OPENPRJ Starts Vegas Pro and opens the project file referenced in the specified media file. Example: Vegas120.exe /OPEN "E:\Video\Wildflowers 001.avi" This command will have no effect if the specified media file was not rendered with an embedded project path reference. COLORS Starts Vegas Pro using the Vegas Pro color scheme or the Windows color scheme. When you use the command-line option, the Use Vegas Pro color scheme setting on the Display tab of the Preferences dialog is ignored.
CHAPTER 31
Chapter 32 Customizing the Vegas Pro Interface You can customize the Vegas Pro interface to suit your needs and working preferences. Customizing the Toolbar From the Options menu, choose Customize Toolbar to add, remove, and rearrange buttons on the toolbar. To return the toolbar to its original configuration, click the Reset button. Adding a button to the toolbar 1. From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog box appears. 2.
Editing or creating new shortcuts 1. Click a tab in the middle of the dialog to indicate the type of command you want to assign to a keyboard shortcut. 2. Select a command in the list. You can type a word in the Show commands containing box to filter the list of commands to display only commands that contain the word you typed. 3. Click the Shortcut keys box and press the key combination you want to assign to the selected command. 4.
Customizing ASIO Port Naming When you use an ASIO sound card, default names are displayed in Vegas Pro for each of the device's ports. If you have a simple setup, the default names probably work well enough for you. However, if you have a complex setup, customizing the port names can help you keep track of your routing with meaningful labels.
Item Description Name The name of the port as it will be displayed in Vegas Pro. Input pairs and outputs can be mono, multiple mono, or stereo. n n n Mono : A single-channel input or output. Stereo : A pair of two mono inputs or outputs. For example, you might connect the right and left outputs of a stereo device to a stereo input. Multi mono: A grouping of two monaural channels as a multichannel port.
Item Description Notes: n n n n n ASIO port names are not saved per project. In stereo pairs, odd-numbered ports represent the left channel; even-numbered ports represent the right channel. Stereo pairs must consist of sequential channels. You cannot make stereo pairs from arbitrary channels. If you want to restore a port's default name, delete the label in the Name column, and the Internal Name is restored. If you want to restore all port names, click the Reset Names button (or press Alt+N).
Format Description Measures and Beats Displays the ruler in measures.beats.ticks, where 64 ticks = 1 beat. To set the tempo and number of beats per measure, use the Ruler tab in the Project Properties dialog. For more information, see "Setting Project Properties" on page 53. Feet and Frames 16mm (40 fpf) Displays the ruler in feet+frames at a rate of 40 frames per foot. Feet and Frames 35mm (16 fpf) Displays the ruler in feet+frames at a rate of 16 frames per foot. SMPTE Film Sync IVTC (23.
Format Description SMPTE 30 (30 fps, Audio) Displays the ruler in hours:minutes:seconds:frames with a frame rate of 30 frames per second. This rate is exactly 30 fps and is commonly used when synchronizing audio applications such as multitrack recorders or MIDI sequencers. This format should not be used when working with video. Audio CD Time Displays the ruler in hours:minutes:seconds:frames with a frame rate of 75 frames per second for creating Red Book CDs.
Window layouts are saved in the C:\Users\user name\AppData\Roaming\Sony\Vegas Pro\12.0 folder. You can transfer layouts between computers by copying the .VegasWindowLayout files. Window layouts saved in Vegas Pro 12.0 cannot be loaded in previous versions of Vegas Pro. Saving a window layout 1. Arrange the windows and docked windows as desired. For more information, see "Window Docking Area and Floating Window Docks" on page 39.
Adding a layout to the View > Window Layouts submenu 1. From the View menu, choose Window Layouts, and then choose Organize Layouts from the submenu. The Organize Layouts dialog is displayed. 2. Select a layout in the Available layouts in current folder box. This box lists the .VegasWindowLayout files in the folder displayed in the Current layout folder box. If the layout you want to use is saved in a different folder, you can click the Browse button to choose a new folder. 3.
4. Click OK to close the Organize Layouts dialog and apply your changes. Preferences - General Tab From the Options menu, choose Preferences and select the General tab to specify miscellaneous options. Item Description Automatically open last When this check box is selected, last project you edited will be project on startup reopened if the project was still open when you exited Vegas Pro.
Item Description Save media-usage relationships in active media library When this check box is selected, the Media Manager will save information about media usage so you can perform searches for media relationships. You can search for projects that use a media file, projects where a media file was previewed, media that was rendered with a media file, and so on. If you want to remove media-usage relationship information from your library, click the Delete button in the Media Manager Options dialog.
Item Description Allow pulldown removal Select this check box if you want to remove pulldown when you open when opening 24p DV 24 fps progressive-scan DV video files. When the check box is cleared, 24p video is read as 29.97 fps interlaced video (60i). AAF Export - Use frame unit for audio Select this check box if you want to use frame units for audio tracks when you export your project as an AAF file. When the check box is cleared, audio will be exported as sample units.
Item Description Import stereo as dual mono When this check box is selected, two-channel audio files will be opened as separate mono audio events on separate tracks: The audio events are grouped, and tracks that are created by adding media will be panned hard left and hard right. You can select an event and choose Edit > Channels to choose which channel is used for that event.
Item Description Enable no-recompress long-GOP rendering Select this check box if you want to pass through unedited frames without recompression (smart render) for the following formats: n DV AVI n DV MXF n n n n IMX MXF (IMX 24p MXF is not supported for no-recompress rendering) HD MXF MPEG-2 (for files such as those from HDV and DVD camcorders) Panasonic P2 For more information, see "Working with P2 Video" on page 77. n XDCAM EX supports smart rendering across the following formats: o SP 18.
Item Description Keep bypassed FX running Select this check box if you want effects to remain open so you can bypass/enable effects with no pause for A/B testing. When the check box is cleared, effects are fully bypassed, conserving processing power. Automatically name regions and markers if not playing When this check box is selected, an edit box is displayed so you can name markers and regions as you place them.
Item Description Temporary files folder Displays the folder where temporary files are created. Click the Browse button to specify a new folder. When you add a media file from a removable device, a copy of the media file is stored in a subfolder within this folder. This keeps the media file available for use even if the source of the media is no longer accessible. Be aware that these subfolders are cleared when you close the Vegas Pro application.
Item Description GPU acceleration of video processing Many built-in video processing functions and video plug-ins in Vegas Pro support GPU acceleration. To enable GPU-accelerated video processing, choose a device from the GPU acceleration of video processing drop-down list. Choose Off to turn off this feature. Notes: n n Only compatible devices are displayed in this list.
Item Description Horizontal grid divisions Specifies the settings for the grid in the Video Preview window. The (#) grid is used to help you line up overlays, pan and scan, and video motion. Vertical grid divisions (#) Display at project size Displays the Video Preview window at the size specified on the Video tab of the Project Properties dialog.
Item Description Track fade top Determines the color of the fade-to-color envelope when the envelope is dragged toward the top of the track. Click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the button to switch between RGB and HSL color modes, or click the eyedropper to sample a color from your screen. For more information, see "Video Track Automation" on page 260.
2. From the Device drop-down list, choose AJA Video Device. The Details box displays information about the device. 3. Use the Conform output to the following format controls to adjust the video to display properly on your external monitor. a. Choose the desired format from the Conform output to the following format drop-down list. b. Select a radio button to indicate when you want to adjust the output to the selected format.
7. Choose a setting from the Genlock drop-down list if you want to synchronize your video output with a reference signal. Setting Description Video In Synchronizes to the SDI input. Ref In Synchronizes to an external reference input signal. Free Run Ignores all input signals and uses internal timing. 8. Select the Recompress edited frames check box if you want to recompress edited frames in your project before previewing.
b. Select a radio button to indicate when you want to adjust the output to the selected format. Setting Description Only when the project does not match any available format Select this radio button if you want to adjust the video only if the project settings do not match a standard format. For more information, see "Setting Project Properties" on page 53. Always Select this radio button if you want to adjust the video output to the selected format whenever you preview on the external monitor.
9. Choose a setting from the Stereoscopic 3D mode drop-down list if you're working with a stereoscopic 3D project and want to override the project settings for previewing your stereoscopic 3D project on an external monitor. For more information, see "Stereoscopic 3D editing" on page 201 and "Setting up stereoscopic 3D previews" on page 205. OHCI-compliant IEEE 1394/DV 1. From the Options menu, choose Preferences and then click the Preview Device tab. 2.
5. Select the Recompress edited frames check box if you want to recompress edited frames in your project before previewing. When the check box is cleared, edited frames will not be passed to your preview device. If you're previewing a project that consists of DV media with no compositing or transitions, the DV will be passed directly to your preview device. If, however you'd added a 6-frame crossfade, the crossfade would be passed to the preview device only if the check box is selected. 6.
5. Select the Apply deinterlace filter check box if you're previewing interlaced video on a noninterlaced display. This filter can reduce the artifacts you often see on the edges of moving areas. The Apply deinterlace filter check box will be unavailable if your video adapter does not support pixel shading. 6. If you want to adjust color reproduction for video previews, select the Adjust levels from studio RGB to computer RGB check box.
When setting up a Quadro video card, please refer to the GeForce 3D Vision Quick Start Guide that was included with your hardware for installation and setup information. For additional information, graphics card and emitter drivers, and for hardware requirements, please see http://www.nvidia.com/object/quadro_ pro_graphics_boards.html. 1. From the Options menu, choose Preferences and then click the Preview Device tab. 2. From the Device drop-down list, choose Windows Graphics Card.
10. Select the Display frames in Video Preview window during playback check box if you want to preview on the secondary monitor and in the Vegas Pro Video Preview window simultaneously. When the check box is cleared, video is sent only to the secondary monitor. 11. Select the Use project output rotation setting check box if you're rendering a rotated project and want to use the Output rotation setting from the Project Properties dialog for previewing your project.
Item Description Waveform display while recording Choose a setting from the drop-down list to specify how to display audio waveforms while recording: n n n Normalize peak level (dB) Don't show waveforms: No waveforms will be displayed on any tracks until the recording process has been completed. Show waveforms for a single track: Selecting this option will display waveforms only when a single track is armed. If you arm multiple tracks, waveforms will not show.
Item Description Track prefader sends listen to mute Select this check box if you want pre-volume sends from tracks to busses and assignable effects to respond to the track mute state. When the check box is cleared, the pre-volume sends are not affected by the mute state (in order to facilitate cue mixes). For example, assume you have a project with one track and Bus A that is routed to a hardware output.
Item Description If you select the Track prefader sends listen to mute check box and switch the track send back to pre volume, the track's outputs to the Master bus and Bus A are muted: Use legacy track send gain Select this check box if you want to configure audio track sends to behave as they did in Vegas Pro 7.0 and earlier.
Microsoft Sound Mapper or Windows Classic Wave Driver Item Description Audio devices This list contains all of the audio devices that are installed in your computer. Select a device from the list to set the options below for that device. Interpolate position When check box is selected, the application will attempt to compensate for inaccurate devices by interpolating the playback or recording position.
ASIO When an ASIO driver is selected, the Advanced Audio Configuration dialog displays information about the settings for the selected driver. Click the Configure button to open the driver manufacturer's configuration applet and adjust settings. The lower portion of the dialog lists the device name and the name for each of the selected ASIO device's ports. You can use these controls to customize input and output port names. For more information, see "Customizing ASIO Port Naming" on page 569.
Item Description Audio device type Choose a driver type from the drop-down list. n n n ASIO: Allows you to choose a specific low-latency ASIO device from the Default stereo and front playback device drop-down list. Direct Sound Surround Mapper: When you're working with a 5.1 surround project and a surround-capable sound card, this setting uses the default Windows audio device to send 5.1surround audio to your sound card.
Item Description Default rear playback device Choose the device that you want to use for playing the rear channels of a 5.1 surround project. Default center and LFE playback device Choose the device that you want to use for playing the center and low-frequency effect channels of a 5.1 surround project. Playback buffering (seconds) Drag the slider to adjust the amount of buffering that occurs before starting playback. The larger the number, the more buffering occurs during playback.
Preferences - MIDI Device Tab Use the MIDI tab to set options for using MIDI devices with Vegas Pro. To display this tab, choose Preferences from the Options menu, then click the MIDI tab. Item Description Make these devices available for MIDI output Select the check box for each MIDI device that you want to use as a MIDI output for a control surface. For more information, see "Using a Control Surface" on page 529.
Item Description Enable looping on events by default When this check box is selected, the Loop event switch will be enabled for new events. When this switch is enabled, events will repeat if you drag the end of an event past the end of the media file. Preserve pitch when stretching audio events When this check box is selected, the pitch of an audio event is preserved when you hold Ctrl and drag the end of the event to change its duration.
Item Description Quick fade length for audio events A rapid fade is applied to the edges of audio events to soften potentially harsh transitions that can result from cutting data or splitting events. Enter a value in the box to change the length of the fade. From the Options menu, choose Quickfade Audio Edits to turn quick fades on or off. When you turn off quick fades, the edges of new events are not faded (existing fades are not removed).
Item Description Cut-to-overlap conversion When you have two video events that are inserted back-to-back with no transition (referred to as a cut), you can convert the cut to a transition by dragging a transition from the Transitions window and dropping it between the events. You can also right-click the edge of either event, choose Transition from the shortcut menu, and choose a transition from the submenu.
Item Description Time selection envelope fades When this check box is selected, all envelope points within a time selection are adjusted as you drag, and fades are applied to the beginning and end of the selection (additional envelope points are created as necessary): Type a value in the edit box (or use the spin control) to specify the length of the fades that will be created.
Item Description Automatically crop still images added to timeline Select this check box if you want to automatically crop still images to match your project's output frame proportions when adding them to the timeline. Uncropped image in 16:9 widescreen project: pillarboxing is displayed Cropped image: the image fills the screen with no pillarboxing Default All Restores the Editing page options to the default settings.
Item Description Envelope colors Use these controls to change the default colors used to display envelopes in the timeline. Choose an envelope type from the Envelope type drop-down list and click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the button to switch between RGB and HSL color modes, or click the eyedropper to sample a color from your screen.
Item Description Display timeline at bottom of main window Select this check box if you want to display the timeline at the bottom of the Vegas Pro window. The Window Docking area will be displayed at the top of the window. Position tabs at top of docked windows Select this check box if you want to display tabs at the top of docked windows: Default All Restores the Display page options to the default settings.
Item Description Use SPTI direct Select this check box if you want to use SPTI (SCSI Pass-Through Interface) to communicate with your CD burning drive. Use legacy disc drivers Select this check box to use the legacy Vegas Pro disc drivers for burning discs. Clear this check box to use the Microsoft Image Mastering API (IMAPI) disc drivers to burn discs in Vegas Pro software. This can be useful if burning discs with the legacy disc drivers is not working as you expect.
MIDI Timecode Input - Advanced Settings The MIDI Timecode Input dialog appears when you have clicked on the Advanced button on the Sync tab of the Preferences dialog. This dialog contains advanced options for MIDI timecode input. It is only displayed if a device is selected for MTC input on the previous dialog. Item Description Free-wheel for time code loss When this option is selected, playback will continue for a specified period of time without chasing if timecode is lost for some reason.
Item Description Full-frame message generation This option specifies when to send full-frame timecode messages while Generate MIDI Timecode is enabled. Full-frame messages are used by some external synchronizable audio devices to seek to a proper location prior to actually starting synchronization. Tape-based recorders especially benefit from seeking to full-frame messages because of the time it takes to move the transport to the proper location.
Item Description Smooth and thin automation data after recording When recording automation, Vegas Pro creates as many envelope points or keyframes as possible to represent your control movements. Set controls to default values when automation is turned off Select this check box if you want controls to return to their default values when set the track's automation recording mode to Automation Off.
Item Description New audio event gain Choose a setting from the drop-down list to set the default fade type for the fade-in and fade-out curves on audio event gain envelopes. For more information, see "Event Envelopes" on page 166. This setting is used only for events that you place on the timeline after changing the setting. Existing events will use the default fade type that was active when they were added to the timeline.
Item Description Track Motion default smoothness Type a value in the box (or use the spin control) to set the default Smoothness value for track motion and 3D track motion keyframes. Pan/Crop default smoothness Type a value in the box (or use the spin control) to set the default Smoothness value for event pan/crop keyframes. For more information, see "Panning and Cropping Video Events" on page 275. Default All Restores all External Control & Automation preferences to their default settings.
Chapter 33 Keyboard Shortcuts From the Help menu, choose Keyboard Shortcuts to view the shortcut keys that can help streamline your work with Vegas Pro software. The available shortcut keys are arranged in tables according to function. The following shortcuts represent the default configuration. Your system may differ if you've used the Customize Keyboard dialog to customize your keyboard shortcuts. For more information, see "Customizing Keyboard Shortcuts" on page 567.
Command Keyboard Shortcut Show Video FX window (show/hide window if not docked) Alt+8 Show Media Generators window (show/hide window if not docked) Alt+9 Show Plug-In Manager window (show/hide window if not docked Ctrl+Alt+1 Show Video Scopes window (show/hide window if not docked) Ctrl+Alt+2 Show Surround Panner window (show/hide window if not docked) Ctrl+Alt+3 Show Media Manager window (show/hide window if not docked) Ctrl+Alt+4 Show XDCAM Explorer window (show/hide window if not docked) C
Command Keyboard Shortcut Show/hide waveforms on events in the timeline Ctrl+Shift+W Show/hide event buttons (Generated Media, Event Pan/Crop, and Video FX) Ctrl+Shift+C Show/hide event fade lengths between selected and nonselected events: Ctrl+Shift+T Toggles the display of the frame under the cursor or display splitscreen previews when you perform one of following edits: event slip, event slip-trim, event slide, or crossfade/transition slide.
Command Keyboard Shortcut Set track heights to default height Ctrl+` Minimize/restore the window docking area F11 or Alt+` Maximize/restore the timeline vertically and horizontally (window docking area and track list will be hidden) Ctrl+F11 or Ctrl+Alt+` Minimize/restore the track list Shift+F11 or Shift+Alt+` Zoom in/out horizontally in small increments (if timeline has focus) Up/Down Arrow Zoom in/out horizontally in large increments or zoom to selection (if one exists) Ctrl+Up/Down Arrow Z
Command Keyboard Shortcut Move cursor to corresponding marker or select corresponding region 0-9 keys (not numeric keypad) Move to previous CD track Ctrl+Comma Move to next CD track Ctrl+Period Move to previous CD index or region Comma Move to next CD index or region Period Set in and out points I (in) and O (out) Create time selection while dragging on an event Ctrl+Shift+drag with mouse General editing Command Keyboard Shortcut Cut selection Ctrl+X or Shift+Delete Copy selection Ctrl+
Event selection and editing Command Keyboard Shortcut Range select Shift+click events Multiple select Ctrl+click individual events Select all Ctrl+A Unselect all Ctrl+Shift+A Cut selection Ctrl+X or Shift+Delete Copy selection Ctrl+C or Ctrl+Insert Paste from clipboard Ctrl+V or Shift+Insert Paste insert Ctrl+Shift+V Paste repeat Ctrl+B Delete selection Delete Split events at cursor S Trim/crop selected events Ctrl+T Move cursor to edge of previous selected event Ctrl+[ Trim the
Command Keyboard Shortcut Move or trim selected events one frame left/right Numeric Keypad 1/3 Time compress/stretch selected events one frame left/right Ctrl+Numeric Keypad 1/3 Slip trim selected events one frame left/right Alt+Numeric Keypad 1/3 L/J trim left/right by frames Shift+Numeric Keypad 1/3 Slide a transition or crossfade one frame left/right (trim adjacent) Ctrl+Alt+Numeric Keypad 1/3 L/J cut left/right by frames Ctrl+Alt+Shift+Numeric Keypad 1/3 Move or trim selected events one pi
Command Keyboard Shortcut Slide crossfade: moves crossfade Ctrl+Alt+drag over a crossfade Stretch (compress) the media in the event while trimming Ctrl+drag edge of event Raise pitch one semitone = (not numeric keypad) Raise pitch one cent Ctrl+= Raise pitch one octave Shift+= Lower pitch one semitone - (not numeric keypad) Lower pitch one cent Ctrl+- Lower pitch one octave Shift+- Reset pitch Ctrl+Shift+= or Ctrl+Shift+- Select next take T Select previous take Shift+T Convert cut to
Command Keyboard Shortcut Jump to vertical center of image Shift+\ Shift+Numeric Keypad * Jump to horizontal and vertical center of image C Playback, recording, and preview Command Keyboard Shortcut Arm track for record Ctrl+Alt+R Arm for record and set recording path Ctrl+Alt+Shift+R Record Ctrl+R Looped playback Q or Ctrl+Shift+L Play from start Shift+Spacebar or Shift+F12 Start playback Spacebar Play from any window Ctrl+Spacebar or F12 Play/pause Enter or Ctrl+F12 Stop playback
Command Keyboard Shortcut Trigger from MIDI timecode Ctrl+F7 Enable multicamera editing Ctrl+Shift+D Choose multicamera take 1-9 Choose multicamera take with crossfade Ctrl+1 - 9 Timeline and track list Command Keyboard Shortcut Insert new audio track Ctrl+Q Insert new video track Ctrl+Shift+Q Change audio track volume or video track compositing level (when focus is on track list) Ctrl+Left/Right Arrow Change audio track panning or video track fade-to-color setting (when focus is on track
Command Keyboard Shortcut Automatic crossfades Ctrl+Shift+X Render to new track Ctrl+M Group selected events G Ungroup selected events U Ignore event grouping Ctrl+Shift+U Clear group without deleting events Ctrl+U Select all events in group Shift+G Insert/show/hide track volume envelope V Remove track volume envelope Shift+V Insert/show/hide track panning envelope P Remove track panning envelope Shift+P Cycle through effect automation envelopes E and Shift+E Show/hide envelopes C
Command Keyboard Shortcut Add media from cursor A Add media to cursor Shift+A Transfer time selection from timeline to Trimmer after cursor T Transfer time selection from timeline to Trimmer before cursor Shift+T Toggle selected stream: audio/video/both Tab Toggle audio/video stream height Ctrl+Shift+ Up/Down Arrow Sort Trimmer history H Clear Trimmer history Ctrl+Shift+H Remove current media from Trimmer history Ctrl+H Save markers/regions S Toggle automatic marker/region saving Shif
Command Keyboard Shortcut Constrain motion to a constant radius from the center Alt+drag the pan point (only when Move Freely is selected) Alt+mouse wheel Constrain motion to the maximum circle that will fit in the Surround Panner Alt+Shift+drag the pan point (only when Move Freely is selected) Alt+Shift+mouse wheel Move the pan point forward/back (when the pan point is selected) Up/Down Arrow Page Up/Page Down Mouse wheel Move the pan point left/right (when the pan point is selected) Left/Right Ar
Command Keyboard Shortcut Show/hide fader ticks Shift+T Show/hide control region labels Shift+L Show/hide Faders control region F Show/hide Insert FX control region I Show/hide I/O control region H Show/hide Meters control region M Show/hide Sends control region S Miscellaneous Command Keyboard Shortcut Application Help F1 What's this help Shift+F1 Shortcut menu Shift+F10 Make fine fader/slider adjustments Ctrl+drag Change relative keyframe spacing Alt+drag keyframes Move region
Mouse wheel shortcuts Command Shortcut Zoom in/out Wheel Scroll vertically Ctrl+wheel Scroll horizontally Shift+wheel Move the cursor in small increments Ctrl+Shift+wheel Trim the selected event edge one pixel (if you're in edge-trimming mode) Adjust scrub rate during playback Move the cursor by frames Ctrl+Alt+Shift+wheel Trim the selected event edge one frame (if you're in edge-trimming mode) Adjust scrub rate during playback Auto-scroll Click wheel button and move mouse Move fader/slider H
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Chapter 34 Glossary A 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. A-Law A compounded compression algorithm for voice signals defined by the Geneva Recommendations (G.711). The G.
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" on page 645. Aspect Ratio Describes the frame size of your video as a ratio of its width to its height.
Audio Compression Manager (ACM) The Audio Compression Manager, from Microsoft, is a standard interface for audio compression and signal processing for the Windows operating system. The ACM can be used by software to compress and decompress .wav files. B Bandwidth When discussing audio equalization, each frequency band has a width associated with it that determines the range of frequencies that are affected by the EQ.
Brightness Adjusting brightness adds or subtracts values from the color channels in an image to make the image lighter or darker. The maximum brightness setting adds 255 (pure white), and the minimum setting adds 0 (pure black). Bus A virtual pathway where signals from tracks and effects are mixed. A bus's output is a physical audio device in the computer where the signal is routed. The configuration of busses is saved with the project whereas the routing of busses to hardware is saved with the system.
Complementary Color Complementary colors are colors that are 180 degrees apart on the color wheel. In the following image, you can see that red and cyan are complementary colors, as are magenta and green, and blue and yellow. Contrast Adjusting contrast multiplies color values in an image to stretch the existing color channel values across a broader or narrower portion of the spectrum. The contrast center determines the anchor point for stretching. Histogram of original image.
Contrast decreased with a contrast center of 0.0: the histogram is squeezed into a narrower portion of the spectrum anchored at the left edge of the graph. Contrast decreased with a contrast center of 1.0: the histogram is squeezed into a narrower portion of the spectrum anchored at the right edge of the graph. Crossfade Mixing two pieces of media by fading one out as the other fades in. Cutoff frequency The cutoff-frequency of a filter is the frequency at which the filter changes its response.
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.
E 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 allow you to automate the change of a certain parameter over time.
Frame Rate (Video) The speed at which individual images in the video are displayed on the screen during playback. A faster frame rate results in smoother motion in the video. The television frame rate in the US (NTSC) is 29.97 frames per second (fps). In many parts of Europe and Japan, the television standard is PAL at 25 fps. 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.
I In-Place Plug-In An in-place plug-in processes audio data so that the output length always matches the input length. A nonin-place plug-in's output length need not match a given input length at any time: for example, Time Stretch, Gapper/Snipper, Pitch-Shift (without preserving duration), and some Vibrato settings can create an output that is longer or shorter than the input.
Field Description A Country — Represents the recording's country of origin. B First Owner — Assigned ID for the producer of the project. Each country has a board that assigns these codes. C Year of Recording — Represents the year the recording was made. D Recording — Represents the recording's serial number made by the same producer in that year: E n This value will use three digits (300-999) when the CD has 10 or more tracks.
MIDI Clock A MIDI device specific timing reference. It is not absolute time like MTC, instead it is a tempo dependent number of "ticks" per quarter note. MIDI Clock is convenient for synching devices that need to do tempo changes mid-song. Vegas Pro 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.
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.
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 that you have previously created. A preset calls up a bulk setting of a function. 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. Pulse Code Modulation (PCM) PCM is the most common representation of uncompressed audio signals.
Q 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.
Ruler, Time The time ruler is the area on a data window above the tracks display window that shows the horizontal axis units. S 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 that a sound signal is divided into when digitizing. For example, an audio CD-ROM contains 44,100 samples per second.
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 16bit audio, the signal to noise ratio is 96 dB while in 8-bit audio its 48 dB. However, in practice this SNR is never achieved, especially when using low-end electronics.
Time Format The format used to display 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. Track A discrete timeline for audio data. Audio events sit on audio tracks and determine when a sound starts and stops. Multiple audio tracks are mixed together to give you a composite sound that you hear through your speakers.
V Video for Windows (AVI) A file format for digital video. Virtual MIDI Router (VMR) A software-only router for MIDI data between programs. Vegas Pro software uses the VMR to receive MIDI timecode 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. The Virtual MIDI Router is supplied with Vegas Pro. Z Zero-crossing A zero-crossing is the point where a fluctuating signal crosses the zero-amplitude axis.
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Index 2 2-to-1 transform overlay 389 24p video 86, 129, 578 2K workflow 417 3 3-point editing 150 32-bit floating point color 53 3D AVC/H.264 212 3D compositing 391 3D projects 201 4 4 GB .wav files 576 4K workflow 417 5 5.1 surround automating audio effects 263 hardware setup 433 panning 436, 444 rendering 447 50i PAL video 129 6 608CC1 commands 223 608CC3 commands 223 60i NTSC video 129 7 7.5 IRE setup 487 8 8-bit color 53 A .
Allow pulldown removal when opening 24p DV 578 Allow Wave renders up to 4 GB 577 alpha channel in masks 385 selecting type for media file 110 Alternate VST search folders 601 Always draw marker lines 581 anaglyphic stereoscopic 3D mode 203 animation 275, 287, 294 Apply deinterlace filter 591 applying effects 301 applying non real-time event effects 306 arming tracks to record 36, 233, 355 arranging tracks 229 artifacts in rendered output 57 ASIO configuration 569, 596 aspect ratio, maintaining 176 ASR 166 a
Bit depth 59 black frames in Video Preview during render 92, 133 Blend stereoscopic 3D mode 204 Blu-print 213, 521 Blu-ray Disc 499, 521, 523 bonus CD tracks 494 Box motion blur 57 BPM 53 Broadcast Wave Format importing 100 recording 116, 593 Buffer size 597 buffers 597 Build Dynamic RAM Preview 473 Bump Map plug-in 389 Burn compositing mode 388 burning CDs 493, 499 burning DVDs 502 burning to Blu-ray Disc 499 bus-to-bus routing 336 busses 333 adding 334, 354 assigning tracks to busses 335 channel strips 36
Confirm media deletion when still in use 576 Conform output to the following format 585 Conform Project to Full-Resolution Media 412 Conform Timeline to Device Format 503 Conform XDCAM Media in Current Project button 410 consolidating media 69 Constant Power panning mode 444 control surfaces Frontier TranzPort 546 generic control surfaces 550 Mackie Control Universal 531 overview 529 PreSonus FaderPort 548 converting video to 24p 129 Copy and Trim XDCAM Clips 412 Copy Frame 465 Copy Media with Project 69 co
Do not quantize to frames for audio-only edits 601 dock windows at top of main window 39, 606 Dodge compositing mode 388 Double-click on media file loads into trimmer instead of tracks 576 downloading CD information 131 downloading media 83, 132 Downmix Output button 331, 350 drawing envelopes 266 DSP 637 dual mono 579 Dualstream 3D encoder 213 duplicating masks 279 duplicating tracks 231 DV printing to tape 503 DVD Architect Pro 449, 521, 523 DVDs burning 502 chapter markers 217 importing video 101 renderi
Explorer window 40 exporting 75 AAF files 73 closed captions 451 frames from timeline 465 projects to DVD Architect 449 video to AVCHD cameras 420 video to P2 cameras 77 video to PSP™ (PlayStation®Portable) 78 video to XDCAM discs 413 extensions 561 external control indicators 352 external controls 530-531, 550, 557 external jog/shuttle controls 557 external monitors 466, 474-476 extracting audio from CDs 130 F fact chunk in WAV files 576 fade curves 138 fade to color envelopes 248, 260, 582 FaderPort 548
hardware outputs for audio 336 hardware recording latency 600 HDV capturing 403 editing 403-404 printing to tape 511 scene detection 126 headphone mix 382 Height Map plug-in 389 hidden CD tracks 494 hide docking area 607 Histogram 483 HitFilm Effects 108 I Icon color saturation 606 Icon color tint 606 icons, customizing for scripts 561 Ignore Event Grouping 173 Ignore fact chunk when opening compressed WAV files 577 image stabilization 170 Import audio at project tempo 594 Import MXF as multichannel 578 Im
interpolation 282 Keystone 210 L L cut 158, 160 Lanes/Curves views for keyframes 294 large WAV files 576 Latch automation mode 272 latency 599 Lay Out Audio CD from Events 494 layered PSD files 96 laying out multicamera clips 192 layouts See window layouts leader, printing to tape 503 Left Only stereo audio 177 Left only stereoscopic 3D mode 204 legacy track send gain 593 Lens Separation 395 letterbox 517 Lighten compositing mode 389 Line 21 captions 452 Line alternate stereoscopic 3D mode 203 linear fade
MIDI control surfaces 550 MIDI timecode synchronization 489 mixing audio 177, 231, 253, 331, 347 Mixing Console window 51, 347 monitor mix 382 monitoring assignable effect levels 375 bus levels 363, 369 tracks levels 355 monitors, external 475-476 motion blur envelopes 248 Motion blur type 57 moving events 137 tracks 229 MPEG-2 transport streams See HDV MPEG files, rendering 521 multicamera video editing 191 previewing 195 shooting 191 synchronizing 192 take preferences 582 multichannel audio adding to proj
parent overlay mode 385 parent track 385 passthrough rendering for unedited frames 515, 576 pasting event attributes 185 events 144 Paste Insert 145 Paste Repeat 145 path reference in rendered file 70, 517 Pause button 36 PCM audio for DVDs 449 PDZ edit lists 407 peak files 188 peak program meters 348, 354, 358, 366, 373 per-eye video effects 211, 316 photographs See still images pitch-shifting events 181 Pixel aspect ratio 54, 110 Pixel format 56 Play button 36 Play from Start button 36 playback See previe
pulldown fields defined 644 removing 86, 578 punch-in adding media 95 recording 118 Pyramid motion blur 57 Q quality of Video Preview window 465 Quantize to Frames 35, 142 Quick fade length for audio events 601 Quick Tags 84 Quickfade Audio Edits 603 QuickTime closed captioning files 454 R .r3d files 105, 417 RAW camera files 92, 99 razor blade See splitting events RealPlayer (.
rotation 3D compositing 391 Stereoscopic 3D Adjust plug-in 210 routing busses to busses 336 busses to hardware outputs 336 tracks to assignable effects 308 tracks to busses 335 ruler 571 running Vegas Pro from the command line 561 S S-Log 421 color space 112, 528 view transform 56 S3D projects See stereoscopic 3D projects Save active prerenders on project close 576 Save media-usage relationships in active media library 576 Save project as path reference in rendered file 70, 515 Save settings to video profi
slow-motion video 158, 166 slow fade curve 138 smart bins 108 smart rendering 406, 515, 580 Smart Resample switch 175, 177 .smi closed captions 451 .
Reduce Interlace Flicker 175 Smart Resample 175, 177 sync links 174 Sync offset 585 Sync preferences 609 synchronizing audio/ video events 165 synchronizing multicamera clips 192 T tagging media files 84 takes choosing active 171 deleting 172 Next Take 171 Previous Take 171 recording 117 renaming 171, 180 tall video projects See rotated projects tape name 110 technical support 25 telecine 647 templates command templates 221 rendering templates 526 tempo displaying in events 171 event tempo 180 Import audi
volume 231, 355 trailer, printing to tape 503 transferring XDCAM clips 407, 410 transition progress envelopes 166 Transitions window 318 transport controls 36 transport streams See HDV TranzPort 546 Trigger from MIDI Timecode 490 trim controls audio track volume and panning 231 surround panning and center channel volume 439 trim controls vs.
Video preferences 582 video previews dynamic RAM previews 473, 582 external monitor 474 split-screen previews 472 Video Preview window 465 video profiles and auto-detection 110 Video project properties 53 Video Scopes window 481, 487 video supersampling envelopes 249 video tracks effects 315 inserting 227 video waveform monitor 482 View transform 56 Visual Basic scripts 561 .vob files 101 volume audio tracks 235 rendered AC-3 files 449 .
