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Individual patch releases are not currently listed on vegascreativesoftware. The installers for the old Sony Creative Software versions of Vegas software have now been removed from Sony's servers, however many of them are still accessible via the Internet Archive Wayback Machine or other 3rd party sites:. It is recommended that you take a copy of your serial numbers in case they are removed from that page. You can also search your emails for order confirmations from confirm sonycreativesoftware.
For installation issues see this post. Suggestions for corrections and additions via comments or personal messages are welcome but comments here may be deleted later as this is an "FAQ" post. Please start a new post or use an old thread to discuss subjects in depth or to raise individual cases.
Nick i've bought the sony vegas pro 14 from amazon and i didn't find the place of serial number. Where can i find it? Whether you bought the box or the download version, the seller is responsible for providing the license key. Is this your link? Basically everything Vegas-related should still be available to download one way or another. Great work as always, Nick. I also restructured the whole post. Magix should have taken over all those and make available for download. You can help support this site by making a PayPal donation.
Password Show Password. Stay Logged In. Log in. Index Recent Topics Help Search. Log in Forgot your password? Forgot your username? Create an account. When you purchase through links on this site, we may earn an affiliate commission. Solved DVD Architect 6 and net framework 3. Start Prev 1 Next End 1. DVD Architect 6 and net framework 3. I put the below question on the Vegas forum, but have received no reply, was hoping Derek or someone else could give me some advice here.
Moreover, you can remove and add new formats or devices through the internet. An integrated YouTube downloader is available for direct downloading and converting to any of these formats. QtlMovie is not a general purpose frontend to FFmpeg, so many of them already exist. QtlMovie focuses on a small number of tasks and does them the simplest possible way.
Capture video from your webcamera or desktop. Shutter Encoder is a free encoding software for converting images, videos, and audio files, allowing you to choose from a large number of functions. Encode your files, replace audio, burn to DVD, analyze audio Loudness, download web videos, makeyour own timelapse etc The most simply and efficiently possible.
It can convert almost every video type to each other. Subtitles with same name as video can be hard-coded into video. Up to 8 simultaneous encoders can be run. Free software OS: Version: 4. Total Video Converter is a total solution for video conversion which supports reading, playing lots of video and audio formats and converting them to popular video formats.
Rip DVD to popular videos of all sorts. It uses HandBrake as its encoding engine. Multi-threaded, H. Completely integrated encoding: everything is in one process and no huge intermediate temporary files. NET 6 Client. Free software OS: Version: 7. Video to Video Converter is a free video converter.
Today there are a lot of different video and audio formats, different devices support various video formats, therefore in order to watch video and audio material on different devices you need to convert it, which means to adjust it to the device being used. Subtitle, Watermark, Joiner, Cutter-support.
GUI for ffmpeg and dvdauthor. It will convert most any video file that FFmpeg will convert. WinFF does multiple files in multiple formats at one time. You can for example convert mpeg's, flv's, f4v, and mov's, all into avi's all at once. F4V to AVI. Requires now Windows 7 or later! XviD4PSP 8. Completely new version. It does not depend on system codecs and any system components — everything is inside.
Does not require installation. Design interactive vector animations for games, apps, and the web. Bring cartoons and banner ads to life. And add action to tutorials and infographics. With Animate CC, you can quickly publish to multiple platforms and reach viewers on desktop, mobile, and TV. Blender is the free and open source 3D creation suite. It supports the entirety of the 3D pipeline—modeling, rigging, animation, simulation, rendering, compositing and motion tracking, even video editing and game creation.
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Jahshaka is free software, developed as an open source project under the GPL licence, and is designed to run on Windows, OsX and Linux. Moho aka Anime Studio is a 2D vector-based cartoon animation application. Moho provides the complete set of tools you need to create an animated cartoon, from drawing and coloring to keyframe animation, multi-layer compositing and final rendering of QuickTime and AVI movie files.
It allows you to quickly sketch and animate 3D Characters and Props. Its focus is on ease of use and modularity. The idea is that you can simply draw objects in 3D space and animate them later on with the built in timeline.
You can also script puppeteering and camera behaviour using a graphical scripting system. And in addition, Moviesandbox can receive data from outside applications allowing MIDI-Controllers, Kinect sensors, Milkscanners and Arduino hacks to control all aspects of your animation in real-time! No reviews views Post review Notify me Report it. No reviews 52 views Post review Notify me Report it. Stuart Ferguson. Plugin capabilities include image post processor effects such as lens flare, fog and depth of field.
Animation effects such as explosions, waves and dissolves add enormously to the flexibility of the program. Check out the full list of the various effect types and let your imagination run wild! OpenToonz is a free 2D animation software.
Sequence number scanning can be conducted efficiently according to in-between animation numbers. Compatible with 4 types of scanning black-and-white, colored, with or without binarization. Anti-aliased lines can be used. Since the data of paintings are independent of those of the palette, it is easy to paint with provisional colors. Smooth operation even with high-definition image data. Equipped with the time sheet-type interface. Effects can be synthesized easily with the GUI using the node tree.
Images can be handled with the real scale considering resolution [dpi] units, such as millimeter, are specified. It is possible to use more effects by using the plug-in. Synfig Studio is a free and open-source 2D animation software, designed as powerful industrial-strength solution for creating film-quality animation using a vector and bitmap artwork. It eliminates the need to create animation frame-by frame, allowing you to produce 2D animation of a higher quality with fewer people and resources.
Adobe Audition software is a professional audio editing environment. Designed for demanding audio and video professionals, Adobe Audition offers advanced audio mixing, editing, and effects processing capabilities. You can use Audacity to: Record live audio.
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Jokosher is a simple yet powerful multi-track studio. With it you can create and record music, podcasts and more, all from an integrated simple environment. Jokosher provides a complete application for recording, editing, mixing and exporting audio, and has been specifically designed with usability in mind.
The developers behind Jokosher have re-thought audio production at every level, and created something devilishly simple to use. Many freeware VST plugins available, including compressors, limiters, noise reduction, exciters, etc. You can remove parts, change the volume, split files or copy regions to new files. This saves work, encoding time and disk space. And there is no quality loss through any re-compressions. Chapter 9, Soundtrack of our Lives: Audio for Video, discusses creating great audio including the spoken word and microphones, as well as music copyright, ways to create original music for your projects, and the concepts of surround sound audio.
Chapter 10, Can I put this on YouTube? What you need for this book To successfully use this book, the most current version of Sony Vegas Pro 11 is needed and installed onto your video editing computer system.
Although there may be a few small interface differences, this book will also be useful for users of the latest version of Sony Vegas Pro You will also need to download the video and audio files for the project that you will be working on during the tutorials in this book.
Who this book is for The Beginner's Guide to Sony Vegas Pro 11, although ideally suited to the video editing newcomer, will also appeal to both professional and intermediate users looking for helpful and insightful ways of carrying out tasks in their video editing workflow.
Conventions In this book you will find a number of styles of text that distinguish between different kinds of information. Here are some examples of these styles, and an explanation of their meaning.
Warnings or important notes appear in a box like this. Although not essential, I would highly recommend having a second hard drive to store and edit your video project's media. This drive should also be at least a RPM drive as this will free up the system drive and be less taxing on the overall system. Reader feedback Feedback from our readers is always welcome.
Let us know what you think about this book—what you liked or may have disliked. Reader feedback is important for us to develop titles that you really get the most out of. To send us general feedback, simply send an e-mail to feedback packtpub. If there is a topic that you have expertise in and you are interested in either writing or contributing to a book, see our author guide on www. Customer support Now that you are the proud owner of a Packt book, we have a number of things to help you to get the most from your purchase.
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We communicate with it every day and sometimes spend many hours interfacing with it. So the day comes when that software and you decide to take the relationship to a new level and it moves in with you, and takes up permanent residence on your PC.
Just like a new housemate, we want to make sure it has all of the modern conveniences and space it needs to give you both a carefree coexistence. With this in mind, Sony has made the Vegas Pro 11 software to be quite forgiving of any inefficiency that your system may have. So to ensure a happy first project, please ensure you have installed the latest version and build of Vegas Pro You can check if you have the latest version by selecting Help Sony on the Web Latest Updates from the menu bar.
System requirements Included on your installation disks or bundled with your downloaded installation file from Sony Creative Software Inc. In order to use this book and the downloaded project, your system must satisfy those requirements. Please refer to your Sony Vegas Pro 11 user manual for more details on this topic. Getting help Vegas Pro 11 also comes with two varieties of help available to you.
You can also access more help and information via the Sony Creative Software Inc website by choosing Sony on the Web from the Help menu. Tip: Please note that your computer must be connected to the Internet for the Sony on the Web function to operate. Interactive Tutorials You can also learn more about the many features in Vegas Pro 11 by accessing the interactive tutorials installed with the software.
The tutorials will be displayed once you start the software, but you can also access them from the Help menu listed as Interactive Tutorials. Tip: The automatic display of tutorials can be turned off by un-checking the Show at Start-up box at the bottom of the tutorial window.
Getting to know the windows: Exploring the Vegas Pro 11 interface Communication is the key to any relationship, and the same applies with your newly-installed software. Knowing how and where to access the right tools while editing is crucial, and will allow you to easily interact with Vegas Pro The Graphical User Interface or GUI in Vegas Pro 11 is fairly complex, with many windows that contain all of the important tools for editing your video.
Here we will overview each of these user interface elements to get you more acquainted with the windows of Vegas Pro 11, before we plunge into their uses in our Beginner's Guide Project. Extending to the right into the Timeline, the tracks allow you to arrange your audio, video, Still Images, Backgrounds, and Text.
All of the settings for the tracks can be found here including volume and panning, Video Compositing Level, applying temporary Solo and Muting to both video and audio, apply Track motion, changing the Recording Mode, or changing the Track Height. Horizontally reading from left to right, the timeline represents time.
Think of a film strip or unraveled audio tape laid out on the timeline where you can see what you are editing. Vertically the timeline shows Tracks. Tracks are where you place your audio or video files and are known as Events. Clicking the play button will allow you to watch your video update in the Video Preview window. As with most tools in Vegas, there are multiple ways to utilize them. For example, the following screenshot indicates the cursor is sitting on the 12th second of the timeline and on the 19th frame of that second.
Here, you can quickly browse your entire computer and connected hard drives and network places for audio, video, and still images for your project. You can click-and-drag the files from the Explorer window into the timeline to make them available for use in your project. The Project Media window shows you all of the media being currently used in your project.
Media consists of audio, video, still images, backdrops, and text. You can also add media to your project by using the appropriate icon buttons which can be found across the top of the Project Media window. Hover your mouse over the icons to reveal their function. The Trimmer window is another useful editing tool at your disposal. In the trimmer, a portion of a media clip can be selected or trimmed and inserted into your project.
You also have the ability to create subclips in the Trimmer window. It contains many of the same features as the Track Header, but is laid out in a recognizable and expected Audio Console format.
This preview generally displays the video output from your selected point on the timeline. The smoothness, quality, and clarity of the preview window depends greatly on the fine balance between the processing power available from your CPU and video card, the number and type of FX plugins you have on your media, and the preview quality setting you have chosen.
One of the big pluses of Vegas Pro 11 is that it will now utilize the GPU processor on your video card as long as your video card supports the OpenCL architecture. Transitions are used to smoothly connect one media clip to another. Transitions sometimes can represent things such as time passing, travelling from interior to exterior, or from one scene to another. They are itemized by category in the left column with an animated representation of how the transition works on the right.
Like the Transitions window, the selection of Video FX that can be applied to your video clips are itemized into categories on the left with an appropriate animation on the right to give you an idea of what the FX does. You can click-and-drag the FX onto your media clips and you can also apply multiple FX on top of each other onto a single clip.
This window will access many backdrop FX, color gradients, checkerboards, and some very powerful text and pro type titler generators. Dragging the selected preset onto the timeline will allow you to change the properties to suit your project as well as animate the generated media for truly stunning effects. With the advent of many different format cameras available, Vegas Pro 11 can now communicate directly with these camera devices to import their clips into your project.
The Device Explorer will search for any such devices and allow you to browse the files and import them. These Scopes and Histograms allow for accurate analyzing of the color and white balance of your video playback. They will become a very useful tool for the trained eye. Another great feature of Vegas Pro 11 is the ability to setup and display these windows in a way that suits your own personal taste and way of working.
Let's learn how to make a custom window layout. Time for action — customizing the Vegas User Interface 1. These dots create a handle with which to grab and move the window either on to another part of the window dock or to a completely different position on the screen independent of the Vegas User Interface.
Click-and-hold the row of dots and drag the Preview window so that it becomes independent of the other windows and floats on top of the interface, as shown in the following screenshot: 3. This free window can now be resized and positioned where ever you like on your desktop.
If you had two screens attached to your computer, you could drag that window over to the second monitor. So any window that has these six dots can be moved and resized independently. Once you have all your windows positioned and sized to suit your working style, this unique layout can be saved into one of ten layout memory slots that are available. The Save Layout As window will open which allows you to name your layout and decide which slot you wish to save it into: 8.
Give your layout a name and hit OK to save the layout. Even though there are only ten slots to access your layouts, an unlimited number of layouts can be saved into the Layout folder and recalled at a later date, or even imported from another computer.
Layouts from the current Layout folder in the left panel can be added or removed from the Layouts Menu on the right panel, as seen in the following screenshot: What just happened? We now have learned the process of creating a unique Windows Layout to assist your work flow in Vegas Pro 11, as well as the ability to have 13 pre arranged layouts available to you using shortcuts, to have the windows in front of you that you need for the particular editing job you are doing.
Beginner's Guide to Vegas Pro 11 Media As part of the Beginner's Guide to Vegas Pro 11, I have made available media for you to use as we work through the information and tutorials together. Once you have a full grasp of the information in each section of this book, you will be able to apply the tools to your own projects, but by using this downloaded media, you will find that the chapters will become much clearer to you far more quickly.
This kind of project is a great way to discover the powerful tools available to you in Vegas Pro 11, and apply them in a creative manner. The music bed also acts as a template that will help to guide our edits both dynamically and in the timeline.
The download files will contain a variety of video takes with scratch audio tracks and a master audio track that we will edit the video to. Video Killed the Radio Star As the song goes "Video Killed the Radio Star," but music videos also gave birth to a whole new realm of ideas and tools along with a new league of editors specializing in an exciting creative medium.
Keeping the viewer engaged and involved for about three and a half minutes doesn't sound like a hard thing to do, but in reality, keeping their attention for more than 30 seconds is a task in itself. This fact is even more relevant in today's "Instant Gratification" mind set.
So this information brings us to the first consideration we should make when planning a new Video Project. That is: "Who is our target audience? The answer to these questions will vary from project to project, and a variety of Video Formats are available in Vegas Pro A final video file that is great for playing on YouTube wouldn't necessarily look as good as it should on a Blu-ray player.
So the more companies that create new formats, the more the editing software needs to be able to handle and create. For our Music Video project, I have selected the DV Digital Video format to keep the file sizes smaller for the downloads as well as keeping the project in the same format the DVD will be created in.
The songs on the CD have to be converted by iTunes software into an audio format that the iPod can recognize and play. Video Formats are similar to those conversions. This too is a form of format that defines how the vision appears on the screen.
PAL is the dominant television standard in Europe and most of the world. For many years TV was presented in the almost square ratio of , but in recent years the ratio of has become the default standard for pretty much all projects, especially those being presented on today's big screen LCD and Plasma TVs.
Towards the end of the Vegas Pro 11 manual you will find a glossary of terms, which will also help to advance your vocabulary and understanding of the many terms used in the world of video.
Summary In this first chapter we have set up your computer with Vegas Pro 11 and checked that we have at least the minimum system requirements. Specifically, we covered the minimum requirements essential to run Vegas Pro 11, where to find the built-in help and tutorials as well as the location of online help.
We then explored the windows of the Vegas 11 Interface, and we also started to enrich your Video Vocabulary by addressing some common terms We have lightly touched on most of the windows in Vegas Pro 11, so that you may start to know your way around this impressive software.
I have always believed the best way to learn a software package is to actually use it in a project. So with that thought we can move forward and start to get our teeth into the ins and outs and personality traits of our new friend Vegas Pro Each new chapter will call on the knowledge of the previous one to help advance you as an experienced Vegas Pro editor.
As with any new software, using it in an actual project will always help you to remember the tools you have used, so now that we have a better grasp of the user interface of Vegas Pro 11, it is time to jump right in and start the project at hand.
These property values are essential to ensure that the finished product will be played back correctly on the delivery-method format. Playing NTSC-formatted files on a PAL system will either cause the file not to play, or have strange anomalies occur, such as stretching the pictures height.
Across the top of the Project Properties window you will see five tabs. Under the Video tab the first information box is called Template. Inside this drop-down box you will find a comprehensive list of templates. Usually, one of these templates will do the job perfectly for you, but knowing what the templates contain is needed before you can decide.
Let's cover the important information and fields you need to know. Standard Definition versus High Definition The fast paced times we live in has seen the video production world going through some major changes due to advances in technology.
Way back in the early days of editing, we only had Standard Definition TV and Academy of Cinema Film editing formats to worry about, but now there are many formats, resolutions, and screen sizes to consider. This has become the default resolution for DVD creation, especially due to the size limitation of the data that can be held by the DVD. A standard DVD can only hold about 4.
Even at these media data sizes, the video needs to be compressed using a Codec a mathematical algorithm to make the files smaller, deriving its name from the two words compressor and decompressor to allow a complete movie to fit onto a single disk.
A compression codec is still used, but these newer codec types leave very little effect or artefacts behind in the video on the final disk. Generally, the term aspect ratio refers to the ratio of a picture's width to its height.
If the aspect ratio of a picture is , the width and height would be the same, and you'd have a square. Standard PAL video has an aspect ratio of That means for every four units width you have three units height, where as will have 16 units width to 9 units in height.
This ratio is also often defined as a decimal point number. Like the overall screen, the pixels are square for as in the previous screenshot, and rectangular for as in the next screenshot: That is, the pixels are the same shape as the screens. All HD footage regardless of field order, width and height, or frame rate, will be defined as or 1. Thankfully, as the Television technology is developing, most new HD TVs can deliver all of the possible formats correctly. In reference to PAL, a piece of film is equivalent to 25 frames pictures per second, whereas TV was designed to be broadcast over the airwaves as 50 separate half pictures that were stitched together at the receiver to create the 25 complete frames.
This stitching together of the 25 pairs of the 50 pictures was referred to as Interlacing the picture. You may have heard of the terms regarding new HD TVs as being able to produce i or p where the "i" and "p" refer to Interlaced and Progressive respectively. Some editors have a preference out of the two formats saying that Progressive gives a more "filmic" experience, whereas others prefer the interlaced format. Even though film may have never been used in the production of a broadcast video, if delivered in Progressive format, it is a sequence of 25 complete pictures that is used to achieve the result.
If you have shot or received your footage in the same format that you intend to finish the project, then you can use one of the clips to define Project Properties. I have supplied the footage for our Beginners' Guide Project in the format we need to finalize it in. So let's use this function to set up our Project Properties. Time for action — using the supplied clips to set Project Properties We are going to use one of the video clips that you have downloaded for the beginner's guide project, to set up the Project Properties: 1.
Start Vegas Pro 11, and once open, from the menu select File New to create a new project. Once created, use File Save As, name the project Video Tutorial, and save it in the same location that you have placed the downloaded Tutorial Project media files. From the menu again select File Properties and the Project Properties box will open. Select the Match Media Settings button we spoke about earlier and use the Look In explorer to find and select Take 1 of the downloaded files.
Once highlighted, choose Open. To finish use File Save to save your settings. If you look at the Project Properties window, the properties should now have changed to look like the following: What just happened? By using the properties of the supplied video clips, and using the Match Media Settings function, we have set up Project Properties for our Project in a format that will be best suited to burning our final, edited project to a standard DVD. We shall now set Project Properties from scratch, using our knowledge of the intended video format to set the values: 1.
Once created, use File Save As and name the project what you would like. Save it in the directory of your choice. By taking into consideration what our final video format will be, we can start to set the needed Project Properties. From the menu again select File Properties and the Project Properties window will open.
We have decided that our final project will be burnt to Blu-ray, and is a Full High Definition format. Select the down arrow at the end of the Template window and look through the options available. Select HD i x, Keep in mind that starting your project in the highest resolution required is a good thing, as it is then easier to downgrade the parameters to a lower resolution for say DVD, Internet playback, or Podcast, depending on the client's later decisions. You will notice that all of the parameters are now set to the correct values.
This means that no matter what format any media you bring into the session is, it will show you how this will look at the final resolution. The Template values available in Vegas Pro 11 cover pretty much any option you may need, but even then, you can go through all of the parameters and set them to whatever value you wish to suit your creative output.
What just happened? By using our knowledge and understanding of required formats in addition to knowing what our final video will be viewed in, we applied one of the available templates to set the Project Properties. Width of pixels b. Height of pixels c. Pixel aspect ratio of 1. Frame rate of This preview screen is where you will be seeing the output of your editing and the effects you apply to your media clips. Ideally, you will have a second screen attached to your editing computer where you can either move the Preview monitor onto or where you can use the Video Preview on External Monitor function.
If you are using one screen, then you will need to resize the Preview Monitor where you are able to clearly see your edits, but at the same time, leave enough acreage on your screen to be able to work with your media on the timeline. In the previous image, you can see at the top of the Preview monitor a series of buttons. The little Blue Monitor is to send the preview video to an external monitor.
If you select from the menu Options Preferences and select the Preview Device tab, you can choose which device you wish to use as your external monitor.
For a second computer screen, you would select Windows Secondary Display from the device drop-down window. Once this is set up, by clicking the little Blue Monitor your preview will also appear on the second screen for a larger preview as well as the Monitor Preview window. Here you can insert Video FX over the Preview Monitor such as a color correction plugin to help calibrate the colors of your monitor. The Split Screen view button is a great way to compare what an effect is doing to your video.
One half will be affected while the other half remains unaffected for your comparison. The Preview Quality drop-down is an important menu to get to know.
Depending on the CPU and video card power available on your system, certain combinations of these settings work the best. The system defaults to Preview Auto , which should give very adequate monitoring, but as you add FX plugins to your project and more edits and cuts to the timeline, the system starts to become taxed and will need to drop the Monitor preview quality.
We will leave it as the default setting for now. The Overlays button is essential when creating video for TV, particularly the Safe Areas grid setting. By keeping your main content between the safe area lines and the center of the screen, the zoom in effect or over scan of some TVs won't cut off some of your important text or on-screen action.
Finally, the last two buttons allow you to grab still images from the preview screen. The first saves the image to the clipboard allowing you to paste it into your photo editing software, and the second saves the image to your location of choice on your hard drive for recall later.
Obviously set your Preview Quality to Best Full for the highest quality image before taking the snapshot. Here we will bring the video and audio clips needed for our Project into the timeline.
As we have already established the Project Properties previously, all we need to do now is to select the explorer window just above the Track Header and use the usual windows explorer functions to find our downloaded files. Time for action — importing media After ensuring that we have our Video Tutorial project open, we can start the media import process: 1. Click and hold Take 1 and drag it down to the timeline. You will see the outline box of the clip appear showing you the leading edge of the clip.
Drag the clip so it is hard against the left of the timeline and let it go. Click your mouse in the grey area below the Take 1 clip and then while holding the Alt key, scroll your mouse wheel if you have one to zoom out so you can see the complete length of the clip. If you don't have a mouse wheel, never fear as there are always at least a few ways to do pretty much every function in Vegas Pro Continue to click the — button to zoom out and see the whole clip. If the clip isn't hard against the left-hand wall of the timeline, left click and hold and drag the clip to the left till it can't move anymore and let it go.
You will notice that once the clip is in place, the track header to the left of the clip now contains controller buttons and a level slider which all pertain to that clip.
Double click in this gray box and type the name Take 1 and hit enter. You have now named the track. Now repeat the process with the remaining two video files and place them underneath the first track, remembering to name the tracks as well.
Once that is complete you can now do the same process to the master audio clip. Everything will be exactly the same as the video clips except that it will create an audio track instead of a video track with its own set of buttons, volume control, and pan control sliders. It will also contain a VU meter to show you the level of the audio on playback. Your preview window will now be black as the first frame of the clips, are black.
Ensuring your speakers aren't turned up too loud, press the space bar and watch and listen to the project. What you are seeing is the top track, Take 1 playing.
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This means that no matter what format any media you bring into the session is, it will show you how this will look at the final resolution. The Template values available in Vegas Pro 11 cover pretty much any option you may need, but even then, you can go through all of the parameters and set them to whatever value you wish to suit your creative output.
What just happened? By using our knowledge and understanding of required formats in addition to knowing what our final video will be viewed in, we applied one of the available templates to set the Project Properties. Width of pixels b. Height of pixels c. Pixel aspect ratio of 1. Frame rate of This preview screen is where you will be seeing the output of your editing and the effects you apply to your media clips.
Ideally, you will have a second screen attached to your editing computer where you can either move the Preview monitor onto or where you can use the Video Preview on External Monitor function. If you are using one screen, then you will need to resize the Preview Monitor where you are able to clearly see your edits, but at the same time, leave enough acreage on your screen to be able to work with your media on the timeline.
In the previous image, you can see at the top of the Preview monitor a series of buttons. The little Blue Monitor is to send the preview video to an external monitor. If you select from the menu Options Preferences and select the Preview Device tab, you can choose which device you wish to use as your external monitor. For a second computer screen, you would select Windows Secondary Display from the device drop-down window.
Once this is set up, by clicking the little Blue Monitor your preview will also appear on the second screen for a larger preview as well as the Monitor Preview window. Here you can insert Video FX over the Preview Monitor such as a color correction plugin to help calibrate the colors of your monitor.
The Split Screen view button is a great way to compare what an effect is doing to your video. One half will be affected while the other half remains unaffected for your comparison.
The Preview Quality drop-down is an important menu to get to know. Depending on the CPU and video card power available on your system, certain combinations of these settings work the best. The system defaults to Preview Auto , which should give very adequate monitoring, but as you add FX plugins to your project and more edits and cuts to the timeline, the system starts to become taxed and will need to drop the Monitor preview quality.
We will leave it as the default setting for now. The Overlays button is essential when creating video for TV, particularly the Safe Areas grid setting. By keeping your main content between the safe area lines and the center of the screen, the zoom in effect or over scan of some TVs won't cut off some of your important text or on-screen action.
Finally, the last two buttons allow you to grab still images from the preview screen. The first saves the image to the clipboard allowing you to paste it into your photo editing software, and the second saves the image to your location of choice on your hard drive for recall later.
Obviously set your Preview Quality to Best Full for the highest quality image before taking the snapshot. Here we will bring the video and audio clips needed for our Project into the timeline. As we have already established the Project Properties previously, all we need to do now is to select the explorer window just above the Track Header and use the usual windows explorer functions to find our downloaded files.
Time for action — importing media After ensuring that we have our Video Tutorial project open, we can start the media import process: 1. Click and hold Take 1 and drag it down to the timeline. You will see the outline box of the clip appear showing you the leading edge of the clip. Drag the clip so it is hard against the left of the timeline and let it go. Click your mouse in the grey area below the Take 1 clip and then while holding the Alt key, scroll your mouse wheel if you have one to zoom out so you can see the complete length of the clip.
If you don't have a mouse wheel, never fear as there are always at least a few ways to do pretty much every function in Vegas Pro Continue to click the — button to zoom out and see the whole clip. If the clip isn't hard against the left-hand wall of the timeline, left click and hold and drag the clip to the left till it can't move anymore and let it go. You will notice that once the clip is in place, the track header to the left of the clip now contains controller buttons and a level slider which all pertain to that clip.
Double click in this gray box and type the name Take 1 and hit enter. You have now named the track. Now repeat the process with the remaining two video files and place them underneath the first track, remembering to name the tracks as well. Once that is complete you can now do the same process to the master audio clip. Everything will be exactly the same as the video clips except that it will create an audio track instead of a video track with its own set of buttons, volume control, and pan control sliders.
It will also contain a VU meter to show you the level of the audio on playback. Your preview window will now be black as the first frame of the clips, are black. Ensuring your speakers aren't turned up too loud, press the space bar and watch and listen to the project. What you are seeing is the top track, Take 1 playing. Even though Take 2 and 3 are also playing they cannot be seen, as the highest video track takes preference.
While the track is still playing, on the track header of Take 1 click on the white circle with a gray line through it. That is the mute button. It will mute the first track and what you now see on the Preview screen is Take 2. Alternatively, select the exclamation symbol on Take 2. This is the Solo button which will mute the other two video tracks and only show the track you have selected Solo for.
Note that the video Solo buttons don't interfere with the audio track playback. After a while it will become second nature. If for some reason your system loses power or locks up, Vegas Pro 11 has an automatic function that saves the session. Then the next time you open Vegas Pro 11, it will ask if you want to restore this last automatically saved version.
I still like to make my own saved copies as I work. I guess it is just a good habit I have acquired working with computers over the years. Occasionally the auto saved version isn't as up-to-date as my personally-saved version, so I have found it very helpful. As with any project you work with over an extended period of time, it is advisable to make a backup copies of the Vegas Pro 11 session and all of its associated media files on a backup drive in case of hard drive failure.
There is nothing worse than losing two months of hard work and edits because a hard drive fails. Your Vegas Project should look something like the following screenshot: What just happened?
You have just successfully imported the required media files for our project. As you watch and listen to the video tracks by using the Solo buttons on each track, ensure that the vocals audio and the lip movement of the singer are in sync. If not, ensure that all four of the clips are as far to the left of the timeline against the left wall as possible. This will ensure the lipsync of the music video is correct.
This will be dependent upon things such as what kind of camera you are using, or even media formats the media is supplied to you in, such as XDCAM. Here we will discuss some of these options. Import If you have a client that supplies you with media that needs to be edited on an external hard drive, you may wish to import that media into the session.
Although it is okay to drag and drop media clips onto the timeline, this isn't necessarily a good idea with a lot of clips, especially if they are in a different kind of format or even a variety of formats. Here you can select multiple files and import them into our Project Media bin.
If the client can't leave the hard drive or device with you, then first copy all of the files onto your editing hard drive before importing them into the project. If you import them from the client's drive and they take it away after the session, the next time you open the session the project won't be able to find the files and will leave them offline and unviewable.
Under the File menu select Capture Video. This will allow you to take control of your camera to select and import the footage to your system and project. As this is a real-time process, you can watch the importing footage on the in-built monitoring window. As you can see, Sony Vegas Pro 11 has allowed for pretty much every file type available to you for importing into your project.
One of the beauties of this editing software is that it allows you to have different formats on the timeline that can all be edited and rendered out to a final format easily. We have just touched on some of the main methods for importing media and footage into your project. As you do more editing and projects, you may be presented with a variety of different formats to contend with, but you will have the confidence to know that Vegas Pro 11 can deal with pretty much anything that is thrown at you.
The Sony Vegas help centre is a great place to go it can be found under the Help menu to cover these and other methods in more detail. If you hover the mouse near the centre of Take 1 at the leading edge, you will see the cursor change to a square with a double-headed arrow pointing left and right. This is the Cropping tool. This tool allows you to slide the leading edge or tail edge if you choose that end of the clip along the media clip.
In effect you are shortening or lengthening the clip to start or end at a new location within the clip. You will also note that the preview window updates your selected video to show you the actual location you are selecting or moving to. Go ahead and try this tool remembering to stop playback and return the clip back to its original fully extended position when you are finished. If you go to the end of the clip and slide the cropping tool past this point, you will see that the clip creates an indent at the top edge to show you where the end is, but the clip extends itself and starts to play from the beginning again, creating a loop.
This can be useful for bringing a small media clip or still image into the timeline and then looping it for as long as you like.
This is the Fade Offset tool. By clicking and sliding this tool you will create a fade in or fade out if you chose the end of clip. Create a fade in top-left corner of Take 1. You will see Take 1 fade in over Take 2. This fade can be as long or as short as you like. If you right-click the mouse in the middle of the fade, a list of options will appear. Select the first option Fade Type and you will see that you can choose from a variety of fade curve types that may suit your creative choices.
Once done, stop playback and bring the clip back to its original state without a fade. Do this by clicking the highest point of the Fade Curve and sliding it back to the edge of the clip again. This tool will allow you to pull down the Opacity or transparency of the take. This can be a useful tool for creating overlay effects or any creative idea you can think of.
Once again return the clip to its original state once you have finished trying out the tool. This will move the timeline cursor to this location. Now if we press the S key on our keyboard, you will see that Take 1 media clip has been cut into two separate pieces, each with their own FX and Event Crop icon on them.
You can click and hold the right-hand clip and slide it on the timeline to see that it is now a separate clip.
As you bring it back into place, you will notice the join of the two clips turns into a blue highlight to let you know they are now touching each other.
If you continue to slide the clip to the left, the two clips will overlap each other and create a crossfade, with a purple highlight appearing once the cross fade is exactly 1 second long: Just like in Fade Types, if you right-click in the middle of the crossfade you just created, options will appear and if you select the Fade Type menu a whole new list of cross fade types will appear for your selection.
Let's return the clip to its original position but keep the split active. Slide the right-hand clip to the right until the blue line appears at the join. Once the blue line appears, then you know the two clips are touching at the split point. This window will have a list of parameters on the left, and the scene will have a bounding box around it with the letter F overlaid in the middle of it.
You will also find a small timeline and cursor along the bottom. If you are using the External Monitor Preview function, this won't be an issue for you. With your mouse, grab the top-left corner box and drag it towards the centre of the picture. Watch the Preview monitor as you do this and you will see that it acts like a zoom.
If you then move the box out past the frame, it zooms out making the picture smaller than the frame. This can be a useful tool to remove unwanted objects that were included during filming or to make the take look like it was shot from another camera pass closer to the subject: As this zooming in is actually spreading less pixels over the same area of the frame, there is a limit to the amount of resizing you can do before the picture begins to look grainy or pixeled.
If we were using HD footage with a resolution of x , then there would be a lot more pixels covering the frame, so it would allow for greater resizing before the artefacts became apparent. Now let's zoom the picture in a fair way.
Once the zoom is where you like it, click the mouse on the main timeline on Take 1 just to the left of the split point. Press the space bar and watch the preview window as the cursor travels forward through the split point. You will see that the preview jumps to the newly-zoomed scene and will stay there right through to the end of the clip. You can create multiple splits on a clip and resize or zoom each of the clips you create to their own individual setting.
Now, if you move the mouse just above or beside the Bounding Box a circular rotation icon will appear. This tool allows us to rotate the frame just like we had filmed the scene with the camera rotated to one side or the other: Once again give this tool a try by clicking and holding the mouse and moving it up or down. Your changes will appear in the preview window. Return the image back to its default setting by selecting it in the Preset drop-down once you have finished looking at this tool.
You can also enter numbers into the parameters to make the changes. When you click on a parameter a drop-down slider will appear to allow you to modify the settings in this manner. If you notice the parameters under the Position heading, you will see that the Width and Height are represented as and , accordingly.
Once you have the scene looking as you like it, you can save it for use with other clips by clicking on the little Floppy Disk icon on the right-hand side of the Preset drop-down window after naming your preset.
I would advise you to name your presets with a name that will help you to remember what the preset represents. By doing this, over time you will have a great list of presets that you can utilize on your future projects to help speed up your editing process.
Tip: Commit this Preset Saving process to memory as it is utilized in many of the windows we will be encountering as we travel through the tools available to use in Vegas Pro Keyboard Shortcuts As is the case with most modern computer tools, there is a myriad of ways of doing the same job efficiently. Some editors prefer to use the mouse while others find keyboard shortcuts an invaluable asset. Personally I like to use a combination of the two.
To help you discover these shortcuts go to the Help menu in Vegas Pro 11 and select Keyboard Shortcuts for a concise list of these valuable shortcuts. Tip: It might even pay you to print this list out and keep it next to your editing station until you can commit the essential ones to memory.
From the Preview monitor that helps you to see your edits in addition to importing clips to the timeline, which is essential to begin our project. Getting to know all of these tools intimately will certainly give you an editing advantage and increase your speed during the editing process.
These tools are the building blocks on which we will begin to expand and build your skill set for editing. So let's continue on our journey of building your relationship with Vegas Pro 11 and dig deeper into the toolset that awaits you within this powerful software. Onward and forward to Chapter 3. It's the place where all of the preliminary concepts you had for your video at the beginning of the project, come together.
Here we will learn some of the history of this specialized skill set and apply some of these concepts to our project. This process will also take us deeper into the settings and parameters of the tools we have been looking at. Beginner's Guide Tutorial Project To effectively get the most from this chapter, you will need to have the project we started in the previous chapter accessible, as we will continue to edit our Music Video clip.
Once we start the Time for Action section, you will need to open the project to work on. Video Editing Concepts and Application Editing: A light history lesson In the early days of film, editing was something that was done pretty much while the footage was being shot, in the camera. So, often the cuts between one scene and the next were simply the spot where the camera was stopped and then started again. Also the attitude towards creating a movie was to make it lifelike and realtime, which consequentially lead to very long scenes with cuts and edits that felt un-natural and in effect were a very obvious jolt to the senses of the viewer.
As the audience back then was new to the experience of watching a film, they were happy to sit through these long, jerky feeling movies, just to have the experience of being entertained. Today, audiences are very savvy and extremely experienced at being a viewer. The sun and clouds presented in time-lapse footage often refers to the passage of time, just as in some older films the clock or calendar flashing quickly through hours and days does.
As film producers realized they could physically cut the film and re-stick it back together splice in a different order to which it was filmed, a whole new world of movie making began. Storylines no longer had to be confined to a fixed timeline, and this allowed screenplay writers to be far more creative with their storytelling. This is also the time when the position of editors became a recognized and rewarded part of the process.
The editors themselves became the translator of the story in the directors head into a language that the viewer would understand and enjoy. So a language has been created that you the editor need to learn to make the story being told by the video a smooth and comfortable experience for the viewer. The trick of course is to use these editing tools in a way that creates familiarity, but also with a touch of creativity. If you re-watch one of your favorite movies, but this time watch it with an analytical eye to see where some of these editing tools have been used to convey the story better, you will start to become aware of the language you didn't realize you already knew.
Using the Tutorial Project we saved in the last chapter, let's make some edits and cuts to our media on the timeline and see how it affects the feel and the flow of our music video.
Open Vegas Pro The Project we saved called Video Tutorial may still be in the recently opened files at the bottom of the File Menu list. If so select it. Once the project is opened, choose from the menu, File Save as, and rename the file as Multicamera and save again. Once saved, return to File Open and select our first project again and open Video Tutorial ready to start our edits.
Since we will be exploring two different methods of editing and cutting our media, we need to have two versions of our project saved at the same point in time. By saving the project under a new name called Multicamera, we can load this project at a later time and begin editing from the same starting point as our Video Tutorial project.
What makes a good edit or cut Editing or cutting and splicing film was a physical process where an actual blade was used to cut the film into segments.
That allowed these segments to be shortened and or moved to a different location in the timeline of the movie and spliced back together.
The advent of computers means that all of our edits are undoable, as well as being non linear, which simply means that we don't have to roll the film all the way to the end to cut out a piece of footage and then wind it back onto the spool again to place it near the beginning.
Our modern timeline means we can select moments anywhere on the timeline and edit to our heart's content. Some would argue that this also means we can over think and over edit when we should have had a storyboard and a screenplay in place to work to before we even started the filming process. In reality, budget and lack of time leads us to grab the camera, shoot what we can, and fix it in the edit. Having said that, I know nothing beats good planning and writing in the creative process. Editing isn't always just to change timelines, but also to create a flow or a visual way to guide the viewer through the story of the video from start to finish.
If you think about it, in real life we see everything through our eyes in real time, and not in the un-natural way that video is presented.
For example, if we were to watch a couple meeting for the first time, we have to see and listen to all the preliminary nervous conversation and the finding of their comfort zones, all the idle chatter topics, letting down of their guards, and so on. This process could take three hours to unfold in reality, whereas in a movie this whole procedure may only take up to two minutes or less.
By using different camera angles, and Point-of-View POV shots of their faces, we can represent their relationship quickly unfolding.
In the first scene they may be seated a distance apart but in the next shot, they may be seated very closely together. The viewer immediately knows that they are becoming more comfortable, and with the growing pile of empty glasses on the table in front of them suggesting that they have already had a few drinks together, which also infers the passing of time.
Suddenly in the last scene you may find them both lying in bed smoking a cigarette together, which has been for a long time a visual euphemism for the fact that an intimate interchange has taken place. This whole relationship process, which may in reality have taken a whole night or even a few weeks to take place, can now be presented in a few minutes through the magic of multiple camera shots, scenes, and edits. Our project at hand is a little different to the one mentioned above in that it is a music video clip.
But in a similar manner we need to make the three minutes or so of the song passing by do so in a way that the viewer will find interesting as well as keeping them engaged.
This music video is mostly about the performance of the song, but there is an element of storytelling involved. In this case the story is not the one of the song's lyrics alone, but includes in part the story of the making of the song and the performer's enjoyment and involvement in that process. At the same time, the viewer also wants to see the singer's passion and delivery of the song as the stories unfold.
These time references are of the format where each pair of numbers starting from the left refer to hours, minutes, seconds, and frames. So a timeline number stating means a position on the timeline that is 1 minute 58 seconds and 12 frames from the beginning of the timeline. Depending on your base format time reference, the frames are expressed in increments of 24 frames per second, which is a film standard.
In my part of the world Australia , I generally use the PAL standard of 25 frames per second for Broadcast Productions unless my project will end up on film. Time for action — selecting edit points in our media clips With our Tutorial project session open, we can start to select edits that will work to make our music video clip present well.
The first step in this process is to mark any actual problems in each take that may need to be removed. Problems such as footage with digital glitches, annoying factors like hair blowing in a distracting way, and objects that are in the frame that shouldn't be there such as crew, microphones, lights, and so on.
To be a great editor, you need to make yourself very familiar with the footage you have at hand to edit. Some accomplish this by watching each take through several times from start to finish and noting any good or bad things that exist in the "Take" or "Media Clip" that needs to be either removed or kept, along with making note of the timeline reading that the event happens at.
For example, if we solo the Take 1 track, and move our timeline to 1 minute 48 seconds that is , you will notice that the singer brushes his hair off his face then one of the crew steps in from the left and adjusts the hair of the singer in the clip. Obviously this section needs to be removed. Let's do exactly that: 1. Click the Solo button on the track header of Take 1.
This will ensure you are looking at that track only. In the middle of the Take 1 media clip, click the position that reads on the timeline. Press the S key on your keyboard to make a split at this point as shown in the next screenshot: 4.
Once you have made the split point, press the space bar to play the clip from that point and see how much of the clip you need to remove. You will see that the next split point will be needed at just after the crew member exits the screen.
Ensuring the cursor is at press the S key again to make a second split point. Now press the left mouse button on the Take 1 media anywhere between the two split points we just created and that section of the clip will be highlighted. Our preview monitor will now go black and we will see a gap in the Take 1 media as shown in the next screenshot: 9.
Now uncheck or turn off the Solo button on the Take 1 header and place the cursor just before our newly-created gap. Press the space bar to play the video and you will see in the preview monitor that the playback jumps from Take 1 to Take 2 and back again, successfully removing the unwanted footage and keeping the flow of the video happening.
It is not unusual for us to see the camera change from a long shot such as Take 1 to a medium shot as in Take 2 and back again.
Now that we have started to cut our takes into multiple clips, we need to be sure that we don't slide our whole media clips forward or backward on the timeline as this will put our video out-of-sync with the audio, which will make the singer's lip sync incorrect.
Definitely not a good look for a music video clip! In this next section, if you are having trouble getting the end of the clip to change to the correct timeline number, you may need to deselect Enable Snapping from the Options Menu or alternatively use the F8 key.
This will allow you to move the ends of the clips frame-by-frame. Alternatively, you can press and hold the Shift key once you have started moving the end of the clip to override the current snapping setting.
Next we need to make the timing of the jumps between Take 1 and Take 2 feel a little more natural by seeing where the changes fall compared to the musical beat or the lyrical phrasing. Don't worry, as this sort of consideration will come naturally to you the more editing you do. To show you what I mean, move your mouse to the middle of the end of the first clip of Take 1 and use the smart tool by clicking and dragging to the right to make the clip a fraction longer.
If you lengthen it to the timeline point and play the clip, you will see that the scene change happens at the end of the lyrics "Let's just get on" with the lyric "and go" being on Take 2. This certainly feels much more of a musical edit. In the same manner, move the beginning of the second clip on Take 1 to and we will achieve the same musical kind of edit. You can even add a slight fade offset to the beginning of the second clip that is about five frames long.
By moving the mouse to the top-left corner of the clip, the fade icon will appear allowing you to add the fade in, which will make Take 2 feel even smoother as it fades back to Take 1. As you increase or decrease your fade time, Vegas will show the changes numerically in the number of frames on the Fade Offset Display shown in the next screenshot: What just happened?
Firstly we saved our project at the same point of editing as two separate projects called "Video Tutorial" and "Multicamera". This was done so that we can explore two different methods of "Editing" or "Cutting" our media clips to create a smooth flowing and engaging music video clip.
Working on our Video Tutorial we began the first method by going on to identify an area in Take 1 that needed to be removed from the useful pool of footage, and separated and deleted this piece of media from the timeline using Split and Delete commands. Once removed we fine tuned the edit to make the changes from Take 1 and Take 2 feel smoother and more musical.
You are on your way to possibly being that Academy Award Winning Editor! Follow the same format and method as we have just used in the previous Time for action section.
You can compare your edits with mine later on. Remember, we are looking for actual errors or glitches, not personal creative choices. Those other creative choices can come later.
Leave Take 3 for the moment as it is a different kind of track. Make sure you save your project when you have finished editing. Method two: Multicamera tool Previously we used a manual way to edit our media for the music video clip, but within the arsenal of Vegas Pro 11 there is a very powerful and useful tool called the Multicamera Tool. This tool is ideal for the purposes we are currently dealing with in our music video. That is multiple takes of a similar event that we wish to choose and cut from.
Be aware that this process is a lot more CPU intensive, so if the video preview becomes choppy or stuttered, then lower your preview monitor quality to Preview or even Draft so that the timing of the cuts will be more accurate. Dependent upon your computer power you may have to forego video quality over timing while editing.
Let's go through the process now. Time for action — creating edits with the Multicamera tool You will recall that earlier we saved two version of our project. Now is the time to save and close the one you've been working on and open up the Multicamera project. If you saved correctly, upon opening Multicamera, you should see the three complete video tracks called Take 1, Take 2, and Take 3 plus one audio track called Master Audio. You will see that a blue border appears around the preview monitor.
While holding the Ctrl key, select each Track header for the video tracks until all three are highlighted as in the following screenshot: 3. Please ensure the Tracks are named Take 1, Take 2, and Take 3 as this is an essential part of the Multicamera process.
You will see two things happen. Firstly, it will appear that you only have one video track now, but the preview monitor is cut into four sections and you will see that they have taken on the names of the track. The fourth box is black as we only had three active video tracks.
The currently active take has the blue box around it. That is, the take that has the blue box is the take that will have priority at that point in the timeline and until another selection is made. Although there only appears to be one video track on our timeline, all three video tracks are in fact stacked on top of each other ready for our selection. Let's take the timeline back to the beginning and press the space bar to start play back.
Watch the preview monitor and you will see that Takes 1 and 2 are continuous performances, but Take 3 is a series of media clips that are separated by a checkerboard background. First thing we will do is remove the checkerboard background from the take.
Now by using the right-hand arrow key on your keyboard, you can nudge the timeline along in increments of around three frames, which is a default setting dependent upon your level of zoom on the timeline. If, for example, you were zoomed in closer on the timeline, the increments would drop to two frames or one frame accordingly. Keep pressing the right-hand arrow key until the first video of the guitar player appears in the Take 3 quarter of our preview monitor.
Once you see it, use the Alt key and the Left and Right arrow keys to move the timeline in one frame increments back and forward until you find the very first frame of the guitar player in Take 3. As you can see, the blue box has now moved around the Take 3 window and on the timeline a split point has been made on our media.
With a closer look you will now see that the left-hand side of the split point is Take 1 and the right-hand side is Take 3. That is just before the checker background appears again. Now, click on Take 1 again. Your task now is to go through the above process and create split points for the remaining 18 clips of footage on Take 3.
You can compare your results when all are done with the following screenshot: Now that we have divided up Take 3, we can add some Take 2 into the mix. We could go through and add more split points to the edit, or we have the ability to make some adjustments to the existing ones. The first scene we currently see is the long shot of our singer, followed by a studio shot of the guitarist, and then back to the long shot.
I think it would be nice to have the first time we see him actually sing to be a closer shot. To do this we right-click in the middle of the third media clip we have created and select Take from the drop-down menu. In here, at the bottom you will see Take 1, Take 2, and Take 3 displayed with a little circle next to Take 1.
Let's change this to Take 2. Now our third shot in the sequence is a closer shot taken from Take 2. If you remember our previous method, we removed the crew member that stepped in and fixed the singer's hair. Once again we will need to do this, and we can by changing the scenes that contain the crew member to Take 2. Let's do this now. The first clip we need to change to Take 2 is the media clip that has its left hand edge at on the timeline.
Just as before, right-click in the middle of this clip, select Take, and change to Take 2. Do the same to the three clips starting at , , and accordingly. This removes the random crew member from the clip. A software solution for professional DVD authoring that comes with a large number of templates, intuitive tools and practical features. Open Source Summit After 31 years, a second programming language will be allowed in.
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