The World’s Top Tips for
Pinnacle Studio Video Editing software
(with some Avid Liquid snippets)
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The Edition interface bears little resemblance to Studio's. Here some of the main
features of the GUI are discussed.
The way Transitions are added to clips in Edition can confuse and mystify Studio
users. Here's the low down on the way it works in Edition. But there's more ... in
Edition you can also add effects to a clip - which for example can be used to resize
the clip for picture-in-picture effects, and can even be used to provide transitions.
Want to know more? Read the article...
Studio's timeline is straightforward and simple compared with Edition's, which can
sometimes seem to behave unexpectedly. Here is an overview of the features of the
Edition timeline structure, and how it needs to be set for the different modes of
operation.
Using transitions and effects
The Studio way
Using a transition in Studio is very simple. You choose the transition you want (probably
the hardest part!), then you drag it down to the time line and drop it between the
two clips. Job done. Nothing more to think about except perhaps the time length of
the transition. You adjust it by simply dragging the leading or trailing edge. It
doesn't matter which.
To understand the difference between adding a transition the Studio way and the Edition
way, you really need to know a bit more about what actually happens when you drop
a transition onto Studio's time line. So, let us examine the situation.
The first thing that needs to be said is that all the 'donkey work' is done for you,
and the process is about as automatic as it can be. Let us say that you have two
clips on the time line, each 3 seconds long, just for the sake of demonstration,
as shown in the screen dump alongside here. These clips will have come from the album
and may have been trimmed by you.
When you drag a transition to the timeline, what happens is this.
The two clips are slid one under the other by the amount of the transition time length.
Thus, the overall length of the clips on the timeline is reduced, as the screen dump
here shows, by the time length of the transition. Here, a two second transition has
reduced the overall length of the sequence by two seconds - because the clips now
have two seconds of their timing 'overlapping' with each other. The overlapping
is perfectly symmetrical - the transition sits fairly and squarely over the overlap
of them both. It happens automatically, you don't have to think about it, and it
is outside your control anyway. All you can do is adjust the length of the transition.
It means the transition from one clip to the next is perfectly symmetrical - and
the only way you can control the points in the video clips where the transition actually
starts and ends is by fiddling with the clips or the transition and juggling around
until you get it right - remember, changing the transition length also changes the
overlap time - and hence adjusting the leading edge for an accurate start point for
the effect will also change the trailing edge for the finish point. The procedure
then could be to adjust the trim of the second clip, to get the end point you want.
All this assumes, of course, that you care about a precision start and/or end point
for the transition - in most cases, you don't. Occasionally, perhaps rarely, there
is something you don't want to lose within the first few frames of a clip, which
a transition will lose.
Edition is totally different. What is automatic in Studio, you can (have to) to control
when you add a transition between two clips on the same timeline in Edition. But,
with Edition, adding a transition between two clips on the timeline isn't the only
way to create a transition between two clips ... clips can be added to virtually
any number of (overlay) timelines. And just as you can have a transition to a title
overlay in Studio, so these overlay clips (any of which can completely fill the screen)
can also have a transition applied to their beginning and or end.
The Edition way
First let me say that the timeline can show picons - to show the start and/or the
end frame of each clip, or one in the middle. I am deliberately not showing picons
here for this exercise - one of the beauties of Edition is you can make it work the
way you want. Also, notice the scrubber is different - at 'frame-size' magnifications
of the time line, the left side of the scrubber shows the start point of the frame,
and the right side the end point. In other words, when the time line is magnified,
the scrubber shows exactly which frame is being 'embraced' and displayed in the Viewer
windows. In the dump alongside here, the scrubber is over the first frame of the
second clip.
The screen dump here also shows the transition has been added symmetrically (by choice)
between two clips. It could be added any way you want from the leading edge being
at the junction of the two clips, to the trailing edge being at the junction of the
two clips. And you'll notice, in this example, the right half of the transition
is shown in red. What does this mean? Well, for a start, the two clips are not overlapped
as in Studio, but stay exactly as they were - which amongst other things, means the
overall length of the movie has not changed. The red portion means there is no video
for the transition to use on the outgoing clip - the outgoing clip ends at the junction,
and there is no more video on the clip. The incoming clip on the other hand does
have video 'in front of it' - it has been trimmed back. So the transition has material
to 'work on' with that clip. Notice, now, how easy it is to have the transition operate
at the exact point you want - either starting or finishing - on each clip, without
worrying about the 'symmetry of the transition!
The extra video material needed on a clip for a transition is called its leeway.
When you capture, you can have 'leeway' automatically added to each clip for you
by the automatic scene detection process - a process that was introduced to Edition
5/5.1 and Liquid Edition, incidentally, making it as easy (ish) to capture as it
is with Studio - and better in some ways, because you can adjust the detection sensitivity
(and can also avoid flash-guns creating a new scene) plus more options. But Capture
is a another story not relevant here.
While the transition is showing red, it won't render or display in Real Time preview
properly, because quite simply, required video is missing. When there is no video
available, an exclamation mark appears on the Viewer screen - and this can be quite
disturbing and frustrating for newcomers to the program. Provided the clip has been
trimmed so that it has sufficient video 'material'' available (leeway), getting rid
of the red area is easy. By clicking on the end of the outgoing clip, a yellow vertical
bar appears and the mouse pointer changes to an 'end marker' symbol as shown here.
That means the clip can be click- dragged to shorten its length (or lengthen it of
course, if more clip is available). The screen dump here shows the clip in the process
of being dragged (to the left) halfway to curing the missing video problem...
and here, the screen dump shows all is now well. What does that 'GPU' mean on the
transition name? Graphic Processor Unit. There's also a CPU (Central Processor
Unit) Cross Dissolve, and a 'Classic'' Cross Dissolve. The GPU and CPU are rendered
by the graphic or CPU processor units respectively, and will show in real time (without
need for rendering) on a suitably fast machine. The Classic effects always need rendering
before they can be previewed properly in playback. Why have the three types? They
enable the user to make the best use of his PC for editing and display purposes,
and with many of the transitions that are duplicated (triplicated!) in this way,
there are important differences in their behaviour and controlling properties, thus
giving more variety to the extensive range of transition possibilities available
(nearly all of which have an associated editor for adjusting their properties - see
the Tables in this section of my pages).
Now, suppose you want the transition to start at an earlier point in the clip (that
is, you don't want it to be symmetrical). No problem - simply grab the leading edge
, and drag it back to where you want. As long as there is sufficient leeway on the
incoming clip, that's all there is to it. The leeway is needed on the incoming clip
because you're 'asking' the transition to start changing to the incoming clip from
that point. Similarly, you can adjust the trailing edge of the transition to end
the outgoing clip at whichever point you want on the incoming clip. Adjusting the
transition in this way has no effect on the length of the finished movie.
Now, all that takes a bit of getting used to - it really does seem strange to Studio
users at first, because as mentioned earlier, in Studio everything is handled for
you and, because of this, it is all kept simple and symmetrical.
While on the subject of transitions, the range of transitions, effects and editors
available is indicated by this screen dump which shows the folder headings. Effects
are like transitions - in fact, many are virtually identical in what they do. The
difference is, an effect is dropped onto a single clip (or title), and adjusts the
way that clip looks and behaves. The properties available in the editors include,
for virtually all of the effects, 'transparency' and since (almost) every effect
can have its properties key framed, and since a clip can be added to an overlay line
(unlimited in number), this means you can place a clip on an overlay timeline, for
example, and have it fade in and out, resize and reposition it to provide a picture
in picture effect. It can also have its edges softened, its corners rounded, a soft
and transparent shadow, rotated, 'squeezed and so on and on (all under your control,
of course). And if you don't want to use the Transition or Effects Editors to devise
the effect you want - well, there are a stack of preset effects from which you can
choose.
And here's a final tip. If you have an effect you want to use a lot in a particular
movie - one of your own, tailored page-peels for example, then simply copy the one
you want from the time line (say), then dump it in one of the racks, then all you
need do is simply drag it into position wherever you want - no more editing its properties
or searching.
What's a rack? Well, that's a bit like one of Studio's albums ... there'll be more
discussion on racks in another article.
EDITION for Studio users - Interface overview
Studio is unquestionably a powerful yet simple to use, intuitive editor. Nevertheless,
there comes a time when many Studio editing enthusiasts feel the need for something
that offers more capability and greater flexibility. As a result, they can turn to
the more comprehensive Pinnacle offering - Liquid Edition (now being voted superior
to Adobe's Premiere), and find it, compared with Studio, almost incomprehensible.
It cannot be argued that Liquid Edition is intuitive. Neither can it be said that
the learning curve is short and sweet. The way it works bears little resemblance
to the way Studio works - which means one has to virtually 'unlearn' the Studio way
of doing things before starting on the Edition way. In spite of all this, Liquid
Edition is well worth the effort - in my opinion. Strangely, once the basics have
been 'learned' and are understood, Liquid Edition does seem intuitive. In this article,
I am going to examine and compare the two interfaces (Studio and Edition), to highlight
one or two of the significant differences, and thus pave the way for actually starting
to use Edition's extremely powerful and very extensive range of features.
The Studio Interface
I'm not going to dwell too much on this, because if you have Studio, you will appreciate
the points being made.
Three usable modes Studio has three operating screens - Capture, Edit, and Make
Movie, which reflect the logical procedure for creating and making a movie. Each
mode displays the range of the most needed 'controls' for that operation, with other
controls and features available by opening up new 'windows'. For example, in the
analogue Capture mode, the 'capture' gizmo can be opened to display video and audio
controls. The Edit mode has a number of other screens available which can occupy
the top 'album' area - for trimming, sound level adjustment, adding SmartSounds,
adding filters to the video - and so on. Similarly, the Make Movie mode has a number
of different displays depending on the type of movie being made - AVI, or DVD for
example.
All the modes share common elements - the top of the screen is basically the album
and preview area, the bottom of the screen is dedicated to capture control or the
actual edit - which can be a storyboard, timeline or text view.
In the simplest of terms, that sums up the Studio layout and interface. It is logical
- one screen mode for each of the basic operations - with all the necessary controls
for the mode available within the display. It is therefore logical and also fairly
intuitive. Liquid Edition is different...
The Edition Interface
Liquid Edition has five different basic views, and none, it seems, is dedicated entirely
to either of the essential operations of capturing or 'making' a movie - as is the
case with Studio, but rather to different ways of working on elements of the entire
movie during an edit. Furthermore, in the most common (default) view - shown alongside
here - the screen is absolutely crammed with multiple timelines, a profusion of toolbars,
two viewers (with others on call just a double-click away!), and with no menus apparently
available. Instead a vast range of strange looking icon 'action' buttons grace the
display. What's more, only a small proportion of the available icon buttons are displayed
initially ... you can add or remove the icons to suit the way you work. Where are
all the menus? Well, they are just a right click away - similar in many respects
to right clicking on something in Studio for a relevant menu. Virtually everything
on the Liquid Edition screen can be right clicked, to bring up a menu that is totally
and purely relevant to the area or object being clicked. More than that though,
the keyboard is always available with a myriad of key bindings depending on what
particular function is being undertaken. Thus, if you're editing sound tracks, the
keys have different uses to when editing clip lengths. At this stage of the game,
I find the keyboard bindings extremely confusing (you can set your own, of course...)
and at the moment I use only one or two 'simple' and obvious keys, such as the arrow
keys, instead of using mouse clicks. However, the pros do use the keyboard almost
exclusively - for me, it adds a lot to the learning curve!
Once you get used to a method for choosing and doing things ... it does become intuitive.
I'm sure, once learned, using the keyboard for editing would be equally 'intuitive'.
Liquid Edition can be used with specified graphic cards to provide a split display
over two monitors. So you could have your timelines on one display, for example,
and the 'project material' on another. I cope with just one, busy, display. This
'basic' screen is customisable in a myriad of ways - I can't possibly go into them
all here, but to list just a few - you can add/remove timelines, change their height
at will, make them suitable for video, sound (stereo 1 and 2 or mono), or video+sound
together, switch them on, off,
Each toolbar has a host of available icons - the customising options shown here are
for one of the central toolbars, with icons in five categories as indicated by the
tabs.
lock them, sync them, set them so sound can be 'scrubbed' like the video ... you
can change the size and quality of the viewer windows (the left one is for the source
playback, the other for the timeline playback), you can re-arrange the icons on the
toolbars, add to them or remove them, you can close down the small 'project'' display
(bottom left) with its 'Racks' (which are in some respects like the albums available
in Studio - but that is a very loose comparison).... you can control background rendering
and its quality (making re-rendering for output totally unnecessary) ... and so on.
In other words, you tailor the whole thing to suit the way you like to work overall,
and what you are doing at any particular moment. You can even choose at any time
whether clips added to the timeline behave as in Studio, or whether they simply go
exactly where you place them (replacing others if necessary) and creating gaps in
the timeline - which are allowed and don't cause problems!
The five different screen layouts are indicated in the screen dump of the screen
selector (left), which opens when you click on the 'Eye' icon in the LE taskbar.
(That's right - LE has its own taskbar - the program takes over your desktop entirely...).
The options, from the top, are Timelines only, Viewers and Project windows, Project
windows and 'desktop', and Viewers with timelines with, if wanted, a small project
window - the 'basic' display. The Project windows can display any of the components
used and required for your movie. In some ways, they are like the Albums you get
in Studio. The main folders are called 'Racks', and you can create your own racks
to hold things like different parts of your movie, music, effects you want to use,
stills, and so on. All of the transitions, effects and sophisticated colour correction
filters are also available via the Project displays. One tip is to 'tailor effects
or transitions to work the way you want (a peeling page, or a pic-in-pic for example)
then copy them into a rack of your favourite effects. You can even place them into
a template 'project' so they are available for every project you open. The different
screens give you access to different combinations of the component 'windows' that
go to make up Liquid Edition. This seems an 'unnecessary' luxury - especially when
you could be looking for the dedicated Capture and Make movie modes available in
Studio, but the amount of information and functions available is so vast, these screens
are, in fact, extremely useful. It has to be said - for me, the most commonly used
screen is the 'basic' layout shown at the top of this article (and selected by the
bottom icon of the selector bar shown on the left). But the others are also invaluable.
Take for example the Project windows and desktop display, shown alongside here.
From your Racks, you can select scenes, titles, stills etc and dump them on the desktop.
There, you can shuffle them around into a required sequence ... then highlight the
lot and send them (right click menu), in the selected order, straight to the timeline.
In this respect, it is similar to the storyboard view of Studio, but it feels more
flexible in that you can open up racks of different captures, stills, animations,
titles and so on to dump stuff onto the desktop, for ordering around. If you used
the storyboard in Studio, you'll love this view. If you didn't, trying it out once
or twice will soon have you appreciating its value.
Liquid Edition requires clips to have 'leeway' - extra material at each end of the
clip - for transitions (see the Transitions article), and this can be set as part
of the capture process so that it is added automatically. If you want, after capturing
a tape, you can manually detect scenes by placing markers at required scene changes.
You can create 'sub clips' or 'master clips' of the scenes, with or without 'leeway'.
With any clip, you can detect any individual scene changes within it at any time
- even from the timeline. The options are almost endless - the secret is to capture
the way you feel most comfortable with, and explore the benefits of the other methods
when you're ready to move on.
This part of the 'Capture' display shows the capture method, how much space is left
on the capture drive, and icons for logging scenes, digitizing or batch capturing,
cancelling the whole operation, and for sending captured material straight to the
timeline.
I mentioned that the timeline can have gaps between clips. This is shown here with
a typical section of an edit. There are many many ways to add a clip to the time
line. With Studio, you drag and drop, end of story. With Edition you can drag and
drop from a rack, send a clip in the source viewer to the timeline, send clips from
the desktop to the timeline (icons and right-click menu stuff). You can set up the
initial options so that, when a clip is sent to the timeline from the source viewer,
the sound track will be disbanded and sent down to separate time lines (or one stereo
timeline) - and the whole lot locked in sync. You can disband the sound from a video
track at any time so that you can work on the sound separately (yes, there are some
sound filters built into Liquid Edition). If you have a video + audio track you don't
want to disband, you can 'switch off' the video, and show just the waveform and/or
volume level in order to make adjustments. Remember that you can (again, at the click
of an icon) opt to have clips dropped onto the timeline the 'Studio' way - or to
go simply where they are placed. This is the best mode for positioning clips on an
overlay timeline, say, to line up with other clips, but there is also (click an icon)
a 'slide' mode that enables you to literally slide a clip along the timeline to any
precise point you want. Otherwise, 'snap-to' options (which you set to work the way
you want!) can sometimes make positioning a clip a bit tricky. On the timelines,
the higher the tracks the greater the priority. Thus you put overlays on the higher
tracks. You can add effects to the video clips - for example - to make the video
smaller for pic-in-pic, and to have it fade in and out and so on. What happens if
you run out of video tracks? Add some more. If you have stacks of tracks - that's
where the 'timeline only' view comes in useful - you can see them all without having
to scroll up and down. Transitions (rather than effects) always attach only to the
ends of clips or between clips - exactly as with Studio. But unlike Studio, the clips
do not automatically slide one over the other. This is dealt with in the Transitions
article.
You can double click any clip at any time to bring up another viewer window, shown
here (actually, you can have the 'clip double-click' do other things, if you prefer
- opening a clip viewer is the default for a double click on a clip). In this window
you get basic colour correction in the highlights, shadows etc for the entire clip,
basic audio control, you can set and reset mark-in and mark out points, and so on.
(Needless to say, there are other more powerful and key framed colour correcting
tools available). All the viewer windows have scrubbers, and a time scale that can
be expanded or contracted with indicators of how much of the overall clip length
the currently visible part of the time scale represents. You get accurate clip position
counters and so on - in other words, an absolute wealth of information. Here's something
else that is pretty smooth - the adjustment method for parameters is fairly universal
throughout the program, so for example to adjust a colour (or any parameter) you
can drag a slider to a new position, enter a value in the associated window, and
for some parameters, select an appropriate icon and drag in the viewer window to
make the change. Resetting any change is even easier - click a small dot by the side
of the slider window, and the default value is restored instantly.
Did I mention saving your work? Well, you don't have to. Every edit you make is
saved automatically. And of course, it can be undone right back to the original state.
Close Liquid Edition down, and when you next open it, you are at the precise point
you left off. If Liquid Edition closes down through a power failure for example,
when you switch back on, you have a 'blank' timeline (actually, it has set you up
for a new 'sequence' of clips in your project - but your work is still there, saved
as a sequence in the sequence list, ready for placing back on the time lines. You
can break your movie up into sequences, and 'containerise' or 'fuse' them (two ways
of saying, in effect, 'I've finished that bit, let's get on with the next bit...'
), pulling them all together at the end for the finishing touches. It makes the
whole movie far easier to control - you don't get yards and yards of timeline whilst
in the initial editing stages. In Studio, to do the same, you'd have to make an AVI
at each stage (which is like Edition's 'fuse' operation). Containers, however, allow
you to go back 'inside' and change your original work, yet keep the whole sequence
together as one unit. There are also functions to 'consolidate' and 'compress' a
movie ... but to be honest, I haven't even looked at what they do yet. I think they
remove unwanted material to save space ...
To adjust any of the sound tracks, you have to open the sound editor (yep. It's an
icon or a right click away...), which occupies the top part of the screen with the
playback viewer on the right as shown here. Allocate the controls to timelines as
you wish , and adjust sound levels either by dragging the volume line on the timeline,
as with Studio, or by using the controls. Studio lets you adjust sound levels without
opening the sound editor first, of course - and this confused me initially. You need
to remember, with Liquid Edition, to adjust sound levels, or pan sound at any time,
you must open the sound editor first. Also, press the 'Scroll Lock' key on your
keyboard, make sure the loudspeaker icon at the start of a timeline is 'hollow' (if
it is solid, press the shift key and click on the loudspeaker icon to make it hollow),
select digital or analogue playback (digital plays back a user defined chunk, say
2 seconds), and you can scrub up to two sound track timelines at a time to hear the
sound. Great for lining up sounds with frame accuracy. Once sound scrubbing is selected
and set up, every viewer can be scrubbed for sound as well. When you've finished,
pressing Scroll Lock again switches it off.
The trimming tool in Edition is slightly different to that in Studio. Studio offers
several ways to trim a clip - you can drag its ends on the time line, you can locate
a required start or end frame , use the razor and discard unwanted material, or you
can select the trimming tool in the album area, to trim the start and end of a clip.
You can trim the start and end of a clip on the timeline in Edition the same way
- by dragging its ends (the mouse pointer changes shape to show you what you are
doing). You can find a frame and razor it. You can also set mark-in and mark out
points - and you can do that to clips in the Racks or the Source viewer before they
even reach the timeline. There is also a trimming tool in Edition, but it is different
from that in Studio. Instead of showing the whole of one clip, it shows the junction
between adjoining clips - as the screen dump here shows. If, as shown here, there
is gradation under each viewer, then changing the length of one clip makes a corresponding
opposite change in the other clip - for example, if you extend the outgoing clip,
the incoming clip is shortened by the same amount. This is perfect for those occasions
when you want the overall length of the scenes to be a fixed length in time - maybe
for syncing with music. To change the trim of just one clip, you simply select that
clip - and the gradation under the other clip vanishes to indicate it won't be affected
by any changes made. You can of course have icons for precision trimming, one or
ten frames at a time.... I won't say that trimming is easier or more precise with
Edition than with Studio - you can get frame accuracy very easily with either editor.
But it is different, and there are more ways of achieving the trim you want with
Liquid Edition.
Titling? Liquid Edition uses TitleDeko - as used in Studio 7. But it works differently
- Studio is easier, since the title, once created, is automatically placed on the
overlay line. In Edition, TitleDeko is almost a 'standalone' titler - you create
the title, then 'send it to Edition' - and it goes into the currently selected Rack.
It is then up to you to 'drag' it to the timeline from there. You can (right click)
edit titles on an overlay time line and the changes are made to the timeline.
What about DVDs? As you would expect, the creation of DVDs in Liquid Edition is a
little more comprehensive - more options, more choices. Again, this is an area I
haven't explored fully yet (I tend to make tapes, using mini DV tapes as a master,
because that's what the people I know want). But ... the DVD editor screen is virtually
the same as the titler in Studio 8 when it used for DVD creation!! So that should
be familiar to Studio users.
Transitions and effects - These are broadly covered in another article. Sufficient
to say here that the Liquid Edition range is far greater, and with very few exceptions,
every transition or effect can be edited to perform exactly the way you want - with
keyframes. In Studio, only the HFX effects and transitions can be edited - provided
you have an HFX editor.
That about completes this very broad overview of the Interface. There is, obviously,
considerably more to it than outlined here (the Reference Manual covers around 850
pages - with an additional 80 pages for the newly added dynamic time warp and comprehensive
colour correction/changing capabilities - which, for example, enable you to create
the 'Pleasantville' type of movie with a colour object on a black and white background).
It points out, I hope, that if and when you try Edition, you will appreciate that
it is a completely different type of editor, and that you have to virtually 'unlearn'
the simplistic Studio way of doing things. But, as mentioned before, once you have
learned the Edition way, it then becomes a 'natural' way to do things, and can make
getting some results - like picture-in-picture - far easier and a whole lot quicker
than when using Studio. Liquid Edition comes with a User Guide which is, in effect,
a walk-you-through-the-basics tutorial. It takes a few sessions to work through it
- but it is worth it. Everything soon starts to click into place, and when that happens,
using Edition becomes easier and, because of the power under its bonnet, it also
becomes an absolute joy to use, encouraging greater creativity when putting a movie
together. I guess that Studio can achieve 95% of what most home movie makers want.
Liquid Edition is that step up for those who want to get even more from their hobby
- and better equip them for making money at it.
So, how do you capture? There is an icon (what else?!) for 'logging' new DV tapes
(for analogue, you need the Pro version). It opens a window at the top, as shown
alongside here. The range of options is pretty extensive. You start by naming the
tape - or 'Reel' as it is known in Liquid Edition - ideally using the name you have
written on the tape, and then click the tick. That side of the window then closes
and it is replaced by a viewer screen with controls that (can) include a Jog control
that works really well for quickly moving around and honing in on a single frame.
You can either 'log' the start and end points of each and every scene you want, and
then select 'Digitize' to 'batch' capture them all - so obviating the need for capturing
the entire tape, or you can capture (digitize) the whole tape, as with Studio - and
select from a variety of scene detection options and settings if required. These
make it possible to prevent a new clip from being created on the flash of a still
camera, for example. Down the centre, barely visible on the screen dump above, you
get the option to select exactly what components you want to capture - video, and
Audio 1 - 4. Most often you will want to capture just the video and two stereo tracks,
A1 and A2, so you'd deselect the other two. You can also add scene names, (right
side) add notes, set audio levels, and so on. Or you can ignore all this information,
if you don't need it.
