manual sony vegas engleza

Vegas Pro 9
™

User Manual


Revised April 17, 2009

What’s new in version 9?

Video
Support for frame sizes up to 4096x4096. For more information, see Modifying project video properties on page 264. Support for capturing directly to XDCAM-compatible MXF files from supported SDI sources. For more information, see Capturing from an SDI Card on page 64. Vegas can now automatically adjust the video preview size and quality to optimize frame rate during preview.
Right-click the Video Preview window and select Adjust Size and Quality for Optimal Playback if you want to emphasize frame rate during
preview. When the command is not selected, video quality is emphasized, and the frame rate will be reduced if necessary. For more
information, see Optimizing the Video Preview window on page 318.
Select the Adjust source media to better match project or render settings check box on the Video tab of the Project Properties window if you want Vegas to be able to make minor changes to your source media properties—including cropping/padding frame size or adjusting interlacing—to allow media files to work better with your project. For more information, see Modifying project video properties on page 264. Improved 32-bit floating point (video levels) processing mode ensures color level and contrast compatibility with 8-bit mode. For more information, see Modifying project video properties on page 264. New Gradient Wipe transition. For more information, see the online help. To access the online help, choose Contents and Index from the Help menu. New Glint, Rays, Defocus, Starburst, Soft Contrast, and Fill Light video effects. For more information, see the online help. To access the online help, choose Contents and Index from the Help menu.

Audio
Audio-only edits (such as event moves, trims, and ASR times) are no longer quantized to frame boundaries by default when Quantize to
Frames is enabled. For more information, see Quantizing to frames on page 129.
If you want to quantize audio-only edits, clear the Do not quantize to frames for audio-only edits check box on the Editing tab of the
Preferences window. For more information, see Editing tab on page 376.
Audio-waveform drawing during recording has been improved: • Recorded waveforms are now updated at a faster rate. • 16-bit peak files are used for increased resolution. • The entire waveform is now visible during recording. • Peaks no longer need to be built when recording is completed. For more information, see Recording Audio on page 227. A Use All Streams and Channels command has been added to the Trimmer window shortcut menu to allow you to choose how streams and channels are handled when adding media to the timeline. For more information, see Choosing multichannel/multistream options on page 136.

Workflow
The Vegas interface uses a new, darker color palette that is easier on your eyes when working in a darkened editing booth. For more information, see Changing the Vegas Pro color scheme on page 357. Vegas includes new default window layouts. For more information, see Loading default window layouts on page 363. The Device Explorer window allows you to import video from AVCHD and XDCAM EX cameras. For more information, see Using the Device Explorer on page 68. In the Save As dialog, the Copy media with project radio button now copies only media files that are saved outside of the project folder. Media files in folders below the project folder are no longer copied. For more information, see Renaming or creating a copy of a project (using Save As) on page 333. In the Video Media Generators dialog, you can now click the Match Event Length button ( ) to set the length of the generated media to match the length of the event. For more information, see Editing a generated media event on page 276. Hold Alt+Shift while dragging inside an event to slip-trim the right edge of an event. For more information, see Slip-trimming an event on page 111. Hold Ctrl+Alt+Shift while clicking an event to split it. You can then drag from that point to trim the event in the direction you drag (eraser mode). For more information, see Splitting and trimming events on page 111. You can now slip all of an event’s takes when slipping an event (choose Slip All Takes from the Options menu). For more information, see Slipping and sliding events on page 111. You can hold Ctrl or the right mouse button for fine control while adjusting the sustain portion of event envelopes. For more information, see Using video event envelopes on page 188.

Time selection envelope editing feature adjusts multiple envelope points within a time selection for quick audio ducking. For more information, see Applying envelope fades within a time selection on page 178. Muted events on muted tracks are now darkened on the timeline to indicate their muted state. For more information, see Mute on page 183. You can now set default fade and keyframe types on the External Control & Automation tab in the Preferences window. For more information, see External Control & Automation tab on page 379. You can now choose to automatically crop still images to match your project’s output aspect ratio. For more information, see Automatically cropping still images added to the timeline on page 253. In the Render As dialog, templates that match your project settings (frame size, pixel aspect ratio, and frame rate) are displayed with an equal sign (=) in the Template drop-down list. For more information, see Rendering a project on page 335. Holding the Shift key while dragging now enables snapping if Enable Snapping is turned off. For more information, see Snapping events on page 127. Pressing the grave accent key (`) no longer restores track height for tracks that were previously minimized. For more information, see Changing track height on page 160. When you drag a group of selected events, the first and last event now snap to other snap points on the timeline. For more information, see Turning snapping on and off on page 128.

Formats
Native XDCAM EX reading and import. For more information, see XDCAM EX workflow on page 147. Improved support for still-image formats: • Added support for gigapixel-resolution images. • Improved performance when working with high-resolution still formats. • You can now create still-image sequences from the Render As dialog. For more information, see Rendering still-image sequences on page 337. • Added support for the reading and saving of DPX, OpenEXR, and MS HD Photo formats. Support for opening and editing RED ONE™ (.r3d) files on the timeline. For more information, see Working with RED ONE camera files on page 263. Updated Sony AVC rendering templates for Internet distribution.

Welcome

After Vegas® Pro software is installed and you start it for the first time, the registration wizard appears. This wizard offers easy steps that allow you to register the software online with Sony Creative Software Inc. Alternatively, you may register online at http:// www.sonycreativesoftware.com at any time.

Registration assistance
Registration assistance is available online at http://www.sonycreativesoftware.com/chat or by fax at 1-608-250-1745.

Customer service/sales
For a detailed list of customer service options, we encourage you to visit http://www.sonycreativesoftware.com/support/custserv.asp. Use the following numbers for telephone support during normal weekday business hours: Telephone/Fax
1-800-577-6642 (toll-free) +608-204-7703 1-608-250-1745 (Fax)

Country

US, Canada, and Virgin Islands
for all other countries
All countries


Technical support
For a detailed list of technical support options, we encourage you to visit
http://www.sonycreativesoftware.com/support/default.asp. To listen to your support options by telephone, please call 608-256-5555.


About your rights in Vegas Pro software
Vegas Pro software is licensed to you under the terms of the End User License Agreement you entered into with Sony Creative Software Inc.

About your privacy
Sony Creative Software Inc. respects your privacy and is committed to protecting personal information. Your use of the software is governed by the Software Privacy Policy. Please review its contents carefully as its terms and conditions affect your rights with respect to the information that is collected by the software. For your reference, a copy of the Software Privacy Policy is located at http:// www.sonycreativesoftware.com/corporate/privacy.asp.

Proper use of software
Vegas Pro software is not intended and should not be used for illegal or infringing purposes, such as the illegal copying or sharing of copyrighted materials. Using Vegas Pro software for such purposes is, among other things, against United States and international copyright laws and contrary to the terms and conditions of the End User License Agreement. Such activity may be punishable by law and may also subject you to the breach remedies set forth in the End User License Agreement.

Legal notices
ACID, ACIDized, ACIDplanet.com, ACIDplanet, the ACIDplanet logo, ACID XMC, Artist Integrated, the Artist Integrated logo, Beatmapper, Cinescore, CD
Architect, DVD Architect, Jam Trax, Perfect Clarity Audio, Photo Go, Sound Forge, Super Duper Music Looper, Vegas, Vision Series, and Visual Creation
Studio are the trademarks or registered trademarks of Sony Creative Software, Inc. in the United States and other countries.
“PlayStation” is a registered trademark and “PSP” is a trademark of Sony Corporation Entertainment Inc.
HDV and HDV logo are trademarks of Sony Corporation and Victor Company of Japan, Limited (JVC).
All other trademarks or registered trademarks are the property of their respective owners in the United States and other countries.
Apple QuickTime Apple® QuickTime® application is a trademark of Apple, Inc. in the United States and other countries. Apple Macintosh Audio Interchange File Format (AIFF) file format. Apple® Macintosh® Audio Interchange™ File Format (AIFF) is a trademark of Apple, Inc. in the United States and other countries. ATRAC “ATRAC,” “ATRAC3,” “ATRAC3plus,” “ATRAC Advanced Lossless,” and the ATRAC logo are trademarks of Sony Corporation. http://www.sony.net/Products/ATRAC3/ AVCHD AVCHD and AVCHD logo are trademarks of Matsushita Electric Industrial Co., Ltd and Sony Corporation. Boost Software License - Version 1.0 - August 17th, 2003 Permission is hereby granted, free of charge, to any person or organization obtaining a copy of the software and accompanying documentation covered by this license (the “Software”) to use, reproduce, display, distribute, execute, and transmit the Software, and to prepare derivative works of the Software, and to permit third-parties to whom the Software is furnished to do so, all subject to the following: The copyright notices in the Software and this entire statement, including the above license grant, this restriction and the following disclaimer, must be included in all copies of the Software, in whole or in part, and all derivative works of the Software, unless such copies or derivative works are solely in the form of machine-executable object code generated by a source language processor. THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, TITLE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE COPYRIGHT HOLDERS OR ANYONE DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY, WHETHER IN CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE. Dolby, Dolby Digital AC-3, and AAC encoding This product contains one or more programs protected under international and U.S. copyright laws as unpublished works. They are confidential and proprietary to Dolby Laboratories. Their reproduction or disclosure, in whole or in part, or the production of derivative works therefrom without the express permission of Dolby Laboratories is prohibited. Copyright 1992 - 2008 Dolby Laboratories. All rights reserved. Dolby Digital 5.1 Creator technology is not intended for use in content creation for commercial or broadcast distribution, or content that displays Dolby trademarks and logos. Only Approved Dolby Digital Professional Encoders may be used for content that is commercially distributed or carries the Dolby Digital trademark and logo. Dolby®, the double-D symbol, AC-3®, and Dolby Digital® are registered trademarks of Dolby Laboratories. AAC™ is a trademark of Dolby Laboratories. FLAC/Ogg File Formats ©2008, Xiph.org Foundation Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. Gracenote CD and music-related data from Gracenote, Inc., copyright © 2000-2008 Gracenote. Gracenote Software, copyright 2000-2008 Gracenote. This product and service may practice one or more of the following U.S. Patents: #5,987,525; #6,061,680; #6,154,773, #6,161,132, #6,230,192, #6,230,207, #6,240,459, #6,330,593, and other patents issued or pending. Services supplied and/or device manufactured under license for following Open Globe, Inc. United States Patent 6,304,523. Gracenote and CDDB are registered trademarks of Gracenote. The Gracenote logo and logotype, MusicID, and the “Powered by Gracenote” logo are trade­ marks of Gracenote. i.Link i.LINK® is a registered trademark of Sony Electronics, used only to designate that a product contains an IEEE 1394 connector. All products with an IEEE 1394 connector may not communicate with each other. Macromedia Flash Macromedia and Flash are trademarks or registered trademarks of Macromedia, Inc. in the United States and/or other countries. Main Concept encoder Main Concept® plug-in is a trademark of registered trademark of Main Concept, Inc. in the United States or other countries. All rights reserved. Microsoft DirectX programming interface Portions utilize Microsoft® DirectX® technologies. Copyright © 1999 – 2008 Microsoft Corporation. All rights reserved.

Microsoft Windows Media Technologies Portions utilize Microsoft Windows Media Technologies. Copyright ©2008 Microsoft Corporation. All rights reserved. MPEGLA and MPEG 2 USE OF THIS PRODUCT IN ANY MANNER THAT COMPLIES WITH THE MPEG-2 STANDARD IS EXPRESSLY PROHIBITED WITHOUT A LICENSE UNDER APPLICABLE PATENTS IN THE MPEG-2 PATENT PORTFOLIO, WHICH LICENSE IS AVAILABLE FROM MPEG-LA, LLC, 250 STEELE STREET, SUITE 300, DENVER, COLORADO 80206. Manufactured under license from MPEG-LA. OpenEXR Copyright (c) 2006, Industrial Light & Magic, a division of Lucasfilm Entertainment Company Ltd. Portions contributed and copyright held by
others as indicated. All rights reserved.
Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are
met:
• • • Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution. Neither the name of Industrial Light & Magic nor the names of any other contributors to this software may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. PNG file format Copyright © 2008. World Wide Web Consortium (Massachusetts Institute of Technology, European Research Consortium for Informatics and Mathematics, Keio University). All rights reserved. This work is distributed under the W3C Software License in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTIBILITY or FITNESS FOR A PARTICULAR PURPOSE. http://www.w3.org/Consortium/ Legal/2002/copyright-software-20021231. Real, RealMedia, RealAudio, and RealVideo applications 2008 RealNetworks, Inc. Patents Pending. All rights reserved. Real®, Real Media®, RealAudio®, RealVideo®, and the Real logo are trademarks or registered trademarks of RealNetworks, Inc. in the United States and other countries. Sony AVC THIS PRODUCT IS LICENSED UNDER THE AVC PATENT PORTFOLIO LICENSE FOR THE PERSONAL AND NON-COMMERCIAL USE OF A CONSUMER TO (i)ENCODE VIDEO IN COMPLIANCE WITH THE AVC STANDARD (“AVC VIDEO”) AND/OR (ii)DECODE AVC VIDEO THAT WAS ENCODED BY A CONSUMER ENGAGED IN A PERSONAL AND NON-COMMERCIAL ACTIVITY AND/OR WAS OBTAINED FROM A VIDEO PROVIDER LICENSED TO PROVIDE AVC VIDEO. NO LICENSE IS GRANTED OR SHALL BE IMPLIED FOR ANY OTHER USE. ADDITIONAL INFORMATION MAY BE OBTAINED FROM MPEG LA, L.L.C. SEE HTTP:// MPEGLA.COM. Steinberg Media Technologies VST® is a registered trademarks of Steinberg Media Technologies GmbH. ASIO™ is a trademark of Steinberg Media Technologies GmbH. Tagged Image File Format (TIFF) Adobe Tagged Image™ File Format is a registered trademark of Adobe Systems Incorporated in the United States and other countries. All rights reserved. Targa file format The Targa™ file format is a trademark of Pinnacle Systems, Inc. Thomson Fraunhofer MP3 MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson.
Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue generating broadcast
systems (terrestrial, satellite, cable and/or other distribution channels), streaming applications (via internet, intranets and/or other networks), other
content distribution systems (pay-audio or audio on demand applications and the like) or on physical media (compact discs, digital versatile discs,
semiconductor chips, hard drives, memory cards and the like).
An independent license for such use is required. For details, please visit: http://mp3licensing.com.


Sony Creative Software Inc.
1617 Sherman Avenue Madison, WI 53704 USA

The information contained in this manual is subject to change without notice and does not represent a guarantee or commitment on behalf of Sony Creative Software Inc. in any way. All updates or additional information relating to the contents of this manual will be posted on the Sony Creative Software Inc. Web site, located at http://www.sonycreativesoftware.com. The software is provided to you under the terms of the End User License Agreement and Software Privacy Policy, and must be used and/or copied in accordance therewith. Copying or distributing the software except as expressly described in the End User License Agreement is strictly prohibited. No part of this manual may be reproduced or transmitted in any form or for any purpose without the express written consent of Sony Creative Software Inc. Copyright © 2009. Sony Creative Software Inc. Program Copyright © 2009. Sony Creative Software Inc. All rights reserved.

Table of
Contents


Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
System requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Technical support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Installing Vegas Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Online help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20


Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Main window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Marker bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Command bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
CD layout bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Timeline (track view) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Transport bar controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Scrub control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Window docking area and floating window docks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Saving and recalling window layouts - Ctrl+Alt+D or Alt+D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Keyboard shortcut reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Cursor indications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Using a control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43


Audio signal flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Video signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45


Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Creating projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Starting a new project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Setting video properties based on a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Working with rotated projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Saving a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Renaming a project (using Save As) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49


Getting media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Previewing a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Using the Project Media window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Importing media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Working with AVCHD video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Generating music with Cinescore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Adding media to the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Project references in rendered media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

TABLE OF CONTENTS | 1

Capturing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Capturing from an SDI Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Capture Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66


Using the Device Explorer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Previewing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Choosing the folder where you want to import clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Importing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69


Working with events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Understanding files and events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Moving events along the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70


Working with tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Using the timeline (track view) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Using the track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72


Nesting projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Adding a project to the Vegas Pro timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74


Playing back and previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Playing your project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Previewing to media player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Prerendering video previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78


Rendering a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Creating a movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78


Publishing a project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78


Using the Media Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

Creating a new media library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Opening a media library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Adding media files to a library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Removing media files from a library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Tagging media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Creating a tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Applying a tag to a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Removing a tag from a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Deleting a tag from a library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Merging subtags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Arranging tags in the tag tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Editing tag names or images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Viewing or creating palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Saving tags and properties to media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Tagging for loop developers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85


Backing up your media libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86


2 | TABLE OF CONTENTS

Opening a reference library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Using the Sound Series Loops & Samples reference library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87


Searching for media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Searching using a keyword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Searching using tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Sorting search results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Viewing previous searches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Using advanced search options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89


Previewing media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Media relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Adding media to your project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Resolving offline media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Customizing the Media Manager window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Automatically hiding the Search pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Docking and undocking the Search pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Resizing columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Moving columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Showing or hiding columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Adding custom columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Editing a column’s contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Showing thumbnails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Using the Properties pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93


Setting Media Manager options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Media Library tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Thumbnails tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
About tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95


Using the Media Manager with multiple computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95


Basic Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Getting around. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Moving the cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Changing focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97


Making selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting a time range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Looping playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Selecting events and a time range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Selecting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Selecting groups of composited tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101


TABLE OF CONTENTS | 3

Editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Copying events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Cutting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Pasting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Duplicating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Inserting empty events and time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Splitting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Slipping and sliding events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Detecting and repairing audio and video synchronization problems . . . . . . . . . . . . . . . . . . . . . . . 112
Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113


Applying post-edit ripples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Applying a post-edit ripple manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Applying a post-edit ripple automatically . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Shuffling events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114


Crossfading events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Using automatic crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Manually setting a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Changing crossfade curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Sliding a crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116


Using undo and redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Using undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Using redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Clearing the edit history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117


Adding project markers and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Working with markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Working with regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Working with command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Working with CD layout markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Working with the marker tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124


Using an external audio editing program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Setting up an audio editing program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Opening an audio editor from Vegas Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125


Advanced Editing Techniques. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Snapping events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Turning snapping on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Snapping to the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Snapping to markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Snapping to events on other tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Quantizing to frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Using the event snap offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129


4 | TABLE OF CONTENTS

Pitch shifting audio events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Editing from the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Editing in the Event Properties dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131


Time compressing/stretching events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Time compressing/stretching video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132


Working with takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Adding takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Selecting takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Previewing and selecting takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Deleting takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Working with take names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133


Using the Trimmer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Opening a file in the Trimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Choosing Trimmer preview options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Choosing multichannel/multistream options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Moving frame-by-frame in the Trimmer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Making selections in the Trimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Adding selections to the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Using the Trimmer History list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Adding and saving regions and markers to a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Opening a file in an external audio editor from the Trimmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Creating a subclip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Selecting a subclip in its parent media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Opening files in the Trimmer by default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139


Removing red eye from still images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Using the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Viewing the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Customizing the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142


Working with Multicamera Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Shooting multicamera video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Capturing multicamera video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Synchronizing multicamera video clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

Adjusting alignment using audio waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Adjusting alignment using video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144


Creating multicamera events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Editing multicamera video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Enabling multicamera editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Previewing multiple takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Choosing takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Turning off multicamera editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146


Working with XDCAM video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

XDCAM EX workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

TABLE OF CONTENTS | 5


XDCAM and XDCAM HD workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Setting up an XDCAM device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Using the XDCAM Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150


Importing XDCAM discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Editing XDCAM clips on the timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Creating and editing a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Setting up your project for multichannel audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Replacing proxy-resolution clips with full-resolution media (conforming media) . . . . . . . . . . . 155


Exporting video to an XDCAM disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Exporting video from the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Exporting a rendered file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158


Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Managing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Inserting an empty track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Duplicating a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Deleting a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Naming or renaming a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159


Organizing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Reordering tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Changing track color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Changing track height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160


Using the track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Using the volume fader (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Using the multipurpose slider (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Assigning audio tracks to assignable effects chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Assigning audio tracks to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Adjusting the composite level (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Selecting the compositing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Bypassing motion blur envelopes (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Using track motion (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Phase inverting a track (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Muting a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Muting all audio or video tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Soloing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166


Setting default track properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Track automation envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Using audio bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Adding envelopes to an audio bus track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Adding effects to audio bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Muting or soloing an audio bus track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Resizing audio bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167


6 | TABLE OF CONTENTS

Using video bus tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Adding keyframes to the video bus track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Adding envelopes to the video bus track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Adding effects to video bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Muting the video output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Bypassing video effects and envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Resizing video bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168


Rendering to a new track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168


Using Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Showing or hiding automation controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Track automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169

Mute automation (audio and video) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Volume or pan automation (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Assignable effects automation (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Bus automation (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Adding or removing track effect automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Composite level automation (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Fade-to-color automation (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Adding a motion blur envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Adding a video supersampling envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176


Working with track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176

Hiding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Removing track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Using the Envelope Edit tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Locking envelopes to events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180


Automating 5.1 surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Automation recording modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Recording automation settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Editing sections of your recorded settings in Touch mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Overwriting recorded settings in Latch mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Editing individual envelope points or keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Setting the automation recording mode for a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182


Working with Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Setting event switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183

Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Invert phase (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Normalize (audio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Maintain aspect ratio (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Reduce interlace flicker (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Resample (video only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

TABLE OF CONTENTS | 7

Accessing event properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Adjusting audio channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Setting audio streams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Copying and pasting event attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Using audio event envelopes (ASR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Setting an audio event’s volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Setting an event’s fade in and out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187


Using video event envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Using opacity envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Using velocity envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189


Grouping events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Creating a new group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Adding an event to an existing group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Removing events from a group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Clearing a group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Selecting all members of a group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Suspending grouping temporarily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Cutting, copying, or deleting grouped events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192


Using the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Using the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Viewing the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Using the Mixer toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Using the Mixer Preview fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194


Using busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Adding busses to a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Deleting busses from a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Routing a bus to another bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Routing busses to hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Working with busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Assigning audio tracks to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198


Using assignable effects chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Assigning audio tracks to assignable effects chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Routing assignable effects chains to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200


Automating busses and assignable effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Viewing bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Adding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Modifying track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200


8 | TABLE OF CONTENTS

Using the Mixing Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Understanding the Mixing Console window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201

The Mixing Console toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
The Channel List pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
The View pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Channel strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204


Adding track, assignable FX, and bus channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Using audio track channel strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205

Changing a track’s name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Adding or editing track (insert) effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Adjusting bus or assignable effects send levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Change a track’s input or output device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Changing a track’s automation mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Muting or soloing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Inverting a track’s phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Arming a track for recording or toggle input monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Adjusting track panning or volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209


Using bus channel strips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

Changing a bus’s name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Adding or editing bus (insert) effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Adjusting bus send levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Changing a bus’s output device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211
Monitoring bus levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Muting or soloing a bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Adjusting bus panning or volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Changing pre/post routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213


Using FX send (assignable effects) channel strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213

Changing an assignable effect chain’s name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213
Adding or editing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Adjusting assignable effects input levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Changing an effects chain’s output device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Monitoring output levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Muting or soloing an assignable effects chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215
Adjusting assignable effects panning or volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215


Creating a Cue (Headphone) Mix with the Mixing Console . . . . . . . . . . . . . . . . . . . . . . . . . . . .216


Adding Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Using audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219


TABLE OF CONTENTS | 9

Using plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Creating a plug-in chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Adding plug-ins to a plug-in chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Saving customized plug-in presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Arranging the order of plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Bypassing plug-ins on the chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Removing plug-ins from a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Saving plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Editing saved plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Organizing your plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224


Automating effects parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Applying non-real-time event effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Bypassing all audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225


Recording Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Setting up your equipment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Basic setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Setup with mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Setup with digital multitrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228


Preparing to record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Arming the track for recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Selecting recording settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Using the metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230


Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Recording into an empty track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Recording into a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Recording into an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Recording into an event with a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Triggering from MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232


Working with multiple recorded takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Specifying where recordings are stored. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Changing where recorded files are stored when arming a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Changing where recorded files are stored when starting to record . . . . . . . . . . . . . . . . . . . . . . . . . 233
Changing where recorded files are stored in the Project Properties dialog . . . . . . . . . . . . . . . . . . 233
Monitoring audio levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Using record input monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234


Working with 5.1 Surround. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

What is 5.1 surround? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Setting up surround hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Setting up surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Routing to hardware in the mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237


Assigning audio to the LFE channel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

10 | TABLE OF CONTENTS

Adjusting volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Adjusting track volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Adjusting assignable effects send or bus send levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Adjusting channel levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238


Panning audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Panning tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239
Panning mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240
Using the Surround Panner window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241


Automating panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

Turning on panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
Adding panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
Working with keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245


Rendering surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247
Creating a DVD with DVD Architect Pro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .248


Using Advanced Video Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Cropping video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249

Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251
Bézier masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251
Rotating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252
Adding animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252


Working with still images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253

Creating still images for use in Vegas Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253
Capturing a timeline snapshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254
Creating a slide show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254


Creating titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

Creating titles from images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255
Fading titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256


Adding closed captioning to Windows Media Video (WMV) files . . . . . . . . . . . . . . . . . . . . . .256

Adding closed captioning line-by-line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
Adding closed captioning from a script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
Displaying closed captioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258


Resampling video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
Using Edit Decision Lists (EDL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259

Creating an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259
Opening an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259


Working in DV format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260

Selecting source media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Setting project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Selecting templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Eliminating out-of-range colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260


TABLE OF CONTENTS | 11

Working in HDV format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Capturing HDV clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Creating Proxy Files for High-Definition Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Editing HDV video on the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262


Working with RED ONE camera files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Modifying R3D decode properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263


Modifying project video properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Modifying media file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Editing properties for an audio file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Editing properties for a video file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Setting timecode media properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Setting custom stream properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268


Using Video FX, Compositing, and Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Using video effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Adding a video effects plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Working with video effects plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Modifying a video effects plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Saving custom plug-in settings as a preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Using keyframe animation with plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274


Using generated media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Adding a generated media event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Editing a generated media event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Duplicating a generated media event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276


Compositing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Understanding the parent/child track relationship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Selecting compositing modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Using a 2-to-1 transform plug-in to customize compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280


3D compositing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Single-track 3D motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Composited group 3D motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Changing editing options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Examples of various 3D compositing scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284


Creating masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Creating image masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Creating video masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Bézier masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Fine-tuning masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Using the Mask Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Chroma keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292


12 | TABLE OF CONTENTS

Adding Video Transitions and Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Understanding basic transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295

Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295
Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .295


Using transition effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296

Adding a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
Adding a transition to the end of an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .296
Adding a transition to all selected events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .297
Adding a transition progress envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .298
Understanding track layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .298
Converting a cut to a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Converting a crossfade or transition to a cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Previewing a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
Modifying a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
Saving custom settings as a preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301


Using keyframe animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .302

Understanding the keyframe controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .302
Adding keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303
Deleting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303
Navigating in the keyframe controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303
Modifying keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303
Creating keyframe presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304
Working with keyframes in the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305


Sample uses for keyframe animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

Animating event panning and cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307
Animating video effects plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .308
Animating generated text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309


Adding track motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310

Controlling track motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310
Using the track motion shortcut menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311
Changing editing options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311
Using keyframes in track motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312
Creating a picture-in-picture effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314
Animating the overlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315


Previewing and Analyzing Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Understanding the Video Preview window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317

Using the Video Preview window shortcut menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318


Optimizing the Video Preview window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

Adjusting preview quality and resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Prerendering video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Building dynamic RAM previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320


TABLE OF CONTENTS | 13

Using split-screen previewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Previewing affected and unprocessed video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Showing the video at the cursor position and the contents of the clipboard . . . . . . . . . . . . . . . . 321
Changing the selection for displaying split-screen views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321


Identifying safe areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Viewing the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Isolating color channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Monitoring video with scopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Displaying chrominance using the vectorscope monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Displaying luminance using the waveform monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Displaying color levels and contrast using the histogram monitor . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Displaying RGB components with RGB parade monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Adjusting video scope settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326


Previewing in a player. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Using an external monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Configuring an external monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Previewing video on a secondary Windows display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Viewing on an external monitor via IEEE-1394 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Viewing on an external monitor via SDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331


Saving, Rendering, and Printing Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Saving a project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Renaming or creating a copy of a project (using Save As) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Autosaving a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334


Rendering a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Rendering still-image sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Rendering multichannel audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Rendering surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Rendering MPEG format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Using default MPEG templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Creating custom MPEG templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Viewing MPEG-2 files on a computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341


Customizing the rendering process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Customizing the Render As settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Saving custom settings as a template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Deleting a template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Copying rendering templates between computers or user accounts . . . . . . . . . . . . . . . . . . . . . . . 343


Exporting a movie to a PSP™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344


14 | TABLE OF CONTENTS

Rendering with networked computers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345

Setting up your computers for network rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .345
Troubleshooting initiation problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346
Using nondistributed network rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .347
Using distributed network rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .347
Monitoring rendering progress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348
Setting file mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348
Setting render service options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349


Printing video to tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350

Printing video to tape from the timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350
Printing HDV video to tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Printing a rendered file to HDV tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .354
Printing to tape using Video Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355


Customizing Vegas Pro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Changing the Vegas Pro color scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357
Displaying frame numbers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .357
Changing the ruler format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .358

Editing the ruler offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .358


Changing grid spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
Using the Time Display window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359

Changing the time display settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
Changing the time display colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .359
Setting the time display to monitor MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360


Working with project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360

Video tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
Ruler tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361
Summary tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361
Audio CD tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361


Using the toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362

Hiding and displaying the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Reordering toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Adding buttons to the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Removing buttons from the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362


Saving and recalling window layouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363

Loading default window layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Saving a window layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
Loading a saved layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Adding a layout to the View > Window Layouts submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Removing a layout from the View > Window Layouts submenu . . . . . . . . . . . . . . . . . . . . . . . . . . . .364
Deleting a layout from your computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .364


TABLE OF CONTENTS | 15

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Editing or creating new shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Saving a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Deleting a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Importing or renaming a keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Resetting the default keyboard mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366


Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Video tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Preview Device tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Audio Device tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
MIDI tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
VST Effects tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Editing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Display tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
CD Settings tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Sync tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
External Control & Automation tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379


Burning Discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Understanding track-at-once and disc-at-once CD burning . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Track-at-once . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Disc-at-once (Single Session or Red Book) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381


Understanding tracks and indices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Setting up to burn audio CDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Viewing the ruler and time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Setting project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Setting preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382


Importing CD Architect files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Creating audio CD layout projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Adding media as CD tracks to a new project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Marking tracks in an existing project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383


Working with tracks and indices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Navigating to and selecting tracks and indices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Moving track and index markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Renaming track and index markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Deleting track and index markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Editing markers using the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Copying a track list from the Edit Details window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386


Burning audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Burning single tracks (track-at-once) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Burning a disc (disc-at-once) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387


16 | TABLE OF CONTENTS

Burning video CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .388
Creating a multimedia CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .389
Creating a Blu-ray Disc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391


Using Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Running a script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .393
Adding scripts to the Scripting menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .393
Using Vegas extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394
Creating a script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394
Editing an existing script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .394
Create custom button images for scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .395
Vegas command-line options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .395


Using Hardware Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397

Using a Control Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397

Connecting your control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397
Configuring Vegas Pro software to use your control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397
Configuring or customizing your control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397
Using your control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .398


Using a Mackie Control Universal with Vegas Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .398

Hardware setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .399
Using the Mackie Control Universal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .401


Using a Frontier TranzPort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414

Viewing the control mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Adjusting track or bus volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Adjusting track or bus panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Editing a track’s input device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415
Editing a track or mixer control’s output device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415


Using a generic control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415

Customizing your control mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415
Loading a control mapping file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416


Configuring a generic control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416
Using a joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .417

Using the Microsoft SideWinder Force Feedback 2 joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .418
Using the Logitech Wingman joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .418
Using the Gravis Eliminator Precision Pro joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .418


Using a Multimedia Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .420

Contour ShuttlePro default settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .420
Contour ShuttleXpress default settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421
Navigating the timeline with a ShuttlePro or ShuttleXpress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421
Navigating the timeline with a PowerMate or other controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421
Editing events with a ShuttlePro or ShuttleXpress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421


TABLE OF CONTENTS | 17

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Troubleshooting resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Common questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Why are some of my DirectX plug-ins not working correctly? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Why do I hear gaps in my audio playback? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Why do mono events increase 6 dB when panning a track hard? . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Why do buffer underruns occur during a test or real write to a CD? . . . . . . . . . . . . . . . . . . . . . . . . . 424
Why can’t I work with footage captured using an MJPEG card? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424


Trouble-free video: software solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Trouble-free video: hardware solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Video subsystem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Hard disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
CPU and RAM (memory) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426


Audio proxy files (.sfap0) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426
Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

SMPTE timecode types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Timecode in Vegas Pro software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427


Troubleshooting DV hardware issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428


Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i


18 | TABLE OF CONTENTS

Chapter 1 Introduction
Welcome
Vegas® Pro software is an innovative and advanced multitrack media-editing system. Vegas Pro software was designed to create an efficient audio/video production environment without sacrificing the quality and processing power that you expect from Sony Creative Software Inc. Whether it’s the standard and familiar Microsoft® Windows® navigation commands or the clean and uncluttered interface, you’ll find Vegas Pro software to be a tool that will be mastered in minutes. Beneath the unique and customizable interface, you’ll find a product that is both powerful and flexible.

System requirements
In order to use Vegas Pro software, your computer must satisfy the following minimum specifications: • • • • • • • • • • • • Microsoft® Windows® XP 32-bit SP2 (SP3 recommended) or Windows Vista™ 32-bit or 64-bit (SP1 recommended) 1 GHz processor (multicore or multiprocessor CPU recommended for HD) 200 MB hard-disk space for program installation 1 GB RAM (2 GB recommended) OHCI compatible i.LINK® connector*/IEEE-1394DV card (for DV and HDV capture and print-to-tape) USB 2.0 connection (for importing from AVCHD, XDCAM EX, or DVD camcorders) Microsoft Windows-compatible sound card DVD-ROM drive (for installation from a DVD only) Supported CD-recordable drive (for CD burning only) Supported Blu-ray-recordable drive (for Blu-ray Disc burning only) Microsoft .NET Framework 3.0 (included on application disc)** Apple® QuickTime 7.1.6 or later

You must provide your registration information to Sony Creative Software Inc., a US company, in order to activate the software. Product requires online registration within 30 days. *i.LINK is a registered trademark of Sony Electronics, used only to designate that a product contains an IEEE 1394 connector. All products with an IEEE 1394 connector may not communicate with each other. **.NET 3.0 adds functionality to .NET 2.0. After installing the .NET Framework 3.0, versions 2.0 and 3.0 will be displayed in the Windows Add or Remove Programs listing. Do not attempt to uninstall version 2.0; it is required by version 3.0.

Technical support
The Web site at http://www.sonycreativesoftware.com/support/default.asp has technical support, reference information, program updates, tips and tricks, user forums, and a knowledge base.

Installing Vegas Pro software
1. Place the Vegas Pro application disc in the drive. The setup screen appears (if AutoPlay is enabled for your DVD
drive). If DVD AutoPlay is not enabled, click the Start button and choose Run. In the Run dialog that appears, type the DVD drive’s letter and add :\setup.exe. Click OK to start the installation.

2. Click Install, and follow the on-screen prompts to install the appropriate version of Vegas Pro for your computer.

INTRODUCTION | 19

Getting help
You can access two varieties of help within Vegas Pro: • • Online help Interactive tutorials

Online help

To access online help, choose Contents and Index from the Help menu or press F1.
The online help window has four tabs that you can use to find the information that you need.

Toolbar Tabs

Information pane

Tab
Contents

Description
Provides a list of available help topics. Click a closed book topic page . to open the pages, and then click on a

Index

Provides a complete listing of the help topics available. Scroll through the list of available topics or type a word in the Type in the keyword to find box to quickly locate topics related to that word. Select the topic and click the Display button. Allows you to enter a keyword and display all of the topics in the online help that contain the keyword you have entered. Type a keyword in the Type in the word(s) to search for box and click the List Topics button. Select the topic from the list and click the Display button. Allows you to keep topics that you revisit often in a separate folder. To add a topic to your favorites, click the Add button on the Favorites tab.

Search

Favorites

Interactive tutorials You can learn more about many of the features in Vegas Pro by using the interactive tutorials installed with the software. By default, the tutorials display upon startup of the application. However, you can access them at any time from the Help menu by choosing Interactive Tutorials.

Tip: To turn off automatic display of the tutorials, clear the Show at Startup check box at the bottom of the tutorial window.

Help on the Web Additional help and information is available on the Sony Creative Software Inc. Web site. From the Help menu, choose Sony on the Web to view a listing of Web pages pertaining to Vegas Pro software and Sony Creative Software Inc. The software starts your system’s Web browser and attempts to connect to the appropriate page on the Sony Creative Software Inc. site.

20 | CHAPTER 1

Overview

Vegas Pro software is designed to be an easy-to-use program with many tools that provide power and flexibility when creating and working with multimedia files. Many operations, menu items, and shortcut keys are consistent with other popular Microsoft Windows software applications. The following sections provide a graphical tour of the Vegas Pro workspace.

Main window
This is the window that appears when the software is opened. The work area is subdivided into three primary areas: the track list, the timeline (track view), and the window docking area.You can resize the track list, timeline, and window docking area by dragging the dividers between them.
Menu bar Toolbar

Window docking area

Time display

Marker bar Ruler

Track list

Timeline (track view)

Scrub control Status bar Transport bar

Tip: If you prefer to work with the timeline at the top of the window and the docking area at the bottom of the window, clear the Display timeline at bottom of main window check box on the Display tab of the Preferences dialog.

INTRODUCTION | 21

Toolbar
The toolbar allows you to quickly access the most commonly used functions and features. From the Options menu, choose Customize Toolbar to specify which buttons are displayed.
Create new project Open existing project Save project Save project with different settings Render project Open project properties Cut selected events or time range Copy selected events or time range Paste items from clipboard into project Undo Redo Enable snapping Enable automatic crossfades Enable automatic ripple editing Lock envelopes to events Ignore event grouping Normal edit tool Envelope edit tool Selection edit tool Zoom edit tool Interactive tutorials Context-sensitive help

Time display
The Time Display window reflects the cursor’s position on the timeline, MTC input, MTC output, or MIDI clock output time. You can customize time display settings, including what time the window displays and which colors are used in the display. For more information, see Using the Time Display window on page 359. You can move the Time Display window from its docked position above the track list to float on the workspace or dock in the window docking area.
Docked position Floating window Docked in window docking area

Ruler
The ruler is the timeline for your project. You can specify how the ruler measures time: seconds, measures and beats, frames, etc. For more information, see Changing the ruler format on page 358.

Marker bar
The marker bar is the area where you can place, name, and position markers and regions along the project’s timeline. These informational tags can serve as cues or reminders highlighting important events in your project. For more information, see Adding project markers and regions on page 118.

22 | CHAPTER 1

Command bar
The command bar displays when you add a command to your project. Commands add metadata to media files to create effects such as closed captioning. For more information, see Adding project markers and regions on page 118.

CD layout bar
The CD layout bar displays tracks and indices in an audio CD layout project for disc-at-once (DAO) CD burning. For more information, see Burning Discs on page 381.

Track list
This area identifies the track order in your project and contains controls used to determine track compositing and mixing. For more information, see Using the track list on page 72.
Selected track Track minimize and
maximize
Parent/child compositing controls Video tracks

Track number Audio track

Timeline (track view)
All arranging and editing is done in the timeline (track view). This area contains all of a project’s events. For more information, see Using the timeline (track view) on page 71.

INTRODUCTION | 23

Transport bar controls
The transport bar contains the playback and cursor positioning buttons frequently used while working on and previewing your project.
Record into track Loop playback Play from beginning of project Play project from cursor position Pause project playback Stop playback Move cursor to start of project Move cursor to end of project

Status bar
The status bar is located at the bottom of the main program window and displays information about roughly how much space is left on your computer to record audio (Record Time). During the rendering processes, the left side of the status bar also contains information about the progress of the render. The Video Preview window also has its own status bar that displays project specific information. For more information, see Understanding the Video Preview window on page 317.

Scrub control
The scrub control is used to play your project forward or backward for editing purposes. You may adjust playback speed by setting the speed control marker located beneath the scrub control. For more information, see Scrubbing on page 75.
Drag either forward or backward for playback Set playback speed

Window docking area and floating window docks
By default, the window docking area is located in the upper half of the Vegas Pro workspace. This area allows you to keep frequently used windows available but out of the way while you are working with a project. Windows can be docked next to each other, subdividing the docking area, or they can be docked in a stack in the window docking area or in a separate floating docking window. When stacked, each window has a tab at the bottom with its name on it. Click the window’s tab to bring it to the top.
Close window Expand window Drag the handle away from the docking area to float the window.

• • • • •

To dock a window, drag it to the docking area. Drag the handle on the left side of a docked window to remove a window from the docking area and float it. To prevent a window from docking when you drag it, hold the Ctrl key. To expand a docked window so it fills the docking area, click the Maximize button ( ). Click again to restore the window to its previous size. To remove a window from the docking area or a floating dock, click the Close button ( ).

24 | CHAPTER 1

Display tips:
• To display the window docking area in the bottom half of the Vegas Pro workspace, clear the Display timeline at bottom
of main window check box on the Display tab of the Preferences window.
• To display the tabs at the top of the window docking area rather than the bottom, select the Position tabs at top of
docked windows check box on the Display tab of the Preferences window.
• To hide the window docking area, select the Automatically hide docking area check box on the Display tab of the
Preferences window.
• For more information, see Display tab on page 377.

Explorer window - Alt+1 The Explorer window is similar to the Microsoft Windows Explorer. Use the Explorer window to select media files to drag to the project timeline or add to the Project Media window. You can also use the Explorer to perform common file management tasks such as creating folders, renaming files and folders, and deleting files and folders. Use the Start Preview ( ) and Auto Preview ( ) buttons to preview files before adding them to the project.
Preview selected media files before placing them in the project.

Select drive or folder

Select media to place in the project by dragging and dropping or double-clicking.

Add media to the Project Media window by right-clicking a file and choosing Add to Project Media list from the shortcut menu.

Move up the folder list to the next highest folder Refresh the current view Create a new folder Delete selected file(s) Add selected file to My Favorites list in address bar Start preview

Stop preview Enable automatic preview Use Gracenote MusicID service to locate matching CD information Edit and submit CD information to Gracenote Get media from the Web for use in project Change the display view

INTRODUCTION | 25

Trimmer window - Alt+2 The Trimmer window is a good place to edit any media file. When a media file is placed in the Trimmer window, you can place portions of the file on separate tracks by dragging and dropping. For more information, see Using the Trimmer window on page 134.

Mixer window - Alt+3 The Mixer window gives you access to your project’s audio properties, bus assignments, output levels, and plug-in chains. For more information, see Using the Mixer window on page 193.

Video Preview window - Alt+4 This window displays a project’s video during project editing and playback. For more information, see Previewing and Analyzing Video on page 317.

Video appears during project playback or as the cursor is moved during editing.

Right-click to change Video Preview settings.

26 | CHAPTER 1

Project Media window - Alt+5 The Project Media window helps you organize the media files you’re using in a project. The information about these files is displayed in a highly flexible database that can be instantly sorted. You can also use the Project Media window to apply effects and plug-ins to media files and set the specific properties of these files. For more information, see Using the Project Media window on page 51.

Edit Details window - Alt+6 This window serves as a highly detailed and customizable database of all of the events in a project. The database can be organized and sorted according to a large number of attributes. For more information, see Using the Edit Details window on page 140.

Transitions window - Alt+7 The Transitions window contains all of the transitions available. The thumbnails display animated examples of each transition. You can drag transitions from this window to replace the crossfade between two video events or to replace the fade-in or fade-out region of a video event. For more information, see Understanding basic transitions on page 295.

INTRODUCTION | 27

Video FX window - Alt+8 The Video FX window contains the video effects available. The thumbnails display animated examples of each plug-in preset. You can drag plug-ins from this window to an event, track, or to the Video Preview window (video output effects). For more information, see Using video effects on page 269.

Media Generators window - Alt+9 The Media Generators window contains the different media generators provided. Media generators make it easy to create events containing text, credit rolls, test patterns, color gradients, and solid color backgrounds. You can drag a media generator to the timeline to create a new generated media event. For more information, see Using generated media on page 275.

Plug-In Manager window - Ctrl+Alt+1 This window organizes all of the plug-ins available, including video and audio effects, media generators, and transitions. The plug-ins, which are organized in a folder structure, can be dragged into the project. For more information, see Using audio effects on page 219 or Using video effects on page 269.

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Video Scopes window - Ctrl+Alt+2 This window allows you to monitor your broadcast video for image problems. Use the scopes to analyze the your video and adjust accordingly with the Brightness and Contrast, Broadcast Colors, Color Corrector,
Color Corrector (Secondary), and Levels plug-ins before rendering.
For more information, see Monitoring video with scopes on page 322.


Surround Panner window - Ctrl+Alt+3 This window allows you to control panning in a 5.1 surround project. You can also display the Surround Panner window by doubleclicking the surround panner on a track or mixer control. For more information, see Working with 5.1 Surround on page 235.

Media Manager window - Ctrl+Alt+4 This window displays the Media Manager™, which you can use to search for, manage, and tag your media files. For more information, see Using the Media Manager on page 79.

INTRODUCTION | 29

XDCAM Explorer window - Ctrl+Alt+5 This window displays the XDCAM Explorer window, which you can use to locate, import, and export XDCAM clips. For more information, see Working with XDCAM video on page 147.

Mixing Console window - Ctrl+Alt+6 This window displays the Mixing Console, which provides an integrated view of all tracks and busses in your project using the appearance of a traditional hardware-based mixer. For more information, see Using the Mixing Console on page 201.

30 | CHAPTER 1

Device Explorer window (Ctrl+Alt+7) The Device Explorer window allows you to browse and import clips from AVCHD and XDCAM EX camcorders. For more information, see Using the Device Explorer on page 68.

Saving and recalling window layouts - Ctrl+Alt+D or Alt+D
A window layout stores the sizes and positions of all windows and floating window docks in the Vegas Pro workspace. You can store up to ten window layouts so you can quickly recall customized layouts for specific editing tasks. For more information, see Saving and recalling window layouts on page 363.

INTRODUCTION | 31

Keyboard shortcut reference
Project file shortcuts Command
Create new project Create new project and bypass Project Properties dialog Open existing project or media file Save project Open project’s properties Close current project Exit Vegas Pro software

Keyboard Shortcut
Ctrl+N Ctrl+Shift+N Ctrl+O Ctrl+S Alt+Enter Ctrl+F4 Alt+F4

Magnification and view shortcuts Command
Set focus to track view Show Explorer window (show/hide window if not docked) Show Trimmer window (show/hide window if not docked) Show Mixer window (show/hide window if not docked) Show Video Preview window (show/hide window if not docked) Show Project Media window (show/hide window if not docked)

Keyboard Shortcut
Alt+0 Alt+1 Alt+2 Alt+3 Alt+4 Alt+5

Show Edit Details window (show/hide window if not Alt+6 docked) Show Transitions window (show/hide window if not docked) Show Video FX window (show/hide window if not docked) Alt+7 Alt+8

Show Media Generators window (show/hide window Alt+9 if not docked) Show Plug-In Manager window (show/hide window Ctrl+Alt+1 if not docked) Show Video Scopes window (show/hide window if not docked) Ctrl+Alt+2

Show Surround Panner window (show/hide window Ctrl+Alt+3 if not docked) Show Media Manager window (show/hide window if Ctrl+Alt+4 not docked) Show XDCAM Explorer window (show/hide window if not docked) Ctrl+Alt+5

Show Mixing Console window (show/hide window if Ctrl+Alt+6 not docked) Show Device Explorer window (show/hide window if Ctrl+Alt+7 not docked) Show/hide audio bus tracks Show/hide video bus track Show/hide event media markers B Ctrl+Shift+B Ctrl+Shift+K

32 | CHAPTER 1

Command
Show/hide active take information When this command is selected, the current take information will be displayed on events in the timeline. Pitch shifted audio events will display the amount of pitch shift in the bottom-left corner of the event. If the media has a known root note, the new root is displayed in parentheses: Stretched audio events will display a percentage in the lower-right corner of the event to indicate the stretched playback rate. If the media has a known tempo, the effective playback tempo (after stretching) is listed in parentheses after the stretch amount. Audio and video events that are not synchronized will be highlighted in the timeline, and the amount of offset will be displayed. Very small offsets that are below the resolution of the timeline may be displayed as 0.00. Set the project time format to samples to see the offset amount. Show/hide waveforms and frame images on events in the timeline

Keyboard Shortcut
Ctrl+Shift+I

Ctrl+Shift+W

Show/hide event buttons (Generated Media, Event Ctrl+Shift+C Pan/Crop, Video FX, and Recreate Generated Music) Show/hide event fade lengths between selected and Ctrl+Shift+T nonselected events: Toggles the display of the frame under the cursor when you perform edge trimming. For example, when you drag the edge of a video event with this command selected, the Video Preview window will update to draw the last frame in the event as you drag. When the command is not selected, a static frame is displayed. Show/hide envelopes Show next window Show previous window Recall window layout Save window layout Load default window layout Load audio mixing window layout Load color correction window layout Toggle focus between track list and timeline (and bus track list and timeline if bus tracks are visible) Switch focus to previous/next track or bus track Decrease height of all tracks or bus tracks (depending which has focus) Ctrl+Shift+E F6 or Ctrl+Tab Shift+F6 or Ctrl+Shift+Tab Alt+D, then press 0-9 Ctrl+Alt+D, then press 0-9 Alt+D, then press D Alt+D, then press A Alt+D, then press C Tab Alt+Shift+Up/Down Arrow Ctrl+Shift+Down Arrow Ctrl+Shift+O

Increase height of all tracks or bus tracks (depending Ctrl+Shift+Up Arrow which has focus) Minimize/restore track height When restoring track height, tracks that you previously minimized are not restored. You can restore these tracks by clicking the Restore Track Height button ( ) on the track header. Set track heights to default height Minimize/restore the window docking area Ctrl+Grave Accent (`) F11 or Alt+Grave Accent (`) Grave Accent (`)

INTRODUCTION | 33

Command

Keyboard Shortcut

Maximize/restore the timeline vertically and Ctrl+F11 or Ctrl+Alt+Grave Accent (`) horizontally (window docking area and track list will be hidden) Minimize/restore the track list Zoom in/out horizontally in small increments (if timeline has focus) Zoom in/out horizontally in large increments or zoom to selection (if one exists) Shift+F11 or Shift+Alt+Grave Accent (`) Up/Down Arrow Ctrl+Up/Down Arrow

Zoom in time until each video thumbnail represents Alt + Up Arrow one frame Zoom waveforms in/out vertically (audio only) Shift+Up/Down Arrow

Cursor placement, loop region, and time selection commands Most of the cursor placement commands, when combined with the Shift key, also perform selection. Command
Center view around cursor Go to Set end of time selection

Keyboard Shortcut
\ Ctrl+G Ctrl+Shift+G

Go to beginning of time selection or viewable area (if Home no time selection) Go to end of time selection or viewable area (if no time selection) Go to beginning of project Go to end of project Select loop region Restore previous five time selections Move left by grid marks Move right by grid marks End Ctrl+Home or W Ctrl+End Shift+Q Backspace Page Up Page Down

Move left/right one pixel (when Quantize to Frames Left or Right Arrow is turned off ) Move to previous/next marker Move one frame left/right Move left/right to event edit points (including fade edges) Jog left/right (when not in edge-trimming mode or during playback) Move cursor to corresponding marker or select corresponding region Move to previous CD track Move to next CD track Move to previous CD index or region Move to next CD index or region Set in and out points Create time selection while dragging on an event Ctrl+Left/Right Arrow Alt+Left or Right Arrow Ctrl+Alt+Left/Right Arrow F3/F9 0-9 keys (not numeric keypad) Ctrl+Comma Ctrl+Period Comma Period I (in) and O (out) Ctrl+Shift+drag with mouse

34 | CHAPTER 1

General editing commands Command
Cut selection Copy selection Paste from clipboard Paste insert Paste repeat Delete selection Trim event to selection Render to new track Undo Redo Rebuild audio peaks Switch to normal editing tool Switch to next editing tool Switch to previous editing tool Enable multicamera editing

Keyboard Shortcut
Ctrl+X or Shift+Delete Ctrl+C or Ctrl+Insert Ctrl+V or Shift+Insert Ctrl+Shift+V Ctrl+B Delete Ctrl+T Ctrl+M Ctrl+Z or Alt+Backspace Ctrl+Shift+Z or Ctrl+Y Shift+F5 Ctrl+D D Shift+D Ctrl+Shift+D

Event selection and editing commands Command
Range select Multiple select Select all Unselect all Cut selection Copy selection Paste from clipboard Paste insert Paste repeat Delete selection Split events at cursor Trim/crop selected events Enter edge-trimming mode and select event start; move to previous event edge In this mode, 1, 3, 4, and 6 on the numeric keypad trim the selected event edge. Hold Ctrl while pressing 1, 3, 4, or 6 to time compress/stretch, or hold Alt while pressing 1, 3, 4, or 6 to slip trim, or hold Ctrl+Alt while pressing 1, 3, 4, or 6 to slide a transition or crossfade. Enter edge-trimming mode and select event end; move to next event edge In this mode, 1, 3, 4, and 6 on the numeric keypad trim the selected event edge Trim left/right (when in edge-trimming mode) Exit edge-trimming mode Move or trim selected events one frame left/right Move or trim selected events one pixel left/right Move selected events up/down one track Slip: move media within event without moving the event F3/F9 Numeric Keypad 5 Numeric Keypad 1/3 Numeric Keypad 4/6 Numeric Keypad 8/2 Alt+drag inside the event Numeric Keypad 9 or ]

Keyboard Shortcut
Shift+click events Ctrl+click individual events Ctrl+A Ctrl+Shift+A Ctrl+X or Shift+Delete Ctrl+C or Ctrl+Insert Ctrl+V or Shift+Insert Ctrl+Shift+V Ctrl+B Delete S Ctrl+T Numeric Keypad 7 or [

INTRODUCTION | 35

Command
Slip trim: moves the media with the edge as it is trimmed Trim adjacent: trims selected event and adjacent event simultaneously Slip-trim right edge of event Event split or split/trim Slide: trims both ends of event simultaneously Slide crossfade: moves crossfade Stretch (compress) the media in the event while trimming Raise pitch one semitone Raise pitch one cent Raise pitch one octave Lower pitch one semitone Lower pitch one cent Lower pitch one octave Reset pitch Select next take Select previous take Convert cut to transition

Keyboard Shortcut
Alt+drag edge of event Ctrl+Alt+drag edge of event Alt+Shift+drag event Ctrl+Alt+Shift+click or drag event Ctrl+Alt+drag middle of event Ctrl+Alt+drag over a crossfade Ctrl+drag edge of event = (not numeric keypad) Ctrl+= Shift+= - (not numeric keypad) Ctrl+­ Shift+­ Ctrl+Shift+= or Ctrl+Shift+T Shift+T Numeric Keypad / Numeric Keypad * Numeric Keypad ­

Convert transition to cut Open in audio editor

Ctrl+Numeric Keypad / Ctrl+E

Red eye reduction commands Command
Scroll Left/Right Scroll Up/Down Jump to top/bottom of image Jump to left/right edge of image Jump to horizontal center of image Jump to vertical center of image Jump to horizontal and vertical center of image

Keyboard shortcut
Right/Left Arrow Press Shift to scroll quickly Up/Down Arrow Press Shift to scroll quickly Page Up/Down Shift+Home/End Home/End Shift+Page Up/Down \ Numeric Keypad * \ Numeric Keypad * C

Playback, recording, and preview commands Command
Arm track for record Arm for record and set recording path Record Looped playback Play from start Start playback

Keyboard shortcut
Ctrl+Alt+R Ctrl+Alt+Shift+R Ctrl+R Q or Ctrl+Shift+L Shift+Spacebar or Shift+F12 Spacebar

36 | CHAPTER 1

Command
Play from any window Play/pause Stop playback Go to start of project Go to end of project Dim (attenuate) mixer output Preview cursor position You can specify the length of the time that is previewed using the Cursor preview duration box on the Editing tab of the Preferences dialog. Scrub playback Selectively prerender video Preview in player Build dynamic RAM preview Toggle external monitor preview Generate MIDI timecode Generate MIDI clock Trigger from MIDI timecode Enable multicamera editing Choose multicamera take Choose multicamera take with crossfade

Keyboard shortcut
Ctrl+Spacebar or F12 Enter or Ctrl+F12 Spacebar or Esc Ctrl+Home Ctrl+End Ctrl+Shift+F12 Numeric Keypad 0

J, K, or L Shift+M Ctrl+Shift+M Shift+B Alt+Shift+4 F7 Shift+F7 Ctrl+F7 Ctrl+Shift+D 1-9 Ctrl+1 - 9

INTRODUCTION | 37

Timeline and track list commands Command
Insert new audio track Insert new video track Change audio track volume or video track compositing level (when focus is on track list) Change audio track panning or video track fade-to­ color setting (when focus is on track list and automation controls are visible)

Keyboard shortcut
Ctrl+Q Ctrl+Shift+Q Ctrl+Left/Right Arrow Ctrl+Shift+Left/Right Arrow

Note: Click the Automation Settings button
( ) and choose Show Automation Controls to adjust the track fade-to-color setting. Mute selected tracks Mute selected track and remove other tracks from mute group Solo selected tracks Solo selected track and remove other tracks from solo group Override snapping (if snapping is on) or enable snapping (if snapping is off ) Quantize to frames Enable/disable snapping Snap to grid Snap to markers Post-edit ripple affected tracks Post-edit ripple affected tracks, bus tracks, markers, and regions Post-edit ripple all tracks, markers, and regions Auto ripple mode Automatic crossfades Render to new track Group selected events Ungroup selected events Ignore event grouping Clear group without deleting events Select all events in group Insert/show/hide track volume envelope Remove track volume envelope Insert/show/hide track panning envelope Remove track panning envelope Cycle through effect automation envelopes Show/hide envelopes Adjust envelope point up/down by one pixel Adjust envelope point left /right by one pixel Adjust envelope point value in fine increments without changing the point’s timeline position Adjust envelope point value in normal increments without changing the point’s timeline position Adjust envelope point’s timeline position without changing its value Insert command marker Z Shift+Z X Shift+X Shift+drag Alt+F8 F8 Ctrl+F8 Shift+F8 F Ctrl+F Ctrl+Shift+F Ctrl+L Ctrl+Shift+X Ctrl+M G U Ctrl+Shift+U Ctrl+U Shift+G V Shift+V P Shift+P E and Shift+E Ctrl+Shift+E Select envelope point and hold the mouse button, then press 8 or 2 on the numeric keypad Select envelope point and hold the mouse button, then press 4 or 6 on the numeric keypad Ctrl+ drag envelope point or segment Ctrl+Alt+ drag envelope point or segment Alt+ drag C

38 | CHAPTER 1

Command
Insert marker Insert region Insert CD track region Insert CD track index

Keyboard shortcut
M R N Shift+N

Trimmer window commands The following commands apply to the Trimmer window. Many of the shortcuts that apply to the timeline also work in the Trimmer. The following list highlights commands unique to the Trimmer. Command
Add media from cursor Add media to cursor Transfer time selection from timeline to Trimmer after cursor Transfer time selection from timeline to Trimmer before cursor Toggle selected stream: audio/video/both Toggle audio/video stream height Sort Trimmer history Clear Trimmer history Remove current media from Trimmer history Save markers/regions Toggle automatic marker/region saving Open in audio editor Show video in Video Preview window

Keyboard shortcut
A Shift+A T Shift+T Tab Ctrl+Shift+Up/Down Arrow H Ctrl+Shift+H Ctrl+H S Shift+S Ctrl+E Ctrl+P

Track Motion window shortcuts The following commands apply to the Track Motion and 3D Track Motion windows. Command
Change 3D layout Lock aspect ratio Scale about center Edit in object space Prevent movement Prevent scaling Enable snapping Enable rotation

Keyboard shortcut
1-6 (not numeric keypad) A C O X, Y, and Z Shift+X, Shift+Y, and Shift+Z F8 Shift+F8

Surround Panner commands Add Ctrl to the following shortcuts if you want to move the pan point in fine increments. Description
Constrain motion to a line through the center of the surround panner Constrain motion to a constant radius from the center Constrain motion to the maximum circle that will fit in the Surround Panner

Keyboard shortcut
Shift+drag the pan point (only when Move Freely Alt+drag the pan point (only when Move Freely Alt+mouse wheel Alt+Shift+drag the pan point (only when Move Freely Alt+Shift+mouse wheel is selected) is selected) is selected)

INTRODUCTION | 39

Description
Move the pan point forward/back (when the pan point is selected)

Keyboard shortcut
Up/down arrow Page Up/Page Down Mouse wheel

Move the pan point left/right (when the pan point is Left/Right Arrow selected) Shift+Page Up/Page Down Shift + mouse wheel forward/back Move the pan point to a corner, edge, or center of the Surround Panner (when the pan point is selected) Move the pan point to a corner on the largest circle that will fit in the Surround Panner (when the pan point is selected) Numeric Keypad

Ctrl+Numeric Keypad 1,3,7,9

40 | CHAPTER 1

Mixing Console commands Command
Rename selected channel Insert new audio track Cycle default/narrow/wide channel strips Hide the selected channel strip Show the Channel List pane Show/hide all channel strips Show/hide audio bus channel strips Show/hide audio track channel strips Show/hide assignable effects channel strips Show/hide master bus channel strip Show/hide preview channel strip Show/hide fader ticks Show/hide control region labels Show/hide Faders control region Show/hide Insert FX control region Show/hide I/O control region Show/hide Meters control region Show/hide Sends control region

Keyboard shortcut
F2 Ctrl+Q D/N/W Shift+H Shift+C Q U A E T P Shift+T Shift+L F I H M S

Miscellaneous commands Command
Online help Context-sensitive help (What’s This Help) Shortcut menu Make fine fader/slider adjustments Change relative keyframe spacing Move region without changing length Rebuild audio peaks

Keyboard shortcut
F1 Shift+F1 Shift+F10 Ctrl+drag Alt+drag keyframes Alt+drag region tag F5

Multimedia keyboard shortcuts Command
Play/Pause Play from start Stop Mute track Mute track and remove other tracks from mute group Solo track Solo track and remove other tracks from solo group Change audio track volume or video track compositing level (when focus is on track list) Change audio track panning or video track fade-to­ color setting (when focus is on track list) Change track focus

Keyboard shortcut
Play/Pause Shift+Play/Pause Stop Mute Shift+Mute Ctrl+Mute Ctrl+Shift+Mute Ctrl+Volume Up/Down Shift+Volume Up/Down Next/Prev Track

INTRODUCTION | 41

Mouse wheel shortcuts Command
Zoom in/out Scroll vertically Scroll horizontally Move the cursor in small increments Trim the selected event edge one pixel (if you’re in edge-trimming mode) Adjust scrub rate during playback Move cursor one frame at a time Trim the selected event edge one frame (if you’re in edge-trimming mode) Adjust scrub rate during playback Move fader/slider In plug-in windows, click the control first to give it focus. Move fader/slider in fine increments Ctrl+hover over fader and use wheel Hover over fader and use wheel Ctrl+Shift+Alt+wheel

Shortcut
Wheel Ctrl+wheel Shift+wheel Ctrl+Shift+wheel

42 | CHAPTER 1

Cursor indications
The cursor changes depending on which functions are available. Cursor Indicates
Standard Trim Slip Trim

Modifier
none none Alt

Description
This is the standard arrow cursor that means events can be dragged. Position the cursor over the edge of an event and drag to trim the event shorter or longer. Position the cursor over the edge of an event, press Alt, and drag to trim. The media within the event moves with the edge. This is useful to preserve the beginning or end of an event while trimming. Position the cursor over the edge of an event, press Ctrl, and drag the edge to stretch or compress it. This makes the media in the event play slower or faster. Press Alt and drag on the middle of a clip to move the media within the event without moving the event itself. Position the cursor over the boundary between two adjacent events, press Ctrl+Alt, and drag. Both events are edge trimmed simultaneously. Position the cursor over the middle of an event, press Ctrl+Alt, and drag to simultaneously trim both ends. Position cursor over a crossfade, press Ctrl+Alt, and drag on a crossfade to move it.

Stretch

Ctrl

Slip Trim Adjacent Slide Slide Crossfade

Alt Ctrl+Alt

Ctrl+Alt Ctrl+Alt

Using a control surface
A control surface is a hardware device that uses knobs, faders, and buttons to control user interface elements that are normally controlled with a mouse. Using a control surface lends a tactile feel to your editing sessions. Unlike keyboard shortcuts—which determine the shortcut’s behavior based on the portion of the Vegas Pro window that has focus—a control surface’s mapped functions work no matter what part of the application has focus. You can use one Mackie® Control Universal or up to five generic control surfaces with Vegas Pro software. For more information about setting up a control surface, see External Control & Automation tab on page 379.

INTRODUCTION | 43

Audio signal flow


44 | CHAPTER 1


Video signal flow


Track signal flow

Composited track signal flow

INTRODUCTION | 45

46 | CHAPTER 1


Chapter 2 Getting Started
Vegas® Pro software is a new way of creating multimedia productions. Whether you are an experienced multimedia author or a budding novice, the powerful features and capabilities of Vegas Pro software are organized to increase your creativity and productivity. The following chapter summarizes the software’s basic functions and operations.

Creating projects
The process of creating a multimedia production can be a complicated undertaking, involving hundreds of shots, takes, voiceovers, music beds, audio tracks, and special effects. Organization is a critical issue in this process. In the software, organization is handled by a small project file (.veg) that saves information about source file locations, edits, cuts, insertion points, transitions, and special effects. This project file is not a multimedia file, but is instead used to create (render) the final file when editing is finished. Because Vegas Pro software edits a project file and not the original source files, you can edit without worrying about corrupting your source files. This not only gives you a strong sense of security, but it also gives you the freedom to experiment.

Starting a new project 1. From the File menu, choose New. Note: The first time you run the software, a new project will automatically be started for you. 2. Enter your project settings on the various tabs. For more
information, see Working with project properties on page 360. • • • • • The Video tab allows you to select the video format
and other video parameters.
The Audio tab allows you to set up the basic audio
settings.
The Ruler tab allows you to choose the way the ruler
is delineated (beats, seconds, etc.).
The Summary tab allows you to enter any relevant
information and reminders about your project.
The Audio CD tab allows you to enter information for
burning audio CDs.


Tip: The easiest way to set the often-complex properties on
the Video tab is to select a template that matches your
media (for example, NTSC DV (720x480, 29.970 fps)).
3. Click OK. 4. From the File menu, choose Save. Enter a name, browse
for a location, and click Save to save your project (.veg file). You can change project settings at any time while working on a project. From the File menu, choose Properties to change any of these settings.

GETTING STARTED | 47

Setting video properties based on a media file
You can automatically set your project video properties to match an existing video file.

1. From the File menu, choose Properties. 2. On the Video tab of the Project Properties dialog, click the Match Media Settings button ( 3. Browse for a media file that has the settings you wish you use for the project. 4. Click Open.
The frame size, frame rate, pixel aspect ratio, and field order of this file are automatically detected and the project properties are set to match. ).

Tip: To save this information for future use, enter a name in the Template box and click the Save Template button ( typically use these settings, select the Start all new projects with these settings check box. 5. Click OK to save the new project properties. Working with rotated projects

). If your projects

The use of rotated displays—monitors that display vertical media—has become increasingly popular: you can see them in kiosks, presentations, and even on the nightly news. If you have a project that you’d like to display in a rotated format, Vegas Pro makes it easy.

1. Create a new project. For more information, see Starting a new project on page 47. 2. Set your project properties as needed, and then choose a setting from the Output rotation drop-down list to indicate the
orientation of your destination display device. If you want to display your project in portrait (tall) mode, choose 90° clockwise or 90° counterclockwise.
In the example to the left, the video was shot with the camera tripod rotated 90 degrees. However, because neither the project or the media has been rotated, the video is displayed sideways within the standard landscape frame.

After choosing 90° clockwise from the Output rotation drop-down list, the Video Preview window is rotated (see example to the left). Because the media hasn’t been rotated yet, it doesn’t match the project orientation and is letterboxed within the frame.

3. Add your media files to your project. For more information, see Getting media files on page 50. 4. Edit the properties for each of your media files to set its rotation as needed: a. Right-click a media file in the Project Media window and choose Properties from the shortcut menu. The Media Properties
dialog is displayed.

b. Choose a setting from the Rotation drop-down list to indicate the direction you want to rotate your media.
After choosing 90° clockwise from the Rotation drop-down list, the media is rotated, and the video fills the frame.

c. Click OK to close the Media Properties dialog and save your changes.

48 | CHAPTER 2

Tip: To rotate multiple files quickly, select them in the Project Media window, right-click a selected file, and then choose Rotate 90°

Clockwise or Rotate 90° Counterclockwise from the shortcut menu.


5. Drag your clips from the Project Media window to the timeline to create events. 6. Edit your project as needed. 7. Render your project to any supported rendering format. For more information, see Rendering a project on page 335.
In the Render As dialog, select the Use project output rotation setting check box if you want to use the Output rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display.

Tip: To render a portrait-oriented file for viewing on a computer, you can create a rendering template that matches the proportions of

your project:


a. Right-click the Video Preview window and ensure Simulate Device Aspect Ratio is selected. b. Next, adjust the size of the Video Preview window to a comfortable preview frame size and note the Display dimensions in the lowerright corner of the Video Preview window.

c. From the File menu, choose Render As, choose the desired rendering format from the Save as type drop-down list, and then
choose a rendering template that's close to the frame size you noted in step b.

d. Click the Custom button, and then use the Video tab in the Custom Template dialog to adjust the frame size to match the

dimensions you noted in step b.


e. Save your template for later use f.
Clear the Use project output rotation setting check box and render your file.

Saving a project
When you save your work, it is saved in a project file. Project files are not rendered media files.

1. From the File menu, choose Save.
The first time you save a project, the Save As dialog appears. In subsequent saves, the dialog is bypassed, your existing file name is retained, and your project is updated to include any implemented changes.

2. Select the drive and folder where you want to store the project. 3. Type the project name in the File Name box. 4. Click Save. Tip: Select the Copy and trim media with project check box to save the project file and copies of the media files to a common location.
For more information, see Renaming or creating a copy of a project (using Save As) on page 333.

Renaming a project (using Save As)
After you have been working with your project, you can use the Save As command in the File menu to save a copy of a project with a new name. This is useful for backing up different versions of a project. For more information, see Renaming or creating a copy of a project (using Save As) on page 333.

GETTING STARTED | 49

Getting media files
You can add media from a variety of sources to your project. You can add audio and video files, record audio into a track, capture video from a video camera, or extract music from your own CD. You can also create media such as text overlays, backgrounds, and credit rolls from within the software. For more information, see Using generated media on page 275. Vegas Pro software supports a wide range of media file types. There are multiple ways to locate and add files to your Vegas Pro project, as discussed in the following sections.

Notes:
• To have pulldown fields automatically removed when opening 24 fps progressive-scan DV video files, select the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog. To open your 24p DV video files as 29.97 fps interlaced video (60i), clear this check box. • When you add an ACID loop to the timeline, it is automatically stretched to match the project tempo as specified on the Ruler tab of the Project Properties dialog. If you want to ignore tempo information, clear the Import audio at project tempo check box on the Audio tab of the Preferences dialog. For more information on project properties, see Working with project properties on page 360. For more information on preferences, see Setting preferences on page 366. • When you add a multichannel audio file (.wav/.wav64, .avi, .mxf, ATRAC, and BWF) to your project, the audio is added across tracks. For example, if you import a four-channel WAV file, the audio will be added to four adjacent tracks. For control over which channels are used by each event, right-click a multichannel audio event, choose Channels from the shortcut menu, and choose a command from the submenu. For more information, see Adjusting audio channels on page 186. • When you add a multistream audio file to your project, you can choose which stream you want to use by right-clicking the event,
choosing Stream from the shortcut menu, and then choosing a stream from the submenu.
• 5.1-channel audio from DVD camcorders will be downmixed to stereo when importing into a stereo project. When importing into a 5.1 surround project, audio will be added to separate tracks for the center, front, rear, and LFE channels.

Previewing a media file
You may preview files before placing them in your project. The Explorer window has a mini-transport bar with Play, Stop, and Auto Preview buttons ( ). When you preview a file, its stream is sent to the Mixer window’s preview bus (for audio files) or to the Video Preview window (for video files).

Tip: You can use the same mini-transport bar buttons in the Project Media window to preview files in the Project Media list. 1. Select a file in the Explorer window. 2. Click the Play button ( 3. Click the Stop button (
) to listen to the file. ) or select a different file to stop previewing the file. ) on the Explorer window’s transport bar.

Tip: To automatically preview selected files, click the Auto Preview button (

Note: Video is previewed in the Trimmer window. If you want to preview video in the Video Preview window, deselect the Show Video
Monitor button ( ) on the Trimmer window.

50 | CHAPTER 2

Using the Project Media window
Media files, both video and audio, tend to be the largest files on your hard drive. It is therefore not always easy to move them around and impractical to store multiple copies of these files. You can add media files to the Project Media window to organize them before any editing begins. Once you begin working on a project, all files you add to the timeline are automatically included in the Project Media list. From the View menu, choose Project Media to open this window if it is not already visible.

Using Project Media views You can control the information that is displayed in the Project Media ) and selecting a view. The window by clicking the Views button ( purpose of each view is explained below. View
List Detailed

Description
Displays a simple listing of the file name of each file in the Project Media window. Displays all the properties for each file. The information is presented in a table format. You can customize the information displayed: Reorder columns (fields) by dragging the column label to a new position. Hide a column by dragging the column label off of the Project Media window. To display a hidden column, right-click the Project Media window, choose View from the shortcut menu, and choose the column name from the submenu. Sort the files in the Project Media list according to a category by clicking the column label for that category. Use the Comments field to add your own annotations to a file’s entry in the Project Media list. Double-click the field to enter text. This information is saved with the project and is not saved with the media file itself.

Thumbnail

Displays the first frame of a video file.

Adding media to the Project Media list You can add media to the Project Media list without adding it to the timeline by importing the file. For more information, see Importing media on page 55.

Adding media to the Project Media list from the Explorer window

1. Navigate to and select a file to add to the Project Media list. You can use Ctrl or Shift to select multiple media files. 2. Right-click the file and choose Add to Project Media list from the shortcut menu. The selected file is added to the Project Media
window.

Replacing media in the Project Media window You may replace a file in the Project Media window with a different file. When changing the media file that an event contains, every occurrence of the event on the timeline is updated with the new media file contents.

1. Right-click a file in the Project Media window. 2. Choose Replace from the shortcut menu. 3. In the Replace Media File dialog, browse for and select the file that you want to replace the current file. 4. Click Open. The selected file replaces the old file in the Project Media list, and any events in the timeline containing the old file are
updated to contain the new media file.

GETTING STARTED | 51

Getting images You can bring images directly into the software from your scanner. The images are added to the Project Media list as JPEG image files.

Note: In order to get pictures from a scanner, you may need to install a driver for your device. Refer to the software that was included with your device or the manufacturer’s Web site. 1. Make sure your device is on and connected to your computer. 2. In the Project Media window, click the Get Photo button (
appears. • • Click Rename to give the new image a more meaningful name. Click Delete to cancel the process of adding the image. ). The software is started for the device.

3. Use the device software to get an image and send it to Vegas Pro software. Once the image has been sent, the Scanned Files dialog

4. Click Done. The new JPEG file is added to the Project Media window.
Extracting audio from a CD You can extract tracks from a CD and add them to the Project Media window as .wav files.

Important: Vegas Pro software is not intended for, and should not be used for, illegal or infringing purposes, such as the illegal copying
or sharing of copyrighted materials. Using Vegas Pro software for such purposes is, among other things, against United States and international copyright laws and contrary to the terms and conditions of the End User License Agreement. Such activity may be punishable by law and may also subject you to the breach remedies set forth in the End User License Agreement.

1. Insert the audio CD. 2. In the Project Media window, click the Extract Audio from CD
button ( ). The Extract Audio from CD dialog appears.

3. From the Action drop-down list, choose the method you want to
use for extracting the CD audio: • • Read by track Use this option to choose the tracks you want to
extract from the CD.
Read entire disc Use this option to automatically extract all
tracks on the disc. The entire CD is extracted into one new file in
the Project Media window.
Read by range Use this option to extract audio from a specified
range of time.


•

4. If you chose either the Read by track or Read by range option,
specify the tracks or range to extract: • For Read by track, click the tracks you want to extract in the
Tracks to read list. Use the Ctrl or Shift keys to select more than
one track. Each track is extracted into a separate file in the Project Media window.
For Read by range, enter a time in the Range start field and either the Range end or Range length fields. The range of audio is extracted into one new file in the Project Media window.

•

Note: If you want to extract multiple tracks to a single file, choose Read by track from the Action drop-down list to select your tracks,
and then choose Read by range from the Action drop-down list. The appropriate time range for the tracks you selected will automatically be inserted and the time range will be extracted to a single file.

5. From the Drive drop-down list, choose the drive containing the audio CD from which you want to extract. 6. Click the MusicID button if you want to obtain CD information using Gracenote® MusicID.
If CD information is not available, you can click the CD Info button to display a dialog box where you can edit the CD information and submit it for inclusion in the Gracenote Media Database. 52 | CHAPTER 2

7. From the Speed drop-down list, choose the speed at which you want to extract the audio. If you experience any problems
extracting audio, you can try decreasing the selected speed, or you can click Configure to adjust the Audio extract optimization setting.

Note: To eject the CD at any time prior to beginning the extraction process, click the Eject button. 8. Click OK. The Save As dialog appears. 9. Select a name and location for the new .wav file. 10. Click Save to begin extracting the audio.
The track is extracted and a progress meter is displayed to indicate the percent complete. When extraction is complete, the new .wav file appears in the Project Media window.

Adding a still-image sequence If you’ve exported a video clip as a still-image sequence using another application (a 3D-rendering application, for example), the sequence can be added to the Project Media window and treated as a single media file. Each image in the sequence will be displayed for one frame in the event.

1. Click the Import Media button (

) in the Project Media window. The Import Media dialog appears.

2. Choose the folder where the sequence you want to open is stored. 3. Select the first image in the sequence (or the image you want to start the event). 4. Select the Open still-image sequence check box. 5. In the Range field, enter the number of the last image you want to open. For example, if you’d selected AnimationOne_00001.tga
in step 3, you could enter 120 in this box to create a new image sequence using AnimationOne_00001.tga to AnimationOne_00120.tga.

6. Click Open. The still-image sequence is added to the Project Media window.
Sorting media with bins The detailed view of the Project Media window helps you sort your media files using their attributes, but for more control, you can create bins. Bins are folders within projects that you can use to organize your media files. Media bins are virtual folders that are saved with your project. They do not affect the way media is saved on your computer.

Creating bins Right-click the parent bin where you want to create a new bin and choose Create New Bin from the shortcut menu.

Adding media to a bin

1. Browse your existing bins to find the media file you want to move. The All Media Folder contains all media files in your project. 2. Drag a file from the right-hand pane to a bin.
Searching media bins

1. Right-click in the Project Media window and choose Search Media Bins from the shortcut menu. The Search Media Bins dialog is
displayed.

2. Use the drop-down lists in the Search Media Bins dialog to set your search conditions and click the Search button. The selected bin
and all sub-bins will be searched.

3. Click the Search Results icon to view the matching files. Tip: Right-click the Search Results icon and choose Save as Bin from the shortcut menu to save the results of your search as a new media bin.

GETTING STARTED | 53

Automatically adding recorded files to a media bin Select a media bin if you want to automatically add your recorded audio to a media bin.

Deleting media from a bin

1. Select a media file. 2. Press Delete on your keyboard. 3. If the All Media Folder is selected, the file will be removed from your project. 4. If a media bin is selected, the file is removed from the bin, but remains part of your project. The file is still available in the All Media
Folder.

Configuring 24p pulldown removal Right-click a DV AVI file in the Project Media window and choose File Format Properties from the shortcut menu to edit file settings from the file format plug-in associated with the media file type. For 24p NTSC DV AVI files with 2-3 pulldown, you can use this dialog to configure removal of pulldown fields. In most cases, you will not need to edit pulldown removal settings. However, if the settings were not properly set in the DV header when your video was captured, you can fine-tune pulldown removal without recapturing your video.

1. Right-click an AVI file in the Project Media window and choose File Format Properties from the shortcut menu. The AVI/DV Media
Properties dialog appears. This command is not available for non-24p NTSC video or for 24p NTSC video using 2-3-3-2 pulldown.

2. Select the Enable 2-3 pulldown removal check box. Note: You can clear this check box if you want to override pulldown removal for individual files when the Enable pulldown removal when opening 24p DV check box is selected on the General tab of the Preferences dialog. 3. Choose a setting from the Starting frame timecode offset drop-down list to indicate what timecode numbers represent which
frame in the video sequence. For example, if you have an NTSC DV file with 2-3 pulldown created on a Sony JH3 HDCAM deck, the default settings for timecode offset use 0 for the Starting frame timecode offset. If you have changed the timecode offsets on the deck (or if you have material with pulldown from another source) you will have to experiment with the settings to determine the correct offset.

4. Check for interlacing: a. In the Project Properties dialog, choose a NTSC DV 24p template from the Template drop-down list. b. Choose the Best (Full) setting in the Video Preview window to show full frames. c. Step though the clip and look for interlace lines in moving objects or backgrounds. d. If you see interlace lines, repeat from step 3 and choose a different offset value. e. When no interlace lines appear, the offset is set correctly.

54 | CHAPTER 2

Importing media
Importing media allows you to add media to the Project Media list for use in your project without adding it to the timeline. Vegas Pro supports the importing of a wide variety of file formats, including AAF and broadcast wave, which are discussed separately below.

1. From the File menu, choose Import, and then choose Media from the submenu. The Import dialog appears. Tip: You can also click the Import Media button (
) in the Project Media window.

2. Navigate to and select a media file to add to the Project Media list. You can use Ctrl or Shift to select multiple files. Tips:
• To limit the files displayed in the dialog, choose a file type from the Files of Type drop-down list or enter *. and an extension in the File name box. For example, enter *.wav to display all wave files in the current folder, or enter *guitar*.wav to display all wave files that have the word guitar in the file name. • If you select an image from a still-image sequence, you can select the Open still-image sequence check box to import all images in the sequence as a single entry in the Project Media window. In the Range box, enter the number of the last image you want to open. For example, if you'd selected AnimationOne_00001.tga in step 2, you could enter 120 in this box to create a new Project Media entry using AnimationOne_00001.tga to AnimationOne_00120.tga.

3. Click Open. The media file is added to the Project Media list.
Importing and exporting AAF files You can use AAF (Advanced Authoring Format) files to exchange projects between applications. For example, if your postproduction facility uses a tool other than Vegas Pro software, you could provide your project as an AAF file.

Creating an AAF file If you intend to export your project as an AAF file, note the following usage guidelines and plan your project accordingly: • • Audio and video cuts are preserved. Track-based audio gain and panning are preserved when saving or importing AAF files. Select the AAF Export - Use clip-based audio envelope check box on the General tab of the Preferences dialog if you want to combine track and event gain envelopes and save them as clip-based gain envelopes in the AAF file. When the check box is cleared, track envelopes are saved as track envelopes, and event envelopes are saved as clip envelopes. When exchanging AAF with another application, refer to its documentation to determine whether audio gain and panning changes are supported. • • • • • • • Muted audio tracks are not included in the AAF file. When you import an AAF file, the track- and clip-based gain envelopes are combined and imported as track envelopes. Audio and video effects are ignored. All video transitions are exported as AAF Video Dissolve transitions. All audio crossfades are exported as AAF Mono Audio Dissolve transitions. Time-stretched video is exported using the AAF “Video Speed Control” effect. Time-stretched audio is not supported: audio events that are time stretched will play at their original speed, and time is added to the track to represent the stretched duration; audio events that are time compressed will play at the original speed, but the event is trimmed to match the compressed event length. Any track that has mono and stereo audio will be ignored; the AAF format does not allow mono and stereo audio on a single track. Still images will be exported as 1,080,000 frames (the AAF specification does not allow media with a length and frame rate of 0). Track order in your exported AAF will not match your Vegas Pro project: in the Vegas Pro track model, the first track represents the foreground; in the AAF specification, the first track represents the background. Audio is exported using frame units when the AAF Export - Use frame unit for audio check box is selected on the General tab of the Preferences dialog. Clear the check box if you want to use sample units for exported audio (use this setting only if your project

• • • •

GETTING STARTED | 55

contains audio only or if you know the application that will import your AAF supports frame units for video and sample units for audio).

1. From the File menu, choose Save As. The Save As dialog appears. 2. Select the drive and folder where you want to store the project. 3. Type a name in the File Name box. 4. From the Save as type drop-down list, choose Edit Protocol Compliant AAF File (*.aaf) or Avid Legacy AAF File (*.aaf). 5. Select the Embed WAVE/AIFC Media check box if you want to embed audio that uses the wave or AIFC codec with your AAF file.
This check box is available only if Edit Protocol Compliant AAF File is selected from the Save as Type drop-down list.

Note: Only individual audio files that use the wave or AIFC codec will be embedded. Audio streams from video files of audio that does not use the wave or AIFC codec will not be embedded. 6. Type a name for the file and browse for a destination. 7. Click Save.
Importing an AAF file into the current project If you intend to import an AAF file into your current Vegas Pro project, note the following usage guidelines and plan your project accordingly: • • Audio and video cuts are preserved. Track-based audio gain and panning are preserved when saving or importing AAF files. When you import an AAF file, the track- and clip-based gain envelopes are combined and imported as track envelopes. When exchanging AAF with another application, refer to its documentation to determine whether audio gain and panning changes are supported. • • • • All video transitions are imported as crossfades. Audio and video effects are ignored. The AAF Video Speed Control effect is preserved and mapped to the Playback rate setting in the imported event’s properties. For more information, see Editing in the Event Properties dialog on page 131. If you import an AAF file that has embedded wave or AIFC audio, the files will be extracted to the same folder as the AAF file when you import the project.

1. From the File menu, choose Import, and then choose AAF from the submenu. The Import dialog is displayed. 2. Choose the folder where the project you want to open is stored:
Choose a drive and folder from the Look in drop-down list. —or— Choose a folder from the Recent drop-down list to quickly select a folder from which you have previously opened files.

3. Select a file in the browse window or type a name in the File name box. 4. Click Open. The AAF file is imported into the current project.
Importing an AAF file into a new Vegas Pro project If you intend to import an AAF file into a Vegas Pro project, note the following usage guidelines and plan your project accordingly: • • Audio and video cuts are preserved. Track-based audio gain and panning are preserved when saving or importing AAF files. When you import an AAF file, the track- and clip-based gain envelopes are combined and imported as track envelopes. When exchanging AAF with another application, refer to its documentation to determine whether audio gain and panning changes are supported. • • All video transitions are imported as crossfades. Audio and video effects are ignored.

56 | CHAPTER 2

• •

The AAF Video Speed Control effect is preserved and mapped to the Playback rate setting in the imported event's properties. If you import an AAF file that has embedded wave or AIFC audio, the files will be extracted to the same folder as the AAF file when you import the project.

1. From the File menu, choose Open. The Open dialog is displayed. 2. Choose the folder where the project you want to open is stored:
• • Choose a drive and folder from the Look in drop-down list.
—or—
Choose a folder from the Recent drop-down list to quickly select a folder from which you have previously opened files.

3. Select a file in the browse window or type a name in the File name box. 4. Click Open. If you have not saved the current project, you will be prompted to save your changes.
Importing broadcast wave files You can use Broadcast Wave Format (.bwf ) files to exchange audio between audio editors or broadcasting platforms. Broadcast Wave Format files are similar to standard .wav files, but they contain additional metadata including timestamps that tell the software where to add audio on the Vegas Pro timeline.

Tip: You can also add Broadcast Wave Format files to your project by dragging them from the Explorer window to the timeline. However, if you drag a .bwf file to the timeline, events are created where you drop the file. Using the Import Broadcast Wave dialog ensures that events are arranged according to the timestamps in the file. 1. From the File menu, choose Import, and then choose Broadcast Wave from the submenu. The Import Broadcast Wave dialog is
displayed.

2. Choose the folder where the project you want to open is stored:
• • Choose a drive and folder from the Look in drop-down list.
—or—
Choose a folder from the Recent drop-down list to quickly select a folder from which you have previously opened files.

3. Select the files you want to open in the browse window.
Information about the selected files is displayed at the bottom of the Import Broadcast Wave dialog.

4. From the Arrange drop-down list, choose a setting to indicate how you want to arrange audio events on the timeline:
Setting
Add across time

Description
All selected .bwf files are added to a single track.

Add across tracks A separate track is created for each .bwf file you import.

Note: Audio from multichannel .bwf files is always added across tracks, regardless of the Arrange setting. For example, if you import a four-channel .bwf file, the audio will be added to four adjacent tracks. For control over which channels are used by each event, right-click a multichannel audio event, choose Channels from the shortcut menu, and choose a command from the submenu. For more information, see Adjusting audio channels on page 186. 5. If you chose Add across tracks in step 4, choose a setting from the Order tracks drop-down list to indicate how you want to
arrange the tracks in the track list: Setting
By timestamp

Description
Sorts tracks chronologically using the timestamp in each file.
You can display a file’s timestamp at the bottom of the Import Broadcast Wave
dialog by selecting a file.


Alphabetically by Sorts tracks alphabetically using the names of the files you import. filename

GETTING STARTED | 57

6. Choose a setting from the Positioning drop-down list to indicate where imported audio will be added to the timeline.
Setting
Use ruler time

Description
Adds each imported file to the Ve gas Pro timeline at the exact position indicated by its timestamp. For example, if you import a BWF file with a timestamp of 00:00:30;00, the media would be added to the timeline at the thirty-second mark on the ruler.

Relative to cursor Adds each imported file to the Vegas Pro timeline and offsets the timestamp value by the cursor position. For example, if you position the cursor at 00:00:10;00 before importing a BWF file with a timestamp of 00:00:30;00, the media would be added to the timeline at the forty-second mark on the ruler.

7. Click Open. The selected files are imported and added to the timeline of the current project.
Importing video from a DVD camcorder You can use Vegas Pro software to import video from a finalized Sony® DVD Handycam® camcorder disc.

Important:
• Before importing video, you’ll need to finalize the disc. For information about finalizing a disc, refer to your camcorder’s documentation. • 5.1-channel audio will be downmixed to stereo when importing into a stereo project. When importing into a 5.1 surround project, audio will be added to separate tracks for the center, front, rear, and LFE channels.

1. Place the DVD you want to import in your computer’s DVD drive or connect your camcorder to your computer via USB. Important: The Sony Handycam USB driver that is included with DVD-based camcorders can prevent Vegas Pro from recognizing a
USB-connected camera. If you use the Add/Remove Programs Control Panel to uninstall the “Sony DVD Handycam USB driver”
component, Vegas Pro will be able to connect to the camera and import video.
2. From the File menu, choose Import, and then choose DVD Camcorder Disc from the submenu. The Import DVD Camcorder Disc
dialog is displayed.

3. From the Source drop-down list, choose the disc that contains the video you want to import. 4. The Destination box displays the folder where the video will be imported. Click the Browse button if you want to choose a different
folder.

5. Click the OK button to start importing video.
After importing is complete, the video from the disc is added to the Project Media window. Each chapter is imported as a separate file. You can then add the imported video to your project just like any other media file.

Importing video from a Hard Disk Recording Unit From the File menu, choose Import, and then choose Hard Disk Recording Unit from the submenu to import video from a hard disk based recording unit such as the HVR-DR60.

1. Connect your hard disk recording unit to your computer via iLINK®. 2. From the File menu, choose Import, and then choose Hard Disk Recording Unit from the submenu. The Import from Hard Disk
Recording Unit dialog is displayed.

3. From the Source drop-down list, choose the hard disk unit that contains the video you want to import. 4. The Destination box displays the folder where the video will be imported. Click the Browse button if you want to choose a different
folder.

5. Click the OK button to start importing video.
If you’re importing to a FAT32 drive, files from the hard disk unit are copied directly to the destination folder. If you’re importing to an NTFS drive, files from the hard disk unit are copied as follows: • If your hard disk unit is configured to record .dv (raw DV) files, the files are copied to the destination folder.

58 | CHAPTER 2

•

If your hard disk unit is configured to record .avi files, the files from each folder will be assembled into a single type-2 AVI file. The new file is named to match the source folder on the hard disk unit. For example, video from the 101DVF folder would be imported as DVS101.avi. If you’re importing HDV clips, the files from each folder will be assembled into a single HDV file. The new file is named to match the source folder on the hard disk unit. For example, video from the 101HDVF folder would be imported as HDV101.m2t.

•

After importing is complete, the video is added to the Project Media window.
You can then add the imported video to your project just like any other media file.


Note: Vegas Pro uses the index (.idx) file on your hard disk recorder to ensure that files that have already been imported aren’t

unnecessarily reimported.


Importing video from a Memory Recording Unit From the File menu, choose Import, and then choose Memory Recording Unit from the submenu to import video from a CompactFlash-based memory recording unit such as the HVR-MRC1.

1. Connect your memory recording unit to your computer via iLINK®. 2. From the File menu, choose Import, and then choose Memory Recording Unit from the submenu. The Import from Memory
Recording Unit dialog is displayed.

3. From the Source drop-down list, choose the memory recording unit that contains the video you want to import. 4. The Destination box displays the folder where the video will be imported. Click the Browse button if you want to choose a different
folder.

5. Click the OK button to start importing video.
If you’re importing to a FAT32 drive, files from the memory recording unit are copied directly to the destination folder. If you’re importing to an NTFS drive, files from the memory recording unit are copied as follows: • • If your memory recording unit is configured to record .dv (raw DV) files, the files are copied to the destination folder. If your memory recording unit is configured to record .avi files, clips that have the same camera number and clip number will be assembled into a single type-2 AVI file. The new file is named to XX_CCCC.avi, where XX represents the camera number, and CCCC represents the clip number. If you’re importing HDV clips, clips that have the same camera number and clip number will be assembled into a single HDV file. The new file is named to XX_CCCC.m2t, where XX represents the camera number, and CCCC represents the clip number.

•

After importing is complete, the video is added to the Project Media window.
You can then add the imported video to your project just like any other media file.


Note: Vegas uses the index (.idx) file on your memory recording unit to ensure that files that have already been imported aren't
unnecessarily reimported.


Working with AVCHD video
You can edit files recorded with AVCHD camcorders just like any other supported media type on the timeline. This section will guide you through the process of using AVCHD video in your Vegas Pro project.

Note: 5.1-channel audio will be downmixed to stereo when importing into a stereo project. When importing into a 5.1 surround project,
audio will be added to separate tracks for the center, front, rear, and LFE channels.

1. Shoot your video with a Sony AVCHD camcorder. 2. Using the software that was supplied with your camcorder (Picture Motion Browser if you’re using a Sony AVCHD camcorder), copy
the AVCHD video (.m2ts files) from your camera to your local hard drive.

3. Start a new Vegas Pro project, and set your project properties to the format that most closely matches your desired output format.
For more information, see Modifying project video properties on page 264. For example, if you intend to burn the video to an NTSC DVD, choose NTSC DV (720x480, 29.970 fps) from the Template dropGETTING STARTED | 59

down list on the Video tab of the Project Properties dialog. If you want to create a 4.8 Mbps high-definition Windows Media Video file, choose HDV 720-24p (1280x720, 23.976 fps).

4. Add the AVCHD files that you copied in step 2 to your project. For more information, see Getting media files on page 50. 5. Drag your clips from the Project Media window to the timeline to create events. 6. Edit your project as needed. For more information, see Editing events on page 102. 7. Render your project to any supported rendering format. For more information, see Rendering a project on page 335. Note: If you want to render to AVCHD format and export the rendered file to an AVCHD camera, use the following steps: a. Verify that your Vegas project is set to 5.1 surround mode. b. In the Render As dialog, choose Sony AVC from the Save as type drop-down list. c. Use the AVCHD NTSC 5.1 Surround or AVCHD PAL 5.1 Surround rendering template. d. If you choose to use the Custom Template dialog to customize your rendering template, leave all settings at their default values
except for the Bit rate control. The default Bit rate setting should work for most applications.

e. To save the rendered file to your camera, you'll need to use the software that was supplied with your camera. Generating music with Cinescore
If you purchased the Cinescore™ plug-in from Sony Creative Software Inc., you can automatically generate a soundtrack for use in your project. When you generate music, the Cinescore plug-in will use the sample rate and bit depth from the Audio tab in the Project Properties window.

Note: For more information on purchasing Cinescore, see the Cinescore page on our Web site at

http://www.sonycreativesoftware.com/cinescore. For detailed information about using the Cinescore plug-in, see the Cinescore online
help (which is installed only with the Cinescore plug-in).


Adding generated music to your project

1. Select the audio track where you want to add a generated-music event. 2. Position the cursor or create a time selection to indicate where you want to add your composition.
• • • To create a composition that fills a portion of your project, click and drag in a blank area of the timeline to create a time selection. To create a composition that matches the length of a video event on the timeline, double-click the video event to select it. To create a composition of a specific length, click to position the cursor where you want the music to begin. By default, the composition will fill the space from the cursor to the end of the project, but you can choose the length of the composition in step 4.

3. From the Insert menu, choose Generated Music. 4. Use the controls in the Cinescore plug-in to choose the settings for your generated music. For detailed information about using the
Cinescore plug-in, see the Cinescore online help (to access online help installed with Cinescore, click the Help button ( upper-right corner of the Cinescore window). ) in the

5. Click OK to close the Cinescore plug-in and add the generated music to the selected track in your Vegas Pro project.
Editing generated music

1. Select a generated-music event on the timeline. 2. From the Edit menu, choose Generated Music, and then choose a command from the submenu to recreate or edit a composition:
• If you want to recreate an existing composition, choose Recreate from the submenu (or click the Recreate Generated Music button ( ) on an event). The music is regenerated, and the event in the timeline is updated to match the new composition length.

60 | CHAPTER 2

•

If you want to edit an existing composition, choose Edit from the submenu. The music is regenerated, but the events that refer to the composition are unaffected. Editing a composition is useful if you’ve split or trimmed generated music events on the timeline and want to modify the underlying composition without losing your timeline edits. )in the

3. Use the controls in the Cinescore plug-in to edit the settings for your generated music. For detailed information about using the
Cinescore plug-in, see the Cinescore online help (to access online help installed with Cinescore, click the Help button ( upper-right corner of the Cinescore window). as a take in the event and set as the active take.

4. Click OK to close the Cinescore plug-in and update the generated music in your Vegas Pro project. The new composition is added

Adding media to the timeline
Media files may be added to your project from the Explorer or Project Media windows by double-clicking them or by dragging them. Either method places the media file in an event in its entirety in the timeline.

Dragging a media file to the timeline You can create a new track by dragging a media file to a blank area on the timeline and dropping it in place. Tracks can contain multiple events, so you can place different events next to each other on a track.

Note: Video and audio events cannot be placed on the same track. 1. Locate a media file in the Explorer or Project Media window. 2. Drag the media file to the timeline.
An event for the media file appears where you released the mouse.

Dragging multiple media files to the timeline

1. Select multiple media files in the Explorer or Project Media window. Select a range of adjacent media files by pressing Shift and
clicking the first and last files in the range or select files that are not adjacent by pressing Ctrl and clicking individual files.

2. Right-click and drag the files to the timeline. 3. When you release the mouse, a shortcut menu appears. Select a placement option from the menu.
• Add Across Time

•

Add Across Tracks

•

Add As Takes

You will see one event on the track. The other events are listed as takes “beneath” the topmost event. For more information, see Working with takes on page 132.

GETTING STARTED | 61

•

Video Only and Audio Only allow you to isolate either the video or audio, and add that stream from a multimedia file either across tracks, across time, or as takes.

Tip: A left-click drag-and-drop automatically inserts files across time. However, you can cycle through placement modes by rightclicking (without releasing the left mouse button) while performing the drag-and-drop operation.

Double-clicking a media file This method places the event at the cursor’s position in the selected track. If the selected track is a video track, and you double-click an audio event (or vice versa), a new track is created for the event. Once an event is placed, you can move it from one track to another or change its position on the timeline.

Inserting a video file with associated audio Media files with video frequently include associated audio. When you insert a media file into the timeline, the associated audio is automatically inserted into a separate audio track below the video track. The two associated events are grouped together and behave as a single unit when moved or otherwise edited. You can ungroup the events to move them independently. For more information, see Clearing a group on page 191.
Two events that contain the video (top) and audio (bottom) streams from a single multimedia video file. Each event is inserted on a separate track.

Automatically crossfading inserted events When inserting multiple events across time, the events (both video and audio) may be set to automatically crossfade. Two options must be enabled in order to create crossfades automatically when adding multiple events. First, verify that a check mark appears next to Automatic Crossfades in the Options menu. Second, from the Options menu, choose Preferences, and on the Editing tab, select Automatically overlap multiple selected media when added. For more information, see Using automatic crossfades on page 115.

Project references in rendered media files
When your project uses media that was rendered with an embedded project path reference, you can easily open the source project in the associated application if you need to edit the media later. Recent versions of ACID, Sound Forge, and Vegas Pro software allow you to save the project path reference when you render files. For example, imagine that you have an audio file on the Vegas Pro timeline that was rendered from an ACID project. In previewing your Vegas Pro project, you discover that you’d accidentally rendered your ACID project with a critical track muted. You could simply rightclick the event on the Vegas Pro timeline and choose Edit Source Project from the shortcut menu to reopen your ACID project, unmute the track, and then rerender it. The project information in the rendered file is a reference to a project file only. If you modify the project file after rendering, the project data will no longer match the rendered file. To edit a project using a path reference, the project file and all media must be available on your computer.

Tip: For more information on saving project path references in rendered files, see Rendering a project on page 335.

62 | CHAPTER 2

Editing a referenced project

1. Perform one of the following actions:
• • • Right-click a media file in the Explorer window.
—or—
Right-click a media file in the Project Media window.
—or—
Right-click an event on the timeline.

2. From the shortcut menu, choose Edit Source Project. An ACID, Vegas Pro, or Sound Forge window will open with the source
project. To edit a source project using a computer other than the computer where the project was created, the editing computer must meet the following requirements: • • • • The software that was used to create the project must be installed and the project file extension (.acd, .acd-zip, .veg, or .frg) must be registered on the editing computer. The editing computer must have the same version (or later) of the software that was used to create the project. The project file must exist on the editing computer using the same file path as on the computer where the project was created. The project’s source media must exist on the editing computer. If the media files do not use the same file path as on the computer where the project was created, you will be prompted to choose a new folder or replacement files.

3. Edit the project as necessary. 4. Render the edited project using the same name as the original media file and close the editing application.
If you’re editing an existing track, your project will automatically be updated to use the latest rendered media file.

Capturing video
All that footage on your video camera isn’t going to do you any good until you can get it onto your computer. With Vegas software, it’s easy to capture video from your camera and add it to your project.

Tip: Capturing video can be demanding on your computer’s resources. To avoid potential problems, we offer the following suggestions:
• Defragment your hard drive. Click the Start button in the task bar and choose Programs. From the Programs submenu, choose
Accessories, followed by System Tools and then Disk Defragmenter.
• Don’t use other software applications or screen savers while capturing video.

Notes:
• If you are using a DVD-based video camera, you can use the Import DVD Camcorder Disc dialog to import your video into your Vegas project. For more information, see Importing video from a DVD camcorder on page 58. • If you are using an XDCAM camera, you can use the XDCAM Explorer window to import XDCAM clips from a camera or deck. For more information, see Working with XDCAM video on page 147.

1. From the File menu, choose Capture Video or click the Capture Video button (
dialog appears.

) in the Project Media window. The Capture Video

2. Choose the option you want to use for capturing video:
• • Select the DV radio button if you want to capture DV or Video for Windows clips using the video capture application specified on the Video tab of the Preferences dialog. Select the HDV or SDI radio button if you want to capture SDI/HDV clips using the internal Vegas video capture application.

Tip: If you always capture from the same device, select the Always use the selected method check box, and you won’t be prompted to
choose a capture method again. You can change the method later using the Video tab of the Preferences dialog.

GETTING STARTED | 63

3. Click OK. The specified video capture application starts. 4. Capture your video.
• • • For more information on capturing DV clips with Sony Video capture, see the Vegas Pro online help. To access help, choose Contents and Index from the Help menu. For more information on capturing HDV clips, see Capturing HDV clips on page 261. For more information on capturing clips from a tape deck via an SDI (Serial Digital Interface) card, see Capturing from an SDI Card on page 64.

5. When you’re finished capturing, your video is added to the Project Media window.
After you have captured your video, Video Capture adds the files to the Project Media window. If any captured clips go offline, you can recapture the clips using your video capture application. Right-click an offline file in the Project Media window and choose Recapture from the shortcut menu.

Capturing from an SDI Card
If you have an AJA SDI card, you can use the card to capture video and print to tape from the timeline. The following procedure will guide you through the process of capturing clips from the an SDI card. Before you begin capturing video, use the Capture Preferences dialog to configure your SDI card.

Important: AJA Xena LH, LHe, LS, and LSe cards are supported.

Capturing a single clip or entire tape

Tip: Connect your deck and power it on before starting Vegas. 1. Use the transport controls below the Video Preview window to cue your tape. 2. If you want to encode your video during capture, you can choose a setting from the Encoding drop-down list. Depending on your
input format, the available encoding formats are as follows: Input
HDV SD SDI HD SDI 10-bit SDI Encoding
MPEG-2 Transport Stream
8-bit YUV AVI
IMX MXF
8-bit YUV AVI
HD 422 MXF
10-bit YUV AVI


3. The Capture folder box displays the path to the folder where your video will be saved. You can click the Browse button to choose a
different folder.

4. Click the Start Capture button ( 5. Click the Stop button (

) to start capturing.

) or press Esc to end the capture procedure.

Your clip is saved to the folder specified in the Capture Folder box and is also added to the Project Media list, from which you can add it to the timeline. If you’ve configured your capture device to capture multiple channels of audio, the audio will be added across tracks when you add the clip to the timeline. You can open the clips in the Trimmer window to choose which channels you want to use.

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Logging multiple clips and performing a batch capture

Tip: Connect your deck and power it on before starting Vegas. 1. Use the transport controls below the Video Preview window to cue your tape. 2. Click the Clip Edit tab on the right side of Video Capture window and log your clips: a. In the Clip Name box, type the file name you want to use to save the clip. b. In the Tape Name box, type the name of the tape that contains the clip. c. In the Timecode In box, type the timecode value that corresponds to the beginning of the clip, or click the Mark Timecode In
button ( button ( ) to use the current frame if you’re cueing with the controls on your deck. ) to use the current frame.

d. In the Timecode Out box, type the timecode value that corresponds to the end of the clip, or click the Mark Timecode Out

Tip: Select the Calculate Length button ( ) next to the Timecode in, Timecode out, or Length box to prevent editing of that setting and calculate its value based on the other two timecode values. e. Click the Add Clip to Log button ( f.
) to add the clip to the Clip Log.

Repeat steps 2a through 2f for each clip you want to capture.

3. If you want to encode your video during capture, you can choose a setting from the Encoding drop-down list. Depending on your
input format, the available encoding formats are as follows: Input
HDV SD SDI HD SDI 10-bit SDI Encoding
MPEG-2 Transport Stream
8-bit YUV AVI
IMX MXF
8-bit YUV AVI
HD 422 MXF
10-bit YUV AVI


4. The Capture folder box displays the path to the folder where your video will be saved. You can click the Browse button to choose a
different folder.

5. Click the Clip Log tab on the right side of Video Capture window. 6. Click the Capture Clips button (
) and choose a command from the drop-down list to start capturing clips to the folder specified on the Disk Management tab of the Capture Preferences dialog. Command
Capture all clips Capture selected clips Capture offline clips

Description
Captures all clips in the log. If a clip has already been captured, it will be recaptured. Captures all selected clips in the log. Hold Shift or Ctrl to select multiple clips. Captures all clips with a status of Offline in the log.

The captured clips are also added to the Project Media list, and you can add them to the timeline. If you’ve configured your capture device to capture multiple channels of audio, the audio will be added across tracks when you add the clip to the timeline. You can open the clips in the Trimmer window to choose which channels you want to use.

Tips:
• Click the Save Clip Log button ( a later time. • Click the Open Clip Log button ( ) to save the current clip log as an XML file if you want to save your clip log for capture or recapture at ) and browse to a saved clip log to load a previously saved clip log.

GETTING STARTED | 65

Capture Preferences
You can use the Capture Preferences dialog to set options for capturing video from an SDI or HDV device.

1. Enable the Sony Video Capture application: a. From the Options menu, choose Preferences. b. Click the Video tab. c. Clear the Use external video capture application check box. d. Click the OK button. 2. From the File menu, choose Capture Video or click the Capture Video button (
Video Capture application. ) in the Project Media window to start the Sony

3. Click the Capture Preferences button (
General tab Item
Stop device on loss of focus Show video when device is stopped Show video when device is fastforwarding and rewinding Add new clips to project media Simulate device pixel aspect ratio Fail on dropped frames When capture fails, stop batch capture Enable HDV scene detection Preroll

) in the Capture window to open the Capture Preferences dialog.

Description
Stops the selected capture device when focus is switched away from the capture application. Displays the current frame when the selected capture device is stopped. Displays video in the capture preview window when you fast-forward or rewind the device. Select this check box if you want to add captured clips to the Project Media window when capturing is complete. Displays square pixels in the Video Preview window even if the Pixel aspect ratio setting in the Project Properties dialog is using nonsquare pixels. Select this check box if you want to stop capturing if a dropped frame is detected. Select this check box if you want to stop an SDI batch capture if a dropped frame is detected. Select this check box if you want to create multiple files if scene changes are detected. When the check box is cleared, HDV clips will be captured to a single file. Type a value in the box to specify the number of seconds of preroll Video Capture should use for SDI batch capture. When you click the Capture Clips button ( ) on the Clip Log tab, Video Capture will seek to a point prior to your Timecode In setting determined by the number of seconds you enter in the Preroll box. Video Capture will begin playback at the preroll location, and switch to capture when it reaches the timecode you specified in the Timecode In box.

Maximum RAM buffer size

Drag the slider to allocate a portion of your system memory as a buffer. During capture, this buffer is used to prevent dropped frames if your hard disk is unable to write a frame.

Device tab (for IEEE 1394 HDV devices) Item
Device type Device Video Details

Description
Choose IEEE 1394/MPEG2-TS Device. Choose your HDV camera. Choose a setting from the drop-down list to specify the desired video format. Displays information regarding the capture device specified in the Device drop-down list.

Device tab (for AJA Xena LH, LHe, LS, or LSe SDI cards) Item
Device type Device Video format

Description
Choose AJA Video Device. Not used. Choose a setting from the drop-down list to specify the desired video format.

66 | CHAPTER 2

Item
Audio format

Description
Choose a setting from the drop-down list to specify the desired number of channels for capturing SDI-embedded audio.

Important: Multichannel audio capture is available only if supported by your camera or
deck. Timecode Offset Use progressive segmented frame (psf) video formats Use 10-bit encoding If video capture is not frame accurate, drag the slider to adjust timecode. Select this check box if your project properties are set to a progressive-scan format and you want to capture from a device that stores and transfers progressive-scan frames by dividing fields. Select this check box if you want to capture 10-bit source material for increased color resolution. Source material with gradients in the background can benefit from 10-bit encoding. When you use 10-bit video in your project, choose 32-bit floating point (video levels) from the Pixel format setting on the Video tab of the Project Properties tab. When the check box is not selected, the captured video will use 8-bit encoding.

GETTING STARTED | 67

Using the Device Explorer
The Device Explorer allows you to browse and import clips from AVCHD and XDCAM EX camcorders. For more information about AVCHD and XDCAM EX workflows, see Working with AVCHD video on page 59 and XDCAM EX workflow on page 147.

1. From the View menu, choose Device Explorer to display the Device Explorer window. 2. Connect your camera to a USB 2.0 port on your computer. The camera is displayed on the left side of the Device Explorer window. Tip: If you want to use clips from a folder on your computer, right-click the left pane of the Device Explorer window and choose Browse from the shortcut menu..

Previewing clips
Select your camera on the left side of the Device Explorer window. The camera’s clips are displayed on the right side of the window, and clips that have not yet been imported are indicated with a new clip icon ( ). If the Auto Preview button ( ) is selected, you can click a clip in the Device Explorer to audition it in the Video Preview window. You can stop the preview by clicking the Stop Preview button ( ), or you can turn off the preview feature by deselecting the Auto Preview button.

Note: Video is previewed in the Trimmer window. If you want to preview video in the Video Preview window, deselect the Show Video
Monitor button ( ) on the Trimmer window. ) to start preview.

When the Auto Preview button is not selected, click the Start Preview button (

Choosing the folder where you want to import clips 1. Right-click your camera on the left side of the Device Explorer window and choose Properties from the shortcut menu. The Device
Properties dialog is displayed, and the Capture Folder box shows the path to the folder where imported clips will be saved.

2. Click the Browse button to display the Capture Folders dialog. This dialog displays the available folders for saving your imported
video: • • • Select a folder’s check box to save your imported video in that folder. Click the Add Folder button ( ) and browse to a folder to add a new folder. ) to remove it from the list. Select a folder in the list and click the Delete button (

68 | CHAPTER 2

Importing clips 1. Select your camera on the left side of the Device Explorer window. The camera’s clips are displayed on the right side of the window,
and clips that have not yet been imported are indicated with a new clip icon ( ).

2. Click the Import button (
• •

) to import clips to the Project Media window:

If clips are selected in the Device Explorer window, only the selected clips are imported (you can hold Ctrl while clicking to select multiple clips). If no clips are selected in the Device Explorer window, all new clips are imported.

3. You can then use the Project Media window to organize your clips and add the imported video to your project just like any other
media file. For more information, see Using the Project Media window on page 51. For more information about AVCHD and XDCAM EX workflows, see Working with AVCHD video on page 59 and XDCAM EX workflow on page 147.

Note: 5.1-channel audio will be downmixed to stereo when importing into a stereo project. When importing into a 5.1 surround project, audio will be added to separate tracks for the center, front, rear, and LFE channels. Tip: You can also drag a clip from the Device Explorer directly to the timeline. Vegas begins importing the clip when you release the mouse, and an event is created on the timeline when importing is finished.

Working with events
Events are the most basic objects in a project. An event is something that happens in time, has a specific duration, and can be video or audio.

Understanding files and events
The objects you work with are referred to as media files and events. • • Files are objects that are stored on your hard disk. In Vegas Pro software, you will work with media files, such as music and video files. These files are neither operated on nor changed. You can access files from the Vegas Pro Explorer window. Events are periods of time on the timeline that act as windows into media files, either whole or in part. When you drag a media file onto the timeline, you automatically create an event that contains that file’s contents. An event can contain video, audio, still images, or generated media. The event window may contain only a small portion of a much larger media file. A single media file can be used repeatedly to create any number of different events, since each event can be trimmed independently.

The original media file.

An event trimmed from the original media file.

The event as it appears in the Vegas Pro timeline.

Audio events are created from audio files on your computer (for example, .wav and .mp3) or can be a part of a video file (for example, .avi). You can change many characteristics of an audio event, such as speed, volume, and equalization. Audio events can be mixed with other audio events. Video events are created from video files captured to your computer (typically AVI, MOV, QT) or images (BMP, JPEG, PNG, or TGA). You can change many characteristics of a video event, such as speed, color, and size. Video events can overlay other video events and are visual elements that appear on top of a background video, image, or color.
GETTING STARTED | 69

Moving events along the timeline
You can move events along the timeline individually or as a group. Events may overlap each other or be placed on top of each other. You can crossfade overlapping events automatically or with envelopes.

Moving an event You can move an event along the timeline within a track or move it to a different track.

1. Drag the event along the timeline.
If you move the event along the original track’s timeline, the event’s appearance (color) remains the same.

However, you may move the event to a different track. When you do, the event appears as a simple outline and you will see its original track and position on the timeline. Once you release the mouse, the event assumes the new timeline position and track color.
Original track position
New track and position


2. Release the mouse to place the event.
Moving multiple events You can move multiple events along the timeline within a track or move them to a different track. Selected events do not need to be within the same track. Use the Ctrl key, the Shift key, or the Selection Edit Tool ( ) to select multiple events and drag them. To select all events on the track after a given event, right-click the event and choose Select Events to End. For more information, see Selecting multiple events on page 98.

Moving events by small increments To move an event more precisely, click the event and press 4 or 6 on the numeric keypad to nudge it by small increments. The amount of movement caused by each nudge is determined by how far the timeline is zoomed in or out. You can also click the event and press 1 or 3 on the numeric keypad to nudge the event by frames.

Moving grouped events Groups allow you to move multiple events within their tracks as a single unit. While you can create your own groups as needed, groups are automatically created for you when video files with associated audio (for example, .avi) are added to a project. When you add these video files, the audio portion of the video file is inserted into the timeline as a separate audio event. The video and audio events are grouped and can be moved as a single unit within their respective tracks. To move grouped events, drag any event in the group to a new position. For more information, see Grouping events on page 190.

70 | CHAPTER 2

Working with tracks
A project consists of multiple audio and video tracks. The timeline (track view) is the view in which all events appear. The track list provides information about the track and contains controls that affect all events in the track.

Using the timeline (track view)
Numerous options are provided for viewing and navigating in the timeline.

Scrolling and zooming There are several ways to scroll and zoom in the timeline. • • • • • Click the scroll bar arrows or drag the scroll bars to move up and down the tracks or to move forward and back along the timeline. Click the Zoom buttons ( ) to reveal more or less of the timeline. Drag the edge of the scroll box, found on the scroll bar, to zoom. Press the Up Arrow and Down Arrow keys to zoom in and out along the timeline. Click the Zoom Edit Tool ( ) button or, from the Edit menu, choose Editing Tool and then choose Zoom. In this mode, drag on the timeline to draw a rectangle that defines the zoom region.
Zoom tools

Scroll box

Tip: You can also access the Zoom Edit Tool from the lower-right corner of the timeline ( ).
Mouse wheel control is also supported. The default behavior of the wheel is to zoom horizontally. • • • • • Shift+wheel scrolls horizontally (through time). Ctrl+wheel scrolls vertically. Ctrl+Shift+wheel moves the cursor in small increments. Ctrl+Shift+Alt+wheel moves the cursor in one-frame increments. Clicking the mouse wheel turns auto-panning on and off.

Zooming directly controls the accuracy of your editing. Each video event has thumbnail representations of the frames within the event. Depending on how far you have zoomed in on a video event, a thumbnail can represent the entire event or a single frame in the event.

Tip: You can choose to display frame numbers, time, or timecode on video event thumbnails. For more information, see Displaying
frame numbers on page 357.

Changing track height You can change the height of individual tracks by dragging their borders in the track list. In the example below, the main video track is fairly large to show the details of the scene while the two tracks above it, which are overlays, have been resized to a shorter height. For more information, see Changing track height on page 160.

GETTING STARTED | 71

Using the track list
This section describes the different controls in the track header of each track. Some controls are specific to either video or audio tracks.

Video track header

Button or Control Name
Make compositing child Track number and color

Description
Creates a parent/child compositing relationship with the track above. Used when creating masks. For more information, see Understanding the parent/child track relationship on page 277. Track numbers and colors help organize a multitrack project. For more information, see Managing tracks on page 159.

Minimize track Minimizes track height. For more information, see Changing track height on page 160. height Maximize track Maximizes track height. For more information, see Changing track height on page 160. height Expand track keyframes Displays track keyframes on the timeline. For more information, see Working with keyframes in the timeline on page 305.

Bypass motion Bypasses motion blur envelope for a track. For more information, see Using video bus blur tracks on page 167. Track motion Track motion is used to move a video track across a background. Picture-in-picture effects and scrolling title sequences are two simple cases where this tool is important. For more information, see Adding track motion on page 310. Adds track effects plug-ins. For more information, see Using video effects on page 269. Temporarily suspends playback of the track so that you can focus on other tracks. For more information, see Muting a track on page 165. Isolates a track for playback by muting the other tracks. For more information, see Soloing a track on page 166. Allows you name a track. To name a track, double-click the scribble strip and type the track’s name. For more information, see Naming or renaming a track on page 159. Determines the opacity/transparency of the video track. Drag the slider to control the transparency or blending of the track. Left is 100% transparent and right is 100% opaque. You can also double-click the label to enter a specific numeric percentage. Determines how the transparency in a video track is generated. For more information, see Selecting compositing modes on page 278.

Track FX Mute Solo Track name (scribble strip) Composite level slider Compositing mode

72 | CHAPTER 2

Audio track header

Button or Control Name
Track number and color

Description
Track numbers and colors help organize a multitrack project. For more information, see Managing tracks on page 159.

Minimize track Minimizes track height. For more information, see Changing track height on page 160. height Maximize track Maximizes track height. For more information, see Changing track height on page 160. height Track name (scribble strip) Arm for record Allows you name a track. To name a track, double-click the scribble strip and type the track’s name. For more information, see Naming or renaming a track on page 159. Prepares a track for recording. You may record directly into audio tracks. A track is ready when you see the recording meter appear on it. For more information, see Arming the track for recording on page 229.

Bus assignment Assigns an audio track to a specific output bus. This option is available for projects being mixed for multiple stereo busses. For more information, see Assigning audio tracks to busses on page 198. Invert Track Phase Track FX Mute Solo Inverts the audio track at its baseline, in effect reversing its polarity. For more information, see Phase inverting a track (audio only) on page 165. Adds track effects plug-ins. For more information, see Using audio effects on page 219. Temporarily mutes playback of the track so that you can focus on other tracks. For more information, see Muting a track on page 165. Isolates a track for playback by muting the other tracks. For more information, see Soloing a track on page 166.

Volume fader Controls the audio track volume relative to the other tracks. Drag the fader left or right to adjust the volume. For more information, see Using the volume fader (audio only) on page 161. Multipurpose slider Controls several features, including track panning, bus send levels, and assignable effects send levels. Select what the slider controls by clicking the label. Each item’s slider position is independent from the others. For more information, see Using the multipurpose slider (audio only) on page 162.

Nesting projects
With Vegas Pro software, you can simplify and organize complex projects by adding multiple projects to the timeline of a single Vegas Pro project. Using project nesting, you can: • • • • • • Create a single element that can be used in multiple locations or projects. If you update the project, it is updated everywhere. Create a complex composited element that can be used as a single media event in multiple locations or projects. Create a transition across multiple events by placing the events in a nested project and applying the transition to the nested events project. Create a musical composition with its own tempo and bus structure that can be used in another project. Create an individual project for each scene in a video and place those projects in a master project. You can apply color correction to each project individually, and then apply color correction to the master project as well. Use master projects to deliver a single project in multiple formats without time- and disk-consuming intermediate renders: for example, you could add your 24p, 16:9 HD (high-definition) project to a master project to reformat the project as widescreen SD (standard definition) for DVD, letterboxed SD for VHS, 4:3 pan-and-scan SD, or 25p.

Note: In order to use network rendering with nested projects, the nested project must contain only media from folders that do not

require remapping. Before nesting your Vegas Pro project, update the project so that all media in the project is added from a network
folder or a local, shared folder that is mapped to the same drive letter on all renderers and the render host.


GETTING STARTED | 73

Adding a project to the Vegas Pro timeline
Use one of the following methods to nest an existing project in your current timeline: • From the Explorer window, drag a Vegas Pro project file (.veg) to the timeline. The project is added to the timeline where you drop it.

Tip: You can also drag files from the Windows® Explorer and drop them on the Vegas Pro timeline.
• From the File menu, choose Import and then choose Media to browse to the .veg file you want to nest.

Using any of the methods above, the Vegas Pro project file is also added to the Project Media window. Once a nested project is in the timeline, you can then edit the its events just as you would any other event in your project.

Notes:
• The output from the nested project’s master bus is used to create the audio event. If you nest a 5.1 surround project, the audio event will be a stereo downmix of the surround master bus. • Audio events from nested projects cannot be edited in a sound editor. • The audio from a nested project will require that a proxy file be built. To avoid building proxy files, delete audio from nested projects and use the master project to create your audio. • Markers and regions in the nested project are displayed in the timeline as media markers in the event. • Prerendered video from a project will be used when that project is nested in another project’s timeline. • You can edit a nested project by right-clicking the event in the timeline and choosing Edit Source Project from the shortcut menu. A new Vegas Pro window will open to allow you to edit the project.

Playing back and previewing
You can play back your project in two ways: directly from the timeline from within the software or by mixing the entire project to a preview file.

Playing your project
The transport bar allows you to play back your entire project or portions of your project based on a time selection or the current cursor position.

If your project includes video, make sure the Video Preview window is displayed for playback: from the View menu, choose Video Preview or press Alt+6.

Playing an entire project

1. Click the Play From Start button ( 2. Click the Stop button (

) to begin playback at the beginning of the project.

) to stop playback.

Most of the time, you will only want to preview a small portion of the project to perfect a section. You can do this by creating a time selection.

74 | CHAPTER 2

Playing a time selection

1. Place the mouse pointer above the ruler on the marker bar. The mouse pointer changes to include
a left/right arrow cursor ( ).

Loop bar

2. Drag to select the time region. To increase or decrease the time selection, drag its start and end
points. The time selection is highlighted and the loop bar appears above the ruler on the timeline.

3. Click the Play button (
time selection play back.

) to begin playback. Only the non-muted tracks and events within the

4. Click the Loop Playback button ( 5. Click the Stop button (

) to continually play back the events within the time selection. Click the button again to toggle this feature off. ) to stop playback.

By looping the playback, you can repeatedly watch the same section of the project over and over as you make changes to filters and effects in real time. You can define selection areas automatically, depending on what you would like to preview. For more information, see Selecting a time range on page 99 and Cursor placement, loop region, and time selection commands on page 34.

Playback reference The following table describes all the transport bar buttons and their keyboard equivalents. You may use these playback functions at any time while working in your project.

Note: The use of many multimedia keyboards is also supported for controlling playback.
Button Keyboard
Ctrl+R Q Shift+Space Space Enter Space or Esc Ctrl+Home Ctrl+End

Function
Begin recording into record-enabled tracks Turn on/off loop playback during time selection playback Begin playback from the start of the project Begin playback from cursor position Pause playback, cursor stops and holds at pause position Stop playback, cursor stops and returns to prior cursor position Place cursor at the beginning of project Place cursor at the end of the project

Tip: You can use the spacebar to stop or pause playback, depending on your preference. From the Options menu, choose Preferences,
and on the General tab, select Make spacebar and F12 Play/Pause instead of Play/Stop to change the setting.

Scrubbing
Scrubbing is a type of timeline playback that gives you precise control over the speed and direction of playback. Both linear and logarithmic scale scrubbing are allowed. For more information, see General tab on page 366. The use of multimedia controllers is supported for scrubbing. For more information on using the software with multimedia controllers, see the online help. To access help, choose Contents and Index from the Help menu.

Tip: Choose a setting from the JKL / shuttle speed drop-down list on the Editing tab of the Preferences dialog to control the scrub speed
and range when using the keyboard or multimedia controllers. Four methods of scrubbing are provided.

GETTING STARTED | 75

Scrubbing with the playhead The playhead ( ) above the timeline can be dragged back and forth to shuttle forward or backward from the cursor position to locate an edit point.
Drag playhead to scrub

Tips:
• Set in and out points while dragging the playhead by pressing the I and O keys. • The playhead is also available in the Trimmer window.

Scrubbing with the scrub control slider The scrub control slider can be dragged back and forth. The farther from the center that the slider is dragged, the faster the playback, both forward and in reverse. Below the slider is a small yellow marker that can be used to set the normal rate playback speed. This is the speed at which the project plays when you click the Play button on the transport bar.

Scrub control slider

Scrubbing on the timeline The second way that a project can be scrubbed is by positioning the mouse pointer over the timeline cursor at a location that is not over any events and pressing Ctrl. The cursor changes to a speaker icon. Now, when you left-click, the cursor icon changes again to a pan/ scrub icon. Drag the mouse left or right to scrub the timeline.

Press Ctrl over timeline cursor

Left-click and
drag to scrub


Tip: You can also choose to enable timeline scrubbing when the mouse is positioned over events. From the Options menu, choose
Preferences, and select Allow Ctrl+drag cursor style scrub over events on the General tab.

Scrubbing with the keyboard Three letters (JKL) are used as a keyboard scrub control. Keyboard scrub letters

J
Reverse

K

Pause

L
Forward

Note: Choose a setting from the JKL / shuttle speed drop-down list on the Editing tab of the Preferences dialog to control the scrub
speed and range.

76 | CHAPTER 2

Press J for reverse and L for forward playback. Press K to pause playback. There are several ways to adjust playback speed: • • Adjust the JKL / shuttle speed selection on the Editing tab of the Preferences dialog. Hold K while pressing J or L to emulate a shuttle knob mode. Press K+J to turn the knob to the left or K+L to turn the knob to the right. Press K again or Space to return to normal mode.

GETTING STARTED | 77

Previewing to media player
A project can be previewed in a media player by mixing and rendering the project according to the project’s properties and playing back using the media player associated with the file type you select.

1. From the Tools menu, choose Preview in Player. The Preview dialog appears. 2. Select the file type from the drop-down list. 3. Click OK to begin the mixing and rendering process. A progress dialog appears indicating the percent complete of the new file. Note: You may cancel the preview by clicking the Cancel button on the status bar.
When mixing is completed, the associated media player opens and begins playback.

Prerendering video previews
Playing a project using the transport controls can instantly show how a project is progressing, but it does not actually render your project in its final form. The preview you see in the Video Preview window may be different from your final project in a number of ways: frame size, frame rate, and quality. In most cases, the Video Preview is all you need for checking the timing of events in your project. Eventually, however, you may need to output a full-quality preview of a section of your project. To do this, from the Tools menu, choose Selectively Prerender Video. For more information, see Prerendering video on page 319.

Rendering a project
Rendering refers to the process of creating a new media file from a Vegas Pro project. The project file is not affected (overwritten, deleted, or altered) during the rendering process. You may return to the original project to make edits or adjustments and render it again. More detailed instructions for rendering to a specific format appear later in this manual. For more information, see Saving, Rendering, and Printing Projects on page 333.

Creating a movie
To create a movie, you render the project into an appropriate media file output. The final output format depends on the destination of the new media file. Some examples are AVI, MOV, and WMV.

1. From the File menu, choose Render As. 2. In the Render As dialog box, choose the appropriate option from the Save as type drop-down list. 3. Click Custom to select custom compression settings. The default compression options are set automatically according to your
project’s properties. For more information, see Customizing the rendering process on page 342.

4. Enter a name and browse for a destination for your file. 5. Click OK.

Publishing a project
From the File menu, choose Publish and then follow the on-screen instructions to choose a publishing provider and save your the current project to the Web so you can share it with others.

78 | CHAPTER 2

Chapter 3 Using the Media Manager
This chapter covers the management and tagging of your media files in Vegas Pro software using the Media Manager™ feature.

Creating a new media library
You can create multiple media libraries as necessary to organize your media. Each media library is maintained by the Media Manager software as a separate database that stores information about the media contained within it. You might want to use separate libraries, for example, to distinguish media from different computers or to create separate libraries for multiple users of a single computer.

Tip: For very large media collections, using multiple media libraries can improve performance. 1. If the Media Manager window isn’t already visible, choose Media Manager from the View menu. 2. In the Media Manager window, click the Media Library Actions button (
the menu. The New Media Library dialog appears. ) and choose New Media Library from

3. In the Name box, type the name you want to use to identify the library. 4. The Folder box displays the path to the folder where the library will be created. Click Browse to choose a different
location.

5. Click the Create button to create the new library.

Opening a media library
The Media Manager window displays the contents of the current media library. You can open a different library at any time.

Important: When you open a media library, the Media Manager tool creates a transaction log file. This file is created in the same folder as the .medialib file and uses the same base name as the .medialib file. For example, the transaction log file for default.medialib would be default_log.ldf.
Do not delete these log files. Doing so will prevent you from opening the associated library. When the Media Manager tool closes, it automatically removes the log file. If the application terminates inappropriately, close all running Vegas Pro windows, restart the Vegas Pro software, and close the application to clear the log file.

1. In the Media Manager window, click the Media Library Actions button (
the menu. The Open Media Library dialog appears.

) and choose Open Media Library from

2. Choose the folder where the library you want to open is stored:
• • Choose a drive and folder from the Look in drop-down list.
—or—
Use the bar on the left side of the window to browse to a folder.

3. Select a library from the list. 4. Click the Open button to open the selected library. The name of the current library is displayed in the upper-right
corner of the Search Results pane:

USING THE MEDIA MANAGER | 79

Adding media files to a library
Before you can search or organize your media files, you’ll need to add them to a media library. If you have the Sound Series Loops & Samples™ reference library loaded when you search your computer for media, media from existing Sony Loops and Samples or Loops for ACID™ collections will inherit tags and custom properties from the reference library. Use the Reference Library drop-down list in the Media Manager Options dialog to determine which library is opened when you click the Switch to Reference Library button ( ). For more information on Media Manager options, see Setting Media Manager options on page 94.

Notes:
• The Sound Series Loops & Samples reference library is not installed by default, but you can install it from the Vegas Pro application disc or download it from the Sony Creative Software Inc. Web site (http://www.sonycreativesoftware.com/utilities). • If the Save media-usage relationships in active media library check box is selected on the General tab of the Vegas Pro Preferences dialog, you can add individual files to a library by previewing the files in the Vegas Pro Explorer window.

1. Click the Add Files to Media Library button (

). The Add Files to Media Library dialog appears. ) to display the Browse for Folder dialog.

2. Choose the folders that will be searched for media: a. If it isn’t displayed automatically, click the Add Folder button ( b. Select the folder you want to search. c. Click OK. Tips:
• If you want to change an item in the folder list, select it and click the Browse button ( ) in the Folders column. ).

• If you want to remove a folder from the list, select it and click the Remove Folder button (

3. Repeat step 2 for each folder you want to search. 4. Select the Include subfolders check box if you want to search folders within the selected folders. 5. Select the Audio, Video, Images, or MIDI check boxes to indicate the types of media you want to add. Clear a check box to exclude
that type of media file. Files that contain audio and video streams will be added if either or both of the Audio or Video check boxes are selected.

6. Specify whether you want to search for new files or all files:
• Select the New files only radio button if you want to search only for new media files. Files that already exist in the media library will be skipped.
—or—
• Select the All files radio button if you want to search for all media files in the specified folder. New media files will be added, and files that already exist in the media library will be searched to determine whether their properties have changed.

7. Select the Add tags and custom properties from files check box if you want to add tags and custom columns saved in the media
files to your library. For more information about tagging media, see Tagging media files on page 81. For information about adding custom columns to the Search Results pane, see Adding custom columns on page 92.

8. Select the Use file and folder names to apply tags automatically check box if you want to automatically tag files based on the file
path. For example, when this check box is selected, a loop saved in the d:\loops\drums\hi-hats\ folder would have the tags Drums and Hi-Hats applied when it is added to the library. Some synonyms (and variant spellings) will be resolved using a tag thesaurus. If you need to modify the thesaurus, you can edit the TagThesaurus.xml file, which is created in your My Documents\Sony Media Libraries folder the first time the application starts.

Note: Changing the selection of the Add tags and custom properties from files and Use file and folder names to apply tags
automatically check boxes also changes the settings in the Media Manager Options dialog.
9. Click the Search button to start adding files to the library.
80 | CHAPTER 3

10. Click the Close button when you’re finished.
A tag is automatically added to the Tag tree when you search. The tag name will include the date and time of the search, and all files that were added or updated in the library are marked with this tag.

Removing media files from a library
You can remove a reference to a media file from a library without affecting the media file itself.

1. Select files in the Search Results pane to choose the files you want to delete:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file.

2. Right-click a selected file and choose Remove from Library from the shortcut menu (or press the Delete key on your keyboard). A
confirmation dialog is displayed.

3. Click OK to remove the selected files from the library.

Tagging media files
Tagging helps you classify your media files. For example, if you wanted to keep track of loops played by a specific instrument, you could create a tag with the name of the instrument and apply it to the appropriate loops. Similarly, you could create tags for genres, moods, seasons, client names, locations, scenes, performer names, and so on. When you create a new library, a default tag tree is displayed in the Tags pane. You can create your own tags to customize the tags for your needs. Tags are the fastest way to search a media library, and they require very little disk space. Tags are saved in your media library. If a media file exists in multiple libraries, tagging the media file in one library has no effect on the other libraries unless you save the tags to the files and use the Add Files to Media Library dialog to update tags and custom properties for all files.

Tip: If you want to see which tags are associated with a file as you’re adding or removing tags, drag the Tags column in the Search

Results pane to the left so you can see the Name and Tags columns at the same time.


Creating a tag
Adding tags creates new tags in the current library only.

1. Click the New Tag button (

) to add a new tag to the tree.

If a tag is selected, the new tag will be added below the selected tag. If no tag is selected, the new tag will be added to the bottom of the tag tree.

2. Type a name for the tag. 3. Press Enter. 4. If you want to change the icon used to display the tag, right-click it and choose Edit from the shortcut menu to display the Tag
Editor dialog.

5. If you want to change the tag’s location, drag it to a new location in the tag tree.

USING THE MEDIA MANAGER | 81

Applying a tag to a media file
You tag media by dragging a tag from the tag tree to a media file in the Search Results pane (or by dragging a media file to a tag) when the Apply Tag Mode button ( ) is selected.

Notes:
• If you want to see which tags are associated with a file as you’re adding or removing tags, use the Properties pane in the Search Results pane (or drag the Tags column in the Search Results pane to the left so you can see the Name and Tags columns at the same time). For more information, see Using the Properties pane on page 93. • Tags are saved in your media library. If a media file exists in multiple libraries, tagging the media file in one library has no effect on the other libraries unless you save the tags to the files and use the Add Files to Media Library dialog to update tags and custom properties for all files.

1. Select media files to tag in the Search Results pane:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file. ) in the Search pane.

2. Click the Apply Tag Mode button (

3. Drag a tag from the tag tree to the selected file(s).

Tip: You can also right-click a selection in the Search Results pane and choose Apply Tag from the shortcut menu to add a tag to all
selected media. The Tag Chooser dialog will be displayed. Select the tag you want to add, and then click the OK button. When you add a subtag to a media file, the tag’s hierarchical position in the tag tree is applied implicitly. In this example, adding the “Snare” tag to a media file would mean that a search for “Audio,” “Drum OneShots,” or “Snare” would find your tagged media. If the user rearranged the tag tree so that the “Snare” tag did not appear below the “Audio” and “Drum One-Shots” tags, searching for “Audio” or “Drum OneShots” would not find your tagged media. If you add all three tags to your media file, a search for “Audio,” “Drum One-Shots,” or “Snare” would find your tagged media even if the tag tree had been rearranged, though this behavior is not always desirable.

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Removing a tag from a media file
You remove tags from media by dragging a tag from the tag list to a media file in the Search Results pane (or by dragging a media file to a tag) when the Remove Tag Mode button ( ) is selected.

Tip: If you want to see which tags are associated with a file as you're adding or removing tags, use the Properties pane in the Search Results pane (or drag the Tags column in the Search Results pane to the left so you can see the Name and Tags columns at the same time). 1. Select media files in the Search Results pane:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file. ) in the Search pane.

2. Click the Remove Tag Mode button (

3. Drag a tag from the tag tree to the selected file(s). The tag is removed from the file(s). Deleting a tag from a library
Deleting the selected tag(s) affects the current library only.

1. In the Search pane, select the tag(s) to be removed:
• • • To select a single tag, click the tag.
—or—
To select multiple consecutive tags, click the first tag, hold the Shift key, and then click the last tag.
—or—
To select multiple tags that are not consecutive, hold the Ctrl key and click each tag. ) to delete the tag from the current library. A confirmation dialog is displayed.

2. Click the Delete Selected Tag button (

3. Click OK to remove the selected tags from the library.
The tag is removed from the library and from all media files in the library. However, if the tag had been saved to the media file, it will be added to the library again the next time the file is added to the library if the Add tags and custom properties from files check box is selected in the Add Files to Media Library dialog.

Merging subtags
Merging tags combines a selected tag with its subtags and removes the subtags from your library permanently.
To merge a tag with its subtags, right-click the tag and choose Merge Subtags into Selected Tag from the shortcut menu.
All subtags are combined with the main tag, and the subtags are removed from the library. All media formerly associated with the
subtags is associated with the main tag.


Arranging tags in the tag tree
Tags are displayed in a tree view in the Media Manager window. You can organize tags hierarchically: click the Expand button ( Search pane to expand a list, or click the Collapse button ( ) in the Search pane to hide an expanded list. You can drag, copy, and paste tags within the list to arrange them and create parent and child tags. You can also display tags in a palette view by clicking the Change Tags View button ( ). ) in the

Editing tag names or images 1. Double-click a tag (or right-click a tag and choose Edit from the shortcut menu) to display the Tag Editor dialog. 2. In the Tag name box, type the name you want to display for the tag.
USING THE MEDIA MANAGER | 83

3. Select a thumbnail image to choose the icon that will be displayed for the tag in the Search pane and in the Search Results pane
when the tag is added to a media file.

4. Click the OK button to apply your changes and close the Tag Editor dialog. Viewing or creating palettes
The palette view provides another way of working with tags that can be useful for more focused searching. You can use a palette to concentrate on a portion of the current tag tree. In the palette view, tags are displayed as a grid of buttons instead of the standard hierarchical tag tree.

1. Click the Change Tags View button ( 2. Click the down arrow
Creating a palette

) to toggle the display of the tag tree and palette view.

next to the button to choose a saved palette or create a new palette.

1. Click the down arrow
dialog is displayed.

next to the Change Tags View button (

) and choose New Palette from the menu. The New Palette

2. In the Name box, type the name you want to use to identify the palette. 3. In the Rows box, specify the number of rows of buttons you want to display in the palette. 4. In the Columns box, specify the number of columns of buttons you want to display in the palette. 5. Click OK to create the palette. The palette is displayed as a grid with empty buttons.
Assigning palette buttons

1. Perform either of the following actions to display the Tag Chooser dialog:
• • Click an empty palette button.
—or—
Click an existing button and choose Choose Tag from the shortcut menu.

2. Select the tag you want to assign to the button. 3. Click the OK button.
Clearing a button Right-click a palette button and choose Clear from the shortcut menu.

Deleting a saved palette

1. Right-click a palette button and choose Delete Current Palette from the shortcut menu. 2. Click the OK button when prompted to delete the palette from your library.

84 | CHAPTER 3

Saving tags and properties to media files
Saving tags and properties to files makes all your tagging work portable: if tags are saved to files, those tags will be preserved in the files and can be added to the library by selecting the Add tags and custom properties from files check box in the Add Files to Media Library dialog. Saving tags to files affects only the current media library and libraries that you create after saving the tags. If you have multiple libraries, you can add embedded tags and custom columns to existing libraries by opening the desired library and rescanning your media folders with the Add tags and custom properties from files check box selected in the Add Files to Media Library dialog. Embedded file properties are also updated when you preview or add media to a project. Follow these steps to save tag information in your media file(s):

1. Perform a search to find the files you want to tag. 2. In the Search Results pane, select media files for which you want to save tags and properties:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file.

3. Click the Save Tags and Properties to File(s) button (

) in the top right corner of the Search Results pane. Information about tags associated with the file or information that you edited in the Search Results pane is saved to the selected files.

Tagging for loop developers
If you develop collections of loops and samples, you want to make sure you tag your media so users can find your loops easily and so your tagging is consistent with other existing collections.

1. Make a copy of the media library named Sony Tag Tree for Library Development.medialib. This file is saved in your My
Documents\Sony Media Libraries folder by default.

2. Open the copy of the library. 3. Add the loop collection you want to tag to the library. 4. Apply the appropriate tags from the tag tree to your media files.
• • Use existing tags whenever possible to ensure your collection is consistent with other collections in the Sound Series Loops & Samples family. When adding new tags, try to add them within the existing tag tree. For example, if you wanted to create a tag for a bowed upright bass, consider adding it below the existing Basses tag:

•

When adding tags, consider how the user will search for media. In the previous example, adding the tag Bowed to a media file means that the user will find that file whether searching for Basses or Bowed. If a user’s tag tree is rearranged so that Bowed is not a subtag of Basses, a search for the Basses tag will not find the file. If you add both tags, a search for Basses or Bowed will find the file regardless of whether Bowed is a subtag of Basses. This could result in inaccurate search results. Each tag contains a globally unique identifier (GUID) that preserves information about the tag and its location within the tag tree. For example, if you saved the Bowed tag to a media file, the file Bowed tag would be added to a user’s media library when the file is added. If the Basses tag did not exist in the user’s library, it would also be created. Because tags have unique identifiers, tag information and location is preserved. In the previous example, the Bowed tag would be added to the correct location in the user’s media library even if the user had translated all the tag names to a different language or otherwise renamed the Basses tag. In this case, the new tag would be added, but higher-level tags that were renamed by the user would be unaffected.

• •

•

USING THE MEDIA MANAGER | 85

5. Save the tags to your media files: a. Delete the Scan [date / time] tags from the tag tree. b. If you’ve searched the collection, click Clear to remove all search criteria and ensure all media files are displayed in the Search
Results pane.

c. Select all files in the Search Results pane. d. Click the Save Tags and Properties to Files button (
).

Tip: You can also right-click a selected file and choose Save Tags and Properties to Files from the shortcut menu. 6. Distribute your media files. You can optionally include the .medialib file.

Backing up your media libraries
Media Manager software automatically saves your library as you make changes, so you don’t need to tell the application explicitly to save your library as you’re working. However, you can create a backup of the current library as a restore point or as a template to create new libraries.

Note: When you back up your library, the Media Manager automatically performs database management that can reclaim free space
and improve performance.

1. Click the Media Library Actions button (
dialog is displayed.

) and choose Back Up Media Library from the menu. The Back Up Media Library

2. Choose a drive and folder from the Save in drop-down list, or use the browse window to locate the folder where you want to save
your backup.

3. In the File name box, type the name you want to use to identify the library. 4. Click the Save button.

To restore the backup at a later time, open the backup file.


Opening a reference library
A reference library contains information about media from an outside source or vendor.
If you have the Sony Loops and Samples reference library loaded when you search your computer for media, media from existing Sony
Loops and Samples or Loops for ACID collections will inherit tags and custom properties from the reference library.
You can also use a reference library to search media files that you aren’t part of your collection. For example, if you’re unable to find the
perfect loop for a Vegas Pro project in your own collection, you could use the Sound Series Loops & Samples reference library to search
the entire Sound Series Loops & Samples catalog and purchase a new loop library.
You can use the Media Reference Library drop-down list in the Media Manager Options dialog to determine which library is opened
when you click the Switch to Reference Library button ( ).


1. Click the Switch to Reference Library button (

). The reference library specified in the Media Manager Options dialog is opened. Media in a reference library is displayed in gray text to indicate that the files are not available on your computer. ) and choose Options from the menu.

Tip: To view the Media Manager Options dialog, click the Media Library Actions button ( 2. Find the media you’re looking for with a standard or advanced search.

86 | CHAPTER 3

3. Tag media from the reference library as needed. For more information on tagging, see Tagging media files on page 81. 4. When you select a file in a reference library, the Product Information pane displays information about the selected file and a link
you can use to purchase the media.

Using the Sound Series Loops & Samples reference library
If you have the Sound Series Loops & Samples reference library loaded when you search your computer for media, media from existing Sony Loops and Samples or Loops for ACID collections will inherit tags and custom properties from the reference library. The Sound Series Loops & Samples reference library is not installed by default, but you can install it from the Vegas Pro application disc or download it from the Sony Creative Software Inc. Web site (http://www.sonycreativesoftware.com/utilities). After installing the library, and choose Options from the menu) and choose go to the Media Manager Options dialog (click the Media Library Actions button the reference library from the Reference library drop-down list.

Searching for media files
You can use the Media Manager tool to search the current media library for media files using keywords or tags.

Tips:
• You can use the Search results limit box in the Media Manager Options dialog to determine the maximum number of media files you’d like to have returned in the results of your searches. Increasing the Search results limit setting increases the amount of time required to search a library and can significantly decrease performance if set excessively high. • When performing complex searches, consider creating temporary tags to classify the results. If you apply a tag to the files found by a complex search, you can return to those files easily by searching on the tag. The Media Manager tool can search for tags more quickly than it can perform keyword or advanced searches.

Searching using a keyword 1. Select the Quick text search check box in the Search pane and type a keyword (or keywords) in the edit box. Tip: You can separate search terms using quotation marks and other operators. If quotes or wildcard characters are not applied, an * is
automatically added before and after each search term.

2. Press Enter.
The Media Manager tool searches your media files and displays the results in the Search Results pane on the right side of the window. Any file that contains your keywords in the file name or attributes is displayed (tags are not searched as keywords). Your search terms are displayed in the yellow bar below the Search Results toolbar.

Search terms Keyword

Search results

USING THE MEDIA MANAGER | 87

3. You can refine the search results using any of the following methods:
• • • Select tag check boxes. Use the Advanced search controls. For more information, see Using advanced search options on page 89. Choose Match Any from the Match Any/Match All drop-down list to display all media that matches any of your keyword, tag, or advanced search criteria. Using this option in the search displayed in step 2, the Search Results pane would display all files that contain the keyword “EBow” OR the “Guitar” tag. Choose Match All from the Match Any/Match All drop-down list to display only media that matches all of your keyword, tag, and advanced search criteria. Using this option in the search displayed in step 2, the Search Results pane would display all files that contain the keyword “EBow” AND the “Guitar” tag. Click the View items not matching search criteria button ( advanced search criteria. ) to display only items that do not match your keyword, tag, and

•

•

Searching using tags
In the Search pane, select the check box for each tag you want to find. The Media Library searches your media files and displays the results in the Search Results pane on the right side of the window. Choose Match Any from the Match Any/Match All drop-down list if you want to display all media that contains any keyword, tag, or advanced search criteria. In the example to the right, the Search Results pane would display all files that contain the tag “High Tom” OR the tag “Floor Tom.” Choose Match All from the Match Any/Match All drop-down list if you want to display only media that includes all keyword, tag, and advanced search criteria. In the preceding example, the Search Results pane would display only files with tags “High Tom” AND “Floor Tom.”

Note: If you have check boxes selected for parent and child tags, those tags will be

treated as an OR relationship regardless of whether Match Any or Match All is
selected.


Click the View items not matching search criteria button ( your keyword, tag, and advanced search criteria.

) to display only items that do not match

Sorting search results
Click a column heading to sort the results in ascending or descending order based on that column.

Viewing previous searches
Click the Previous Search button ( ) in the top left corner of the Search Results pane to navigate through your recent searches and update the contents of the Search Results pane. After viewing previous searches, click the Next Search button ( your current search. ) in the top left corner of the Search Results pane to navigate back to

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Using advanced search options
If your media library contains many files and you’re searching for a very specific media file, the Advanced section of the Search pane can help you zero in on exactly the file you want. If you want to perform an advanced search to refine the results of a previous search, start by creating a quick search or tag-based search and then perform the following steps.

Tips:
• You can use the Search Results Limit box in the Media Manager Options dialog to determine the maximum number of media files you’d like to have returned in the results of your searches. Increasing the Search Results Limit setting increases the amount of time required to search a library and can significantly decrease performance if set excessively high. • When performing complex searches, consider creating temporary tags to classify the results. If you apply a tag to the files found by a complex search, you can return to those files easily by searching on the tag. The Media Manager tool can search for tags more quickly than it can perform keyword or advanced searches.

1. Add your search criteria: a. Click the Add New Search Criteria button (
) in the Search pane. The Search Criteria Chooser is displayed.

b. Double-click an item in the Search Criteria Chooser or drag it to the Advanced section of the Search pane. Tips:
• If an item in the Search Results pane displays a button, you can click it to find related media. For example, clicking the button in the following example adds an item to the Advanced section to help you find other media with a beat count of 16. • You can also drag a column heading from the Search Results pane to the Advanced section of the Search pane.

2. Set parameters for each of your search criteria. If the item displays an edit box, type the parameter you want to search for. If the
item is displayed as a hyperlink, click the value to display a control you can use to set the value.

3. Choose whether you want to display files that match any or all of your search criteria:
• Choose Match Any from the Match Any/Match All drop-down list if you want to display all media that matches any of your keyword, tag, or advanced search criteria.
—or—
• Choose Match All from the Match Any/Match All drop-down list if you want to display only media that matches all of your search criteria.

4. Select the check boxes for the advanced search criteria you want to include in your search, or clear a check box to exclude that
item.

USING THE MEDIA MANAGER | 89

Previewing media
You can use the transport controls in the Media Manager window to preview media files.

1. Select files in the Search Results pane to choose the files you want to preview:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file.

2. Start playback:
• • If the Auto Preview button ( ) is selected, playback will begin automatically. ) to begin playback. ) during the Auto Preview button is not selected, click the Start Preview button ( If

If you have multiple files selected, they will be played back sequentially. Each file’s icon will change to a play icon ( playback.

3. Click the Stop Preview button (

) to stop the preview, or turn off the preview feature by deselecting the Auto Preview button.

If the file is offline, you’ll be prompted to locate the file or choose a replacement.

Tip: To preview a media file in its associated media player, right-click the file and choose Open with <Application Name> from the shortcut menu.

Media relationships
When you’re searching or browsing the contents of your media library, you may be overwhelmed by the amount of media you’ve amassed. How can you possibly remember how and where you’ve used your media? No problem. The Media Manager tool takes care of the details. Media relationships are maintained only when the Save media-usage relationships in active media library check box is selected on the General tab of the Vegas Pro Preferences dialog.

1. Right-click a media file in the Search Results pane. 2. Choose Find Related Items from the shortcut menu, and then choose a command from the submenu:
Command
Used with Previewed with Rendered to Rendered from Chopped to Chopped from Rendered track to Rendered track from

Description
Displays all media files that use the selected media. Displays all media that has been previewed in a project containing the selected media. Displays all media files that were created from the selected media file using the Render As command. Displays the original media files that were used to create the selected media file if the file was created using the Render As command. Displays all media files that were created from the selected file using the Chop to New Track command in ACID software. Displays the original media file that was used to create the selected media file if the file was created using the Chop to New Track command in ACID software. Displays all media files that were created from the selected file using the Render to New Track command. Displays the original media files that were used to create the selected media file if the file was created using the Render to New Track command.

Media files matching the selected command are displayed in the Search Results pane.

3. Click the Previous Search button (

) to return to the previous contents of the Search Results pane.

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Adding media to your project
After you’ve added media to your library, tagged it, and searched for specific files or related media, you’ve probably found just the right piece of media for your current project. You can add media to your project from the Search Results pane by performing any of the following actions: • Dragging a file from the Search Results pane to the project timeline. The file is added wherever you drop it.

Tip: You can also drag files from the Search Results pane to the Windows desktop, a folder, or to another application that is an OLE
(object linking and embedding) drop target. • • Double-clicking a media file in the Search Results pane (if the Double-click in Search Results pane adds media to project check box is selected in the Media Manager Options dialog). The file is added to the track list. Right-clicking a media file in the Search Results pane and choose Add to Project from the shortcut menu. The file is added to the track list.

If the file is offline, you’ll be prompted to locate the file or choose a replacement. For more information, see Resolving offline media files on page 91.

Resolving offline media files
An offline media file is a file that is no longer available to the Media Manager. Media may be classified as offline if you eject removable storage after adding a file to your library or change a file’s name or location.

1. Add media to your project or preview media files. If any of the files are not accessible, the Resolve Offline Media dialog appears
with a listing of offline files and their status: Icon Status
Offline

Description
The file listed in the Offline File column cannot be found. The status will be Offline if you did not search or browse for a replacement file.

Probable The file listed in the Offline File column will be replaced by the file listed in the Replacement Match File column. A status of Probable Match indicates that the Media Manager tool found a likely replacement file when you clicked Smart Search. Found The file listed in the Offline File column will be replaced by the file listed in the Replacement File column. A status of Found indicates that you chose the file you want to use after clicking the Browse button.

2. Select the files you want to resolve:
• • • To select a single file, click the file.
—or—
To select multiple consecutive files, click the first file, hold the Shift key, and then click the last item.
—or—
To select multiple files that are not consecutive, hold the Ctrl key and click each file.

3. Specify how you want to resolve the selected files:
• • • • Click the Smart Search button to search quickly and allow the Media Manager tool to suggest the replacement file. Click the Browse button to choose a specific replacement file. Click the Leave Offline button to leave the file offline. The file will not be added to your project. Click the Remove button to remove the file from the media library. The file will not be added to your project. The original media file is not deleted.

4. Repeat step 3 for each file in the list. 5. Click the OK button to preview the files or add the files to your project and update the media library with the replacement files.

USING THE MEDIA MANAGER | 91

Customizing the Media Manager window
Much of what you see in the Media Manager window can be customized to suit your preferences.

Automatically hiding the Search pane
Click the push pin button ( ) in the title bar of the Search pane if you want to save space in the Media Manager window by automatically hiding the search pane: • • The push pin is displayed as a The push pin is displayed as a when the Search pane is anchored in the Media Manager window. when the Search pane is set to hide automatically.

When the Search pane is set to hide automatically, you can hover over the Search tab on the left edge of the Media Manager window to show the pane. When you move your mouse away from the Search pane, it hides automatically.

Docking and undocking the Search pane
You can undock the Search pane from its location in the Media Manager window to float it over the Vegas Pro window, or you can change the docking position of the pane within the Media Manager window. To undock and move the Search pane, drag its title bar to the desired location.

Resizing columns
You can resize the columns in the Search Results pane by dragging the splitter between columns to the desired size. To resize a column automatically, double-click a splitter.

Moving columns
To move a column in the Search Results pane to a different location, drag the column header to the desired location. A red indicator shows where the column will be dropped.

Showing or hiding columns 1. Right-click the column headings and choose Column Chooser from the shortcut menu. 2. Drag the columns you want to see from the Column Chooser dialog to the Search Results pane. 3. To hide a column, right-click a column heading and choose Remove this Column from the shortcut menu. Adding custom columns
You can add custom columns to the Search Results pane to store additional information about media files. When you add custom columns, they are added to the current library only. For example, if you wanted to keep track of which removable hard drive contained a media file, you could create a custom Drive Number column to assign any numeric rating to a media file. You could then use the Advanced section of the Search pane to search using the Drive Number value. When adding media to a library, you can choose to add this information by selecting the Add tags and custom columns from files check box in the Add Files to Media Library dialog.

1. Right-click the column headings and choose Custom Columns from the shortcut menu. The Custom Columns dialog appears. 2. Click the Add New Column button (
) to add a custom column. A new entry is added to the list.

3. In the Name box, type the name you’d like to display as a column heading.

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4. Select the Type box and choose Text or Integer from the drop-down list to indicate whether you’ll store text or numeric data in the
column.

5. If you want to remove a custom column, select an entry in the list and click the Delete Selected Columns button (
and all data stored in the column is removed from the library.

). The column

6. Click the OK button. The column is added to the media library, and the Search Results pane is scrolled to the right to display your
new column.

Editing a column’s contents
Some columns in the Search Results pane can be edited. When an entry in the Search Results pane is selected, click a box to make it editable. You can then type new information in the box. Changing a column’s contents affects only the entry in the current media library. Click the Save Tags and Properties to Files button ( ) to save the properties with the media file.

Showing thumbnails
If you’re working with videos or still-images, the thumbnail view helps you see the files that match your search criteria. To switch to thumbnail view, click the down arrow ( ) next to the Change Search Results View button ( You can drag the slider at the bottom of the Search Results pane to adjust the size of the thumbnails.
When you select a file, the thumbnail is magnified. You can change the zooming behavior on the Thumbnail tab of the Media Manager
Options dialog.
You can choose which frame you want to use as a thumbnail for video files:
) and choose Thumbnail.


1. Right-click a thumbnail in the Search Results pane and choose Choose Thumbnail from the shortcut menu. The Thumbnail
Chooser dialog is displayed.

2. Drag the slider in the Thumbnail Chooser dialog to set the frame you want to use. 3. Click the OK button. Using the Properties pane
The Properties pane displays extended information about the selected file in the Search Results pane. You can view and edit file attributes and view a listing of all tags that have been applied to the file.

Note: Properties that are editable are displayed in black.
Right-click a file in the Search Results pane and choose Show Properties Pane from the shortcut menu to toggle the display of the window.

Automatically hiding the Properties pane ) in the title bar of the Properties pane if you want to save space in the Media Manager window by Click the push pin button ( automatically hiding the pane: • • The push pin is displayed as a The push pin is displayed as a when the Properties pane is anchored in the Media Manager window. when the Properties pane is set to hide automatically.

When the Properties pane is set to hide automatically, you can hover over the Properties tab on the right edge of the Media Manager window to show the pane. When you move your mouse away from the pane, it hides automatically.

Moving the Properties pane Drag the title bar of the Properties pane if you want to move it from its current position. You can float the pane over the Media Manager window, or drag to one of the edges of the window to dock it in a different position.

USING THE MEDIA MANAGER | 93

Setting Media Manager options
Use the Media Manager Options dialog to set options for working with the Media Manager tool.
To display the Media Manager Options dialog, click the Media Library Actions button ( ) and choose Options from the menu.


General tab
Preference
Reference library

Description
Choose the library you want to load when you click the Switch to Reference Library button in the upper right corner of the Search Results pane. For more information about using reference libraries, see Opening a reference library on page 86. Type the maximum number of media files you’d like to have returned in the results of your searches.

Search results limit

Note: Increasing the Search results limit setting increases the amount of time required to
search a library and can significantly decrease performance if set excessively high. Double-click in Search Results pane adds media to project Select this check box if you want to add files to the current project by double-clicking a file in the Search Results pane.

Shut down database service Select this check box if you want to stop the database service when you close Vegas Pro software. on exit Note: Stopping the service can conserve system resources when you aren’t using any applications that use the Media Manager tool. However, the application will take longer to start when the check box is selected. Add tags and custom properties from files Select this check box if you want to add tags and custom columns saved in the media files to your library. For more information about tagging media, see Tagging media files on page 81. For information about adding custom columns to the Search Results pane, see Adding custom columns on page 92.

Use file and folder names to Select this check box if you want to automatically tag files based on the file path.
apply tags automatically For example, when this check box is selected, a loop saved in the d:\loops\drums\hi-hats\ folder
would have the tags Drums and Hi-Hats applied when it is added to the library. Some synonyms
(and variant spellings) will be resolved automatically. If you need to modify the pattern-matching,
you can edit the AutoTagPatterns.xml file, which is created in your My Documents\Sony Media
Libraries folder the first time the application starts.


Media Library tab
Preference
Delete

Description
Click this button to remove information about media relationships from your database. Media relationships are maintained only when the Save media-usage relationships in active media library check box is selected on the General tab of the Vegas Pro Preferences dialog.

Update

Click this button to scan the media files in your library and compare them to the files on disk to look for updated media properties. If the values stored in the media library and the files on disk do not match, the Media Manager will prompt you to choose the values you want to keep. Select the Ignore file dates when checking for changes check box if you want to scan all files. When the check box is cleared, only files that have been modified since the last update will be scanned. You can also use the Update button to check your media library for offline files.

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Thumbnails tab
Thumbnail (*.sftb) files are used to represent image and video files in the Media Manager. Use the Thumbnails tab to edit settings for saving and using thumbnails. Preference
Thumbnail Caching

Description
Choose a setting from the drop-down list to indicate how you want to store thumbnails for image and video files. Store thumbnails in common folder Choose this setting if you want to store all thumbnails in a single folder. When you store thumbnails in a common location, you can view media thumbnails even if the media is not available (if you store media on a removable drive or network folder, for example). Store thumbnails with media files Choose this setting if you want to store thumbnails each media file's thumbnails in the same folder as the media. When you store thumbnails with media files, adding media files from a removable drive or network folder can be much faster because the Media Manager does not need to generate thumbnail files for each media file. Store thumbnails in common folder and with media files Choose this setting if you want to duplicate thumbnail files in a common folder and with the media. When you add media files, the Media Manager will not need to generate thumbnails for media files that already have thumbnails in the media folder; existing thumbnail files are copied to the common folder. Do not store thumbnails Choose this setting if your disk space is limited and you do not want to store thumbnails. Thumbnails will be generated as needed.

Common Thumbnail Folder Limit Common Folder Size

Displays the path to the common thumbnail folder. Click Browse to choose a different folder. Select this check box and type a value in the box if you want to limit the amount of storage used for thumbnail files. Click the Empty button to clear all thumbnails from the common location. Select this check box if you want to zoom thumbnails when you select them in the Search Results pane. Type a value in the box to set the delay before a thumbnail image is zoomed when you select it. Select this check box if you want to animate thumbnail zooming.

Enable Thumbnail Zoom Delay before zooming thumbnails Smooth thumbnail zooming

About tab
Use the About tab to view information on the version of the Media Manager that is currently installed. This information can be useful when troubleshooting issues with the Media Manager.

Using the Media Manager with multiple computers
If you have multiple computers in your production environment, you can easily share media libraries. The following guidelines will help you make the most of your media libraries in a multicomputer setup: • • Save your media in shared folders where all necessary users have access. Use common drive letters or UNC (universal naming convention) paths for the folders where your media files and libraries are stored on all computers.
For example, your media files could be in a shared folder called \\studio_a\media (“studio a” is the computer name, and “media” is
the name of the shared folder), or you could map the shared folder “media” to drive letter M for all computers.
• After tagging your media or otherwise changing properties, save the metadata to the media files by clicking the Save Tags and Properties to Files button ( ). Saving this information in the files makes the information more portable across computers.

USING THE MEDIA MANAGER | 95

96 | CHAPTER 3


Chapter 4 Basic Editing Techniques
Vegas® Pro projects are multitrack compilations of events that occur over time. The events in your project are references (pointers) to source media files. Vegas Pro software is a nondestructive editor, so editing events in your project does not alter the source media files in any way.

Getting around
When editing and playing back the project, the cursor identifies where you are along the project’s timeline.

Moving the cursor
Use the following keyboard commands to move the cursor in the timeline. Description
Go to beginning of project Go to end of project Go to beginning of selection or view (if no selection)

Keys
Ctrl+Home or W Ctrl+End or E Home

Description
Move left/right to marker(s) Move to marker # Move left/right to event edit points including fade edges (see figure below) Nudge cursor on timeline Move left/right one frame Move left/right one frame Center in view

Keys
Ctrl+Left/Right Arrow 0-9 keys (not numeric keypad) Ctrl+Alt+Left/Right Arrow Left or Right Arrow Alt+Left/Right Arrow Ctrl+Alt+Shift+Mouse wheel \

Go to end of selection or view End (if no selection) Move right by grid marks Move left by grid marks Go to Page Down Page Up Ctrl+G

Event edit point cursor jumps

Changing focus
Focus is used to describe which objects have the attention of a program. For example, when you click a file in the Project Media window, that window has focus. To instantly switch the program’s focus to the timeline (track view), press Alt+0 or, from the View menu, choose Focus to Track View. In Vegas Pro software, it matters which track has focus when you perform a task. For example, when you double-click a media file in the Explorer, it is inserted into the track that has focus. You can click a track on its track number to make it the focus track. A blinking white line under the track number and shading in the track list indicates a track has focus.

Making selections
You have the flexibility to select one or more events, a time range, or events and a time range. All selection options can apply to a single track or to multiple tracks. To select an event, click it.

BASIC EDITING TECHNIQUES | 97

Selecting multiple events
You can select multiple events in your project using several methods.

Notes:
• Once you have selected multiple events, you can group them together. For more information, see Grouping events on page 190. • You can select multiple video events, multiple audio events, or a combination of both video and audio events. However, you can only use commands and operations that apply to both types of events for selections composed of both audio and video events.

Selecting nonadjacent events

1. Hold the Ctrl key. 2. Select the events by clicking them.
To deselect an event, simply click it again to toggle the event selection on or off.

Selected events


Selected events

Selecting a range of events

1. Hold the Shift key. 2. Click the first event that you want to select. 3. Click the last event that you want to select.
All events between the first and last selected events are highlighted and selected.

Tip: Click the right mouse button while holding the left mouse button switch from rectangular selection, time selection, and track

selection.


Selecting a block of events

1. Click the Selection Edit Tool button ( 3. Click and hold the left mouse button.

).

2. Position the cursor in a corner of the area that you want to select. 4. Drag the cursor to the opposite corner of the area you want to select. A rectangle is drawn on the workspace. All events within this
rectangle are selected.

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Hold the left mouse button and right-click to toggle through the three types of selection boxes: free, vertical, or horizontal.

Tip: You can include or exclude events from a selection area by pressing Ctrl and clicking an event. To deselect all events, click anywhere in the workspace outside of the selected events.

Selecting all events to the end of the track

1. Right-click an event. A shortcut menu appears. 2. From the shortcut menu, choose Select Events to End. All events on the track after the selected event are selected. Tip: To move large blocks of events, you can use Select Events to End with events selected on different tracks. Press Ctrl and click to
select events on different tracks, and then right-click to access the shortcut menu.

Selecting all events that refer to a specific media file Right-click a file in the Project Media window and choose Select Timeline Events from the shortcut menu. All events that use the selected media file in the active take are selected. Hold Ctrl or Shift while choosing Select Timeline Events from the shortcut menu to add the events to the current selection.

Selecting a time range
Time selections are indicated by a shaded box and a bar that appears on the top of the timeline. You can use the time selection bar for playing back a smaller portion of your project or to apply cross-track edits.
Time selection Only the events within the time selection are affected by edits or played back.

Note: Unless an event is locked, a selected time range affects all events, or portions of events, that occur within the range.

Dragging to select a time range

1. Position the mouse pointer above the ruler (on the marker bar). The mouse
pointer changes to a left/right arrow cursor ( ).

2. Drag to select a region. All events, or portions of events within the region are highlighted. 3. Drag the yellow handles on either end of the time selection to increase or decrease your time range selection.

Tip: You can move the entire selection range by dragging the time selection bar.

BASIC EDITING TECHNIQUES | 99

Selecting a time range during playback

1. Click the Play (

) or the Play From Start (

) button to begin playback.

2. Press I where you want the time selection to begin. 3. Press O where you want the time selection to end. 4. Click the Stop button (
) to stop playback.

Using shortcuts for time selections These shortcuts can speed up the process of making precise time selections. Description
Set time selection duration equal to an event’s duration

Shortcut
Double-click the event

Extend selection to the end of the currently Ctrl+Shift+Alt+Right Arrow selected event edge Extend selection to the beginning of the currently selected event edge Drag a time selection on an event without selecting/deselecting the event Ctrl+Shift+Alt+Left Arrow Ctrl+Shift+drag on the event

Tip: Press Backspace to recall the last five time selection areas.

Looping playback
If you want to play back the time range, click Play ( ) to play only the events within the time range. Click the Loop Playback button ( ) or press Q to toggle loop playback on and off. Vegas Pro software continually plays back the portion of the timeline within the time selection when loop playback is toggled on.

Selecting events and a time range
Selecting a time range does not automatically select events. Excluding locked events, all items within the time range play back and are affected by Edit menu commands. However, you may select specific events to edit, and then select a time range.

1. Select the events you wish to edit. For more information, see Selecting multiple events on page 98. 2. Place the mouse pointer above the ruler (on the marker bar). The mouse pointer changes to a left/right arrow cursor (
Time selection

).

3. Drag to select the region. Notice that events that were not initially selected in step 1 remain unselected (not highlighted).

Selected event Unselected event Selected event

Unselected event Selected event Unselected event

Selecting tracks
Click a track header to select it. Hold Ctrl or Shift to select multiple tracks.

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Selecting groups of composited tracks
Click the vertical bar below a parent track to select a group of composited tracks. For example, clicking the area marked A in the following track list selects tracks 2 through 6. Clicking the area marked B selects tracks 5 and 6.

A

B

BASIC EDITING TECHNIQUES | 101


Editing events
Copying events
You can copy events, or portions of events, to the clipboard and paste them into your project. You may copy a single event or multiple events. Copying preserves the original event information, edits, and other modifications.

Tip: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group. If you need to delete a single event, you can choose Ignore Event Grouping from the Options menu to temporarily ignore grouping. 1. Select the events to be copied. For more information, see Selecting multiple events on page 98. 2. Select a time range, if applicable. 3. Click the Copy button (
Copying selected events When copied, selected events are reproduced and placed on the clipboard. Time information is also placed on the clipboard. Events before copy Clipboard contents Events after copy
The original events are not affected and do not change.

).

Copying a time selection Events within the time selection and across all tracks are reproduced and placed on the clipboard. Time information is also placed on the clipboard. Events before copy Clipboard contents Events after copy
The original events are not affected and do not change.

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Copying a time selection and events Events and portions of selected events within the time selection are reproduced and placed on the clipboard. Time information is also placed on the clipboard. Events before copy Clipboard contents Events after copy
The original events are not affected and do not change.

Cutting events
Cutting events removes them from their respective tracks, but places the cut information (events and time) on the clipboard. Once on the clipboard, you may paste the information into your project.

Tips:
• When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group. If you need to delete a single event, you can choose Ignore Event Grouping from the Options menu to temporarily ignore grouping. • You can apply a ripple edit after cutting. For more information, see Applying post-edit ripples on page 113.

1. Select events or a time range. For more information, see Making selections on page 97. 2. Click the Cut button (
Cutting selected events When cut, selected events are removed from the timeline and placed on the clipboard. Time information is also placed on the clipboard. Events before cut Clipboard contents Events after cut Events after cut in postedit ripple mode ).

BASIC EDITING TECHNIQUES | 103

Cutting a time selection Events within the time selection are reproduced and placed on the clipboard. Time information is also placed on the clipboard. When cutting a time selection, auto ripple mode affects the position of material on all tracks or affected tracks after the cut. Events before cut Clipboard contents Events after cut Events after cut in postedit ripple mode

Cutting a time selection and events Events and portions of selected events within the time selection are reproduced and placed on the clipboard. Time information is also placed on the clipboard. When cutting a combination of time selection and event selection, post-edit ripple mode affects the position of material on all tracks or the tracks of selected events after the cut. Events before cut Clipboard contents Events after cut Events after cut in postedit ripple mode

Pasting events
Once information is copied to the clipboard, you may choose a variety of ways to paste the clipboard items. Items are always pasted from the cursor’s position along the timeline.

Tip: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group. If you need to delete a single event, you can choose Ignore Event Grouping from the Options menu to temporarily ignore grouping.
When post-edit ripple mode is enabled, material is pushed down the track to make room for pasted material. The exact behavior of the ripple depends on what is being pasted, and the type of ripple edit you chose to perform. If one or more events are pasted, only those tracks where pasted material appears are ripple edited.

Tip: You can apply a ripple edit after pasting. For more information, see Applying post-edit ripples on page 113. 1. Move the cursor to the desired location on the timeline. 2. Click either the track number or within the track where you want to paste the event. This track is the focus track; there can be only
one focus track at a time.

Note: If you are pasting multiple events from different tracks, new tracks are automatically created as needed.

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3. Click the Paste button (

).

Clipboard events are pasted at the cursor position on the track. Existing track events can be overlapped with newly pasted information.

Using paste repeat Use paste repeat to specify how many times clipboard events are pasted at the cursor position on the selected track and to specify the space between pasted events.

1. Copy a selection to the clipboard. 2. From the Edit menu, choose Paste Repeat. The Paste Repeat dialog appears. 3. Specify the number of times to paste the clipboard contents and the space
between successive copies.

4. Click OK.
Using paste insert When using paste insert, clipboard events are placed at the cursor position on the selected track and existing events on all tracks are moved further down the timeline by the total length of pasted information. This action differs from post-edit ripple mode because pasting in post-edit ripple mode affects only the tracks in which material is pasted, while paste insert affects all tracks in the project.

1. Copy a selection to the clipboard. 2. From the Edit menu, choose Paste Insert.
Clipboard contents Events before paste insert Events after paste insert

Events on all tracks (not just tracks with pasted material) are pushed down the timeline.

BASIC EDITING TECHNIQUES | 105

Punching-in and crossfading events You can insert events into the middle of (on top of ) existing events without altering the timing of the project. When the inserted event ends, the original event continues playing as if it had never stopped. You can choose the duration of crossfades for punched-in audio events.

1. From the Options menu, choose Preferences. The Preferences dialog appears. 2. Click the Editing tab. 3. Select Quick fade length of audio events. Specify a duration for each transition.
Events that have previously been inserted or punched-in are not affected by this change. The concept of punching in and out only applies when you are inserting an event that is shorter than the event that it is being inserted into. In the following illustration, every frame is numbered so that you can see how the original event continues after the inserted event ends, as if it continued to play underneath the original.

Punched-in event

Duplicating events
Duplicating is a combination of copying and pasting in one action. The process is like moving the event to a new position while leaving a copy behind.

1. Press Ctrl. 2. Drag the event you want to duplicate to the place where you want the new event to be positioned. Inserting empty events and time
You can insert events into the timeline that do not have any contents and are not references to any media files. Empty events are useful as placeholders in the timeline that can be filled with media or recorded into at a later time. In either case, the new media is added to the empty event as a take. For more information, see Working with takes on page 132. To add an empty event to a track, from the Insert menu, choose Empty Event. You can also make space in a project by inserting a length of time across all tracks. To insert a period of time into the timeline, from the Insert menu, choose Time.

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Trimming events
This section describes simple ways to trim events. For more information, see Using the Trimmer window on page 134.

Tip: You can apply a ripple edit after trimming an event. For more information, see Applying post-edit ripples on page 113.

Trimming an event During the trimming process for a video event, both the last thumbnail image on the event and the Video Preview window show the last frame in the event, allowing you to edit events very accurately.

Trimming grouped events at the same time

1. Move the cursor over the edge of the event. The cursor changes when properly positioned ( 2. Drag the edge of the event to trim it.


).

Since a multimedia file often has both a video and an audio component, both events are trimmed (or extended) as a group unless you
ungroup them or temporarily suspend grouping by clicking the Ignore Event Grouping button ( ). For more information, see Grouping events on page 190.

Trimming an event beyond its end You can trim an event beyond its end, extending it as a result. Once extended, the event loops as a default. A notch indicates where the looped event repeats. Alternately, you can turn looping off and make the last frame of an event’s media repeat for the duration of the event (a freeze frame). A notch appears at the point in the event where the video ends and the freeze frame begins. For more information, see Loop on page 183.

Trimming adjacent events You can trim adjacent events simultaneously. Press Ctrl+Alt while dragging the common edge between two adjacent events. The trim ). adjacent cursor appears (
Press Ctrl+Alt over the boundary between two events... ...and drag left... ...or right to trim both events at once.

BASIC EDITING TECHNIQUES | 107

Trimming a time selection Trimming events removes all media outside the time selection. The removed information is not placed on the clipboard. Trimming is different from cutting in that the events within the time selection are preserved.

1. Select a time range. For more information, see Selecting a time range on page 99. 2. Press Ctrl+T or, from the Edit menu, choose Trim.
The material outside the time selection (across all tracks) is removed from the project. However, the time information (space) between events is not removed. Events before trim Clipboard contents
Trimmed information is not placed on the clipboard.

Events after trim

Trimming a time and event selection

1. Select the events to be trimmed. 2. Select a time range. For more information, see Selecting events and a time range on page 100. 3. Press Ctrl+T or, from the Edit menu, choose Trim.
Only the portion of selected events outside the time selection is trimmed. Unselected events remain. The time information (space) between events is not removed. Events before trim Clipboard contents
Trimmed information is not placed on the clipboard.

Events after trim

Edge trimming events using the keyboard With this method, you can quickly jump through your project and adjust cuts until they’re perfectly synchronized. If you have an external multimedia controller, it’s even easier.

1. If you want downstream events to ripple as you trim, click the Auto Ripple button ( 2. Select the event you want to trim.

) to turn on Auto Ripple mode.

3. Press 7 or 9 on the numeric keypad to move the cursor to the event edge you want to trim. 7 selects the beginning of an event or
moves to the previous event edge. 9 selects the end of the event or moves to the next event edge. A red bracket is displayed to indicate which event edge will be trimmed.

Note: You can also perform this step using the [ or ] keys.

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4. Use the 1, 3 and 4, 6 keys on the numeric keypad to trim the current event edge:
• • Press 1 to trim one video frame left, or press 3 to trim one video frame right (or hold Ctrl+Shift+Alt while rolling the mouse wheel). Press 4 to trim one pixel left, or press 6 to trim one pixel right (or hold Ctrl+ Shift while rolling the mouse wheel). Depending on the current zoom level, the trim duration will vary.

Note: Pressing 5 on the numeric keypad exits edge-trimming mode. If you are not in edge-trimming mode, 1, 3, 4, and 6 on the numeric keypad to nudge events on the timeline by frame (1 and 3) or by pixel (4 and 6). 5. Repeat steps 3 and 4 as necessary. Splitting events
You are allowed to create multiple, independently functioning events from a single event by splitting it. Splitting creates a new ending point for the original event and creates a starting point for the newly created event. Splitting an event does not alter the original media. The original media file’s information is there, but is omitted for playback based on where the event’s starting or ending point occurs on the timeline. When split, the two new events are flush against one another. The two events can be moved independently.
One event

Split position Two events after split

The two new events can be moved independently.

Splitting an event

1. Select the events to be split. For more information, see Making selections on page 97. 2. Place the cursor at the timeline position where the split will occur. 3. From the Edit menu, choose Split, or press S.
Splitting all events at the cursor All events are split at the cursor’s position (unless an event is locked). The split occurs across all tracks (if no events are selected). Events before splitting Events after splitting

BASIC EDITING TECHNIQUES | 109

Splitting selected events Only the selected events are split at the cursor’s position. Events before splitting Events after splitting

Splitting a time selection Unless locked, all events within the time selection are split at the starting and ending points of the time range, meaning that two splits are made. The split occurs across all tracks. Events before splitting Events after splitting

Splitting a time selection across selected events Only selected events within the time selection are split at the starting and ending points of the time range. Events before splitting Events after splitting

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Splitting and trimming events Hold Ctrl+Alt+Shift and click an event to split the event. Hold Ctrl+Alt+Shift and drag an event to split it at the point you click and trim the event in the direction you drag. The cursor changes to the split-trim cursor ( ).

Tip: Holding the Shift key temporarily overrides snapping if it is enabled. Release the Shift key while dragging to snap the event to available snap points.

Slipping and sliding events
To help you picture what happens when you slip and slide events, think of an event as a window to a media file. The window can display the entire media file or a small section. When the window displays only a portion of the media file, you can move either the window or the underlying media to adjust the media that is played by an event: • • When you slip an event, your event maintains its place on the timeline, but the media file moves in the direction you drag. When you slide an event, the media file maintains its place on the timeline, but the event moves in the direction you drag.

Tip: You can also slip or slide grouped events (at the same time) or slide a crossfade between two events. For more information, see
Grouping events on page 190 or Sliding a crossfade on page 116.

Shifting the contents of (slipping) an event Press Alt while dragging an event. The slip cursor appears ( ).

As you drag the event, the contents of the event shift, but the event does not move. You can use this technique when you want to maintain an event’s length and position, but have the event play a different section of the source media file.

Slip-trimming an event Press Alt while dragging the right or left edge of an event. The slip-trim cursor appears ( As you drag the event edge, the media moves with the event edge. ).

Tips:
• Press Alt+Shift while dragging any portion of an event to slip-trim the right edge. The left edge of the event remains fixed on the timeline, and the media is slipped past the left edge of the event. This slip mode is useful when you want to slip an event without changing its last frame. • Press Ctrl+Alt+Shift and drag an event to split it at the point you click and trim the event in the direction you drag. • To slip all of an event’s takes when slipping media, make sure Slip All Takes is selected in the Options menu.

Sliding an event Press Ctrl+Alt while dragging an event. The slide cursor appears ( ).

As you drag, the relative position of the media remains fixed on the track, and the event position changes. You can use this technique when you want to maintain an event’s length, but have the event play a different section of the source media file at a different point in your project. For more information, see Applying post-edit ripples on page 113.

Tip: You can apply a ripple edit after slip-trimming or sliding an event.

BASIC EDITING TECHNIQUES | 111

The original media file.

The event on the timeline with original frames.

Slipping the event two frames to the right.

Slip-trimming the event two frames to the right.

Sliding the event two frames to the right.

Detecting and repairing audio and video synchronization problems
When audio and video events are not aligned, Vegas Pro software will highlight the events in the timeline so you can see synchronization problems at a glance. The software determines whether events are synchronized by comparing grouped and overlapping events: • An event in a group is compared to other events in the same group (of the opposite media type) that were created from the same media, and the events with the most overlap are used to calculate synchronization. If no events overlap, the closest events are used to calculate synchronization. An event that is not in a group is compared to events (of the opposite media type) that were created from the same media, and the events with the most overlap are used to calculate synchronization. If no events overlap, no synchronization offset is displayed.

•

Note: The amount of offset is displayed when the Active Take Information option is selected on the View menu. Very small offsets that are below the resolution of the timeline may be displayed as 0.00. Set the project time format to samples to see the offset amount.
To restore synchronization, right-click the audio or video event you want to synchronize, choose Synchronize from the shortcut menu, and then choose a command from the submenu: Command
By Moving By Slipping

Description
Moves the event you clicked so it is synchronized to its corresponding audio or video event. Slips the contents of the event you clicked so the audio and video are synchronized. The events do not move, but the contents of the event you right-click are shifted forward or backward to restore synchronization.

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Deleting events
Deleting an event removes it from its track. Multiple events can be deleted and time selections can be used to modify the process. Ripple editing also applies to delete actions. Deleting operates exactly like a cutting operation, but the removed information is not placed on the clipboard. For more information, see Cutting events on page 103.

1. Select the events to be deleted. 2. Press Delete.

Applying post-edit ripples
You can apply a post-edit ripple that affects either the edited track(s), the track(s) and certain project elements, or everything in the timeline. The power lies in the fact that you can apply this post-edit ripple to a wide variety of editing tasks, such as trimming, crossfading, cutting, pasting, and deleting events. You can also choose to apply your ripple edits manually or automatically. You can ripple the contents of the timeline following an edit after performing these tasks: • • • • • Trimming, slip-trimming, and sliding events Time compressing/stretching events Cutting events Pasting events Deleting events

Ripple editing also affects how material is added from the Trimmer window. For more information, see Using the Trimmer window on page 134.
The original four events

Trimming the second event

After applying a post-edit ripple, the third and fourth events close the gap

A quick and easy method is also provided for shuffling a sequence of events on a track. Decide that the third event in a series should really be the second instead? You can drag the event to a new position and instruct the software to shuffle the events into their new order.

Applying a post-edit ripple manually 1. Perform one of edits discussed above. Above the timeline, an arrow indicates where the post-edit ripple will occur and the
direction the affected events will move.

2. From the Edit menu, choose Post-Edit Ripple, and choose a command from the submenu:
• • Affected Tracks ripples only the tracks where you performed the edit. Affected Tracks, Bus Tracks, Markers, and Regions ripples the tracks where you performed the edit and ripples any keyframes or envelopes on those tracks. This command also ripples any markers, regions, CD layout markers, and command markers in the project.

BASIC EDITING TECHNIQUES | 113

•

All Tracks, Markers, and Regions ripples all tracks and all keyframes and envelopes on those tracks. This command also ripples any markers, regions, CD layout markers, and command markers in the project.

The timeline is rippled after the edit according to the option you choose.

Tip: You can press F after an edit to ripple the affected tracks, or you can press Ctrl+F to ripple markers, keyframes, and envelopes, too. To ripple everything after an edit, press Ctrl+Shift+F.

Applying a post-edit ripple automatically 1. Click the arrow button next to the Auto Ripple button (
• • ) and choose a ripple type: Affected Tracks ripples only the tracks where you performed the edit. Affected Tracks, Bus Tracks, Markers, and Regions ripples the tracks where you performed the edit and ripples any keyframes or envelopes on those tracks. This command also ripples any markers, regions, CD layout markers, and command markers in the project. All Tracks, Markers, and Regions ripples all tracks and all keyframes and envelopes on those tracks. This command also ripples any markers, regions, CD layout markers, and command markers in the project.

•

2. Perform one of edits discussed above. Above the timeline, an arrow indicates where the post-edit ripple will occur, the direction the
affected events will move, and the distance the events will move.

3. The timeline is rippled after the edit according to the ripple type you choose. Shuffling events
A quick way to change the order of a sequence of events in a track is provided. Right-click and drag an event to a new location in the track and choose Shuffle Events from the shortcut menu that appears. The events are shuffled into the new order.
The original four events

Right-click and drag event three between events 1 and 2

The four events after the shuffle

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Crossfading events
You are allowed to crossfade between two events on the same track. For audio events, crossfading fades out one audio event’s volume while another event’s volume fades in. For video events, crossfading creates a transition between two events, one fading out while the other fades in. Lines appear indicating how and when the event’s volume or transparency is being affected.
Fade in volume line Fade out volume line

Using automatic crossfades
The automatic crossfade feature turns the overlapping portions of two events into a smooth crossfade. This feature is turned on as a default. Click the Automatic Crossfades button ( ) or press Ctrl+Shift+X to turn automatic crossfades on and off.
Events before crossfade Events after crossfade

Drag one event to overlap the other

An option is provided for creating automatic crossfades when you add multiple media files to a track. For more information, see Automatically crossfading inserted events on page 62.

Manually setting a crossfade
An automatic crossfade is not inserted if a shorter event is placed on top of and within the same time frame of a longer event. In this case, the longer event begins playing, then the shorter event plays, and then the longer event resumes playing at the timeline position. You can manually create a crossfade to fade in and out of the shorter event.

1. Place the mouse pointer on one of the shorter event’s handles. The envelope cursor appears ( 2. Drag the handle to the desired position.

).

Events without crossfade

Events with manual crossfade

This is a fast and effective method of inserting a voiceover on top of a background music track (although the music fades out completely) or to replace a bad section of audio. For more information, see Punching-in and crossfading events on page 106.

BASIC EDITING TECHNIQUES | 115

Changing crossfade curves
You can change the crossfade curves that are used to fade in and out between two events.
Right-click a crossfade to choose a different crossfade curve.

1. Right-click anywhere in the crossfade region to display a shortcut menu. 2. From the shortcut menu, choose Fade Type, and choose the desired fade type from the submenu. Tip: If you use the same crossfade curve frequently, you can set it as a default for all new audio or video crossfades. For more information,
see Editing tab on page 376.

Sliding a crossfade
You can slide a crossfade between two events without affecting the total length of the two overlapping events. This process is similar to sliding and slipping events. For more information, see Slipping and sliding events on page 111. Press Ctrl+Alt while dragging the overlapping area between two events. The slide crossfade cursor appears ( ).

As you drag, the relative position of the media remains fixed on the track, and the crossfade position changes, effectively trimming the edge of the event in the direction you drag. You can use this technique when you want to maintain the length of two combined events but want the transition to occur earlier or later.
Two events with a crossfade.

Sliding the crossfade to the left...

...and to the right.

Using undo and redo
You are given unlimited undo and redo functionality while working on your project, even to the extent of being able to undo changes made before the last time a project was saved (but not closed). While you are working with a project, an undo history of the changes that you have performed is created. Each time you undo something, that change is placed in the redo history. When you close the project or exit the software, both the undo and redo histories are cleared.

Using undo
Pressing Ctrl+Z or clicking the Undo button ( ) reverses the last edit performed. Repeatedly using the keyboard command or toolbar button continues undoing edits in reverse order, from most recent to oldest. In addition, you may undo the last edit by choosing it from the Edit menu.

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Undoing a series of edits You can undo a series of edits by using the drop-down list on the Undo button.

1. Click the arrow to the right of the Undo button (
project is restored to the state prior to those edits.

).

2. From the drop-down list, choose the edit that you want to undo. Items above it (subsequent edits) are selected automatically. Your

Use the mouse to select a series of edits.

When you undo an edit or a series of edits, they are added to the redo history. This feature allows you to restore your project to a previous state.

Tip: From the Edit menu, choose Undo All to undo all edits in the history. All edits are undone and added to the redo history.

Using redo
Pressing Ctrl+Shift+Z or clicking the Redo button ( ) redoes the last undo performed. Repeatedly using the keyboard command or toolbar button continues redoing undos in reverse order, from most recent to oldest. In addition, you may redo the last edit by choosing it from the Edit menu.

Redoing a series of edits ). The top item in the list that appears is You can view the redo history by clicking the arrow on the right side of the Redo button ( the most recent undo edit. If you redo a specific edit that appears farther down the list, all subsequent edits above it are redone as well. When you redo an edit or a series of edits, they are added to the undo history again. The redo history is cleared when a new edit is performed.

Clearing the edit history
You can clear both undo and redo histories without closing your project or exiting the software. Once the histories have been cleared, a new edit history is created as you continue working on the project. While clearing the edit history is not usually necessary, it can free up disk space. To clear the edit history, choose Clear Edit History from the Edit menu.

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Adding project markers and regions
Several types of project markers are provided that identify parts of your project, serve as cues, and provide additional functionality: • • • Markers are points that you mark along the project’s timeline. They are typically used to mark locations in the project for later reference or to mark timing cues. Regions are ranges of time that you mark along the timeline. Regions identify ranges of time for your reference and can function as permanent time selections. Command markers are markers that enable metadata in streaming media files. These markers can be used to display headlines or closed captions, link to Web sites, or perform any other function you define. For more information, see Adding closed captioning to Windows Media Video (WMV) files on page 256. In addition, these markers can be used to embed Scott Studios data information, which is used extensively in broadcasting. CD layout markers are markers that indicate tracks and indices for an audio CD layout. These marks are used to create tracks and index points when burning an audio CD. For more information, see Understanding tracks and indices on page 381.

•

Tip: You can use ripple editing to automatically move markers and regions as you edit in the timeline. For more information, see
Applying post-edit ripples on page 113.

Working with markers
Markers are useful for identifying and navigating to specific locations in longer projects. As you place markers in your project, they are automatically numbered (up to 99) in the order that they are placed. Markers appear as orange tags above the ruler. You may name them and reposition them along the project’s timeline. If you choose to save markers in your rendered MPEG-2 file, DVD Architect® Pro will read those markers as chapter markers. Ensure the Render I-frames at markers check box is selected before rendering (in the Render As dialog, choose MainConcept MPEG-2 from the Template drop-down list, and then click the Custom button. In the Custom Template dialog, select the Video tab and select the Render I-frames at markers check box).
Markers Marker bar Right-click the marker bar

Inserting a marker at the cursor

1. Position the cursor where you want to place the marker. 2. From the Insert menu, choose Marker, or press M. 3. Type a name for the marker and press Enter. If you do not want to name the marker, simply press Enter.
Inserting a marker during playback During playback, press M. The marker appears on the marker bar. You may name the marker after it has been set.

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Naming (or renaming) a marker

1. Place the mouse pointer on the marker you want to name or rename. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Rename. A text box opens next to the marker.

4. Type the marker name. 5. Press Enter to set the marker’s name.

You can also double-click an existing name or double-click the space just to the right of a marker to rename it.


Moving markers You can reposition a marker by dragging it on the marker bar.

Navigating to markers You can jump the cursor to any marker on the timeline by clicking the marker. You can also jump to a marker by pressing the number keys along the top of the keyboard (not the numeric keypad).

Tip: Jump the cursor to the next or previous marker by pressing Ctrl+ Right Arrow or Ctrl+Left Arrow.

Deleting markers

1. Place the mouse pointer on the marker that you want to delete. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Delete. The marker is removed from your project.
The tags are not renumbered as you remove them. For example, if you have five markers in your project and delete markers 3 and 4, the remaining markers will be listed as 1, 2 and 5. However, as you add markers again, Vegas Pro software begins numbering the missing sequence first, in this case 3 and 4, then 6, 7, and 8.

Deleting all markers and regions

1. Right-click the marker bar. 2. From the shortcut menu, choose Markers/Regions, and choose Delete All from the submenu. Working with regions
Regions identify ranges of time and provide a way to subdivide your project. A region is defined as the area between two region markers that share the same number. Regions can function as semi-permanent time selections. You can view region information in the Explorer by clicking the arrow next to the View button ( ) and selecting Region View.

BASIC EDITING TECHNIQUES | 119

Inserting regions

1. Make a time selection. For more information, see Selecting a time range on page 99. 2. From the Insert menu, choose Region, or press R. 3. Type a name for the region and press Enter. If you do not want to name the region, simply press Enter.
Region markers display at the beginning and end points of a time selection.
Region start Region end Marker bar Right-click the marker bar

Moving regions Drag a region marker to reposition it. To move both region markers (start and end markers) at once, hold Alt while dragging a region marker.

Naming regions

1. Place the mouse pointer on the left region marker you want to name or rename. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Rename. A text box appears next to the region marker.

4. Type the region’s name. 5.
Press Enter or click anywhere in the timeline to set the name.

Selecting regions You may select the events, across all tracks, within the region for editing or playing back.

1. Right-click one of the region markers to display a shortcut menu.

Selected region

2. From the shortcut menu, choose Select Region.
Tip: You can also select a region by pressing a number on your keyboard (not the numeric keypad) or by double-clicking a region marker.


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Navigating to regions You can move the cursor to the start or end of a region by clicking either region marker. You may press Ctrl+Right Arrow or Ctrl+Left Arrow to move the cursor to the next or previous region markers. Right-click a region marker to display a shortcut menu that allows you to navigate to the beginning (Go to Start) or the end (Go to End) of a region.

Deleting regions

1. Place the mouse pointer on the region marker’s starting or ending point. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Delete. The region is removed from your project.
The tags are not renumbered as you remove them. For example, if you have five regions in your project and delete region 3 and 4, the remaining regions are listed at 1, 2 and 5. However, as you add regions again, Vegas Pro software begins numbering the missing sequence first, in this case 3 and 4, and then 6, 7, and 8.

Deleting all regions and markers

1. Right-click the marker bar. 2. From the shortcut menu, choose Markers/Regions, and choose Delete All from the submenu. Working with command markers
Command markers add interactivity to a multimedia presentation streamed over the Internet by inserting metadata into streaming media files. As your video plays, any number of other actions can be programmed to occur. These commands are a part of the Microsoft® Windows Media® and RealMedia® streaming formats. Most frequently, these actions add text or open a related Web site where the viewer can find more information about the topic at hand. The specific commands available vary depending on the final format of your project.

Note: Windows Media Player 9 will ignore metadata commands unless the Run script commands when present check box is selected
on the Security tab of the player's Preferences dialog. Be sure to instruct your audience to select this check box before playing your file. You can use command markers to add closed captions to your project. For more information, see Adding closed captioning to Windows Media Video (WMV) files on page 256. Command markers can also indicate when an instruction (function) will occur in a WAV file being used in a radio broadcast environment (Scott Studios data). The following two sections define the markers for both streaming media and Scott Studios files.

Note: While streaming media files can be played on any hard drive or CD drive, they require a special streaming media server (provided
by your Internet service provider) to stream properly across the Internet.

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Defining streaming media commands In a streaming media file, command markers can be used to display headlines, show captions, link to Web sites, or any other function you define. Several command types are included that you may add to a streaming media file. Some command types are exclusive to either the Windows Media or the RealMedia player. Command
URL

Player type

Description

Windows Media Indicates when an instruction is sent to the user’s Internet browser to change the and RealMedia content being displayed. With this command, you enter the URL that displays at a specific time during the rendered project’s playback. Windows Media Displays text in the captioning area of the Windows Media Player located below the video display area. You enter the text that will display during playback.

Text

Note: To view captions during playback in Windows Media Player 9, choose
Captions and Subtitles from the Windows Media Player Play menu, and then choose On if Available from the submenu. WMClosedCaption Windows Media Displays the entered text in the captioning window that is defined by an HTML layout file. WMTextBodyText WMTextHeadline Title Window Media Displays the entered text in the text window that is defined by an HTML layout file. Windows Media Displays the entered text in the headline window that is defined by an HTML layout file. RealMedia Displays the entered text on the RealPlayer’s title bar.

Note: When rendering Windows Media files, title information is based on the settings on the Summary tab of the Project Properties dialog or the Index/ Summary tab of the Custom Template dialog. The summary information from the Project Properties dialog will be used if information has been specified in both places.
To view this information during playback, choose Now Playing Options from the Windows Media Player View menu and select the items you want to display. Author RealMedia Displays the entered text (Author’s name) when a user selects About This Presentation from the RealPlayer’s shortcut menu.

Note: When rendering Windows Media files, author information is based on the settings on the Summary tab of the Project Properties dialog or the Index/ Summary tab of the Custom Template dialog. The summary information from the Project Properties dialog will be used if information has been specified in both places.
To view this information during playback, choose Now Playing Options from the Windows Media Player View menu and select the items you want to display. Copyright RealMedia Displays the entered copyright information when a user selects About This Presentation from the RealPlayer’s shortcut menu.

Note: When rendering Windows Media files, copyright information is based on the settings on the Summary tab of the Project Properties dialog or the Index/ Summary tab of the Custom Template dialog. The summary information from the Project Properties dialog will be used if information has been specified in both places.
To view this information during playback, choose Now Playing Options from the Windows Media Player View menu and select the items you want to display.

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Defining Scott Studios data commands For .wav files using Scott Studios data, command markers can be used to define information about the file. Command
SCOTT EOM SCOTT Cue In

Description
Calculates when the next queued clip starts playing in a Scott Studios system. For more information, refer to your Scott Studios documentation. Set the beginning of a file in a Scott Studios System without performing destructive editing. For more information, refer to your Scott Studios documentation.

Inserting command markers Command markers appear as blue tags on the command bar, which is above the marker bar.
Right-click to place a command marker on the command bar. Command bar Marker bar

1. Position the cursor where you want to place the command marker. 2. From the Insert menu, choose Command, or press C. 3. Complete the Command Properties dialog:

• • • • •

If desired, choose a custom template from the Template drop-down list. For more information, see Saving command properties as a custom template on page 123. Choose the type of command from the Command drop-down list. In the Parameter box, enter parameters to define the behavior of the command. Enter your own notes or comments in the Comments box. Specify the timing of the command in the Position box. Otherwise, command markers are automatically set to the current cursor position.

4. Click OK. The new command marker appears on the command bar.
Editing command properties Double-click any command marker to open the Command Properties dialog and edit its contents. You can also right-click a command marker and choose Edit from the shortcut menu.

Saving command properties as a custom template If you plan to use a command more than once, you can save command properties as a template. You can then reuse the command properties by choosing the template from the Template drop-down list.

BASIC EDITING TECHNIQUES | 123

1. Create a command and complete the Command Properties dialog. 2. Enter a name for the template in the Template box. 3. Click the Save Template button (
).

Note: Your metadata command templates are saved in the cmdtemp.xml file. You can edit this file directly to modify your templates.
This file is stored in the following folders:

• Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Vegas Pro\9.0 • Windows Vista: C:\Users\<user name>\AppData\Roaming\Sony\Vegas Pro\9.0

Deleting command markers

1. Place the mouse pointer on the command marker. The pointer changes to a hand icon ( ). 2. Right-click to display a shortcut menu. 3. From the shortcut menu, choose Delete. The command marker is removed from your project. Working with CD layout markers
Markers on the CD layout bar indicate the locations of tracks and indices in an audio CD layout project. These markers are discussed in a later chapter. For more information, see Understanding tracks and indices on page 381.

Working with the marker tool
You can use the marker tool to navigate the marker bars and edit multiple selected markers.

1. Click the Marker Tool button
• • • •

in the top-right corner of the timeline.

2. Select the markers you want to edit:
Press the Left Arrow/Right Arrow keys to move to the previous/next marker in the active bar (marker/region bar, CD layout bar, or command bar). Press Shift+Left Arrow/Right Arrow keys to extend the selection to the previous/next marker. Press Shift while clicking two marker tags to select all markers between the two tags. Press Ctrl while clicking marker tags to select or deselect individual markers.

3. Edit your markers:
• • Dragging any selected marker will move all selected markers in the active bar as a group. Pressing Delete will remove all selected markers in the active bar.

The marker tool is inactive when you change focus to another portion of the Vegas Pro window.

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Using an external audio editing program
Vegas Pro software is a nondestructive editing environment, which means that the original source files remain unchanged by any editing done in the software. Destructive (constructive) edits that modify the actual source media file may be done in a separate application such as Sound Forge® software from Sony Creative Software Inc. By setting up a separate audio editor, you can quickly access the program from Vegas Pro software via the Tools menu or by pressing Ctrl+E.

Setting up an audio editing program
If you already have Sound Forge software loaded on your computer when you installed Vegas Pro software, the installation should have detected it and made it your default audio editing program. However, if you do not have Sound Forge software or want to specify a different audio editor, you can do so in the Preferences dialog.

1. From the Options menu, choose Preferences. The Preferences dialog appears. 2. In the Preferences dialog, click the Audio tab. 3. Click the Browse button to the right of the Preferred audio editor box. The Preferred Audio Editor dialog appears. 4. From this dialog, navigate to the application to use for editing audio files. 5. Select the application’s executable icon (.exe) and click Open to set the application as your default audio editor.
The application’s path displays in the Preferred audio editor box.

Opening an audio editor from Vegas Pro software
All events in your project are references to media files on a storage device. When you edit an audio event in an audio editor, you can choose to open the original media file or a copy of the file.

Opening a file in an audio editor You can directly edit the media file to which an audio event is referenced. Any changes you make and save in the audio editor are permanent and are reflected in the event in your project.

1. Select the event to be edited. 2. From the Tools menu, choose Audio, and choose Open in Audio Editor from the submenu.
Your selected audio editing application opens the event’s referenced media file. Make the necessary changes and save the file in the audio editor. If you keep the media file’s name and location the same, its event is updated immediately in your project. However, if you change the media file’s name or location (by using Save As), you must import the edited (new) file into Vegas Pro software.

Opening a copy of a file in an audio editor You can also create a copy of an audio file and open it in an audio editor. Opening a copy of a file has the advantage of preserving the original file unchanged. The modified copy is inserted into the event as a take and is automatically added to the Project Media window.

1. Select the event to be edited. 2. From the Tools menu, choose Audio, and choose Open Copy in Audio Editor from the submenu.
When you are finished editing, save the file. “Take X” is added to the end of the filename to distinguish it from the original and adds it to the project as a take. If you save it to a new file (by using Save As), you must manually add it as a take into the project. For more information, see Working with takes on page 132.

BASIC EDITING TECHNIQUES | 125

126 | CHAPTER 4


Chapter 5 Advanced Editing Techniques
This chapter builds on the techniques that were introduced in the last chapter. Ripple editing, pitch shifting, and takes are just three of the more advanced editing topics that are covered in this chapter.

Snapping events
Vegas® Pro software is preset to snap events into place as you drag them.

Snap
indicator


Events can snap to another event’s edges, to the cursor position, a marker or region, the grid, or to a time selection. As you move an event along the timeline, its edge automatically aligns to designated snap points. As you drag items along the timeline, an indicator is displayed to show snap points. When you snap to an event, the snap indicator is displayed in the appropriate track. If you snap to the cursor, a marker/region, time selection, or the grid, the snap indicator is displayed across the height of the timeline.

Tips:
• Hold the Shift key to temporarily override snapping. • You can edit snap indicator colors on the Display tab of the Preferences dialog. For more information, see Display tab on page 377.

ADVANCED EDITING TECHNIQUES | 127

Turning snapping on and off
You can quickly turn snapping on and off by clicking the Enable Snapping button ( ). You can also selectively turn snapping options on and off in the Options menu. When snapping is enabled, events will snap to the following points: • • • • Other events’ edges The cursor Time selection edges First and last event edges, when dragging multiple events

Snapping to the first event

Snapping to the last event

You can also choose to snap events to grid lines or to markers.

Snapping to the grid
When snapping is enabled, you can also choose to have elements in the timeline snap to the vertical grid lines in the timeline. From the Options menu, choose Snap to Grid (or press Ctrl+F8) to toggle snapping to grid lines.

Tip: To change the spacing of the grid, choose Grid Spacing from the Options menu and choose a setting from the submenu.

Snapping to markers
When snapping is enabled, you can also choose to have elements in the timeline snap to markers in the timeline. From the Options menu, choose Snap to Markers (or press Shift+F8) to toggle snapping for all marker types: • • • • • Markers Regions CD track regions CD index markers Command markers

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If the Event Media Markers command is selected on the View menu, you can also use media markers as snap points when you click in an event or edge-trim an event. For more information, see Editing events on page 102.

Note: If a media file’s frame rate does not match your project frame rate, you will not be able to snap to media markers (or other snap points that do not occur on a frame boundary) when Quantize to Frames is selected on the Options menu.

Snapping to events on other tracks
When snapping is enabled, you can also choose to have elements in the timeline snap to the ends of events on other tracks. From the Options menu, choose Snap to All Events (or press Ctrl+Shift+F8) to toggle snapping to event edges across tracks.

Quantizing to frames
The Quantize To Frames command in the Options menu takes snapping one step further. With this feature enabled, edits are forced to occur on project frame boundaries. This setting is independent of grid and marker snapping. When Quantize to Frames is turned on, the following actions will always occur on frame boundaries: • Moving events

Note: If Quantize to Frames is on while dragging an audio event and the selection group contains video, the movement is quantized so
the first video event is quantized (instead of the audio event). If there is no video in the selection group, the audio event will become quantized. • • • Positioning the cursor Making selections Placing markers and regions

Notes:
• If you drag to a snap point that does not occur on a frame boundary when Quantize to Frames is enabled, the snap indicator is displayed as a dashed line to indicate that the snap point will be quantized to the nearest frame boundary. • Edits that do not occur on frame boundaries can produce an undesirable visual result. For example, if you split two events and move them together to create a cut, splits that are not at frame boundaries can produce a short dissolve in your rendered video. • Select the Do not quantize to frames for audio-only edits check box on the Editing tab of the Preferences dialog to prevent audio-only edits from being quantized even when Quantize to Frames is enabled.

Using the event snap offset
Each event in your project has a snap offset flag that can be moved along the length of the event. The flag is the white triangle that is located in the lower-left corner of each event. This flag allows you to designate where snapping occurs. This is useful if you need to align the snap with a beat in the event instead of the edge.

Snap offset flag

1. Place the mouse pointer on the snap offset triangle. The pointer changes to a hand icon (
where the snap offset flag occurs in time in the event.

).

2. Drag the snap offset flag to the new position in the event. As the flag moves, a time display appears. This time display indicates 3. Release the mouse to set the snap offset flag.

ADVANCED EDITING TECHNIQUES | 129

Pitch shifting audio events
A pitch shift is a way to raise or lower the pitch of an audio event. The semitone range is -24 to 24. Twelve semitones equal one octave, so you may increase or decrease the pitch of an event within a two-octave range. Within each semitone is a finer pitch adjustment called cents. There are one hundred cents in one semitone. Change length and pitch
Original event

Event with pitch shift of 12 or one octave speeds up

Event with pitch shift of -12 or one octave slows down

Editing from the timeline 1. Select an event. 2. Use the = and - keys on your keyboard (not the numeric keypad) to adjust pitch:
Key
= Ctrl+= Shift+= Ctr+Shift+= Ctrl+ Shift+ Ctr+Shift+ -

Result

Raise pitch one semitone.
Raise pitch one cent.
Raise pitch one octave.
Reset pitch.
Lower pitch one semitone.
Lower pitch one cent.
Lower pitch one octave.
Reset pitch.


If the Active Take Information option is selected on the View menu, the event’s pitch shift is displayed in the bottom-left corner of the event. If the media has a known root note, the new root is displayed in parentheses:

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Editing in the Event Properties dialog 1. Right-click the event and choose Properties from the shortcut menu. 2. On the Audio Event tab, choose a setting from the Method drop-down list to specify how you want to pitch-shift the event, or
choose None if you want to preserve the event pitch.

3. If you selected Classic from the Method drop-down list, indicate the new event length and amount of pitch shifting you want to
apply:

a. Type the desired event length in the New length box. b. Type the desired pitch shift (in semitones) in the Pitch change box.
If you want to change the event length without changing pitch, type 0 in the box. If you want the pitch to be determined by the amount of time stretching, select the Lock to stretch box. For example, doubling an event’s length will raise its pitch by one octave.

c.

Choose a setting from the Stretch Attributes drop-down list to specify how you want to divide and crossfade the file to prevent artifacts. Depending on your source material, you may need to experiment with different crossfade types.

4. If you selected ACID from the Method drop-down list, indicate the new event tempo and the amount of pitch shifting you want to
apply:

a. Type the desired event length in the New tempo box. b. Type the desired pitch shift (in semitones) in the Pitch change box.
If you want to change the event length without changing pitch, type 0 in the box. If you want the pitch to be determined by the new event tempo, select the Lock to stretch box. For example, doubling an event’s tempo will raise its pitch by one octave.

5. Click OK.

Time compressing/stretching events
Time stretching and compressing events is the process of using the same amount of source media to fill a shorter or longer event. While this can be done to both video and audio events, the two cases are fundamentally different. Press Ctrl and drag the edge of the event toward the center of the event to compress (shorten) it or drag the edge out away from the center to stretch (lengthen) it. You can see the results of the time compression or stretching by viewing the properties of the event. Right-click the event and choose Properties from the shortcut menu. Time compressing/stretching an audio event affects the Time stretch/pitch shift settings, while Time compressing/stretching a video event affects the Playback rate setting.

Tip: You can time compress/stretch several events at once by grouping them first. You can also apply a ripple edit after time compressing
or stretching events. For more information, see Grouping events on page 190 or Applying post-edit ripples on page 113.

ADVANCED EDITING TECHNIQUES | 131

Time compressing/stretching video
Time stretching video allows you to fill a given duration with a set amount of actual video, sometimes called fit-to-fill. For example, if you have a five-second video event and you want this event to fill an eight-second slot, press Ctrl and drag the edge of the event to eight seconds. The resulting video is in slow motion, but the contents (footage) remain the same. If you had used a velocity envelope to slow the video to the same rate, the event would also be in slow motion, but its duration would remain unchanged at five seconds. Stretched video has a zigzag line between thumbnails. Video can also be compressed (sped up and shortened in length) by using this method.

When stretching video events or slowing video down, a set number of frames are extended across a period of time. For example, if you take source footage at 30 frames in a second and slow it so that only 15 source frames run during that same second, an additional 15 frames must be created to maintain the project’s 30 fps frame rate. Simply duplicating frames is the easiest way to do this. A more sophisticated method is to resample the frames of an event, allowing Vegas Pro software to interpolate and redraw these intervening frames. For more information, see Resample (video only) on page 185 and Resampling video on page 258.

Working with takes
A take is a version of a scene or audio recording, as in “Scene 10, Take 7”, which means the seventh time that scene number ten has been shot. A number of takes can be included in the same location (event) of the project. You can then rapidly switch between these separate takes to see which one fits into the project the best. Although this is what takes are designed for, you can actually use any media files you want as a take, even completely different sounds or scenes. Since an event is just a container of a specific length and at a specific location, the actual content (media file) is easily changed.

Tip: To slip all of an event’s takes when slipping media, make sure Slip All Takes is selected in the Options menu.

Adding takes
You can add multiple media files to the timeline at the same time to a single event as takes. You can also add regions within media files as takes. For more information, see Adding regions as takes on page 138.

Adding media files to the timeline as takes

1. Locate the media files that you want to insert as takes in the Explorer and select them. Select a range by pressing Shift and clicking
the first and last file in the range, or select nonadjacent files by pressing Ctrl and clicking the various clips individually.

2. Right-click and drag one of the selected clips in the group to the timeline. 3. From the shortcut menu, choose Add as Takes. Tip: To add either just the audio or just the video portions of files as takes, choose Video Only: Add Video as Takes or Audio Only: Add
Audio as Takes from the shortcut menu.

Adding takes to existing events You can add media files to existing events as takes.

1. Right-click a media file in the Explorer and drag it to an existing event. 2. From the shortcut menu, choose Add as Takes.

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Selecting takes
When you add an event with multiple takes, a single event is inserted into a track. The length of the event is set according to the last clip that was selected. This last clip is set as the active take.

1. Right-click an event with multiple takes. 2. From the shortcut menu, choose Take, and choose Next Take or Previous Take from the submenu. Alternately, choose the name
of the take from the list at the bottom of the submenu.

Tip: Click an event and press T to select the next take or Shift+T to select the previous take.

Previewing and selecting takes
You can preview the takes for a given event.

1. Select an event containing multiple takes. 2. Right-click to display a shortcut menu or, from the Edit menu, choose Take to display a submenu. 3. Choose Choose Active... from the submenu. The Take Chooser dialog appears. 4. Select the take that you want to preview and use the Play (
buttons within the dialog. ) and( Stop )

5. To use a take, select it and click OK. The selected take is now the active take. Deleting takes
You can delete individual takes from an event at any time.

1. Right-click an event with multiple takes. 2. From the shortcut menu, choose Take, and choose Delete Active from the submenu to immediately remove the active take.
Alternately, choose Delete to open a dialog with a list of all of the takes contained in this event.

Working with take names
Displaying take names on events Take names may be displayed on the events in the timeline. From the View menu, choose the Active Take Information option.

Without take name

With take name

Changing take names Changing the name of a take does not affect the source media file in any way. Typically, you may want to change an event’s name after recording multiple takes into a track or event. For more information, see Working with multiple recorded takes on page 233.

1. Select the take to be renamed. For more information, see Selecting takes on page 133. 2. Right-click the event to display a shortcut menu. 3. From the shortcut menu, choose Properties. The Properties dialog opens. 4. Type the new name in the Active take name box. 5. Click OK to set the new take name.

ADVANCED EDITING TECHNIQUES | 133

Using the Trimmer window
The Trimmer allows you to work with and edit one media file at a time. The entire file is opened into the Trimmer, in contrast to events on the timeline that may only contain a portion of the actual source file. The main function of the Trimmer window is to allow you to trim a media file and place portions of it on a track. You can also add regions and markers to a file, preview the media file, or open it in an external audio editing program.
Clear Trimmer History Sort Trimmer History Remove Current Media from Trimmer History Save Markers/Regions Open in Audio Editor Select Parent Media Marker Playhead Create Subclip

Trimmer history

Media file

Loop region or Selection area Zoom controls

Loop

Playback Cursor controls navigation

Add media from cursor

Add media up to cursor

You can open any number of files in the Trimmer at the same time, selecting the one you currently want to work on from the Trimmer history drop-down list.

Tips:
• If you open a multichannel audio file in the Trimmer, you can choose which channels you want to display in the Trimmer window: rightclick the waveform display, choose Channels from the shortcut menu, and then choose a command from the submenu. • If you open a multistream audio file in the Trimmer, you can choose which stream you want to display in the Trimmer window: right-click the waveform display, choose Stream from the shortcut menu, and then choose a stream from the submenu. • If you want to edit in the Trimmer window without updating the Video Preview window, right-click the media file in the Trimmer window and clear the Show Video in Preview Window command. From the View menu, choose Trimmer or press Alt+2 to display the Trimmer window, if it is not already visible. You can dock the Trimmer window in the window docking area or float it over the work area. For more information, see Window docking area and floating window docks on page 24.

Opening a file in the Trimmer 1. Right-click an event. A shortcut menu appears. 2. Choose Open in Trimmer.

You can also drag files to the Trimmer from the Explorer or the Project Media windows.


Tip: If you want to open the original media file that was used to create a subclip in the Trimmer, right-click a subclip in the Project Media
window and choose Open Parent Media in Trimmer from the shortcut menu.

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Double-clicking a file to open it in the Trimmer You can set the software to open a file in the Trimmer when you double-click the file in the Project Media or Explorer windows.

1. From the Options menu, choose Preferences. 2. Click the General tab. 3. Choose Double click on media file loads into Trimmer instead of tracks. Choosing Trimmer preview options
When you’re editing in the Trimmer, you can choose to display video in the Video Preview window or in a video monitor within the Trimmer. • If you want to display the Trimmer cursor position in the Video Preview window, verify the Show Video Monitor button ( selected and then right-click the media file in the Trimmer window and select Show Video in Preview Window.
) is not

When you click to position the cursor in the Trimmer window, the frame at the cursor position will be displayed in the Video
Preview window, and the transport controls in the Trimmer window will play the current file in the Video Preview window.
• If you want to display a dedicated video monitor in the Trimmer window, select the Show Video Monitor button ( ). When the video monitor is on, you can click the Show Video Frames button ( ) to toggle video frames in the Trimmer window.

Note: If you want to preview Trimmer and timeline frames at the same time and in the same size, perform the following steps:
1. Drag the Trimmer and Video Preview window to separate panes in the Window Docking Area. 2. Select the Show Video Monitor button ( ) in the Trimmer window. 3. Click the Preview Quality button in the Video Preview window and choose Preview > Full. 4. Right-click the Video Preview window and choose Scale to Fit Video Preview Window. As you adjust the size of the Window Docking Area, the preview frame sizes remain locked.

•

If you want to display the Trimmer cursor position on an external monitor, select the Trimmer on External Monitor button (

).

Tip: If external monitor is enabled for the Trimmer and the Video Preview window, focus will determine which source is sent to the
external monitor: click in the Trimmer window to send its video to your external monitor; click the timeline or track list to send its video to your external monitor.

ADVANCED EDITING TECHNIQUES | 135

Choosing multichannel/multistream options
When you’re working with multichannel or multistream audio in the Trimmer, you can choose whether you want to add multichannel/ multistream audio to the timeline when creating events. Right-click the audio waveform in the Trimmer and select Use All Streams and Channels to all Vegas to determine which audio streams and channels to use: • Multichannel audio from MXF files will be added to the timeline if the Import MXF as multichannel check box on the General tab of the Preferences dialog is selected. When the check box is cleared, audio from MXF files will be imported as stereo, but you can access the other channels by right-clicking the event and choosing Channels from the shortcut menu. When using surround AC3 or Windows Media, the stereo downmix stream will be used when adding media to a stereo project. When adding media to a 5.1 surround project, the stereo stream will be used. In other cases, all streams and all channels will be added to the timeline.

• •

When Use All Streams and Channels is not selected, only the stream and channels displayed in the Trimmer will be added to the timeline.

Moving frame-by-frame in the Trimmer window
As you navigate through a video file in the Trimmer, the exact frame that the cursor is over in time is displayed as in a thumbnail image under the cursor. When using the left and right arrow keys, this allows you to edit with frame accuracy.

Making selections in the Trimmer
After you have opened a media file in the Trimmer, you can select a segment of it and place it in your project. Make a time selection to select a segment in the Trimmer in the same way you do in the project timeline. For more information, see Selecting a time range on page 99. You can make a selection during playback by using the keyboard. Press I or [ to mark the start of the selection, and press O or ] to mark the end. If you know the exact timecode of the point where you want to begin and end a time selection, you can enter it into the boxes at the lower right corner of the Trimmer window.

Double-click to enter a value.

Selection Start

Selection Selection
End Length


Tip: Press Backspace to recall the last five time selection areas in the Trimmer.

Adding selections to the timeline
You can use the Trimmer window to do traditional two-point, three-point and four-point editing. These editing techniques allow you to add smaller sections of files to the timeline. Post-edit ripple mode affects how a selection is added to the timeline from the Trimmer. When the Auto Ripple button ( ) is selected, adding a selection from the Trimmer selection affects the position of later events on the track. When not in post-edit ripple mode, adding a selection from the Trimmer has no effect on the position of other events. For more information, see Editing events on page 102.

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Adding selections at the cursor (three-point editing)

1. Open a media file in the Trimmer. 2. Make a time selection in the Trimmer. 3. Select the track in the timeline where the selection will be added. Tip: You can also select two points in the timeline and a single point in the Trimmer to perform three-point editing. In this mode, ripple editing is not applied. For more information, see Applying post-edit ripples on page 113. 4. Position the cursor in the timeline at either the start or end point where you want to add the selection. 5. Add the selection to the timeline in one of the following ways:
• • Click the Add Media from Cursor button ( Click the Add Media up to Cursor button ( ) or press A to insert the event after the cursor. ) or press Shift+A to insert the event before the cursor.

Alternately, you can drag the selection from the Trimmer to the timeline.
Drag from the Trimmer... ...to a project
track.


Using a Trimmer selection to fill a timeline selection (four-point editing)

1. Open a media file in the Trimmer. 2. Select the portion of the file that you want to use. 3. Select the portion of the timeline where you want to use the Trimmer selection. 4. Click the Fit to Fill button ( ). The Trimmer selection is time-compressed or stretched to fill the timeline selection.
Overwriting timeline events with the Trimmer selection The standard behavior of the Trimmer is to perform punch-in edits on the timeline: when you add media to the timeline, the events created by the Trimmer are laid over existing events on the timeline. You can delete or move the events you create with the Trimmer without changing the underlying events. If you want to replace the contents of the timeline when creating events from the Trimmer, select the Enable Timeline Overwrite button ( ). When Enable Timeline Overwrite is selected, ripple editing is not available. For more information, see Applying post-edit ripples on page 113.

Using the Trimmer History list
The drop-down list at the top of the Trimmer lists files and events that have been opened in the Trimmer.

To open a recently used file, choose its file name from the Trimmer History drop-down list.
To sort the list, click the Sort Trimmer History button ( ). The files in the drop-down list are sorted in alphabetical order. To sort in
reverse alphabetical order, hold the Ctrl key while clicking on the Sort Trimmer History button.
To clear the list, click the Clear Trimmer History button ( ). All files in the drop-down list are removed.
). The media file is removed from


To remove a single file from the list, click the Remove Current Media from Trimmer History button ( the drop-down list and the Trimmer window is blank.


ADVANCED EDITING TECHNIQUES | 137

Adding and saving regions and markers to a media file
The Trimmer allows you to add markers and regions to a media file in the same way that you add them to your project. Media file markers and regions are different from project markers and regions. The difference between the two is that project markers and regions affect a project, while media file markers and regions are embedded in, and saved with, a media file. For more information, see Adding project markers and regions on page 118. The markers and regions you add in the Trimmer are only temporary. You must save them by clicking the Save button ( ) in the Trimmer window if you want to use them again after you close the project. After the markers and regions are added and saved to the media file, they are available when you open the media file in an audio editor program or in the Trimmer.

Note: You cannot save markers to read-only media files. Change a file’s properties to make the file writable before saving markers.

Automatically saving Trimmer markers and regions with media files

Marker

Region

1. From the Options menu, choose Preferences. 2. On the General tab, select Automatically save trimmer markers and regions with
media file.

Adding regions as takes Once regions are saved with a media file, either in the Trimmer window or in another application, you can add the regions as takes to the timeline from the Explorer window. In the Explorer window, click the arrow next to the View button and select Region View from the drop-down list. A single media file may contain a number of separate regions. You can select these regions individually or as groups and insert them as takes into the timeline. This is especially useful when loop-recording numerous takes to a single file. For more information, see Working with takes on page 132.

Viewing media markers and regions in events From the View menu, choose Event Media Markers to toggle the display markers (including XDCAM essence marks) and regions that are saved in a media file. These markers are displayed in the timeline in events that refer to the media file. Media markers and regions cannot be edited within the event. However, when you edit the markers in markers and regions in the Trimmer window or in an external audio editor, the event will reflect your changes.
Media markers in Trimmer Media markers in event

Tips:
• From the View menu, choose Event Media Markers, and then choose Show Marker Labels from the submenu to toggle the display of marker labels in events. • When media markers are displayed, you can use them as snap points for positioning the cursor and for edge-trimming if Snap to Markers is selected on the Options menu. If a media file's frame rate does not match your project frame rate, frame quantization will occur after the snap if Quantize to Frames is selected on the Options menu.

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Opening a file in an external audio editor from the Trimmer
The Trimmer allows you to open your selected audio editing application (for example, Sound Forge) to perform permanent edits to the media file. After you make the necessary changes and save the file in the audio editor, the event is automatically updated. Make sure that the media file’s name and location remain the same. For more information, see Using an external audio editing program on page 125. To open the audio editor from the Trimmer, click the Open in Audio Editor button ( ).

Creating a subclip 1. Create a selection in the Trimmer window. 2. Click the Create Subclip button
. The Create Subclip dialog appears.

Tip: You can also right-click an event in the timeline and choose Create Subclip from the shortcut menu. 3. In the Name box, type the name you want to use to identify the subclip in the Project Media window. For more information, see
Using the Project Media window on page 51. By default, the file name is used with a subclip number appended.

4. Select the Reverse check box if you want the subclip to be played backward when you add it to your project. 5. Click OK to create the subclip. You can then create events from subclip via the Project Media window. Selecting a subclip in its parent media 1. Right-click a subclip in the Project Media window and choose Open in Trimmer from the shortcut menu. 2. Click the Select Parent Media button (
) in the Trimmer window. The subclip’s original media file is opened in the Trimmer, and the portion of the media that represents the subclip is selected.

Tip: If you want to open the original media file that was used to create the subclip in the Trimmer, right-click an event on the timeline (or a subclip in the Project Media window) and choose Open Parent Media in Trimmer from the shortcut menu.

Opening files in the Trimmer by default
You can automatically load files into the Trimmer window by selecting the Double-click on media file loads into Trimmer instead of tracks check box on the General tab in the Preferences dialog. For more information, see General tab on page 366. When this check box is selected, no events are created when you double-click a media file in the Explorer window or Project Media window. Instead, the Trimmer is displayed to allow you to choose a portion of the file you want to use.

Removing red eye from still images
1. Right-click a still image on the timeline (or in the Project Media window) and choose Red Eye Reduction from the shortcut menu. 2. Click the center of the red eye and drag to create a selection around the red portion of the eye. 3. Click the Zoom In
and Zoom Out buttons to change the magnification of the image, or roll the mouse wheel forward or backward to zoom around the cursor position.

Tip: For keyboard shortcuts to help you navigate in the Red Eye Reduction window, see Red eye reduction commands on page 36. 4. Drag to position the selection box over the portion of the eye you want to correct. 5. Drag the borders of the selection box to adjust its size. Vegas Pro automatically adjusts the portion of the image in the selection
box to remove red eye.

Tip: Right-click a selection box and choose Delete from the shortcut menu to remove it.

ADVANCED EDITING TECHNIQUES | 139

6. Readjust the selection box as needed, and repeat this procedure for each red eye in the image. Note: If an image is used multiple times in your project, removing the red eyes once will affect all instances of the image.

Using the Edit Details window
The Edit Details window displays a database for all of the media in your project. It shows information about how the files are being used and allows you to modify many of those properties. You can sort, add or change information, rearrange columns, and edit items in the project. This window provides an alternate method for working with events, audio CD track list items, command markers, markers, and regions after they are placed in your project. You can dock the Edit Details window in the window docking area or float it on the workspace. For more information, see Window docking area and floating window docks on page 24.

Viewing the Edit Details window
To view the Edit Details window, choose Edit Details from the View menu or press Alt+4. The Show drop-down list allows you to view categorized project information. You can edit most entries by double-clicking them or by right-clicking them to display a shortcut menu.

Right-click an entry to display a shortcut menu, or double-click an entry to edit it.

Use the scroll bar to view other columns in the window.

Audio CD track list The Audio CD track list category displays information about the track and index markers placed on the CD layout bar. This information is used to burn audio CDs. For more information, see Understanding tracks and indices on page 381.

Commands The Commands category displays information about commands that are placed along the project’s timeline. This category displays four columns: the command’s position along the timeline, the command type, its parameters, and any comments that were entered when the command marker was placed in your project. Right-click a command entry to display a shortcut menu. For more information, see Working with command markers on page 121.

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Events
The Events category displays information about all of the events in your project. You may sort any of the information by clicking a
column’s header. The number of columns in the Events category requires that you use the scroll bar to view them all.
The following table explains each column in the Events category and describes its function.
Column
Track Start

Description
Displays the track number where the event is located.

Edit function
Move the event to a different location by entering a different track number. For more information, see Moving an event on page 70.

Displays when on the timeline the event Enter a different value to cause the event to begin playback sooner or starts playback. later in the project. For more information, see Moving events along the timeline on page 70. Displays when on the timeline the event Enter a different value to cause the event to end playback sooner or ends playback. later in the project. For more information, see Moving events along the timeline on page 70. Displays the total length of the event. Enter a different value to increase or decrease the event’s playback time. Display only (cannot be edited).

End

Length

Number of Takes Displays the amount of recorded takes contained in the event. Active Take Name Take Start

Displays the event’s current take name. Enter a different name for the current take. For more information, see Changing take names on page 133. Displays the offset into the source media file when the placed event begins playback. Enter a different value to cause the take to playback sooner or later from the source media file.

Timecode In Timecode Out File Path Tape Name

Displays the media file timecode at the Display only (cannot be edited). start of the event. Displays the media file timecode at the Display only (cannot be edited). end of the event. Displays the path of the event’s media file. Displays the name of the source media tape name. Displays whether the event is selected in the project. Displays whether the event is muted. Enter a new media file reference path for the event to use. Change the tape name here or in the properties dialog for the media file. For more information, see Modifying media file properties on page 266. Toggle the event’s selection by clicking the check box. A check mark in the box indicates that the event is selected. For more information, see Making selections on page 97. Toggle the event’s mute switch by clicking the check box. A check mark in the box indicates that the event is muted. For more information, see Mute on page 183.

Select

Mute

Loop

Displays whether the event is looped for Toggle the event’s loop switch by clicking the check box. A check playback. mark in the box indicates that the event is looped for playback. For more information, see Loop on page 183. Displays whether the event is locked. Toggle the event’s lock switch by clicking the check box. A check mark in the box indicates that the event is locked. For more information, see Lock on page 183. Toggle the event’s normalize switch by clicking the check box. A check mark in the box indicates that the event is normalized. For more information, see Normalize (audio only) on page 184. Enter a different value to change the snap offset position in the event. For more information, see Using the event snap offset on page 129.

Lock

Normalize

Displays whether the event is normalized. Displays when in the event the snap offset is positioned.

Snap Offset

Markers The Markers category displays information about markers on the project’s timeline. This category displays two columns: the marker’s position on the timeline and the marker’s name. For more information, see Working with markers on page 118.

ADVANCED EDITING TECHNIQUES | 141

Regions The Regions category displays information about regions on the project’s timeline. This category displays four columns: the region’s start position, end position, length, and name. For more information, see Working with regions on page 119.

Selected Events The Selected Events category is visually identical to the Events category except that the Edit Details window only displays information about events that are selected in your project.

Customizing the Edit Details window
You may arrange and delete columns from each category and save the changes to a personal template. One template is available from which you may create your own display options.

1. From the Show drop-down list, choose the category that you want to customize. 2. Drag a column’s header to the new position. The cursor changes to a column icon (
) as you move the column. If you want to remove the column from the display, drag the icon off the Edit Details window. Release the mouse to drop the column in its new position.

3. The Template drop-down name changes to “Untitled.” Enter a new name in the Template drop-down.

4. Click the Save button (

) on the Edit Details window to save the custom display. ).

Tip: You can delete a custom display by selecting it from the template drop-down list and clicking the Delete button (

142 | CHAPTER 5

Chapter 6 Working with Multicamera Video
Vegas Pro now makes it much easier to work with video from multiple cameras right from the timeline. You can capture and edit video for a single scene from multiple cameras or for a single scene shot multiple times from one camera. Multicamera work is generally completed in the following steps:

1. Shooting video 2. Capturing video from cameras 3. Synchronizing video 4. Creating multicamera events 5. Editing multicam video

The following sections cover information and tips for each step in the process.


Shooting multicamera video
When shooting multicamera video, there are a few key components to consider before getting started: • • If possible, use the same make and model of camera and the same settings. Otherwise, you may need to do significant color correction in order to match the appearance between cameras. If possible, provide a single timecode source to all cameras. With synchronized timecode, Vegas Pro can lay out multicamera media in perfect synchronization. Otherwise, you’ll need to manually adjust the alignment between clips. Unsynchronized timecode between two cameras—even of the same type—drifts as much as a second per hour. Likewise, date/time stamps also drift and can only be used for approximate layout. If you only need two cameras on your shoot, be aware that some newer Sony cameras (for example, HVR-V1) can synchronize timecode (using a feature called “TC Link”) over i.LINK®. • Set the date and time in each camera. The closer these are, the better the approximate layout will be. Even if you’re using a master timecode source, you should set the date/time as a backup.
Before or after each scene, record a synchronization point. It is preferable to use a video slate board for this purpose,
but you can also employ a loud and visible hand clap. You can also use a flash from a still camera, but you must
disable any red-eye reduction, as this can cause multiple flashes. A fast camera flash combined with a fast shutter
speed can be problematic as well.
Regardless of the synchronization method you choose, it must be visible by all cameras.
If you forget to record a synchronization point, you’ll have to align the clips in Vegas Pro using another reference point, such as something consistent in the audio or video. Be aware that in distant shots, the audio captured by the camera’s microphone will be delayed from the video (1 frame for every 11.5 meters). • At least one of the cameras should be recording the audio you’ll use for the final edit. Alternatively, if you’re using dual-system sound, you can record audio on another device altogether. If you are shooting a musical performance, you might even be using the studio-recorded audio track. If you record audio on multiple cameras, you’ll be able to switch between it along with the video if you choose.

Capturing multicamera video
You can use the Video Capture application included with Vegas Pro to capture recordings from each camera in your multicamera shoot just as you would normally. For more information, see Importing media on page 55. However, when you capture multicamera video, it is especially important to give each tape (or disc) a unique name; Vegas Pro uses this information to create a track for each camera. Before you begin the capture process, enable scene detection in the capture application so each segment becomes a separate clip. For more information on enabling scene detection in the Video Capture application, see the Vegas Pro online help.

WORKING WITH MULTICAMERA VIDEO | 143

Synchronizing multicamera video clips
In order to effectively edit multicamera footage within Vegas Pro, you must have your video clips synchronized. The best place to do this is the timeline, using the same Vegas Pro editing tools as you would for any video project.

1. Start a new project or open an existing project to which you want to add the multicamera video. For more information, see Starting
a new project on page 47.

2. From the Options menu, choose Quantize to Frames if it is not already selected. For more information, see Quantizing to frames on
page 129.

3. From the Options menu, choose Ignore Event Grouping to turn it off. For more information, see Suspending grouping temporarily on
page 191.

4. Select your clips in the Project Media window. For more information, see Using the Project Media window on page 51. 5. Add your clips to the timeline:
• • For clips with synchronized timecode, choose Multicamera from the Tools menu, and then choose Lay Out Tracks Using Media Timecode from the submenu. For clips without synchronized timecode, choose Multicamera from the Tools menu, and then choose Lay Out Tracks Using Media Date/Time Stamp from the submenu.

The result is a pair of tracks for each camera, with events aligned based on the timecode or date/time stamp of each clip. If your scenes were captured with synchronized timecode, your clips should be in perfect alignment. Otherwise, you’ll need to adjust the alignment to synchronize the clips. The goal is to align the clips in time so the synchronization points you recorded occur at the same timeline position for all clips.

Adjusting alignment using audio waveforms
If you used a slate or a loud clap for your synchronization point, you can align the events to within a frame of each other using the audio waveforms.

1. Use the Zoom controls (

) at the bottom right corner of the timeline to zoom in on the waveform.

2. Drag a track’s border to make the tracks taller and view large waveforms. 3. Use Shift+Up Arrow to magnify the waveforms if necessary. 4. Click the event and press 1 or 3 on the numeric keypad to nudge the event by frames to the left or right, respectively. Adjusting alignment using video
You can also align your events using the video.

Note: These steps require snapping to be enabled, so if you have not already done so, turn snapping on by clicking the Enable

Snapping button ( ) For more information, see Snapping events on page 127.


1. Solo the video track. 2. Position the cursor at the synchronization point and drag over the event’s snap offset so it snaps to the cursor. For more
information, see Using the event snap offset on page 129.

3. Repeat these steps for each clip. 4. Drag the cursor to a snap point, and then snap the other clips to the cursor.

144 | CHAPTER 6

Creating multicamera events
Vegas Pro uses takes for multicamera editing. While the multicamera editing feature can be used with any multitake video event, Vegas Pro makes it easy to build multitake events for multicamera editing. For more information on the takes feature in Vegas Pro, see Working with takes on page 132.

1. When Vegas Pro creates multitake events from your camera tracks, the take order will match the track order. As a result, it’s a good
idea to first reorder your tracks if you have a particular order you prefer (wide shot, medium shots, handheld).

2. Once all of your cameras are laid out across tracks, synchronized, and ordered to your satisfaction, select the tracks from which you
want to create a multicamera track (or press Ctrl+A to select all tracks).

3. From the Tools menu, choose Multicamera, and choose Create Multicamera Track from the submenu. Vegas Pro builds a set of
tracks containing a series of events, with takes representing each of the cameras. Vegas Pro creates a new event for each time a camera was started and stopped, as well as empty “(no camera)” takes for video events where cameras were missing.

Important: If you have envelopes, effects, or motion applied to the original camera tracks, these will be lost during this operation.

Editing multicamera video
Once you have synchronized multitake events, you can use multicamera editing mode to call takes and switch cameras. This can be done while Vegas Pro is paused for cuts at precise points (such as certain timecodes or beat markers), or it can be done live during playback. Playback continues even when a take is called.

Enabling multicamera editing mode
To edit multicamera video in Vegas Pro, you must enable the multicamera editing mode. From the Tools menu, choose Multicamera, and choose Enable Multicamera Editing from the submenu.

Previewing multiple takes
In multicamera editing mode, the Video Preview window switches into multicamera mode, with a multicamera tiled view showing the contents of all takes simultaneously. The active take is highlighted with a colored border.

The active take is indicated by a colored border.

Camera or take name and number is displayed by default.

Notes:
• Vegas Pro can preview many takes at once in multicamera mode, but your computer performance will limit the playback frame rate. • If you have multiple video tracks and/or overlapping video events, the topmost multitake event is displayed in the Video Preview. Singletake events, such as title overlays, are ignored. When there are multiple video tracks, the topmost event is the one on the topmost track. When there are overlapping events on the same track, the topmost event is the one to the right.

WORKING WITH MULTICAMERA VIDEO | 145

Toggling the display of camera/take name and number information in the Video Preview window The camera and take name and number information display in the Video Preview window by default. You can toggle the display of this information from the Video tab of the Preferences window.

Tip: You can also toggle the display of take names on events in the timeline. From the View menu, choose Active Take Information. 1. From the Options menu, choose Preferences, and click the Video tab. 2. To turn off display of take name information, clear the Display take names check box. To turn off display of take number
information, clear the Display take numbers check box.

Setting the active take indicator color You can select the color that borders the active take in the Video Preview window.

1. From the Options menu, choose Preferences, and click the Video tab. 2. Click the Active take indicator color swatch to display a color picker, where you can choose any color using the RGBA or HSLA
controls. Click the Change Color Space button ( ) to switch between RGB and HSL color modes, or click the eyedropper button to sample a color from your screen. Click OK to return to the Video tab, and then click OK to save your preference changes.

Choosing takes
There are several methods you can use for choosing takes, such as pressing number or numeric keypad keys or by clicking the takes in the Video Preview window. When you choose a take, Vegas Pro switches the active take for the multicamera event.

Note: Holding the Ctrl key while calling a take will create a crossfade instead of a cut, with the alignment and duration determined by the Cut-to-overlap conversion settings (Amount and Alignment) in the Editing tab of the Preferences window. For more information, see Editing tab on page 376.
In the Video Preview window, camera changes are displayed as the active take indicator moving across takes. When multicamera mode is off, you’ll see camera changes in the video output. To change takes, Vegas Pro splits the event at the call point and switches the active take.

Note: Empty takes [those marked with “(no camera)”] cannot be chosen.

Turning off multicamera editing mode
From the Tools menu, choose Multicamera, and choose Enable Multicamera Editing from the submenu to turn off multicamera editing mode once you have completed your multicamera editing. In normal editing mode, the output displays only the active take for each event. If necessary, use traditional Vegas Pro editing tools to refine the edit. You can re-enable the multicamera editing mode and do further take selection at any time.

146 | CHAPTER 6

Chapter 7 Working with XDCAM video
Vegas® Pro software provides all the tools you need to edit proxy and full-resolution HD and SD XDCAM MSF files natively, with no transcoding required. Vegas supports all HD and SD XDCAM compression types, all framerates, all aspect ratios, multichannel audio, and essence marks. All proxy and full-resolution XDCAM source file types can be mixed in a single timeline, edited, and transferred back to XDCAM via i.LINK, network FTP, or SDI. The following sections provide workflows for efficient editing of video from an XDCAM EX camera or an XDCAM/XDCAM HD camera or deck.

XDCAM EX workflow
The following topic provides a workflow for efficient editing of video from an XDCAM EX camera. XDCAM EX differs from XDCAM/XDCAM HD in several key areas. • • • XDCAM EX cameras record to SxS flash memory rather than optical disc. XDCAM EX cameras record full-HD video to MPEG-2 (MP4) format. XDCAM EX video is not visible in the XDCAM Explorer window. You must use XDCAM EX Clip Browsing software to convert your .mp4 files to MXF format before adding them to your Vegas project.

When editing XDCAM EX video, you’ll edit full-resolution MXF files. Proxies are not available.

1. Shoot your video with your XDCAM EX camera. 2. Transfer your clips from your camera to your computer. a. Install the SxS device driver and XDCAM EX Clip Browsing Software. b. Connect your camera (or card reader) to your computer with a USB cable. c. Your camera will prompt you to Connect USB Now? Choose Execute. d. Use the Device Explorer window to import clips from your XDCAM EX device to the Project Media window. 3. Drag your captured clips from the Explorer or Project Media window to the timeline to create events. 4. Edit your project as needed. 5. Render your project for your destination format.

WORKING WITH XDCAM VIDEO | 147

XDCAM and XDCAM HD workflow

You can use MXF files just like any other supported media type. The following sections provide a workflow for efficient editing.

Note: The XDCAM deck is not available for external monitor or print to tape via iLink® while in file-access mode. Click the Safely
Remove Hardware icon ( ) in the Windows system tray and choose your XDCAM device from the menu to disconnect the device. You can then switch to AV/C mode and reconnect to enable external monitor and print to tape functionality. The basic workflow for working with XDCAM is as follows:

1. Set up your XDCAM device.
The first step in working with XDCAM is to set up your computer to communicate with your XDCAM camera or deck. You can use FTP (file transfer protocol) or FAM (file-access mode or i.LINK) to transfer between your computer and device. For specific information on setting up your device and installing any necessary drivers, see its documentation. Your device must be properly installed and recognized on your computer before it can be used with Vegas. For information on setting up your device to work with Vegas, see Setting up an XDCAM device on page 149.

2. Import video from the XDCAM disc.
Next, you need to transfer video from your XDCAM disc to your computer for editing. Depending on your project and
requirements, you can transfer full-resolution files, proxy-resolution files, or both.
For more information, see Importing XDCAM discs on page 152.


3. Edit the video on the timeline.
Editing XDCAM video is identical to editing DV on the timeline. You can choose whether you want to edit full- or proxy-resolution
files on the timeline.
For more information, see Editing XDCAM clips on the timeline on page 153.


4. Replace proxy files with full-resolution versions (optional).
If you’re using proxy files for timeline editing, replace the clips with full-resolution versions before rendering or exporting back to
XDCAM disc.
For more information, see Replacing proxy-resolution clips with full-resolution media (conforming media) on page 155.


5. Export video back to an XDCAM disc.
If you’re planning to render your movie to a different format, render just as you would any other project. If you want to export your movie to an XDCAM disc, you can either export the current project or export a rendered MXF file. For more information, see Exporting video to an XDCAM disc on page 156.

Note: The XDCAM deck is not available for external monitor or print to tape via iLink® while in file-access mode. Click the Safely Remove Hardware icon in the Windows system tray and choose your XDCAM device from the menu to disconnect the device. You can then switch to AV/C mode and reconnect to enable external monitor and print to tape functionality.

148 | CHAPTER 7

Setting up an XDCAM device
Use the following procedure if you need to set up an XDCAM deck or camera for transferring clips, replacing proxy files with fullresolution clips, or exporting video to an XDCAM device.
XDCAM deck

XDCAM camera

iLink® ports for transfer

Note: The XDCAM deck is not available for external monitor or print to tape via iLink® while in file-access mode. Click the Safely
Remove Hardware icon (
) in the Windows system tray and choose your XDCAM device from the menu to disconnect the device. You can then switch to AV/C mode and reconnect to enable external monitor and print to tape functionality. 1. Click the Device button in the Export Video to XDCAM Disc or Import XDCAM Disc dialog. The XDCAM Device Settings dialog is
displayed. • • To display the Export Video to XDCAM Disc dialog, click the Export Video to Sony XDCAM Disc button ( Explorer window. To display the Import XDCAM Disc dialog, click the Import XDCAM Disc button ( ) in the XDCAM

) in the XDCAM Explorer window.

2. Choose the XDCAM device where you want to import/export clips.
• Select the File Access Mode (i.LINK) radio button if your XDCAM camera or deck is connected directly to your computer via an IEEE-1394 cable. In this mode, your camera or deck is accessible much like an external drive.
Click the Browse button and choose the drive letter of the camera or deck.


Note: Choose the drive letter of the camera or deck only; do not navigate into the folders on the disc.
• Select the FTP (Ethernet) radio button if your camera or deck is connected to your network. Type the camera or deck’s IP address in the IP Address box. In the Username box, type admin. In the Password box, type the device/model number of your camera or deck. For example, if you’re exporting clips to a PDW­ 1500 deck, type PDW-1500.

Tip: The XDCAM deck is not available for external monitor or print to tape via iLink® while in file-access mode. Using FTP transfers allows
you to export to a remote device and or use the device's i.LINK connection in AV/C mode for external monitor previewing.
WORKING WITH XDCAM VIDEO | 149

3. Click OK. Note: For information about using your camera or deck, refer to its documentation.

Using the XDCAM Explorer window
From the View menu, choose XDCAM Explorer (or press Ctrl+Alt+F5) to display the XDCAM Explorer window, which you can use to locate, import, and export XDCAM clips.

Item

Name
Disc List

Description
Displays a list of all XDCAM discs from which you’ve imported clips. Select a disc name to display its clips in the right side of the window. The imported disc is not associated with the current project. Imported discs are available in the XDCAM Explorer window until you delete them from your computer. Right-click a disc and choose Rename from the shortcut menu to change a disc's name. For example, if you’ve written “Joe’s Tire Spot” on your XDCAM disc, you can type that name so you don't have to try to identify the disc in the XDCAM Explorer window using its 32-digit identifier.

Contents Pane

Displays the clips from the selected disc. Full-resolution clips are labeled Full, and proxy files are labeled Proxy. If you’ve transferred proxy files only, you can right-click a proxy file and choose Import Full Resolution Files from the shortcut menu to transfer the full-resolution version of the proxy clip to your computer. Files are imported to the same folder where you transferred the proxy files. If you’ve transferred metadata only without transferring clips, no thumbnail is displayed. Rightclick a metadata entry and choose Import Full Resolution Files or Import Proxy Files from the shortcut menu. If the disc contains edit lists that you created on your deck or camera, they are displayed at the bottom of the contents pane. Click the down arrow next to the Views button ( ) and choose Edit Lists from the menu to show or hide edit lists.

Import XDCAM Disc

Click to import clips from an XDCAM disc. You can choose to import proxy-resolution clips, fullresolution clips, or both. For more information, see Importing XDCAM discs on page 152.

Delete Selected Select a disc in the left pane and click this button to delete the disc’s clips from your computer. XDCAM Disc from Capture Folder Play Clip Stop Auto Preview Click to play the selected clip. Click to stop playback. Automatically preview media files when you click them in the XDCAM Explorer window.

150 | CHAPTER 7

Item

Name
Views

Description
Click the down arrow and choose a command from the menu to change the way clips are displayed in the XDCAM Explorer. All Essence Marks Displays a separate thumbnail for each essence marker in a clip. Shot Marks 1 & 2 Clips Custom Displays a separate thumbnail for each shot marker in a clip. Displays a single thumbnail for each clip. Displays the Custom Essence Mark Filter dialog. Select the check box for each essence mark you want to display as thumbnails, and then click OK to close the dialog. Record Start Record End Shot Mark 1 Shot Mark 2 Flash Filter Change Gain Change Created when a sudden change in brightness occurs. Created when the filter is changed on the camera. Created when the gain value is changed on the camera. Created manually during recording. Created when recording begins and stops.

Shutter Speed Created when the shutter speed is changed on the camera. Change White Balance Created when the white balance is changed on the camera. Change Over Audio Limiter Edit Lists Created when the audio level exceeds 0 dB.

If you’ve created an edit list on your camera or deck, you can display those edit lists in the XDCAM Explorer. Edit lists are displayed in the lower half of the XDCAM Explorer. Right-click an edit list and choose Add to Current Project Using Proxy Files or Add to Current Project Using Full Resolution Files from the shortcut menu to add the edit list to the timeline at the cursor position.

Conform XDCAM Media in Current Project

Click to replace proxy-resolution files with full-resolution files before rendering your project or
exporting your video to an XDCAM disc.
If the full-resolution clips are not available on your computer, the Conform XDCAM Media in
Current Project dialog is displayed. Insert the specified disc and click Continue to import the full-
resolution clips to your computer.
If you need to choose a different XDCAM device or import method, click the Device button. For
more information, see Setting up an XDCAM device on page 149.
Clips are imported if necessary, and the events on the timeline are updated to use the full-
resolution files.


Export Video to XDCAM Disc Refresh XDCAM Discs by Examining Capture Folders

Click to transfer video to an XDCAM disc in a camera or deck. You can choose to render the current project to MXF or export an already-rendered MXF file. For more information, see Exporting video to an XDCAM disc on page 156. Click to examine capture folders for files that have been added since the application was started. You can use this button to view files that you copy manually from an XDCAM disc to your computer.

WORKING WITH XDCAM VIDEO | 151

Importing XDCAM discs
You can use the XDCAM Explorer window to import full- or proxy-resolution clips from XDCAM discs to your computer for editing.

Tips:
• If you delete XDCAM clips from your computer, those clips will appear offline in your projects. You can reimport the clips by right-clicking the clips in the Project Media window and choosing Recapture from the shortcut menu. • The XDCAM deck is not available for external monitor or print to tape via iLink® while in file-access mode. Click the Safely Remove Hardware icon ( ) in the Windows system tray and choose your XDCAM device from the menu to disconnect the device. You can then switch to AV/C mode and reconnect to enable external monitor and print to tape functionality. • Use the Device Explorer window to import clips from an XDCAM EX camera.For more information, see Using the Device Explorer on page 68.

1. From the View menu, choose XDCAM Explorer to display the XDCAM Explorer window if it isn’t already visible. 2. Click the Import XDCAM Disc button (
) in the XDCAM Explorer window. The Import XDCAM Disc dialog is displayed.

3. The XDCAM Device box displays the current XDCAM camera or deck.
If you need to choose a different XDCAM device or import method, click the Device button. For more information, see Setting up an XDCAM device on page 149.

Note: For information about using your camera or deck, refer to its documentation. 4. In the Clip Resolutions box, select check boxes to indicate which clips you want to import:

Tip: Proxy files are much smaller than the full-resolution versions. If you're working on a system with limited disk space or processing
power, you can edit the smaller proxy files on the timeline and replace the proxies with full-resolution files before rendering. Proxy editing is ideal for storyboarding or rough-cut editing. • Clear both check boxes if you want to import clip information (metadata) only without importing clips. You can import clips later by right-clicking a clip in the XDCAM Explorer and choosing Import Full Resolution Files or Import Proxy Files from the shortcut menu. 152 | CHAPTER 7

• •

Select the All full resolution files check box to import full-resolution clips. Select the All proxy resolution files check box to import low-resolution clips for quick timeline editing and preview. If you’re working on a system with limited disk space or processing power, you can edit the smaller proxy files on the timeline and replace the proxies with full-resolution files before rendering.

5. The Capture Folder box displays the path to the folder where clips will be imported. Click the Browse button to choose a folder.

Tip: You can also copy XDCAM discs to the capture folder manually. Simply copy the files and folders to the specified capture folder (preserving the XDCAM disc folder folder/file structure). The next time you start Vegas, the disc will be available in the XDCAM Explorer window. 6. Type a name in the Optional Disc Name box if you want to assign a friendly name to the disc.

For example, if you’ve written “Joe’s Tire Spot” on your XDCAM disc, you can type that name so you don’t have to try to identify the disc in the XDCAM Explorer window using its 32-digit identifier.

7. Click the OK button to start importing clips. The disc label is added to the left pane in the XDCAM Explorer window, and the clips
are displayed in the right pane. For more information, see Using the XDCAM Explorer window on page 150.

8. You’re ready to start editing your XDCAM clips on the timeline. Notes:
• Select the Import MXF as multichannel check box on the General tab of the Preferences dialog if you want to import MXF files from XDCAM cameras and decks with multichannel audio. When the check box is cleared, audio from MXF files will be imported as stereo, but you can access the other channels by right-clicking the event and choosing Channels from the shortcut menu. • The imported disc is not associated with the current project. Imported discs are available in the XDCAM Explorer window until you delete them from your computer. • Imported clips are not added to the Project Media window. Drag a clip to the timeline to add it to your project or right-click a clip and choose Add to Project Media List from the shortcut menu.

Editing XDCAM clips on the timeline
Creating and editing a project
You can use MXF files just like any other supported media type on the timeline. Depending on your workflow, you may want to use proxy or full-resolution files on the timeline.

Tip: Proxy files are much smaller than the full-resolution versions. If you're working on a system with limited disk space or processing

power, you can edit the smaller proxy files on the timeline and replace the proxies with full-resolution files before rendering.
Proxy editing is ideal for storyboarding or rough-cut editing.

1. Import the clips from your XDCAM camera or deck to your local hard drive. For more information, see Importing XDCAM discs on page
152.

2. Select an imported XDCAM disc on the left side of the XDCAM Explorer window. The imported clips are displayed in the right pane.

WORKING WITH XDCAM VIDEO | 153

If the disc contains edit lists that you created on your deck or camera, they are displayed at the bottom of the contents pane. Click the down arrow next to the Views button ( ) and choose Edit Lists from the menu to show or hide edit lists.

3. Drag clips from the XDCAM Explorer window to the timeline if you want to create events, or drag them to the Project Media
window to add to your project without creating events. Right-click an edit list and choose Add to Current Project Using Proxy Files or Add to Current Project Using Full Resolution Files from the shortcut menu to add the edit list to the timeline at the cursor position.

Note: Essence marks from the MXF files are displayed as named media markers (media markers are visible in the timeline events and in
the Trimmer window). Choose View > Event Media Markers > Show Markers to toggle their display.

4. Edit your project as needed. 5. If you’re working with proxy-resolution clips, replace them with full-resolution clips before rendering your project or exporting it to
an XDCAM disc:

a. Click the Conform XDCAM Media in Current Project button (
displayed.

) in the XDCAM Explorer window.

b. If the full-resolution clips are not available on your computer, the Conform XDCAM Media in Current Project dialog is c. Insert the specified disc.
If the events on the timeline have been trimmed, you can select the Trim clips to used regions when possible check box (available only in file-access mode) to import only the portions of the media files required for the events. If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see Setting up an XDCAM device on page 149.

d. Select the Trim clips to used regions when possible check box (available only in file-access mode) if you want to trim fullresolution clips to import only the portions used in your project.

Note: Some XDCAM decks may require updated firmware to support trimming clips when connecting via Ethernet (FTP). e. Click Continue to import the full-resolution clips. f.
Repeat steps 5c and 5d as needed. Clips are imported to your computer if necessary, and the events on the timeline are updated to use the full-resolution files.

6. You can now render your project or export it to an XDCAM deck or camera.

154 | CHAPTER 7

Setting up your project for multichannel audio
If you imported your XDCAM clips with the Import MXF as multichannel check box selected on the General tab of the Preferences dialog, your MXF files will be imported with multichannel audio. When you add the clip to the timeline, the audio channels will be added across tracks. The example on the right shows an MXF clip with six-channel audio. To take advantage of multichannel mapping in Vegas, set up your project to map each audio channel to a separate bus.

1. From the Insert menu, choose Audio Bus (or click the Insert Bus button

in the Mixer window) to create a bus in the Mixer window. Because we’re working with six-channel audio, we’ll add three stereo busses. on each track to assign the channels to busses.

2. Now click the bus button

We’ll assign channels one and two to Bus A, channels three and four to Bus B, and
channels five and six to Bus C.
Alternatively, you could create one bus per channel.
We’ll use this channel mapping when you render your video or export it to an
XDCAM camera or deck.
For more information, see Exporting video to an XDCAM disc on page 156.

Replacing proxy-resolution clips with full-resolution media (conforming media)
If you’re working with proxy-resolution clips, replace them with full-resolution clips before rendering your project or exporting it to an XDCAM disc:

1. Click the Conform XDCAM Media in Current Project button (

) in the XDCAM Explorer window.

2. If the full-resolution clips are not available on your computer, the Conform XDCAM Media in Current Project dialog is displayed.

3. Insert the specified disc.
If the events on the timeline have been trimmed, you can select the Trim clips to used regions when possible check box to import only the portions of the media files required for the events. This option is not available when connecting to an XDCAM deck or camera via file access mode (i.Link). If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see Setting up an XDCAM device on page 149.
WORKING WITH XDCAM VIDEO | 155

4. Click Continue to import the full-resolution clips. 5. Repeat steps 3 and 4 as needed. 6. Clips are imported to your computer if necessary, and the events on the timeline are updated to use the full-resolution files.

Exporting video to an XDCAM disc
From the Tools menu, choose Export Video to XDCAM Disc (or click the project to a disc in an XDCAM camera or deck. button in the XDCAM Explorer window) to save your

Exporting video from the timeline
Use this procedure to export the current project to an XDCAM disc.

Important: If you are exporting a rendered file to an XDCAM disc, the file must precisely conform to the target disc format, or the export
will fail.

1. If you want to export only a portion of your project, create a time selection that includes the section of your project. 2. From the Tools menu, choose Export Video to XDCAM Disc (or click the
Video to XDCAM Disc dialog is displayed. button in the XDCAM Explorer window). The Export

3. The XDCAM Device box displays the current XDCAM camera or deck.
If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see Setting up an XDCAM device on page 149.

Note: For information about using your camera or deck, refer to its documentation.

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4. Choose render settings: a. Select the Render format radio button. b. In the File path box, type the path to the file you want to render, or click the Browse button to browse to the folder you want
to use and then type a file name. This path is used to render an MXF file to your hard drive before transferring to your XDCAM device. You can delete the file after the transfer is complete.

c. Select the Enable multichannel mapping check box if you want to map render multiple channels of audio.
You can click the Channels button if you want to map the busses in your project to channels in the rendered file. If you don't specify a channel mapping, Vegas will not render a multichannel file.

In the Channel Mapping dialog, select the check box for each bus you want to include in the rendered file. Each stereo bus will be saved to two channels in the rendered file. If you want to save a bus to a single channel, select the (Mono downmix) check box for that bus. If you want to change order of the busses in the channel mapping, select the bus and click the Move Up or Move Down button. Click OK to close the Channel Mapping dialog and return to the Export Video to XDCAM Disc dialog. For more information, see Setting up your project for multichannel audio on page 155.

d. From the Template drop-down list, choose the setting that matches your destination disc.
Information about the selected rendering template is displayed in the Description box. If you choose Default Template, the number of channels will match the number of channels specified in the Channel Mapping dialog.

e. Select the Render loop region only check box if you want to export only the portion of your project that you selected in step
1.

f.

Select the Delete file after print check box if you want to delete the rendered file from your hard drive after exporting it to disc. If the export fails, the rendered file remains on disk so you can adjust your XDCAM device settings and export again without having to render again. rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display.

g. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output

5. Click OK. Your project is rendered and transferred to your camera or deck.

WORKING WITH XDCAM VIDEO | 157

Exporting a rendered file
Use this procedure when you have a rendered MXF file that you want to save to an XDCAM disc.

Important: If you are exporting a rendered file to an XDCAM disc, the file must precisely conform to the target disc format, or the export
will fail.

1. From the Tools menu, choose Export Video to XDCAM Disc (or click the
Video to XDCAM Disc dialog is displayed.

button in the XDCAM Explorer window). The Export

2. The XDCAM Device box displays the current XDCAM camera or deck.
If you need to choose a different XDCAM device or transfer method, click the Device button. For more information, see Setting up an XDCAM device on page 149.

Note: For information about using your camera or deck, refer to its documentation. 3. Choose the file you want to export: a. Select the Use an existing file radio button. b. In the File path box, type the path to the file you want to print, or click the Browse button to choose the file you want to print. 4. Click OK. The selected file is transferred to your camera or deck.

158 | CHAPTER 7

Chapter 8 Working with Tracks
Tracks contain the media events on the timeline of a project. There are two types of tracks in a Vegas® Pro project: video and audio. Each type of track has its own features and controls. While tracks can be organized and mixed in any order, track hierarchy can be important in determining the final output for video. Because tracks are containers for events, effects that are applied to a track apply to every event in that track.

Managing tracks
Once you have added a track to your project, you may perform basic editing tasks on it such as duplicating, deleting, and renaming.

Inserting an empty track
Tracks are created for you when you drag events to empty spaces in the timeline. You can also add empty (eventless) tracks to a project. You can record into these tracks or use them as placeholders for specific media that you will add later. For example, you may want to create an empty track and then record a voiceover directly into a project.

1. Right-click in the timeline or the track list to display a shortcut menu. 2. Choose Insert Audio Track or Insert Video Track.
You may also add an empty track from the Insert menu by choosing Audio Track or Video Track. An empty track is added at the bottom of the track list.

Duplicating a track
You can duplicate a track in your project including all of the events contained on it. When you duplicate a track, the duplicate is placed directly below the original track. You can duplicate one track or select multiple tracks to duplicate.

1. Click the track that you want to duplicate. To select multiple tracks, click each one while pressing Shift to select
adjacent tracks or Ctrl to select nonadjacent tracks.

2. Right-click and choose Duplicate Track from the shortcut menu. Deleting a track
You can delete a track from your project and all of the events contained on it. You can delete one track or select multiple tracks to delete.

1. Select the track that you want to delete. To select multiple tracks, click each one while pressing Shift to select a range
of adjacent tracks or Ctrl to select discontinuous tracks.

2. From the Edit menu, choose Delete. Tip: You can also delete a track by selecting it and pressing Delete.

Naming or renaming a track
Every track in your project has a scribble strip where you can type a name for the track. The track name may be up to 255 characters long. If the scribble strip is not visible, you may need to increase the height or width of the track by dragging the track’s edge to reveal it. For more information, see Changing track height on page 160.

1. Double-click the scribble strip. Any existing name is highlighted on the strip. 2. Type the new track name. 3. Press Enter to save the track’s name.
Double-click and type track name

WORKING WITH TRACKS | 159

Organizing tracks
Vegas Pro software is flexible in how tracks can be organized. You can arrange and resize tracks to fit your particular needs.

Reordering tracks
When you create tracks, they are arranged in the order that they were added. It is a simple process to reorder tracks to fit your needs. You may reorder one or more tracks at a time.

Note: Track hierarchy can be critical in video compositing. For more information, see Compositing on page 277. 1. In the track list, place the mouse pointer on the track that you want to move. 2. Drag the track to the new position in the track list. Tip: When moving a track, you may want to place the mouse pointer on the track number when dragging. This helps avoid accidental modifications to other track list controls.

Changing track color
When you add a track, it is automatically assigned a color. This color is easily changed. This feature is useful if you want to use color to organize similar tracks.

1. In the track list, right-click a track to display a shortcut menu. 2. From the shortcut menu, choose Track Display Color, and choose a color from the submenu. Tip: To change the available colors, use the Display tab in the Preferences dialog.

Changing track height
You can control track height by dragging the bottom edge of a track in the track list. You can also change track height by clicking the buttons on the track list. Action
Minimize/Restore Track Height

Button

Resulting Track height

Restored Track Height Maximize/Restore Track Height

160 | CHAPTER 8

You can also use several different keyboard shortcuts to change all track heights at once: • • Press Ctrl+Shift+Down Arrow or Ctrl+Shift+Up Arrow to change the height of all tracks in your project at once. Press the grave accent key (`) to minimize all tracks. Press the key again to restore the tracks to their previous height. When you restore tracks to their previous height, tracks that were previously minimized are not restored. You can restore these tracks by on the track header. clicking the Restore Track Height button Press Ctrl+grave accent key (`) to make all tracks the default height.

•

Resizing a track You can resize a track by dragging its bottom or right border. Place the mouse pointer at the bottom of the track. The cursor turns into an up/down arrow ( ). Drag up or down and release the mouse to set the desired track size. You can resize the width of the track list in a similar way.

Drag to change track height...

...or to change track list width.

Using the track list
Each track in your project has its own controls, faders, and sliders that are contained in the track list on the left side of the track. You can work with these controls to affect the events on the track. The controls in the track list can function as trim controls or automation controls for track volume, panning, assignable effects send, and bus send levels. Adjusting the trim control affects the level of the entire track. When a track does not use envelopes (or when the track automation mode is set to Off ), the trim level is added to the track fader. For example, setting the track volume fader to +3 dB and the trim control to -3 dB produces a gain of 0 dB. When a track uses envelopes, the trim level is added to the envelope so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB. To adjust trim levels, click the Automation Settings button and verify Show Automation Controls is not selected. When Show Automation Controls is selected, the volume fader and multipurpose slider adjust automation settings.

Using the volume fader (audio only)
The fader in the track header can function as a trim control that adjusts the overall volume of the track, or it can adjust track volume automation settings. For more information, see Volume or pan automation (audio only) on page 170. The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB.

1. Click the Automation Settings button

and verify Show Automation Controls is not selected.

2. Drag the Vol fader to control how loud a track is in the mix. If multiple tracks are selected, all selected tracks are adjusted.
As you drag the fader, the volume level displays to the left of the fader. Double-click the fader to set it to 0.0 dB, or double-click the current volume value to enter a specific number.

Drag to change volume.

Double-click the fader to set to 0.0 dB.

Double-click the current level to enter a value.

WORKING WITH TRACKS | 161

Tip: Press Ctrl while dragging or use the mouse wheel for finer control of the fader. You can also move the fader by using the right or left arrow keys.
Volume envelopes allow you to automate track volume changes. For more information, see Volume or pan automation (audio only) on page 170.

Using the multipurpose slider (audio only)
This slider controls several features, including panning, bus send levels, and assignable effects send levels. The options for the multipurpose slider depend on what your project contains (for example, busses and assignable effects). You can select what the slider controls by clicking the slider label. Each item’s slider position is independent from the others.
Click the slider
label to select a
control


Tips:
• If you do not see this slider on a track, increase the track height. For more information, see Resizing a track on page 161. • You can move the slider by pressing Shift+the right or left arrow keys.

Adjusting stereo panning The multipurpose slider in the track header can function as a trim control that adjusts the overall panning of the track, or it can adjust track panning automation settings. For more information, see Adjusting volume or pan automation settings on page 171. The trim level is added to the pan automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -9% left has the same effect as moving every envelope point 9% to the left.

1. Click the Automation Settings button
adjusted.

and verify Show Automation Controls is not selected.

2. Drag the Pan slider to control the position of a track in the stereo field. If multiple tracks are selected, all selected tracks are

You can further control the panning by right-clicking the multipurpose slider and selecting an option from the shortcut menu: Item
Add Channels

Description
This panning model is most useful for panning stereo source material. This model makes the stereo image appear to move as a unit between the speakers. As the fader is moved from the center to a side, more and more of the signal from the opposite side is folded into the side you are panning towards, until at the extreme, both channels are fed at full intensity into a single channel. This panning model uses a linear panning curve. This panning model is most useful for adjusting the relative signal levels of the right and left channels in stereo source material. In this model, moving from the center to a side, the opposite side starts at a base dB level (either 0 dB, -3 dB, or -6 dB) and decays to no signal level. The signal in the side you are panning towards starts at the base dB level (either 0 dB, -3 dB, or -6 dB) and increases to 0 dB. This panning model uses a linear panning curve.

Balance

162 | CHAPTER 8

Item

Description

Constant Power This panning model is most useful for panning mono source material. As you move the fader from side to side, this model creates the illusion of the source moving around the listener from one side to the other in a semi­ circle. This model uses a constant-power panning curve. Film This mode allows you to pan between pairs of adjacent speakers in 5.1 surround projects using a constant
power model. This mode is optimized for theater-style speaker placement. In stereo projects, Film mode
functions identically to Constant Power.
As you drag the pan point to the center speaker, the sound becomes diffused through the front and rear speakers. When the track is panned fully to the center speaker, there is no output from the front and rear speakers. Dragging the pan point to the center of the surround panner sends the signal to all speakers.

Note: If you’re panning fully to a single speaker, you may notice that some signal is mixed to the opposite speaker. This is because the ideal placement for surround speakers does not match the representation in the surround panner. For example, panning to the front-left speaker produces a low-level signal in the rear-left speaker. This is because your front-left speaker should be positioned 30° left of center and the speaker in the surround panner is located 45° left of center. To produce a true 45° left-of-center pan, the signal is panned between the front- and rear-left speaker. You can add a pan envelope to automate panning changes. For more information, see Composite level automation (video only) on page 174.

Assigning audio tracks to assignable effects chains
Assignable effects chains are made up of one or more plug-ins that are used to add audio effects to a track’s signal. You can adjust the level of a track that is sent to an assignable effects chain using the multipurpose slider in the track list. The multipurpose slider can function as a trim control that adjusts the overall assignable effects send level for the track, or it can adjust assignable effects automation settings. For more information, see Adjusting assignable effects automation levels on page 171.

1. Click the Automation Settings button

and verify Show Automation Controls is not selected.

2. Click the label on the multipurpose slider to display a drop-down list. 3. Choose the assignable effects chain that the track will use.

4. Drag the slider to adjust the level of the track sent to the assignable effects chain. Note: Assignable effect sends are post-volume by default. To change to pre-volume, right-click the multipurpose slider and choose Pre
Volume from the shortcut menu.

Assigning audio tracks to busses
If your project contains multiple busses, you can assign a track to a specific bus.

1. Click the Bus button ( ) in the track list to display a drop-down list of available busses. This button appears only if the project
contains multiple busses. For more information, see Adding busses to a project on page 196.

2. From the drop-down list, choose the bus for the track’s output.
Select a bus for playback

WORKING WITH TRACKS | 163

Adjusting bus send levels When a track is routed to a bus, you can control the level of tracks sent to the bus using the multipurpose slider. The multipurpose slider in the track header can function as a trim control that adjusts the overall send level of the track, or it can adjust bus send automation settings. For more information, see Adjusting bus automation levels on page 172.

1. Click the Automation Settings button
menu.

and verify Show Automation Controls is not selected.

2. Click the label on the multipurpose slider and choose an assignable effects chain from the 3. Drag the FX fader to control the level of the track sent to each of the assignable FX chains that
you have created. Dragging the fader to the left cuts the volume; dragging to the right boosts the volume. You can hold Ctrl while dragging a fader to adjust the setting in finer increments, or double-click the fader to return it to 0 dB. If multiple tracks are selected, the trim level of all selected tracks is adjusted.

Note: Bus sends are pre-volume by default. To change to post-volume, right-click the multipurpose slider and choose Post Volume from the shortcut menu.
For more information, see Adjusting a bus send level on page 198 or Assigning audio tracks to assignable effects chains on page 200.

Adjusting the composite level (video only)
The Level slider in the track header determines the opacity of the video track. The slider can function as a trim control that adjusts the overall opacity of the track, or it can adjust track composite level automation settings. For more information, see Adjusting the composite level automation settings on page 174. The trim level is added to the composite level automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3% has the same effect as decreasing every envelope point by 3%.

1. Click the Automation Settings button

and verify Show Automation Controls is not selected.

2. Drag the slider to control the transparency or blending of each track. Left is 100% transparent
and right is 100% opaque. You can also double-click the percent to enter a specific value.

Selecting the compositing mode
Click the Parent Overlay Mode or Compositing Mode button and choose a mode from the menu to determine how the transparency in a video track is generated. Since lower tracks show through higher tracks, it is the compositing mode of the higher track that determines how much of the lower track shows though. The compositing mode of the lowest video track adjusts its transparency against the background. For more information, see Compositing on page 277.
Parent Overlay Mode Compositing Mode

Bypassing motion blur envelopes (video only)

If you applied a motion blur envelope to your video bus track, this envelope affects all tracks. You can select specific tracks to bypass this envelope by clicking a track’s Bypass Motion Blur button ( ). For more information on motion blur envelopes, see Adding a motion blur envelope on page 175.

Using track motion (video only)
Use the Track Motion button ( ) to move a video track over another track (that is, picture-in-picture). For more information on adding track motion, see Adding track motion on page 310.

164 | CHAPTER 8

Phase inverting a track (audio only)
The Invert Track Phase button ( ) inverts the audio track at its baseline, in effect reversing its polarity. Inverting a track, while creating little audible difference, is occasionally useful for matching transitions when mixing audio on separate tracks or fine-tuning a crossfade. You can also phase invert an audio event. If an event on a track is inverted and you invert the track, the event is doubly-inverted (restored to its original state). For more information, see Invert phase (audio only) on page 184.

Muting a track
The Mute button ( ) in the track list temporarily suspends playback of the track so that you can focus on another track. When a track is muted, it appears grayed out on the timeline. You can mute more than one track at a time. The Mute button can mute a track or change its mute automation state. For more information, see Mute automation (audio and video) on page 169.

Note: Muting a track mutes its main output and post-fader sends only unless the Track prefader sends listen to mute check box on the Audio tab of the Preferences dialog is selected.
To mute a track, click the Automation Settings button button. and verify Show Automation Controls is not selected. Next, click the Mute

To mute several tracks, select the tracks and click the Mute button on any of the selected tracks. Click the Mute button again to restore the tracks.

Tip: Press Ctrl and click the Mute button to mute only the selected track (and restore any other muted tracks). If the selected track is already muted, press Ctrl and click the Mute button to restore all tracks.
When you have multiple levels of parent and child tracks, clicking the Mute button on a parent track mutes the parent track and its compositing children. In the sample track list, muting track 1 will mute tracks 1 through 6. Muting track 4 will mute tracks 4 through 6.

Muting all audio or video tracks
You may mute either all audio or all video tracks in a project. From the Options menu, choose Mute All Audio or Mute All Video.

WORKING WITH TRACKS | 165

Soloing a track
The Solo button ( ) in the track list isolates a track’s events for playback. This allows you to focus on a track’s contents without the distraction of other tracks. You can solo more than one track at a time. To solo a track, click the Solo button on that track. To solo several tracks, select the tracks and click the Solo button on any of the selected tracks. Click the Solo button again to restore the track(s) for playback.

Tip: Press Ctrl and click the Solo button to solo only the selected track (and restore
any other soloed tracks). If the selected track is already soloed, press Ctrl and click the
Solo button to restore all tracks.

When you have multiple levels of parent and child tracks, clicking the Solo button on a parent track solos the parent track and its compositing children. Other nonsoloed tracks at the same compositing level are bypassed. In the sample track list, soloing track 1 will solo tracks 1 through 6. Soloing track 4 will solo tracks 4 through 6. Tracks 2 and 3 are bypassed, and tracks 1 and 7 play normally.

Setting default track properties
You can use the settings of a selected track to determine the default settings for all new tracks in your project. Properties that can be set appear in the Set Default Track Properties dialog.

1. Set up a track in your project with the properties to use as default settings
for new tracks.

2. Right-click the track number and choose Set Default Track Properties.
The Set Default Track Properties dialog appears.

3. Select the check boxes that you want to set as defaults. 4. Click OK.
Any new tracks created in the project will have these defaults. To return to the original settings for new tracks, select the Restore original defaults check box in the Set Default Track Properties dialog.

Track automation envelopes
Track automation envelopes allow you to control volume, audio panning, opacity, and fade to color effects of a particular track over time. For more information, see Working with track envelopes on page 176.

Using audio bus tracks
From the View menu, choose Audio Bus Tracks to toggle the display of audio bus tracks at the bottom of the timeline. An audio bus track exists for each bus or assignable effects chain in your project and serves as a timeline representation of each bus or assignable effects chain. You can use bus tracks to automate volume, panning, and effect parameters using envelopes. For more information, see Bus automation (audio only) on page 172.

Adding envelopes to an audio bus track
Adding volume, panning, and effect automation envelopes to a bus track is just like adding an envelope to a standard track. For more information, see Composite level automation (video only) on page 174.

166 | CHAPTER 8

Adding effects to audio bus tracks

Click the Bus FX button ( ) in the bus track header to add or edit bus effects. If there are no effects on the bus, clicking this button
displays the Plug-In Chooser. If an audio bus already has effects assigned, clicking this button displays the Audio Plug-In window.
Clicking this button has the same effect as clicking the button on a bus control in the Mixer window or the Video Preview window.
If the bus effects chain includes plug-ins with automatable parameters, the Bus FX button is displayed as a .

Muting or soloing an audio bus track
Click the Mute ( ) or Solo ( ) button in the bus track header to mute or solo a bus.
Clicking these buttons on a bus track has the same effect as clicking the buttons on a bus control in the Mixer window.


Resizing audio bus tracks
You can drag the horizontal splitter between the track list and bus tracks to increase or decrease the space allocated to bus tracks. Perform any of the following actions to resize individual bus tracks: • • • • • Drag a bus track’s bottom border to set its height. Click Minimize ( Click Maximize ( ) to minimize a track vertically. ) to zoom in vertically so a bus track fills the lower portion of the timeline.

After minimizing or maximizing a bus track, click either button again to return a bus track to its previous height. Press Ctrl+Shift+Up Arrow/Down Arrow when the bus track area has focus to resize all bus tracks at once.

Using video bus tracks

From the View menu, choose Video Bus Track to toggle the display of the video bus track at the bottom of the timeline. A single bus
track exists as a timeline representation of the main video output.
You can use bus tracks to animate video output effects using keyframes, add motion blur envelopes, or video supersampling envelopes.


Adding keyframes to the video bus track
Adding keyframes to the video bus track is just like working with any other video track. Use video bus track keyframes to animate video output effects. For information on adding keyframes, see Using keyframe animation on page 302.

Adding envelopes to the video bus track
You can add fade-to-color, motion blur amount, and video supersampling envelopes to the video bus track to affect your video output. For more information, see Working with track envelopes on page 176.

Adding effects to video bus tracks
Click the Video Output FX button ( ) in the bus track header to add or edit video output effects. If there are no video output effects, clicking this button displays the Plug-In Chooser. If you’ve already set up video output effects, clicking the button displays the Video Output FX window.

Muting the video output
Click the Mute button ( ) in the bus track header to mute all video output.

Bypassing video effects and envelopes
Click the Bypass FX and Envelopes button ( ) in the bus track header to bypass all video output effects and bus track envelopes.

WORKING WITH TRACKS | 167

Resizing video bus tracks
You can drag the horizontal splitter between the track list and bus tracks to increase or decrease the space allocated to bus tracks. Perform any of the following actions to resize individual bus tracks: • • • • • Drag a bus track’s bottom border to set its height. Click Minimize ( Click Maximize ( ) to minimize a track vertically. ) to zoom in vertically so a bus track fills the lower portion of the timeline.

After minimizing or maximizing a bus track, click either the Minimize or Maximize button again to restore a bus track to its previous height. Press Ctrl+Shift+Up Arrow/Down Arrow when the bus track area has focus to resize all bus tracks at once.

Rendering to a new track
Rendering or mixing multiple tracks to a single track can be a good method of decreasing the complexity of a project and speeding up future renders. The original tracks and their events are unaffected when you render (mix) to a single track. Typically, you would use this feature when you are finished refining a few tracks and want to combine them. When you render multiple tracks, any envelope or track effects that you have applied are rendered into the new track. The original source files remain unaffected and the new track(s) are saved to a new file. When working with DV files, select a DV template to avoid any loss of quality. For more information, see Working in DV format on page 260.

Note: Every video render that uses compression results in a loss of quality from the original source material. To minimize loss of quality, minimize the number of video renders that use compression. 1. Click the Solo button ( ) for the tracks that you want to mix down. If no tracks are soloed, the rendered track will match the Master
Bus output. Create a time selection if you want to mix down a portion of your project. Video tracks will be rendered into a single video track, and audio tracks will be rendered into a single stereo audio track.

2. From the Tools menu, choose Render to New Track or press Ctrl+M. The Render to New Track dialog appears. 3. Complete the dialog as follows:
• • • • • • From the Save in drop-down list, select the drive or folder to save the new media file. Type a file name in the File name box. From the Save as type drop-down list, choose the file format (for example, .wav for audio or .avi for video). From the Template drop-down list, choose a format from the template list. Alternately, click Custom to set custom rendering settings. For more information, see Customizing the rendering process on page 342. Select Render loop region only if you only want to render the time selection area. Select Stretch video to fill output frame size (do not letterbox) to adjust the aspect ratio so the output frame is filled on all edges. When the check box is cleared, the current aspect ratio is maintained and black borders are added to fill the extra frame area (letterboxing).

4. Click Save to render to a new track.
As the tracks are being rendered (mixed down), a small dialog appears displaying the progress of the render. A status bar also appears in the lower-left portion.

Tip: You can cancel the rendering process by clicking the Cancel button on the status bar.
After the new track is rendered, it appears at the top of the timeline. If you render the entire project, you may delete (or mute) the other tracks from the project, since they are all contained on the new track.

168 | CHAPTER 8

Chapter 9 Using Automation
Automation allows you to control audio and video levels, panning, and effect parameter automation over time. You can create fades, apply stereo panning, and vary effect parameters throughout your project. Automation is represented on the Vegas® Pro timeline as an envelope or set of keyframes. You can create automation by adding envelopes or keyframes to your tracks (including bus tracks), or you can record automation parameters by adjusting controls in the Vegas Pro interface (or on a control surface) during playback.

Important: Gain, level, and panning controls can adjust automation (dynamic) settings, or they can function as trim
(nonautomated) controls. The trim setting is added to the automation settings so your envelope or keyframe values are preserved, but with an offset applied. For example, setting an audio track’s trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB. If your automation is not behaving as expected, you may have applied a trim value that is offsetting your automation
settings.
When a control is set to adjust trim levels, its handle is displayed as a it is displayed as a . . When a control is set to adjust automation levels,

Showing or hiding automation controls
The controls in the track list can function as trim controls or automation controls for track volume, panning, assignable effects send, and bus send levels. Adjusting the trim control affects the level of the entire track. To display trim controls in the track header, click the Automation Settings button Controls. and select Show Automation

Track automation
Track automation will always affect all events on the track. This means that any event envelopes will be calculated after the track automation. For more information, see Using audio event envelopes (ASR) on page 187.

Tip: Choose a fade type from the Audio default drop-down list on the Editing tab of the Preferences dialog to set the default fade type that will be used when you add volume and panning envelopes. This setting is used only when you create new envelopes—when you add a point to an existing envelope, the new point always uses the same fade type as the preceding envelope point. Also, this setting is not used for event envelopes.

Mute automation (audio and video)
Mute automation changes a track’s mute state throughout your project. Mute automation is either on or off with no fade between. If you want to use fades, apply volume automation. When you apply mute automation to a track, it’s possible to have a track that is muted and soloed simultaneously. The mute state overrides the solo state: • • If a track’s Solo button is selected, the track is included in the solo group, but it will be muted whenever the mute automation is set to mute the track. If the track’s Mute button is selected, the track is muted regardless of the mute automation settings.

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Adding or removing mute automation

1. Select a track. 2. From the Insert menu, choose Audio Envelopes or Video Envelopes, or right-click in the track list and choose Insert/Remove
Envelope from the shortcut menu.

3. From the submenu, choose Mute. A check mark is displayed next to the command, and an envelope is added to the timeline. 4. You can adjust the automation by editing the envelope in the timeline or by using the Mute button ( ) in the track header when
Show Automation Controls is selected.

Adjusting mute automation settings

1. Click the Automation Settings button

and select Show Automation Controls. The Mute button is displayed as

.

2. Click the Mute button to change the track's mute automation state.
The button behaves differently depending on the track automation recording mode: • • • When the track automation mode is set to Off, the button mutes the entire track. When the track has a mute envelope and the track automation mode is set to Read, the button changes state to reflect the envelope setting during playback but cannot be adjusted. When the track has a mute envelope and the track automation mode is set to Touch or Latch, the button edits the envelope setting at the cursor position.

If you click the Mute button during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automating 5.1 surround projects on page 180.

Volume or pan automation (audio only)
You can change a track’s volume or position in the stereo field throughout a project using automation envelopes.

Adding or removing volume or pan automation

1. Select an audio track. 2. From the Insert menu, choose Audio Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the
shortcut menu.

3. From the submenu, choose Volume or Pan. A check mark is displayed for the automation types that are used on the selected track. Note: Panning envelopes will use the current panning mode for the Pan slider in the track list. For more information, see Adjusting

stereo panning on page 162.


4. If you want to change the track’s volume or pan setting throughout the track, edit the envelope in the timeline.

170 | CHAPTER 9

Adjusting volume or pan automation settings

1. If you want to change volume or pan settings by recording automation, click the Automation Settings button
Automation Controls. The fader/slider handle is displayed as a field. The fader and the slider behave differently depending on the track automation recording mode: • • • in automation mode.

and select Show

2. Drag the Vol fader to control how loud a track is in the mix or drag the Pan slider to control the position of the track in the stereo

When the track automation mode is set to Off, the fader adjusts the volume of the entire track and the slider pans the entire track. In this mode, the automation control acts as a second trim control. When the track has a volume envelope and the track automation mode is set to Read, the fader/slider will follow the envelope during playback but cannot be adjusted. When the track automation mode is set to Touch or Latch, the fader/slider edits the envelope setting at the cursor position. If the track does not have a volume/pan envelope, an envelope will be added when you adjust the fader/slider.

If multiple tracks are selected, all selected tracks are adjusted. If you adjust the fader/slider during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automating 5.1 surround projects on page 180.

Assignable effects automation (audio only)
You can use assignable effects automation to vary the level of a track sent to an assignable effects chain.

Adding or removing assignable effects automation Before you can add an assignable effects envelope, you'll need to add an assignable effects chain to your project. For more information, see Creating an assignable effects plug-in chain on page 220.

1. Select an audio track. 2. From the Insert menu, choose Audio Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the
shortcut menu.

3. From the submenu, choose the effects chain where you want to send the selected track. A check mark is displayed for each
assignable effects chain that is automated for the selected track.

Adjusting assignable effects automation levels

1. Click the Automation Settings button
automation mode.

and select Show Automation Controls. The fader handle is displayed as a

in

2. Click the label on the multipurpose slider and choose an assignable effects chain from the menu.

3. Drag the FX fader to control the level of the track sent to each of the assignable FX chains that you have created.
The fader behaves differently depending on the track automation recording mode: • • • When the track has an assignable effects envelope and the track automation mode is set to Off, the fader adjusts the send level of the entire track. In this mode, the automation control acts as a second trim control. When the track has an assignable effects envelope and the track automation mode is set to Read, the fader will follow the envelope during playback but cannot be adjusted. When the track has an assignable effects envelope and the track automation mode is set to Touch or Latch, the fader edits the envelope setting at the cursor position. If the track does not have an envelope, one will be created when you adjust the fader.

If multiple tracks are selected, all selected tracks are adjusted.

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If you adjust the fader during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automating 5.1 surround projects on page 180.

Tips:
• FX sends are post-volume by default. To change to pre-volume, right-click the FX fader and choose Pre Volume from the shortcut menu. • If you want to apply track panning (including pan position and panning mode) to FX sends, right-click the FX fader and choose Link to Main Track Pan from the shortcut menu. When Link to Main Track Pan is not selected, the track sends a center-panned stereo signal using the track’s current panning mode. • Select the Use legacy track send gain check box on the Audio page of the Preferences dialog if you want to configure audio track sends to behave as they did in Vegas 7.0 and earlier. When the check box is selected, you can open projects created with earlier versions of Vegas and be assured they will sound the same as they did in earlier versions of Vegas.

Bus automation (audio only)
You can use bus automation envelopes to vary the level of a track sent to a bus.

Adding or removing a bus automation envelope Before you can add a bus envelope, you'll need to specify the number of busses for your project.

1. Select an audio track. 2. From the Insert menu, choose Audio Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the
shortcut menu.

3. From the submenu, choose the bus where you want to send the selected track. A check mark is displayed for each bus send level
that is automated for the selected track.

Adjusting bus automation levels

1. Click the Automation Settings button
automation mode.

and select Show Automation Controls. The fader handle is displayed as a

in

2. Click the label on the multipurpose slider and choose a bus from the menu.

3. Drag the fader to control the level of the track sent to each of the assignable FX chains that you have created. Dragging the fader to
the left cuts the volume; dragging to the right boosts the volume. The fader behaves differently depending on the track automation recording mode: • • • When the track automation mode is set to Off, the fader adjusts the send level of the entire track. In this mode, the automation control acts as a second trim control. When the track has a bus envelope and the track automation mode is set to Read, the fader will follow the envelope during playback but cannot be adjusted. When the track has a bus envelope and the track automation mode is set to Touch or Latch, the fader edits the envelope setting at the cursor position. If the track does not have an envelope, one will be created when you adjust the fader.

If multiple tracks are selected, all selected tracks are adjusted.

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If you adjust the fader during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automating 5.1 surround projects on page 180.

Tips:
• Bus sends are pre-volume by default. To change to post-volume, right-click the bus fader and choose Post Volume from the shortcut menu. • If you want to apply track panning (including pan position and panning mode) to bus sends, right-click the bus fader and choose Link to Main Track Pan from the shortcut menu. When Link to Main Track Pan is not selected, the track sends a center-panned stereo signal using the track’s current panning mode.

Adding or removing track effect automation
If a plug-in supports automation, you can dynamically adjust effect parameters over time.

Adding or removing effect automation envelopes If a plug-in supports automation, you can use envelopes to adjust effect parameters over time. The appearance of the plug-in in the Plug-In Chooser window indicates whether the plug-in supports automation. Plug-ins with this icon ( plug-ins with this icon ( ) support automation, while ) do not. In addition, you can quickly locate plug-ins that support automation in the Automatable subfolder. ) on a track to open the Audio Plug-In window.

1. Click the Track FX button (

If no track effects exist, clicking the Track FX button displays the Plug-In Chooser. Use the Plug-In Chooser to create an effect chain including an automatable plug-in.

2. Click the Configure FX Automation button (

) to display the FX Automation Chooser.

3. Click a plug-in at the top of the FX Automation Chooser. A list of the effect’s automatable parameters appears. 4. Select the check box for each parameter that you want to control with an envelope. You can use the Select All and Select None
buttons to quickly change your selections to all or none of the parameters.

Note: If you're working with a 5.1 surround project, you can select the Enable check boxes to determine which channels will be affected by the plug-in. An automation envelope is added to the timeline for each selected channel so you can enable or bypass the plug-in during the project. If you want to use distinct plug-in settings for each channel (separate EQ settings for the front and surround speakers, for example), you can add multiple instances of the plug-in to the track effects chain and select the Enable check boxes for the channels you want each instance of the plug-in to affect.

5. Click OK to close the FX Automation Chooser.
Envelopes are displayed on the track for parameters that you selected in the FX Automation Chooser. To control which effect parameter envelopes are displayed on the track, click the arrow adjacent to the Track FX button ( ) and choose an envelope from the menu.

Tip: Press E to toggle through the display of all effect parameter automation envelopes.

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Adjusting effect automation settings You can adjust automated effect parameters by editing the envelopes in the timeline or by recording automation with the controls in the Audio Plug-In Window. If you’ve enabled the Bypass parameter for a plug-in, you can click the Bypass button in the plug-in's banner to toggle the Bypass envelope at the cursor position.

Note: When you automate an effect’s frequency parameter, such as the frequency parameters in the track EQ effect, you may notice that the frequency changes are more apparent when moving through the lower frequencies. This is because frequency scales in track EQ and other plug-ins use a logarithmic scale, but effect automation uses linear interpolation. To make the automated frequency changes sound more natural, change the fade curve types to change the interpolation rates between envelope points. For high-to-low frequency sweeps, use a fast fade curve; for low-to-high frequency sweeps, use a slow curve. For more information, see Changing envelope fade curves on page 178.

Composite level automation (video only)
You can use the composite level automation envelopes to adjust the opacity of a track over time.

Adding or removing composite level automation

1. Select a video track. 2. From the Insert menu, choose Video Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the
shortcut menu.

3. Choose Track Composite Level from the submenu or shortcut menu. 4. You can adjust the envelope by editing the envelope in the timeline or by adjusting the slider in the track header when Show
Automation Controls is selected.

Adjusting the composite level automation settings

1. Click the Automation Settings button
automation mode.

and select Show Automation Controls. The slider handle is displayed as a

in

2. Drag the slider to control the transparency or blending of each track. Left is 100% transparent
and right is 100% opaque. You can also double-click the percent to enter a specific value. • • • When the track automation mode is set to Off, the slider adjusts the send level of the entire track. In this mode, the automation control acts as a second trim control. When the track has a composite level envelope and the track automation mode is set to Read, the slider will follow the envelope during playback but cannot be adjusted. When the track has a composite level envelope and the track automation mode is set to Touch or Latch, the slider edits the envelope setting at the cursor position. If the track does not have an envelope, one will be created when you adjust the slider.

If multiple tracks are selected, all selected tracks are adjusted. If you adjust the slider during playback, the behavior varies depending on the selected automation recording mode. For more information, see Automating 5.1 surround projects on page 180.

Fade-to-color automation (video only)
Fade-to-color automation is used to fade a track between two colors. It can be used to fade a track to or from black, and if applied to the top video track, you can fade the entire project.

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Adding fade-to-color envelopes The fade color is chosen by moving the envelope towards the top or bottom of the track. You can add points to automate the fade.

1. Select a video track. 2. From the Insert menu, choose Video Envelopes, or right-click in the track list and choose Insert/Remove Envelope from the
shortcut menu.

3. Choose Track Fade to Color from the submenu or shortcut menu.
If the track already contains a fade-to-color envelope, it will be removed. If the track does not contain a fade-to-color envelope, it will be added with a setting of No Color (0%) for the duration of the track.

4. If you want to change the fade-to-color setting throughout the track, edit the envelope in the timeline. For more information, see
Working with track envelopes on page 176.

5. If you want to change the fade-to-color envelope by recording automation, click the Automation Settings button ( ) in the track
header and select Show Automation Controls to display automation controls. The Fade slider is available only in automation mode.

6. Drag the Fade slider.
The slider behaves differently when you change the track automation recording mode: • • • When the track automation mode is set to Off, the slider adjusts the fade level of the entire track. When the track automation mode is set to Read, the slider will follow the envelope during playback but cannot be adjusted. When the track automation mode is set to Touch or Latch, the slider edits the envelope setting at the cursor position.

For more information about track automation recording modes, see Automation recording modes on page 180.

Setting fade colors The default fade colors are determined by the Track fade top and Track fade bottom controls on the Video tab of the Preferences dialog. For more information, see Video tab on page 368.

1. To change the top or bottom color for a track, right-click the track header and choose Fade Colors from the shortcut menu. 2. Choose Top or Bottom from the submenu. A color picker is displayed. 3. Use the color picker to specify the new color. 4. Click OK. Adding a motion blur envelope
Motion blur can help you make computer-generated animation look more realistic. For example, if you use track motion or event pan/ crop to move a clip across the frame, each frame is displayed clearly when no motion blur is applied. Turning on motion blur adds a motion-dependent blur to each frame to create the appearance of smooth motion in the same way a fast-moving subject is blurred when you take a photograph with a slow shutter speed.

Note: Motion blur significantly increases your rendering time. Adjust the envelope to apply motion blur only where necessary. 1. Right-click the video bus track, choose Insert/Remove Envelope from the shortcut menu, and then choose Motion Blur Amount
from the submenu.

2. Add and adjust envelope points as necessary to set the time interval that will be used for blurring. Increasing the value emphasizes
the blur effect. For example, setting the envelope to 0 means no blurring will occur; setting the envelope to 1 second means that each frame will be blurred for one-half second before and after the frame.

3. The motion blur envelope affects all tracks. To bypass motion blur for a track, select the Bypass Motion Blur button (
header.

) in the track

4. To change blur type, choose a setting from the Motion blur type drop-down list on the Video tab in the Project Properties dialog.
This setting determines the shape of the blur and the opacity of the frames.

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Adding a video supersampling envelope
Video supersampling can improve the appearance of computer-generated animation by calculating intermediate frames between the project’s frame rate, allowing you to create smoother motion blurring or motion from sources such as track motion, event pan/crop, transitions, or keyframable effects.

Note: The effect of video supersampling is less apparent with video that contains fast motion, and supersampling cannot improve the
appearance of existing video.

1. Right-click the video bus track, choose Insert/Remove Envelope from the shortcut menu, and then choose Motion Blur
Subsampling from the submenu.

2. Add and adjust envelope points as necessary to indicate how many frames will be calculated between frames (using the project’s
frame rate) to create the blur.

Note: Video supersampling significantly increases your rendering time. For example, when you set the video supersampling envelope to 2, Vegas Pro software renders twice as many frames as it would without supersampling. Adjust the envelope to apply supersampling only where necessary.

Working with track envelopes
Envelopes represent volume, audio panning, opacity, and fade to color automation settings in the timeline. Track Type
Audio Audio Audio Audio Video Video

Envelope type
Volume Bus send volume Assignable effects send volume Pan Composite level Fade to color

Description
Controls track volume. Controls track level sent to bus. Controls track level sent to assignable effects control.

Color
Blue Lilac Green

Controls the position of a track in the stereo field (pan). Red Controls track opacity/transparency. Blue Controls fading of a track to color. Designate a top and Red bottom color by right-clicking the track, choosing Fade Colors from the shortcut menu, and choosing Top or Bottom from the submenu. Adds a motion-dependent blur to each frame to smooth computer-generated animation. Calculates intermediate frames between the project frame rate to create smooth motion blurring. Lilac Rust

Video bus Video bus

Motion blur Video supersampling

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Adding envelope points Once you add an envelope to a track, you can add points to it. These points are used to edit the envelope line in order to automate the control.

1. Place the mouse pointer on the envelope’s line. The pointer
changes to a hand icon ( ).

2. Right-click and choose Add Point from the shortcut menu or
double-click to add an envelope point. A square point appears on the envelope line.

Tip: You can use ripple editing to automatically

move envelope points as you edit in the timeline.
For more information, see Applying post-edit
ripples on page 113.


Drawing envelope points To create an envelope quickly, you can draw freehand envelope curves in the timeline.

1. With the Normal Edit

or Envelope

tool active, hover over an envelope.

2. Hold Shift, and then click and drag over the envelope. As you drag, a trail of envelope points is created. 3. Release the mouse button when you’re finished drawing.
If the Smooth and thin automation data after recording or drawing check box is selected on the External Control & Automation tab of the Preferences dialog, the number envelope points will be reduced when you release the mouse.
Unthinned envelope

Thinned envelope

Thinning envelope points Thinning envelope points decreases the number of points on an envelope while retaining the envelope’s overall settings. Right-click an envelope and choose Thin All Points from the shortcut menu to thin the entire envelope. To apply thinning to a section of the envelope, create a time selection, right-click the envelope, and then choose Thin Selected Points from the shortcut menu.

Note: Thinning is intended to reduce the number of envelope points created through automation recording and will have little or no effect if you create envelopes by adding and editing points manually.

Deleting envelope points You can delete a point by right-clicking it and choosing Delete from the shortcut menu. If you want to delete all envelope points, rightclick a point and choose Reset All from the shortcut menu.

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Moving envelope points Once you have added envelope points, you can raise and lower them to different levels along the timeline, or you can adjust the envelope’s location along the timeline by dragging it right or left. You can move one point at a time, even during playback and check the results in real time. If snapping is enabled, the envelope point snaps to time divisions as you drag. Hold Shift while dragging to override snapping.

Tip: You can move multiple envelope points at once using the Envelope Edit tool. For more information, see Using the Envelope Edit tool on page 179. 1. Place the mouse pointer on an envelope point. The pointer changes to a hand icon ( ). 2. Drag the point to the desired position. As you move an envelope point, a ToolTip displays both the point’s location on the timeline
and its decibel level/percent pan.

3. Click the Play (

) or Play From Start (

) button to play the project and check the timing of the envelope.

Tip: You can also set the value of the point by right-clicking an envelope point and choosing a setting from the shortcut menu.

Changing envelope fade curves You can set the type of fade curve used after each envelope point: linear, fast, slow, smooth, or sharp. You can select either a point or a portion of the envelope to set the fade curve. If you select a portion of the envelope, the fade curve is applied to that envelope segment. If you select a point, the fade curve is applied to the segment of the envelope after the selected point.

1. Right-click a point or a portion of the envelope to display a shortcut menu. 2. From the shortcut menu, choose the curve type. Tip: If you use the same fade curve frequently, you can set it as a default all new audio or video envelopes. For more information, see Editing tab on page 376.

Applying envelope fades within a time selection When you drag an envelope within a time selection, all envelope points within the selection are adjusted, and a fade can be applied to the beginning and end of the selection to smooth the transition.

1. Create a time selection. 2. Drag an envelope point or segment within the selection. All envelope points within the selection are adjusted as you drag, and
fades are applied to the beginning and end of the selection. Additional envelope points are created as necessary.

Selected envelopes

Fades are applied to the beginning and
end of the selection. Additional envelope
points are created as necessary.


By default, fades are centered on the beginning and end of the time selection. You can modify or turn off this setting on the Editing tab in the Preferences dialog.

Clear the Time selection envelope fades (ms) check box if you want to edit envelope points individually.
Type a value in the edit box (or use the spin control) to specify the length of the fades that will be created.
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Choose a setting from the Alignment drop-down list to indicate where the fade should be applied: Setting
Outside Centered Inside

Description
Fades are applied before and after the time selection. Fades are centered on the beginning and end of the time selection. Fades are applied to the beginning and end of the time selection.

Hiding track envelopes
After you have set your envelopes on the tracks, you can hide them from the timeline. Hiding track envelopes does not affect playback. The points that you set still automate the controls, even though the envelopes are not visible.

1. From the View menu, choose either Audio Envelopes or Video Envelopes. A submenu appears. Envelopes that are currently
displayed are selected in the submenu.

2. From the submenu, choose an envelope name. All envelopes in your project of that type no longer appear in the timeline. Tip: From the View menu, choose Show Envelopes (or press Ctrl+Shift+E) to toggle the display of all envelopes in the timeline.
If you’ve added effect automation envelopes to a track, the track can get cluttered. Click the down arrow next to the Track FX and choose an envelope from the drop-down list to select which envelope you want to display. button

Removing track envelopes
When an envelope is removed, the events on the track no longer have automated control and the envelope line no longer displays.

1. Select the track(s) from which you want to remove envelopes. 2. From the Insert menu, choose either Audio Envelopes or Video Envelopes. A submenu appears. Envelopes that are currently
displayed are selected.

3. From the submenu, click an envelope name. The envelope of that type is removed from the selected track.
Alternatively, right-click an empty area of a track, choose Insert/Remove Envelope from the shortcut menu, and choose an envelope type from the submenu to remove that envelope.

Note: When you remove a track envelope from a track and then add it again, all points are reset.

Using the Envelope Edit tool
You can also edit envelope points using the Envelope Edit tool. To use this tool, click the Envelope Edit Tool button ( ). The advantage of switching to this tool to edit envelopes is that events cannot be moved when this tool is selected, thereby protecting them from changes. This effectively locks all of the events and effects in a project while you modify envelopes.

Selecting and adjusting envelope points

1. Select the Envelope Edit Tool button ( 2. Click within a track to select it.

).

3. Drag along the timeline to select envelope points. 4. Drag the selected envelope points to a new position.

To deselect envelope points, click anywhere in the event that is not part of the envelope.

Drag to select envelope points.

Cutting, copying, and pasting envelope points

1. Select the Envelope Edit Tool button ( 2. Click within a track to select it.

).

3. Drag along the timeline to select envelope points.
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4. From the Edit menu, choose Cut or Copy. 5. Click to position the cursor where you want to paste envelope points. Click within a different track if you want to paste envelope
points to another track.

6. From the Edit menu, choose Paste. The envelope points are pasted in the new position.
Copying an envelope to another track

1. Select the Envelope Edit Tool button ( 2. Click within a track to select it. 3. From the Edit menu, choose Select All. 4. From the Edit menu, choose Copy. 5. Click within a track to select it. 6. Click Go to Start (

). The Envelope Edit tool is active.
The original envelope... ...and the newly pasted copy.

) if you want the envelope to appear exactly as it was in the original track, or click to position the cursor where you want the envelope to start.

7. From the Edit menu, choose Paste. The envelope is pasted on the track. Locking envelopes to events
Track envelopes extend for the length of a track and are independent of the events on the track. This means that the envelope remains in place when you move the events in the track. However, track envelopes can be set to move with the underlying events, thus preserving the timing of envelope points in relation to events. To lock all of the envelopes in a project to the events in which they occur, click the Lock Envelopes to Events button ( Options menu, choose Lock Envelopes to Events. You can turn this feature off by clicking the button again.
The original event

) or, from the

Moving the event with Lock Envelopes to Events turned on Moving the event with Lock Envelopes to Events turned off

Automating 5.1 surround projects
In a 5.1 surround project, you can automate the center channel’s volume and surround panning using keyframes. For more information, see Working with 5.1 Surround on page 235.

Automation recording modes
Automation recording allows you to edit envelope and keyframe settings by using the controls in the Vegas Pro interface. When combined with a control surface, you can create fades and adjust control parameters with a level of control that only a tangible control can provide. Automation recording is available for the following settings: • • • • • • Audio track envelopes (using the controls in the track header). Audio track effect parameters for automatable effects (using the controls in Audio Plug-In window). Surround panning keyframes. Video track envelopes (using the controls in the track header). Video track effect parameters (using the controls in Video Track FX window). Parent track overlay mode plug-in settings (using the controls in Parent Track Overlay window).

180 | CHAPTER 9

•

Track-level mask generator plug-in settings (using the controls in Video Mask FX window).

Note: If you want to thin envelope points after recording automation, you can select the Smooth and thin automation data after recording check box on the External Control & Automation tab of the Preferences dialog or right-click the envelope and choose Thin Points from the shortcut menu.

Recording automation settings 1. Add an envelope or automatable/keyframeable effect to a track.
For automatable audio track effects, you must add and effect automation envelope for each parameter you want to automate.

2. Click the Automation Settings button

in the track header and select Show Automation Controls.

3. Click the Automation Settings button and choose Automation Write (Touch) or Automation Write (Latch) from the menu.
Automation Recording Mode
Automation Write (Touch)

Track Icon

Description
Envelope points or keyframes are created only while a control is being adjusted. When you stop adjusting the control, automation recording stops and the existing envelope points/keyframes are unaffected. Envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control's current setting overwrites the existing envelope points/ keyframes.

Automation Write (Latch)

4. Click to position the cursor in the timeline, and click the Play button

to start playback.

5. Adjust the control that corresponds to the envelope point or keyframe you want to adjust.
During playback, adjusting a control will create envelope points or keyframes at the cursor position. As long as you're adjusting the control, new envelope points/keyframes will be created for each change of the play cursor's position.

6. Click Stop

to end playback and stop recording automation.

Editing sections of your recorded settings in Touch mode
In Touch recording mode, envelope points or keyframes are created only while a control is being adjusted. When you stop adjusting the control, automation recording stops and the existing envelope points/keyframes are unaffected. Use Touch mode for touching up sections of your recorded automation settings.

1. Click the Automation Settings button 2. Click the Automation Settings button
displayed as a .

in the track header and select Show Automation Controls. and choose Automation Write (Touch) from the menu. The icon in the track header is to start playback.

3. Click to position the cursor in the timeline, and click the Play button

4. When you’re ready to start editing, adjust the control that corresponds to the envelope point or keyframe you want to adjust.
Envelope points/keyframes are updated at the cursor position, and when you stop adjusting the control, the original settings are preserved.

5. Click Stop

to end playback and stop recording automation.

Overwriting recorded settings in Latch mode
In Latch mode, envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control’s current setting overwrites the existing envelope points/keyframes. Use Latch mode to overwrite automation settings with new values.

1. Click the Automation Settings button 2. Click the Automation Settings button
displayed as a .

in the track header and select Show Automation Controls. and choose Automation Write (Latch) from the menu. The icon in the track header is to start playback.

3. Click to position the cursor in the timeline, and click the Play button

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4. When you’re ready to start editing, adjust the control that corresponds to the envelope point or keyframe you want to adjust.
Envelope points/keyframes are updated at the cursor position until you stop playback.

5. Click the Stop button

to end playback and stop recording automation.

Editing individual envelope points or keyframes
Editing individual envelope points or keyframes gives you fine control over your recorded settings.

1. Click the Automation Settings button 2. Click the Automation Settings button 3. Select the parameter you want to edit:
• •

on the track you want to edit and select Show Automation Controls. and choose Automation Write (Touch) or Automation Write (Latch) from the menu.

and click the envelope point you want to edit. You can right-click a point and For a track envelope, select the envelope tool choose Properties from the shortcut menu to display an effect’s property page. For a keyframe, click the Expand/Collapse Track Keyframes button to expand track keyframe rows, and then double-click a keyframe to open its property page. For more information, see Using video effects on page 269.

4. Adjust the control that corresponds to the envelope point or keyframe you want to adjust. The selected envelope point/keyframe
is edited, and all others are unaffected. For track envelopes, you can also edit the envelope directly in the timeline.

Setting the automation recording mode for a track 1. Click the Automation Settings button 2. Click the Automation Settings button
Mode
Off

in the track header and select Show Automation Controls. and choose a command from the menu to choose the automation mode. Description
Automated parameters are ignored during playback. When you switch to Off mode, the control setting from the cursor position is used as a static setting, and the envelope/keyframe is dimmed to indicate that it is unavailable.

Track Icon

Read

The envelope/keyframe value is applied during playback, and the control reflects the envelope/keyframe settings at the cursor position. Adjustments to the control are not recorded. The envelope/keyframe value is applied during playback, and the control follows the envelope/keyframe settings during playback and when you position the cursor. Envelope points or keyframes are created only while a control is being adjusted. When you stop adjusting the control, automation recording stops and the existing envelope points/keyframes are unaffected.

Automation Write (Touch)

Automation Write (Latch)

The envelope/keyframe value is applied during playback, and the control follows the envelope/keyframe settings during playback and when you position the cursor. Envelope points or keyframes are created when you change a control setting, and recording continues until you stop playback. When you stop adjusting the control, the control's last setting overwrites the existing envelope points/ keyframes.

182 | CHAPTER 9

Chapter 10 Working with Events
Events are windows into media files in a project and are the most basic unit of editing in Vegas® Pro software. Media files that are inserted into the timeline are automatically contained within an event. Trimming and editing an event does not affect the source media file in any way.

Setting event switches
Event switches are important functions that are used to determine the basic behavior of events. You can set switches for a single event or multiple events at the same time.

1. Right-click an event. 2. From the shortcut menu, choose Switches, and choose the desired switch from the submenu.
Active switches have a check mark next to them. Choose an active switch on the menu to turn it off.

Tip: You can also set switches in the Edit menu, in the Edit Details window, or by right-clicking an event and choosing Properties.

Mute
Use the Mute switch to mute an event. This prevents the event from playing back. Muted events on muted tracks are darkened on the timeline to indicate their muted state. In the following example, the middle events are muted:

Lock
The Lock switch locks an event to prevent it from being moved or edited.

Loop
You can loop an event so that you can extend it along the timeline by dragging the right edge of the event. Notches appear in the top of the event to mark where the media in the event ends and then repeats.
Looping notches Drag the right edge to extend the event Selected event before loop Selected event after
loop is applied


For video events, turning off the Loop switch makes the last frame repeat for the duration of the event beyond its original length, creating a freeze frame effect (as in the middle example below). The Loop switch is enabled for the event in the last example below

WORKING WITH EVENTS | 183

The original three frame clip.

Looping is off. The elongated event repeats (freezes) the final frame.

Looping is on. The entire event repeats.

Invert phase (audio only)
This switch inverts the audio event at its baseline, in effect reversing its polarity. Inverting an event, while creating no audible difference, is occasionally useful for matching transitions when mixing audio on separate tracks or fine-tuning a crossfade. You can also phase invert a track. If a track is inverted and you invert an event on the track, the event is doubly-inverted (restored to its original state). For more information, see Phase inverting a track (audio only) on page 165.

Normalize (audio only)
You may normalize an event to maximize its volume, based on the waveform’s highest peak, without clipping the event during playback.

Selected event before normalize

Selected event after normalize is applied

Recalculating the normalization When you normalize an event, the event is analyzed and the volume is raised based on the waveform’s highest peak and then adjusts the rest of the event accordingly. If you have adjusted the edge of an event to exclude the (formerly) highest waveform peak, you may want to recalculate the event’s normalization.
Highest peak used for normalization before editing Highest peak used for recalculating the normalization Event edited after normalization

1. Right-click the event to display a shortcut menu. 2. From the shortcut menu, choose Properties. The Properties dialog opens. 3. Click Re-calculate to normalize the event again. Tip: You can set the maximum decibel level used to calculate the event during normalization. For more information, see Audio tab on
page 372. 184 | CHAPTER 10

Maintain aspect ratio (video only)
Video and image files of various sizes and formats can be included in a single project. The project itself may have a different frame size aspect ratio from the source media files. This is not a problem, but you must specify how these differences are handled. If the length-to­ width ratio of the source media and the project’s frame size are the same (for example, source media at 320x240 and project frame size of 640x480), no aspect ratio distortion occurs. If the ratios are not the same, the source material may become distorted (stretched or compressed). By maintaining the aspect ratio of the original, the video is kept from becoming distorted by letterboxing or pillarboxing around the edges. This is the default setting.

Reduce interlace flicker (video only)
This switch can be useful in cases where the source material didn’t originate as video and contains extremely high spatial or temporal frequencies. When you watch the rendered (interlaced) output on video of this sort of media, you may see flickering or crawling edges if this switch is not applied.

Resample (video only)
Resampling allows Vegas Pro software to interpolate frames in an event when the frame rate of a media file is significantly different from the project’s frame rate. Resampling may solve some interlacing problems and other jittery output problems. For more information, see Resampling video on page 258. Three options are provided for event-level resampling: • Smart resample: Only resamples the event when the event frame rate does not match the project output frame rate. This can occur either because the event has a velocity envelope or because the frame rate of the original media is different than the project frame rate. Smart resample is the standard setting. Force resample: Always resamples the event, regardless of its frame rate or the project’s frame rate. Disable resample: Does not resample the event.

• •

Accessing event properties
The properties of an event are automatically determined based on the properties of the source media file. In addition to the event switches (mute, loop, etc.) described in the previous section, event properties include playback and undersample rates for video and pitch shifting for audio.

1. Right-click an event to display a shortcut menu. 2. From the shortcut menu, choose Properties. The Properties dialog appears.
The first tab in the dialog, either Audio Event or Video Event, contains the properties that are exclusively related to your Vegas Pro
project. The second tab, the Media tab, contains many properties that are an inherent part of the media file itself.
In addition to the event switches discussed in this chapter, event properties on the Audio Event/Video Event tab include the following:
• • • For video events, the Playback rate box sets the rate of playback. For example, a playback rate of 1 plays at normal speed, while a playback rate of 0.5 plays at half speed. For more information, see Time compressing/stretching events on page 131. For video events, the Undersample rate box allows you to simulate a lower frame rate. For example, an undersample rate of 0.5 plays the event at half its original frame rate. Each frame plays twice as long as in the original media file, creating a strobe effect. For audio events, the Time stretch/pitch shift section of the dialog allows you to change the pitch, duration, or both pitch and duration of an audio event. For more information, see Pitch shifting audio events on page 130.

WORKING WITH EVENTS | 185

Adjusting audio channels
Vegas Pro software allows you to perform audio channel conversion nondestructively. You can mix channels, convert to mono, swap channels in a stereo file, or choose the channel that you want to use in a multichannel file.

1. Select an event and choose Channels from the Edit menu (or right-click an event and choose Channels from the shortcut menu). A
submenu is displayed.

2. Choose a command from the submenu to specify how to treat the channels in your file.
Item
Channel x Channels x/y Both Left Only Right Only Combine Swap

Description
Treats the event as a mono file using the audio from the channel you choose. Treats the event as a stereo file using the audio from the channels you choose. Treats the event as a normal stereo file. Creates a mono event using only the left channel of your media file. Creates a mono event using only the right channel of your media file. Creates a mono event by mixing the channels of your media file. After mixing the channels, the amplitude is divided by two to prevent clipping. Exchanges the right and left channels in a stereo file.

For events that use multichannel audio

For events that use stereo audio

You can also pan from one channel to the other using either the multipurpose slider or a pan envelope. For more information, see Adjusting stereo panning on page 162.

Setting audio streams
When you add a multistream audio file to your project, you can choose which stream you want to use in the event.

1. Select an audio event and choose Stream from the Edit menu (or right-click an event and choose Stream from the shortcut menu).
A submenu is displayed.

2. Choose a command from the submenu to choose the stream you want to use.

Copying and pasting event attributes
You’ve set up one event exactly the way you want it, and now you want to apply the same attributes to another event. A quick way to copy the attributes of one event and paste them onto another is provided. You can copy and paste multiple event attributes, including: • • • • Properties, including audio pitch shift and video playback rate Switches Video event plug-ins Cropping ).

1. Click the event with the attributes you wish to copy and click the Copy button (

2. To paste the event attributes to multiple events, select the events. For more information, see Selecting multiple events on page 98. 3. Right-click an event and choose Paste Event Attributes from the shortcut menu. The attributes are pasted onto the selected
event(s).

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Using audio event envelopes (ASR)
You can apply envelopes to individual events. Envelopes, also known as ASRs (attack, sustain, and release), give you the ability to control an audio event’s fade-in, fade-out, and overall volume level.

Notes:
• Event envelopes only affect an event. Track envelopes affect the entire track. For more information, see Composite level automation (video only) on page 174. • If you want to display fade lengths in selected events, select the Event Fade Lengths option on the View menu. When you add an event to your project, handles are added that are used to set the envelope. As you use these handles on audio events, a volume envelope appears indicating how the event is being affected.
Envelope handles Audio event envelope

Setting an audio event’s volume
When you place the mouse pointer at the top of the event, the pointer changes to a hand cursor ( ) that you can use to lower the event’s overall volume.

1. Place the mouse pointer at the top of the event. 2. When you see the envelope cursor ( ), drag the volume envelope to the desired level. As you drag, the event’s decibel level is
displayed.
You can make fine adjustments by holding Ctrl or clicking the right mouse button while dragging the envelope.

Volume line
Decibel level


Note: When you have multiple events selected, the gain of all selected events is adjusted simultaneously.

Setting an event’s fade in and out
The event handles allow you to change an audio event’s fade in and out volume. You can also change the type of curve that the event uses to control the volume’s fade in or out.

1. Place the mouse pointer on a handle (upper corners of the event). The pointer changes to the envelope cursor ( 2. Click the corner of the event and drag to create a fade.

).

To remove a fade, drag the end of the fade curve back to the edge of the event.

WORKING WITH EVENTS | 187

Changing an event’s fade curve You can set the shape of the fade curve (fast, linear, slow, smooth, or sharp) that an event uses to raise or lower the volume over time. To access the different fade curves, right-click anywhere in the event’s fade-in or fade-out region and choose Fade Type from the shortcut menu.
Right-click to select the fade curve type

Fast Linear Slow Smooth Sharp

Tip: If you use the same fade curve frequently, you can set it as a default for all new audio event envelopes. For more information, see Editing tab on page 376.

Using video event envelopes
Video envelopes allow you to control an event’s opacity or velocity over time. Envelopes appear as lines on an event. With a velocity envelope, you have the added control of being able to create and edit envelope points.

Note: Event envelopes only affect an event. Track envelopes affect the entire track. For more information, see Composite level
automation (video only) on page 174.


Using opacity envelopes
Opacity envelopes set the overall opacity and allow you to fade video events in and out. This affects the transparency of the event in relation to background events on lower tracks. These background events can be other video events or background colors. For more information, see Using generated media on page 275.

Setting a video event’s opacity When you place the mouse pointer at the top of the event, the pointer changes to a hand cursor ( ) that you can use to lower the event’s overall opacity.

1. Place the mouse pointer at the top of the event. 2. When you see the envelope cursor ( ), drag the opacity envelope to the desired level. As you drag, the event’s opacity level is
displayed. 188 | CHAPTER 10

You can make fine adjustments by holding Ctrl or clicking the right mouse button while dragging the envelope.

Note: When you have multiple events selected, the opacity of all selected events is adjusted simultaneously.

Setting an event’s fade in and out The event handles allow you to change a video event’s fade in and out. You can also change the type of curve that the event uses to control the fade in or out.

1. Place the mouse pointer on a handle (upper corners of the event). The pointer changes to the envelope cursor (

).

2. As you drag the cursor, the opacity envelope appears. Both the time in the event and the opacity level are displayed as you drag.

You can make fine adjustments by holding Ctrl or clicking the right mouse button while dragging the envelope.

Changing an event’s fade curve You can set the shape of the fade curve (fast, linear, slow, sharp, or smooth) that an event uses to increase or decrease the opacity over time. To access the different fade curves, right-click anywhere in the event’s fade-in or -out region and choose Fade Type from the shortcut menu.

Tip: If you use the same fade curve frequently, you can set it as a default for all new video event envelopes. For more information, see Editing tab on page 376.

Using velocity envelopes
You can use velocity envelopes to change the speed of a video event over time. To view a velocity envelope, right-click the event, choose Insert/Remove Envelope, and then choose Velocity from the submenu.

1. Right-click an event, choose Insert/Remove Envelope, and then choose Velocity from the submenu. The velocity envelope
appears on the event as a blue line.

2. To increase the speed, drag the envelope up. To slow the video down, drag the envelope down.
You can make fine adjustments by holding Ctrl or clicking the right mouse button while dragging the envelope.

WORKING WITH EVENTS | 189

Adding velocity envelope points When combined with points, envelopes can be used to animate velocity changes.

1. Double-click the envelope where you want to add a point. 2. Drag the point to adjust it. The time and velocity level of the point are displayed as you drag. 3. Right-click the envelope between two points to choose a fade type (linear, fast, slow, smooth, or sharp) to set the shape of the
curve.
Envelope points

Tip: To delete a point, right-click the point and choose Delete.
Making a video play at twice its normal speed makes the duration of the video half as long. Likewise, slowing a video down makes it longer (with 0% being an infinite freeze frame). For example, if you decrease the speed of a ten-second video event by 50%, only five seconds of video play (played over the course of the ten-second event), meaning that only half as much actual footage from the original event plays. On the other hand, if the speed is increased 200%, the ten seconds of content play in only five seconds. The remaining five seconds of the event are filled either with a freeze of the last frame or with ten additional seconds of video content from the longer file. You may want to resample the frame rate of an event that has been significantly slowed. To resample an event, right-click the event and choose Properties. Then, on the Video Event tab, select the Resample check box. For more information, see Resampling video on page 258.

Using the Envelope Edit Tool While you can edit envelopes using the Normal Edit tool ( ), you can limit your editing to envelopes only by clicking the Envelope Edit Tool button ( ). You cannot move, trim, or otherwise modify events with this tool, which allows you to edit envelope points without making any other unwanted changes. For more information, see Using the Envelope Edit tool on page 179.

Removing a velocity envelope To remove a velocity envelope and all of its settings, right-click the event, choose Insert/Remove Velocity Envelope, and then choose Velocity from the submenu.

Grouping events
You are allowed to group events together within tracks or across separate tracks. Once you create a group, you can move all the events in the group within their tracks as a unit and apply event-specific edits at the same time. You can still edit properties of individual events within a group without affecting the other events in a group.

Dragging one event in a group moves all events in the group.

Note: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group.
190 | CHAPTER 10

Creating a new group
Grouping is useful when you want to preserve timing of events and move events together along the timeline.

1. Select the events you want to group. For more information, see Selecting multiple events on page 98. 2. From the Edit menu, choose Group, and choose Create New from the submenu. Adding an event to an existing group 1. Right-click an event in the existing group, choose Group from the shortcut menu, and choose Select All from the submenu to
select all of the members of the group.

2. Press Ctrl and click the event to be added to the group. 3. Right-click the event, choose Group from the shortcut menu, and choose Create New from the submenu. Note: Events can only be in one group at a time. Adding an event to an existing group essentially clears the old group and creates a new one that includes all of the selected events.

Removing events from a group
You can remove individual events from a group without affecting the other members of the group. An event you remove from the group is not deleted from the project and remains on the timeline.

Note: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting,
copying, or deleting an event will affect all events in the same group.
1. Right-click the event you want to remove from the group. 2. From the shortcut menu, choose Group, and choose Remove From from the submenu. The event is removed from the group. The
rest of the grouped events remain intact.

Clearing a group
You may ungroup all events by clearing the entire group. Clearing a group does not remove events from your project.

1. Right-click one of the members of the group. 2. From the shortcut menu, choose Group, and choose Clear from the submenu. Selecting all members of a group
While grouped events move together within their tracks, selecting one member of a group does not automatically select every member of that group.

1. Right-click one of the members of the group. 2. From the shortcut menu, choose Group, and choose Select All from the submenu.
With all events in a group selected, you can move the group to other tracks, or cut and paste the group to a new location.

Suspending grouping temporarily
You can temporarily suspend the grouping behavior of all groups (including video media files with included audio streams) by clicking the Ignore Event Grouping ( ) button.

WORKING WITH EVENTS | 191

Cutting, copying, or deleting grouped events Note: When the Cut, copy, and delete grouped events check box on the Editing tab of the Preferences dialog is selected, cutting, copying, or deleting an event will affect all events in the same group. 1. Select the events you want to cut or delete. 2. From the Edit menu, choose Group, and choose Cut All, Copy All, or Delete All from the submenu. The selected events and any
events that are grouped with the selected events are deleted or copied/cut to the clipboard.

192 | CHAPTER 10

Chapter 11 Using the Mixer
The Mixer window is where you control the project’s busses and assignable effects chains.

Using the Mixer window
The Mixer is a dockable window where you can control audio busses and assignable effects chains within your project and adjust the outgoing signal’s volume and routing.

Viewing the Mixer window
The Mixer window appears in the window docking area by default when you first start Vegas Pro software. However, you can drag the Mixer within the workspace at any time to float it. For more information, see Window docking area and floating window docks on page 24. To hide/view the Mixer window, choose Mixer from the View menu or press Alt+3.
Preview (display optional) Busses Assignable effects

Float handle

Using the Mixer toolbar
The Mixer’s toolbar allows you to access project properties, add busses, and add assignable effects chains to the Mixer. Button Description
The Project Audio Properties button accesses the Audio tab of the Project Properties dialog. For more information, see Audio tab on page 360. The Downmix Output button downmixes your audio from 5.1 surround to stereo or from stereo to mono so you can ensure your mix will sound the way you intended it, even when your audience’s hardware has fewer channels than the original mix. The button represents the current playback mode: 5.1 surround output Stereo output Mono output The Dim Output button attenuates the volume of all busses that are routed to hardware outputs by 20 dB. Click again to restore original volume. The Insert Assignable FX button adds an assignable effects chain to your project. You can route tracks to the assignable effects chain. For more information, see Assigning audio tracks to assignable effects chains on page 200. The Insert Bus button adds a bus to your project. You can route tracks or assignable effects chains to the bus. For more information, see Assigning audio tracks to busses on page 198. USING THE MIXER | 193

Using the Mixer Preview fader
The Preview fader allows you to adjust the volume and monitor output levels of media files when you preview them from the Explorer or Project Media windows, or play them back from the Trimmer window. The Preview fader also controls the metronome volume. For more information, see Using the metronome on page 230.

Viewing/hiding the Preview fader The Preview fader is hidden as a default to make more room for other busses and assignable effects chains. To view or hide the Preview fader, simply right-click anywhere within the Mixer and choose Show Preview fader from the shortcut menu.

Adjusting the Preview fader You can adjust the Preview fader while you are previewing a media file from the Explorer window. Drag the fader up or down, or press Ctrl while dragging to move in smaller increments. Double-click the fader to reset it. You can select a preferred meter resolution at which the Preview fader displays the media file’s volume level. For more information, see Changing bus meter resolution on page 197. You can also adjust the Preview fader to correct clipping in the same way you adjust a bus. For more information, see Adjusting a bus for clipping on page 198.

194 | CHAPTER 11

Using busses
A bus is a master control for the audio-signal mix of one or more tracks. You can assign tracks to play back on a specific bus. For more information, see Assigning audio tracks to busses on page 198. However, to assign a track to a bus, you must have more than one bus in your project. Each project has a Master bus as a default, but you may add up to 25 additional busses to the Mixer window. A bus is the last stage in the signal’s flow through Vegas Pro software. For more information, see Audio signal flow on page 44. You can configure each bus to use a specific hardware output. For more information, see Audio tab on page 372. Bus control in Mixer window
Name Playback device Bus FX Solo Pan slider Fader Meter Mute Automation settings

Bus control

Bus control showing automation controls

Automation settings

The controls in the bus control list can function as trim controls or automation controls for bus volume, panning, and muting. Click the button and verify Show Automation Controls is not selected if you want the bus control to function as a trim control. Adjusting a trim control affects the entire track. Click the button and choose Show Automation Controls to adjust automation settings. For more information, see Using Automation on page 169. Prevents playback of the bus. When Show Automation Controls is selected, the button is displayed as a ,and you can use the button to edit mute automation on the bus’s bus track. For more information, see Muting a bus on page 198.

Mute

Solo Fader

Plays only the output of that bus. For more information, see Soloing a bus on page 198. Adjusts the bus’s volume on two stereo channels. When Show Automation Controls is selected, the thumb is displayed as a , and you can use the fader to edit volume automation on the bus’s bus track. For more information, see Adjusting bus volume on page 197.

Tip: Right-click the thumb and choose Pre FX or Post FX from the shortcut menu to specify whether the bus level is applied before or after the bus effects chain.
Name Pan Name of the bus. Double-click the name to edit it. For more information, see Naming or renaming a bus on page 198. Drag to ajust the overall panning of the track. When Show Automation Controls is selected, the thumb is displayed as a use the slider to edit pan automation on the bus’s bus track. Playback device Bus FX Meter Allows you to select the device that the bus uses for playback. Displays the Bus FX window and allows you to adjust the audio effects plug-ins. Displays the playback level of the bus. For more information, see Changing bus meter resolution on page 197. , and you can

USING THE MIXER | 195

Adding busses to a project
You can add up to 25 busses at any time during the development of your project.


Adding a bus
Click the Insert Bus button ( ) on the Mixer window.


Adding multiple busses

1. Click the Audio Properties button (

) on the Mixer window. The Project Properties dialog appears with the Audio tab displaying.

2. In the Number of stereo busses box, enter the desired number of busses (up to 25) to appear in the Mixer window.

Enter the number of busses.

3. Click OK to add the specified number of busses and close the Project Properties dialog.
The new busses appear in the Mixer window.

Deleting busses from a project
You can remove busses from your project at any time. When you remove a bus from a project, any tracks assigned to it are reassigned to the Master bus.

Deleting a bus Right-click the bus to be deleted in the Mixer window and choose Delete from the shortcut menu.

Deleting multiple busses

1. Click the Audio Properties button (

) on the Mixer window. The Project Properties dialog appears with the Audio tab displaying.

2. In the Number of stereo busses box, enter the desired number of busses to appear in the Mixer window. 3. Click OK. All tracks assigned to a deleted bus are reassigned to the Master bus in the Mixer window. Routing a bus to another bus
If you have multiple busses, you can use bus-to-bus routing to create subgroups.

1. Add busses to your project. For more information, see Adding busses to a project on page 196. 2. In the Mixer window, click the Playback Device Selector button on the bus you want to route and choose a bus from the menu.
• • • The button is displayed as a The bus letter is displayed ( The button is displayed as a , when a bus is routed to the master bus. , and so on) when a bus is routed to another bus. when a bus is routed to a hardware output.

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Routing busses to hardware
You can assign busses to use specific hardware for output. When you installed the software, it automatically detected the hardware available for output on your computer. For more information, see Audio tab on page 372.

1. From the Options menu, choose Preferences and click the Audio device tab. 2. From the Audio device type drop-down list, choose Windows Classic Wave Driver or an ASIO™ driver. Note: If you select Microsoft Sound Mapper in the Audio device type drop-down list on the Audio tab, you will not be able to assign the bus to a different device. 3. Click OK to close the Preferences dialog. 4. In the Mixer window, click the Playback Device Selector button on the bus you want to route. 5. Choose a hardware device from the menu.
• • • The button is displayed as a The bus letter is displayed ( The button is displayed as a , when a bus is routed to the master bus. , and so on) when a bus is routed to another bus. when a bus is routed to a hardware output.

Note: You can map multiple busses to a single sound card.

Working with busses
Busses in the Mixer window are fully independent and may be adjusted separately. You can adjust the bus volume, change the bus meter resolution, and adjust the bus fader to eliminate clipping.

Adjusting bus volume You can adjust a bus’s volume during project playback by dragging the fader. The fader on a stereo bus is split so that you can adjust the levels of the two stereo channels independently. The fader can function as a trim control that adjusts the overall level of the bus, or it can adjust volume automation settings on the bus track. Click the Automation Settings button and verify Show Automation Controls is not selected if you want the fader to function as a trim control.
The faders are locked (ganged) so that the left and right channels of stereo files move together. Click the Lock/Unlock Fader Channels
button (
) to unlock or lock the faders. You can also press Shift while dragging a fader to temporarily override a fader’s locked or unlocked state.

Tip: Double-click a fader to reset it to 0.0 dB. If you have set each channel independently, double-click either the left or right fader to have the other fader match the other’s volume setting.
If you want to adjust volume automation settings on the bus’s bus track, click the Automation Settings button and select Show Automation Controls. For more information, see Adjusting volume or pan automation settings on page 171. The fader handle is displayed as in Automation mode. You can adjust the volume of several busses simultaneously by selecting the busses and adjusting any of their faders. If you select an assignable effect along with the busses, the output fader of the assignable effect moves along with the bus volume faders.

Changing bus meter resolution You can select a meter resolution at which a bus displays the signal levels that are being mixed. When you change the meter resolution on this control, the other meters (assignable effects and preview) automatically change to match. To change bus meter resolution, right-click a meter and choose a meter resolution from the shortcut menu.

USING THE MIXER | 197

Adjusting a bus for clipping If the volume level is set too high, it may cause clipping. The clipping displays in red at the top of the meter with the clipping value displayed in decibels (dB). Adjust the fader and click the red clipping value to reset the meter. Continue to adjust the fader and reset the meter until you eliminate the clipping. You can set the meter to remember and display the highest and lowest levels by right-clicking and selecting Hold Peaks and Hold Valleys.

Muting a bus Muting allows you to temporarily suspend playback of the bus. When a bus is muted, the word Muted appears at the bottom of the meter. You can mute more than one bus at a time. The Mute button can mute the bus, or it can adjust mute automation on the bus’s bus track. To mute the bus, click the Automation Settings button and verify Show Automation Controls is not selected. Click the Mute button ( ) to mute the bus, and click it again to restore playback. To adjust mute automation, click the Automation Settings button and select Show Automation Controls. The Mute button is displayed as in Automation mode. Click to turn mute automation on, or click it again to turn mute automation off. For more information, see Adding or removing mute automation on page 170.

Soloing a bus Soloing isolates a bus’s playback so that you can focus on a specific output. You can solo more than one bus at a time. To solo the bus, click the Solo button ( ). Click the button again to turn off soloing.

Naming or renaming a bus Every bus in the Mixer window has an editable name.

1. Double-click the bus name.

2. Type a new name. 3. Press Enter to save the name.
Panning a bus Like volume, the pan slider in the track header can function as a trim control that adjusts the overall panning of the track, or it can adjust track panning automation settings. For more information, see Adding or removing volume or pan automation on page 170.

Assigning audio tracks to busses
If your project contains multiple busses, you can assign a track to a specific bus. For more information, see Assigning audio tracks to busses on page 163.

Adjusting a bus send level You can adjust the level of a track sent to a bus by using the multipurpose slider in the track list. For more information, see Assigning audio tracks to busses on page 163.

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Using assignable effects chains
Assignable effects allow you to send various levels of multiple tracks to a single audio effect chain. Like busses, these controls reside in the Mixer window and support plug-in chains. In addition, you can route assignable effects outputs to project busses. Click the Insert Assignable FX button ( see Adding Audio Effects on page 219. ) in the Mixer window to add an assignable effects chain to your project. For more information,

Assignable Effects in Mixer Window
Number/Name Mute Solo
Pan slider Assignable FX Bus
assignment Automation settings

Input Fader and Meter

Output
Fader and
Meter


Lock/Unlock Fader Channels

Assignable effects

Assignable effects showing automation controls

Number/Name Automation settings

Number and name of assignable effects. Double-click the name to edit it. The controls in the assignable effects control list can function as trim controls or automation controls for output level, panning, and muting. Click the button and verify Show Automation Controls is not selected if you want the bus control to function as a trim control. Adjusting a trim control affects the entire track. Click the button and choose Show Automation Controls to adjust automation settings. For more information, see Using Automation on page 169. Prevents the assignable effects chain from processing the track’s signal. When Show Automation Controls is selected, the button is displayed as , and you can use the button to edit mute automation on the chain’s bus track. Plays only the output of that assignable effects chain. Displays the Assignable FX window and allows you to adjust the plug-in settings. Drag to adjust the overall panning of the assignable effects chain. When Show Automation Controls is selected, the thumb is displayed as , and you can use the slider to edit pan automation on the chain’s bus track. Allows to you assign the assignable effects chain to a bus. Adjusts the input volume. Adjusts the output volume. When Show Automation Controls is selected, the thumb is displayed as use the fader to edit volume automation on the chain’s bus track. Displays the incoming and outgoing signal level to the assignable effects chain. Locks the faders so the left and right channels of stereo files always move together. Click again to unlock the faders. , and you can

Mute Solo Assignable FX Bus Pan Bus assignment Input Fader Output Fader Meter Lock/Unlock Fader Channels

Tip: To use the output fader to control the wet/dry mix of the assignable effects chain, set each plug-in to 100% wet. Use the output
(effects return) fader to balance the dry track signal with the wet plug-in signal.

You can work with assignable effects controls in much the same way you work with busses. Use the same methods described earlier in this chapter for adjusting volume, adjusting for clipping, muting, soloing, and renaming. For more information, see Working with busses on page 197.

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Assigning audio tracks to assignable effects chains
You can adjust the level of a track that is sent to an assignable effects chain using the multipurpose slider in the track list. For more information, see Assigning audio tracks to assignable effects chains on page 163.

Routing assignable effects chains to busses
When you add assignable effects to your project, you can assign them to a specific bus for output. The bus mixes the assignable effects chain’s plug-ins along with any tracks that may be routed to the same bus. For more information, see Audio signal flow on page 44. This option is only available if the project contains multiple busses. For more information, see Adding busses to a project on page 196.

1. Click the Bus button (
project.


) on the assignable effect control. A menu displays all the busses in your


2. Choose the bus to which you want to route the assignable effects chain.
The assignable effects chain displays the letter of the bus to which it is routed.

Automating busses and assignable effects
You can automate busses and assignable effect chains in the timeline. You can view each of these controls on bus tracks at the bottom of the timeline and to add envelopes to automate functions such as volume, pan, and assignable effect chain input/output levels. For more information, see Using Automation on page 169. You can also add envelopes to automate effect parameters for plug-ins that support automation. For more information, see Adding or removing effect automation envelopes on page 173.

Viewing bus tracks
From the View menu, choose Show Bus Tracks or press U. The bus tracks appear at the bottom of the timeline. A bus track appears for each bus or assignable effect chain in your project.

Adding track envelopes
Right-click the track header in the track list, choose Insert/Remove Envelope from the shortcut menu, and choose the appropriate envelope type from the submenu.

Modifying track envelopes
You can modify a track envelope for a bus or assignable effect in the same way you do with any other track. For more information, see Working with track envelopes on page 176.

200 | CHAPTER 11

Chapter 12 Using the Mixing Console
The Mixing Console provides an integrated view of all tracks and busses in your project using the appearance of a traditional hardware-based mixer. You can use the Mixing Console to mix your project in much the same way you work with a hardware-based mixer.

Understanding the Mixing Console window

From the View menu, choose Mixing Console to toggle the display of the Mixing Console window.

Toolbar

Channel List

View pane

Channel strips

The Mixing Console window is explained in the following sections.

USING THE MIXING CONSOLE | 201

The Mixing Console toolbar
The Mixing Console toolbar is displayed at the top of the Mixing Console window and allows you to quickly configure the window’s display; downmix audio; dim the output; or add tracks, assignable effects, or busses. Item
Properties and Layout

Description
Click the Properties and Layout button ( ) to open the Audio tab in the Project Properties dialog, or click the down arrow and choose a command from the menu: Audio Properties Displays the Audio tab in the Project Properties dialog. Show Channel List Channel Width Show Channels Displays or hides the Channel List on the left side of the Mixing Console window. Select a channel strip’s check box to display it in the Mixing Console, or clear a check box to hide a channel strip without removing it from your project. Choose a setting to indicate whether you want to view narrow, medium (default), or wide channel strips in the Mixing Console window. Choose a command to configure which channel strips are displayed in the Mixing Console window. • Show All Channels: Displays all channel strips in the Mixing Console. • Audio Tracks: Shows or hides audio track channel strips. • Audio Busses: Shows or hides auxiliary bus channel strips. • Assignable FX Busses: Shows or hides assignable FX channel strips. • Master Bus: Shows or hides the Master bus channel strip. • Preview Bus: Shows or hides the Preview bus channel strip. Show Control Regions Choose a command to configure which portions of the channel strips are displayed in the Mixing Console window. • Show All Control Regions: Displays all control regions. • Insert FX Control Region: Shows or hides the Insert FX control region. • Send Control Region: Shows or hides the Sends control region. • I/O Control Region: Shows or hides the I/O control region. • Peak Meters Control Region: Shows or hides Peak Meters. • Faders Control Region: Shows or hides volume faders. • Show Region Labels: Shows or hides labels in each portion of the channel strips. Vertical Channel Choose this command to toggle vertical display of buttons alongside or above the Controls fader in the Faders control region. Show Region Labels Meter Layout Choose this command to show or hide control region labels in channel strips. Choose Meter Defaults, and then choose a command from the submenu to reset clip indicators; set the display range; or display labels, peaks, or valleys in the channel meters.

Downmix Output

Downmixes your audio from 5.1 surround to stereo or from stereo to mono so you can ensure your mix will sound the way you intended it—even when your audience’s hardware has fewer channels than the original mix. The button represents the current playback mode: 5.1 surround output Stereo output Mono output

Dim Output Insert Audio Track

Attenuates the volume of all busses that are routed to hardware outputs by 20 dB so you can check your mix at a lower level (or answer the phone). Click again to restore volume. Adds an audio track to your project.

Insert Assignable FX Creates an assignable FX chain that you can route to one or more tracks in your project. To delete an assignable FX chain, right-click the assignable FX channel strip and choose Delete from the shortcut menu. Insert Bus Adds a bus to your project. The Audio tab in the Project Properties dialog is updated to reflect the new number of busses. To delete a bus, right-click the channel strip for the bus and choose Delete from the shortcut menu.

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The Channel List pane
The Channel List pane is displayed on the left side of the Mixing Console window.
To show or hide the window, click the down arrow next to the Properties and Layout button
and choose Show Channel List from the menu (or right-click the Mixing Console window and choose Show Channel List from the shortcut menu). The top of the Channel and Group List pane displays a listing of all tracks, busses, and assignable effects chains in your project. Select a channel’s check box to include it in the Mixing Console display, or clear a check box to hide the channel without removing it from your project. Clicking a track, bus, or assignable effects chain in the Channel List pane selects that channel. You can hold Ctrl or Shift to select multiple channels to perform ganged edits.

The View pane
The View pane is displayed on the left side of the Mixing Console window. If the Channel List pane is visible, the View pane is displayed between the Channel List pane and the Channels pane. You can use the buttons in this pane to show or hide components in the Mixing Console. Item
Show All Tracks Busses FX Sends Master Preview Insert FX Sends I/O Meters Faders Meter Range

Description
Click to show channel strips for all tracks, busses, and assignable effects chains. Click to show or hide channel strips for audio tracks. Click to show or hide channel strips for busses. Click to show or hide channel strips for assignable effects chains. Click to show or hide the channel strip for the Master bus. Click to show or hide the channel strip for the Preview bus. Click to show or hide the insert effects control region in channel strips. Click to show or hide the sends control region in channel strips. Click to show or hide the I/O control region in channel strips. Click to show or hide the peak meters control region in channel strips. Click to show or hide the Faders control region in channel strips. Drag the slider to adjust the range of all meters in the Mixing Console.

Tip: You can also right-click a meter and choose a range from the shortcut menu.
Channel Width Click to display narrow , default , or wide channel strips.

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Channel strips
Tracks, busses, and assignable effects chains are displayed as channel strips in the Mixing Console.

Tips:
• If you want to change the order in which tracks are displayed, you can click the channel label and drag a channel strip to a new location. Busses and assignable effects chains cannot be reordered. • Hover over a fader and roll your mouse wheel to change its setting. • To edit a fader value quickly, you can double-click the displayed value to type a new value. • Hold Ctrl while dragging a fader to move it in fine increments.

Item
Insert FX Control Region Insert FX Control Region Sends Control Region Sends Control Region I/O Control Region I/O Control Region Peak Meters Control Region

Description
The Insert FX control region displays the insert effects chain for a track or bus. The Sends control region displays controls for routing tracks to busses or assignable effects chains. For assignable effects chains, the Send Region also displays an input fader and meter. The I/O control region allows you to choose the recording input for a track or route a channel to a bus or hardware output. The Peak Meters control region displays peak meters you can use to monitor instantaneous levels during playback and determine the loudest level in your audio signal. Note: To change the range of all meters in the Mixing console, drag the Meter Range slider in the View pane (or right-click a meter and choose a range from the shortcut menu).

Peak Meters Control Region Faders Control Region

The Faders control region allows you to control a channel's gain. • Audio track channels display controls for the track automation mode, arm for record, input monitor mode, mute, solo, pan, track gain, and phase. • Bus channels display controls for the bus automation mode, mute, solo, pan, bus gain, and pre/post fader effects processing. • Assignable effects channels display controls for the bus automation mode, mute, solo, pan, bus gain, and pre/post fader effects processing. If the Meter Region is not visible, the Fader Region also displays a peak meter.

Faders Control Region

Channel Label

Channel Label

The Channel Label displays the name of the track or bus. Double-click to edit the name.

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Adding track, assignable FX, and bus channels
In its default configuration, the Mixing Console displays a channel for each track, bus, and assignable effects chain in your project. You can use the buttons on the Mixing Console Toolbar to add tracks, assignable effects chains, or busses to your project: Item
Insert Audio Track

Description
Adds an audio track to your project. Insert Assignable FX Creates an assignable FX chain that you can route to one or more tracks in your project. To delete an assignable FX chain, right-click the assignable FX channel strip and choose Delete from the shortcut menu. Insert Bus Adds a bus to your project. The Audio tab in the Project Properties dialog is updated to reflect the new number of busses. To delete a bus, right-click the channel strip for the bus and choose Delete from the shortcut menu.

Using audio track channel strips
A separate channel strip is displayed for each audio track in your project. Each channel strip mirrors controls that are displayed in the track header. To show or hide audio track channel strips, click the Tracks button in the View pane.

Changing a track’s name
To rename a track, double-click the track label at the bottom of the channel strip and type a new name in the box (or press F2 to rename the selected track). The channel strip in the Mixing Console and the track header are updated when you press Enter.

Adding or editing track (insert) effects
When the Insert FX control region is visible, each track displays its effects chain at the top of the channel strip. To show or hide the Insert FX control region, click the Insert FX button in the View pane.

Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name.

Tip: When the Insert FX control region isn't visible, you can click the Track FX button Plug-In window for the track’s effects chain.

in the Faders control region to display the Audio

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Adding a plug-in Click the button and then choose a new plug-in from the menu to add a new plug-in to the effects chain.

Editing effects settings Click an effect’s button to display the Audio Plug-In window, where you can adjust the plug-in’s settings. When you right-click an effect's button, a shortcut a menu is displayed: • • Choose Show <Plug-In Name> to open the Audio Plug-In window, where you can adjust the plug-in's controls. Choose Bypass <Plug-In Name> to temporarily bypass a plug-in. When an effect is bypassed, its button is displayed in red text.

• • •

Choose Remove <Plug-In Name> to remove a plug-in from the track effects chain. Choose Presets, and then choose a setting from the submenu to load a new preset. To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.).

Adjusting bus or assignable effects send levels
When the Sends control region is visible, each track displays controls you can use to route the track to busses and assignable effects chains. To show or hide the Sends control region, click the Sends button in the View pane.

When the Automation Settings button in the Faders control region is not selected, click the Active Send button and choose a bus or assignable effects chain from the menu, and then drag the fader to adjust the send level. When the Automation Settings button in the Faders control region is selected, the fader handle is displayed as a it to edit send volume automation on the track. , and you can use

Notes:
• The trim level is added to the automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB. • To adjust the size of the Sends control region, you can drag the bottom divider to make more or fewer sends visible. Bus sends are pre-volume (and pre-mute) by default. To change to post-volume (and post-mute), click the Pre/Post button to switch to Post Volume Send mode.

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Change a track’s input or output device
When the I/O control region is visible, each track displays controls you can use to set the track's input device (for recording) and output device. To show or hide the I/O control region, click the I/O button in the View pane.

To choose the recording input for the track, click the Input button and choose a port from the menu. To route a track to a bus, click the Output button and choose a bus from the menu.

Monitoring track levels When the Meters control region is visible, each track displays meters you can use to monitor track levels. To show or hide the Meters control region, click the Meters button in the View pane.

Note: If the Meters control region is not visible, peak meters are displayed in the Faders control region.
Right-click the meter and choose a setting from the shortcut menu to change the resolution and display options.

Changing a track’s automation mode
When the Faders control region is visible, each track displays controls you can use to adjust track panning, volume and muting. The controls can adjust static (trim) or automation levels. Use the Automation Settings button at the top of the Faders control region to choose the automation mode and turn automation on or off. To show or hide the Faders control region, click the Faders button in the View pane.

To change a track’s automation recording mode, click the down arrow setting from the menu.

next to the Automation Settings button

and choose a

Click the button (so the Automation Settings button is not selected) if you want the Fader control region controls to function as trim controls. Adjusting a trim control affects the entire track. When the Automation Settings button is selected, you can use the buttons to edit pan, volume, and mute automation for the track.

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Muting or soloing a track
When the Faders control region is visible, each track displays Mute and Solo buttons. To show or hide the Faders control region, click the Faders button in the View pane.

Muting a track When the Automation Settings button is not selected, you can click the Mute button to prevent a track from being played in the mix. Click the Mute button on additional tracks to add them to the mute group. To unmute a track, click the Mute button again. When the Automation Settings button automation. is selected, the Mute button is displayed as , and you can use the button to edit mute

Soloing a track Click the Solo button to mute all unselected tracks. Click the Solo button on additional tracks to add them to the solo group. To remove a track from the solo group, click its Solo button again.

Inverting a track’s phase
When the Faders control region is visible, each track displays an Invert Track Phase button To show or hide the Faders control region, click the Faders button in the View pane. .

Click the Invert Track Phase button

to reverse the phase of all events on an audio track.

Although inverting data does not make an audible difference in a single file, it can prevent phase cancellation when mixing or
crossfading audio signals.
Select multiple tracks to invert several tracks simultaneously.


Note: If the Invert event switch is selected, inverting the phase of the track will return the event to its original phase.

208 | CHAPTER 12

Arming a track for recording or toggle input monitoring
When the Faders control region is visible, each track displays an Arm for Record button can use to turn record input monitoring on or off.
To show or hide the Faders control region, click the Faders button in the View pane.
and an Input Monitor Mode button you

Arming tracks for recording Select the Arm for Record buttons on the tracks where you want to record. Arming a track enables it for recording.

When a track is armed, the track meter displays the track’s level. If input monitoring is not on, the meter displays the level of your input source. If input monitoring is turned on, the meter shows the level of the input source plus the track effects chain.

Toggling record input monitoring Click the Input Monitor Mode button and choose a command from the menu.

Note: This button is available only when you’re using a low-latency audio device that supports input monitoring.
or To turn on input monitoring, click the Input Monitor Mode button and choose and then choose Input Monitor Mode: On from the menu. During recording, your signal will be played back with the current track effects chain, but Input Monitor Mode: Auto a dry (unprocessed) signal is recorded. is selected, the behavior is similar to Auto mode, but you will always hear the input monitor during recording—monitoring When On is not toggled on and off when recording in to a selected event. is selected, you will hear the input monitor signal when playback is stopped and during recording. If you’re recording When Auto into selected events, you’ll hear the input monitor signal only when the cursor passes over the selected events.

Important: Your ability to monitor effects in real time is dependent on your computer’s performance. Effect automation envelopes are
bypassed during record monitoring.

Adjusting track panning or volume

When the Faders control region is visible, each track displays a Pan slider and a Volume fader.
To show or hide the Faders control region, click the Faders button in the View pane.


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Adjusting panning When the Automation Settings button is not selected, you can drag the Pan slider to control the position of the track in the stereo field: dragging to the left will place the track in the left speaker more than the right, and dragging to the right will place the track in the right speaker. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation. is selected, the Pan slider handle is displayed as a , and you can use it to edit pan

Note: The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For
example, setting the trim control to 9% left has the same effect as moving every envelope point 9% to the left.

Adjusting volume When the Automation Settings button track. is not selected, you can drag the Volume fader to control the overall (trim) volume of the

You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation. is selected, the Volume fader handle is displayed as a , and you can use it to edit volume

Note: The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB.

Using bus channel strips
A separate channel strip is displayed for each bus in your project.
To show or hide channel strips for busses, click the Busses button in the View pane.


Changing a bus’s name
To rename a bus, double-click the label at the bottom of the channel strip and type a new name in the box (or press F2 to rename the selected bus). The channel strip in the Mixing Console is updated when you press Enter.

210 | CHAPTER 12

Adding or editing bus (insert) effects
When the Insert FX control region is visible, each bus displays its effects chain at the top of the channel strip. To show or hide the Insert FX control region, click the Insert FX button in the View pane.

Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name.

Tip: When the Insert FX control region isn't visible, you can click the Bus FX button Plug-In window for the bus effects chain.


in the Faders control region to display the Audio


Adding a plug-in Click the button and then choose a new plug-in from the menu to add a new plug-in to the effects chain.

Editing effects settings Click an effect’s button to display the Audio Plug-In window, where you can adjust the plug-in’s settings. When you right-click an effect’s button, a shortcut a menu is displayed: • • • • • Choose Show <Plug-In Name> to open the Audio Plug-In window, where you can adjust the plug-in's controls. Choose Bypass <Plug-In Name> to temporarily bypass a plug-in. When an effect is bypassed, its button is displayed in red text. Choose Remove <Plug-In Name> to remove a plug-in from the effects chain. Choose Presets, and then choose a setting from the submenu to load a new preset. To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.).

Adjusting bus send levels
When the Sends control region is visible, each bus displays controls you can use to route the bus to assignable effects chains or to
busses that are routed to hardware outputs.
To show or hide the Sends control region, click the Sends button in the View pane.
When the Automation Settings button
in the Faders control region is not selected, click the Channel Send button and choose a bus or assignable effects chain from the menu, and then drag the fader to adjust the send level. When the Automation Settings button in the Faders control region is selected, the fader handle is displayed as a it to edit send volume automation on the bus track. , and you can use

Notes:
• The trim level is added to the automation settings so your envelope is preserved, but with a boost or cut applied. For example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB. • To adjust the size of the Sends control region, you can drag the bottom divider to make more or fewer sends visible. Bus sends are post-volume (and post-mute) by default. To change to pre-volume (and pre-mute), click the Pre/Post button to switch to Pre-Volume Send mode.

Changing a bus’s output device
When the I/O control region is visible, each bus displays controls you can use to set the bus's output device. To show or hide the I/O control region, click the I/O button in the View pane.
USING THE MIXING CONSOLE | 211

To choose an output device, click the Output button and choose a bus or hardware output from the menu.

Important: When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you
render your project.

Monitoring bus levels
When the Meters control region is visible, each bus displays meters you can use to monitor output levels.
To show or hide the Meters control region, click the Meters button in the View pane.
If the Meters control region is not visible, peak meters are displayed in the Faders control region.
Right-click the meter and choose a setting from the shortcut menu to change the resolution and display options.


Muting or soloing a bus
When the Faders control region is visible, each bus displays Mute and Solo buttons. To show or hide the Faders control region, click the Faders button in the View pane.

Muting a bus When the Automation Settings button is not selected, you can click the Mute button to prevent a bus from being played in the mix. Click the Mute button on additional busses to add them to the mute group. To unmute a bus, click the Mute button again. When the Automation Settings button automation on the bus track. is selected, the Mute button is displayed as , and you can use the button to edit mute

Soloing a bus Click the Solo button to mute all unselected busses. Click the Solo button on additional busses to add them to the solo group. To remove a bus from the solo group, click its Solo button again.

Adjusting bus panning or volume
When the Faders control region is visible, each bus displays a Pan slider and a Volume fader. To show or hide the Faders control region, click the Faders button in the View pane.

Adjusting panning When the Automation Settings button is not selected, you can drag the Pan slider to control the position of the bus in the stereo field: dragging to the left will place the bus in the left speaker more than the right, and dragging to the right will place the bus in the right speaker. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation on the bus track. is selected, the Pan slider handle is displayed as a , and you can use it to edit pan

The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For example, setting the trim control to 9% left has the same effect as moving every envelope point 9% to the left. 212 | CHAPTER 12

Adjusting volume When the Automation Settings button is not selected, you can drag the Volume fader to control the overall (trim) volume of the bus.

You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation on the bus track. is selected, the Volume fader handle is displayed as a , and you can use it to edit volume

Note: The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied. For
example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB.


Changing pre/post routing
The Pre/Post-Fader Send button in the Sends control region and the Pre/Post Fader Insert FX button work together to determine the signal flow for your busses. in the Faders control region

The Pre/Post Fader Insert FX button allows you to indicate whether the insert FX chain is affected by the channel's gain fader. When set to Post Fader Insert FX , the FX chain is affected by the channel’s gain. When set to Pre Fader Insert FX , the FX chain is not affected by the channel’s gain fader, which is essential on the master bus when using plug-ins that dither the audio for final rendering. The Pre/Post Fader Send button allows you to create cue mixes that are not affected by the gain (or mute/pan) stages of the bus or track. • • • • When Pre Fader Insert FX pan — bus volume. When Pre Fader Insert FX volume — bus send. When Post Fader Insert FX volume — bus effects. When Post Fader Insert FX effects — bus send. and Pre Fader Send are selected, your audio signal flows as follows: bus effects — bus send — bus and Post Fader Send are selected, your audio signal flows as follows: bus effects — bus pan — bus and Pre Fader Send are selected, your audio signal flows as follows: bus send — bus pan — bus and Post Fader Send are selected, your audio signal flows as follows: bus pan — bus volume — bus

Using FX send (assignable effects) channel strips
A separate channel strip is displayed for each FX send (assignable effects chain) in your project. To show or hide channel strips for assignable effects, click the FX Sends button in the View pane.

Changing an assignable effect chain’s name
To rename an assignable effects chain, double-click the label at the bottom of the channel strip and type a new name in the box (or press F2 to rename the selected assignable effects chain). The channel strip in the Mixing Console is updated when you press Enter.

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Adding or editing effects
When the Insert FX control region is visible, each assignable effects chain displays its effects at the top of the channel strip.
To show or hide the Insert FX control region, click the Insert FX button in the View pane.
Each effect is displayed as a button. You can hover over the button to see a ToolTip that displays the full plug-in and preset name.


Adding a plug-in Click the button and then choose a new plug-in from the menu to add a new plug-in to the effects chain.

Editing effects settings Click an effect’s button to display the Audio Plug-In window, where you can adjust the plug-in’s settings. When you right-click an effect’s button, a shortcut a menu is displayed: • • Choose Show <Plug-In Name> to open the Audio Plug-In window, where you can adjust the plug-in's controls. Choose Bypass <Plug-In Name> to temporarily bypass a plug-in. When an effect is bypassed, its button is displayed in red text.

• • •

Choose Remove <Plug-In Name> to remove a plug-in from the effects chain. Choose Presets, and then choose a setting from the submenu to load a new preset. To replace the current plug-in, right-click the effect’s button, and then choose a new plug-in from the menu. Plug-ins are organized in submenus by type (EQ, Dynamics, Reverbs, etc.)

Adjusting assignable effects input levels
When the Sends control region is visible, each assignable effects chain displays controls you can use to adjust and monitor the input volume of the effects chain. To show or hide the Sends control region, click the Sends button in the View pane.

Changing an effects chain’s output device
When the I/O control region is visible, each assignable effects chain displays controls you can use to set the chain’s output device.
To show or hide the I/O control region, click the I/O button in the View pane.
To choose an output device, click the Output button and choose a bus from the menu.


Monitoring output levels
When the Meters control region is visible, each assignable effects chain displays meters you can use to monitor output levels.
To show or hide the Meters control region, click the Meters button in the View pane.
If the Meters control region is not visible, peak meters are displayed in the Faders control region.
Right-click the meter and choose a setting from the shortcut menu to change the resolution and display options.


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Muting or soloing an assignable effects chain
When the Faders control region is visible, each assignable effects chain displays Mute To show or hide the Faders control region, click the Faders button in the View pane. and Solo buttons.

Muting an assignable effects chain When the Automation Settings button is not selected, you can click the Mute button to prevent an assignable effects chain bus from being played in the mix. Click the Mute button on additional chains to add them to the mute group. To unmute a chain, click the Mute button again. When the Automation Settings button automation on the bus track. is selected, the Mute button is displayed as , and you can use the button to edit mute

Soloing an assignable effects chain Click the Solo button to mute all unselected assignable effects chains and busses. Click the Solo button on additional assignable effects chains or busses to add them to the solo group. To remove a chain from the solo group, click its Solo button again.

Adjusting assignable effects panning or volume

When the Faders control region is visible, each bus displays a Pan slider and a Volume fader.
To show or hide the Faders control region, click the Faders button in the View pane.


Adjusting panning When the Automation Settings button is not selected, you can drag the Pan slider to control the position of the bus in the stereo field: dragging to the left will place the bus in the left speaker more than the right, and dragging to the right will place the bus in the right speaker. You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation on the bus track. is selected, the Pan slider handle is displayed as a , and you can use it to edit pan

Note: The trim level is added to the pan automation settings so your panning envelope is preserved, but with an offset applied. For
example, setting the trim control to 9% left has the same effect as moving every envelope point 9% to the left.


Adjusting volume When the Automation Settings button is not selected, you can drag the Volume fader to control the overall (trim) volume of the bus.

You can hold Ctrl while dragging the slider to adjust the setting in finer increments, or double-click the slider to return it to 0. When the Automation Settings button automation on the bus track. is selected, the Volume fader handle is displayed as a , and you can use it to edit volume

Note: The trim level is added to the volume automation settings so your envelope is preserved, but with a boost or cut applied. For
example, setting the trim control to -3 dB has the same effect as decreasing every envelope point by 3 dB.


USING THE MIXING CONSOLE | 215

Creating a Cue (Headphone) Mix with the Mixing Console
When you’re recording, you’ll often need to create separate monitor mixes: the performer in the recording booth may need a slightly different mix than you’re listening to in the control room. The flexibility of the Mixing Console makes it easy to create custom cue mixes. When you start a new project, all audio tracks are routed to the master bus. Let’s assume that you’re using the master bus for your main mix. If you have a sound card with multiple hardware outputs, you can create alternative mixes that you can send to hardware outputs without changing your main mix.

1. First, go to the Audio Device tab in the Preferences dialog and ensure you have a multiple-output device selected in the Audio
device type drop-down list. For more information, see Audio Device tab on page 373.

2. On the Audio tab of the Preferences dialog, clear the Track prefader sends listen to mute check box. For more information, see
Audio tab on page 372.

3. If the Mixing Console isn’t already visible, choose Mixing Console from the View menu. 4. First, let’s click the Insert Bus button
to give our bus a more descriptive name. in the Mixing Console window to create a new bus for our alternative mix.

5. By default, the bus is named Bus A. Let’s double-click the bus label in the mixer window and type “Mark’s Headphones” in the box

6. Now we need to route our headphone bus to one of our sound card’s outputs. a. In the Mixing Console, click the Output button in the I/O control region on the cue mix bus. A menu is displayed that lists all of
our sound card’s outputs.

Tip: To show or hide the I/O control region, click the I/O button in the View pane. b. Choose the output where you want to send the headphone mix. c. Connect the performer’s headphones to the selected output.

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7. Now we need to create our headphone mix. a. If the Sends control region isn’t already visible, click the Sends button in the View pane. Notice that each track now has a send
for Mark’s Headphones (Bus A). If you have multiple busses in your project, you can adjust the height of the Sends control region until all sends are visible, or you can click the Channel Send button for each track and choose Mark’s Headphones (Bus A) from the menu.

b. Click the Pre/Post in each track’s Sends control region to select Pre Volume Send mode. When bus sends are pre-volume, the
cue mix is independent of the main mix.

c.

Drag the fader on each track’s channel strip to adjust the level of the track that is sent to the headphone mix bus. If multiple tracks are selected, you can adjust their bus-send levels at the same time.

Right-click the bus send fader in the track header in the main application window and choose Link to Main Track Pan from the shortcut menu. When this command is selected, track panning is applied to bus sends (including pan position and panning mode). When Link to Main Track Pan is not selected, the track sends a center-panned stereo signal using the track’s current panning mode. If you want to exclude a track from the headphone mix, just set its send to -Inf. You can use the channel strip for the headphone mix bus in the Mixing Console window to adjust the level of the headphone mix, add effects to the mix, or mute and solo the mix. For more information, see Using bus channel strips on page 210. If you need to create multiple mixes, you can add up to 26 busses to the Mixing Console window and repeat the procedure described in this topic.

USING THE MIXING CONSOLE | 217

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Chapter 13 Adding Audio Effects
You can use audio effects, or plug-ins, to improve the quality of the audio in a production or to create special artistic effects. Vegas® Pro software supports a variety of DirectX® and VST plug-in effects from both Sony Creative Software Inc. and third-party vendors.

Using audio effects
There are three ways to use audio plug-ins: track effects, bus effects, and assignable effects. You can access these plug-ins by clicking the Track FX, Bus FX or Assignable FX buttons ( ). The combination of these various methods of applying audio effects is important to the final mix of a project. For more information, see Audio signal flow on page 44.
Track FX Bus FX Assignable FX

• •

Track effects are applied to all events in a single track. Bus effects are applied to a bus (including the Master bus). When you add plug-ins to a bus, the tracks that are assigned to the bus are processed by the plug-in(s). Since multiple tracks can be assigned to a single bus, using buslevel audio effects is an efficient method of applying carefully customized chains of audio effects to multiple tracks. If plug-ins are assigned at the track level, the track’s signal flows through the track’s plug-in(s) before the bus plug-ins. For more information, see Using busses on page 195. Assignable effects allow you to send various levels of multiple tracks to a single effect chain. Like busses, these controls reside in the Mixer window and support plug-in chains. In addition, assignable effects outputs can be routed to busses. Click the Insert Assignable FX button ( ) in the Mixer window to add an assignable effect chain to your project. For more information, see Using assignable effects chains on page 199.

•

Using plug-in chains
A plug-in chain is a sequence of plug-ins to be applied to tracks, busses, or assignable effects. A plug-in chain can contain one or more plug-ins. The same plug-in can be added to a chain more than once. After the plug-in chain is created, the audio is processed by each plug-in in order. The plug-ins are cumulative so, in some cases, you may want to rearrange their order to achieve the desired effect.

Plug-ins in a chain

Notes:
• To add effects quickly, you can drag plug-ins and plug-in packages from the Plug-In Manager window to an audio or video track header. • If you’re working with a 5.1 surround project, you can use distinct plug-in settings for each channel (separate EQ settings for the front and surround speakers, for example) using effect automation. Add multiple instances of the plug-in to the track effects chain and select the Enable check boxes in the FX Automation Chooser for the channels you want each instance of the plug-in to affect.

ADDING AUDIO EFFECTS | 219

Important: Be aware that using non-in-place audio plug-ins (such as Time Stretch, Pitch-Shift without preserving duration, and some Vibrato settings) will cause audio to play out of synchronization with the waveform display in the timeline and with other tracks. If an effects chain includes non-in-place plug-ins, the effects chain icon will be displayed as a .
When input monitoring is on during audio recording, plug-in chains that cannot be used for live monitoring are automatically bypassed and are displayed as a .

Creating a plug-in chain
Audio tracks have a built-in plug-in chain with three default plug-ins applied as a default. For bus effects and assignable effects, however, you must first create a plug-in chain.

Creating a bus effects plug-in chain

1. Click the Bus FX button (

) on a bus in the Mixer window. The Plug-In Chooser dialog appears. ) in the upper-right corner to close the

2. Select a plug-in and click OK. The Audio Plug-In window displays with your selected plug-in as the first in the new plug-in chain. 3. Adjust the settings for the plug-in to create the desired effect and click the Close button (
window.

Creating an assignable effects plug-in chain

1. Click the Insert Assignable FX button (

) on the Mixer window. The Plug-In Chooser dialog appears. ) in the upper-right corner to close the

2. Select a plug-in and click OK. The Audio Plug-In window displays with your selected plug-in as the first in the new plug-in chain. 3. Adjust the settings for the plug-in to create the desired effect and click the Close button (
window. The new assignable effect control appears in the Mixer window.

Adding plug-ins to a plug-in chain
There are two ways to add plug-ins to a chain: via the Plug-In Chooser dialog and via the Audio Plug-In window.

Adding plug-ins via the Plug-In Chooser dialog You can access the Plug-In Chooser dialog from the track, bus, or assignable effects chain to which you are adding the plug-in.

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears.

2. Click the Plug-In Chain button (
top of the dialog.

) on the window. The Plug-In Chooser dialog appears. Plug-ins already in the chain appear at the

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Plug-ins already contained in the chain

3. Select a plug-in and click Add. 4. Repeat step three to add as many plug-ins as you need to create the desired effect. 5. Click OK to close the Plug-in Chooser dialog. The plug-in chain appears just below the title bar in the appropriate FX window
(Audio Plug-In or Video Track FX).

Adding plug-ins via the Plug-In Manager The Plug-In Manager is a dockable window that allows you to view and choose plug-ins to be added to a track, bus, or assignable effects chain.

1. If the Plug-In Manager is not displayed, press Ctrl+Alt+1. 2. In the Plug-In Manager, navigate to the Audio folder and select one of the FX folders.

3. Drag a plug-in to a track, bus, or assignable effects chain. Tip: You can select multiple plug-ins and add them at the same time by dragging them to the desired location. 4. Confirm that the plug-ins were added by clicking the Track FX, Bus FX or Assignable FX button ( ) to view the appropriate FX
window (Audio Plug-In or Video Track FX). You can customize the settings for the effects at this time.

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Saving customized plug-in presets
Each plug-in has a number of presets that you can use to set the behavior of the plug-in. However, you can also adjust the controls for the plug-in manually to create custom settings. You can then save the effect settings as a new preset.

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. In the plug-in chain at the top of the window, click the plug-in you want to customize. 3. Adjust the settings for the effect. 4. Enter a preset name in the Preset box. 5. Click the Save button (
) to save the preset. ).

Tip: You can delete a saved preset by selecting it from the list and clicking the Delete button (

Arranging the order of plug-ins
Plug-ins are cumulative during playback. Because of this cumulative effect, you may need to arrange plug-ins in a certain order so that one plug-in’s processing does not adversely affect the next plug-in on the chain. There is no right or wrong way to order plug-ins, but some plug-ins work better when arranged in a particular order. You can arrange the order of plug-ins in a chain in either the appropriate FX window or the Plug-In Chooser dialog.

Arranging the plug-in order in the FX window

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. On the plug-in that you want to move, right-click and choose Move Left or Move Right from the shortcut menu. Alternately, drag a
plug-in to a new position.

3. Once the chain’s plug-ins are in the order that you want, click the Close button (

) in the upper-right corner to close the window.

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Arranging the plug-in order from the Plug-In Chooser dialog

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. Click the Plug-In Chain button (
( ) button. ). The Plug-In Chooser dialog appears with the plug-in chain displayed at the top. ) or Move Plug-In Right

3. Drag a plug-in to a new location in the chain, or select a plug-in and click either the Move Plug-In Left ( 4. Click OK to close the Plug-In Chooser dialog. Bypassing plug-ins on the chain

You can bypass plug-ins on the chain by clearing the check box on a specific plug-in or by right-clicking the plug-in and choosing Bypass from the shortcut menu. The plug-in remains bypassed until you enable it again. Bypassing a plug-in prevents it from being processed on the mixer, track or bus.

Effect enabled

Effect bypassed

To enable the plug-in again, select its check box or choose Bypass from the shortcut menu.

You can bypass plug-ins from the appropriate FX window or from the Plug-In Chooser dialog.

Removing plug-ins from a chain
You can remove plug-ins from a chain in either the appropriate FX window or the Plug-In Chooser dialog.

Removing a plug-in from the chain in the FX window

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. Select the plug-in that you want to remove. 3. Click the Remove Selected Plug-In button (
).

Removing a plug-in from the chain in the Plug-In Chooser dialog

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. Click the Plug-In Chain button (
). The Plug-In Chooser dialog appears with the plug-in chain displayed at the top.

3. Select the plug-in that you want to remove and click Remove to remove it from the chain. 4. Click OK to close the Plug-In Chooser dialog. Saving plug-in chains
You can save and edit the plug-in chains that you add to tracks or busses or create as assignable effects chains. Saved chains retain the order of plug-ins and the settings that you have applied. These chains are stored as effect packages for use in future projects. If you use the same plug-in chains regularly, saving them as packages is faster and more consistent than recreating the chain manually. Once you save a chain as a package, you can use it as either a track, bus or assignable effects plug-in chain. Saved plug-in chain packages appear in the Plug-In Chooser dialog.

ADDING AUDIO EFFECTS | 223

Plug-in chain packages that you have created and saved

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. Click the Plug-In Chain button (
). The Plug-In Chooser dialog appears with the plug-in chain displayed at the top.

3. Click Save As. The Save Plug-in Package dialog appears.

4. Enter a name for the package. 5. Click OK or press Enter to save the package. Editing saved plug-in chains
You can add, delete, or rearrange plug-ins in a saved package at any time. You can then save your changes to the package, or enter a new name to save the chain as a new package.

1. Click the Track FX, Bus FX or Assignable FX button ( ). The appropriate FX window (Audio Plug-In or Video Track FX) appears. 2. Click the Plug-In Chain button (
). The Plug-In Chooser dialog appears with the package in the chain area.

3. Add, delete, rearrange, or change the settings of plug-ins in the package chain. 4. In the Plug-In Chooser dialog, click Save As to save the modified package. 5. To save the package with a new name, enter a name in the Name box. To save the changes to the existing package, choose the
name of the package from the Name drop-down list.

6. Click OK or press Enter to save the new settings. Organizing your plug-ins
Within the Plug-in Chooser dialog, you can create folders to organize the plug-ins. This can help you organize large numbers of plug-ins on your system. You can create folders and then drag plug-ins to the folders.

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Automating effects parameters
Automation allows you to control audio and video levels, panning, and effect parameter automation over time. You can create fades, apply stereo panning, and add effects that come and go as you please. Automation is represented on the Vegas Pro timeline as an envelope or set of keyframes. You can create automation by adding envelopes or keyframes to your tracks (including bus tracks), or you can record automation parameters by adjusting controls in the Vegas Pro interface (or on a control surface) during playback. For more information, see Using Automation on page 169.

Applying non-real-time event effects
Non-real-time event effects are a different method of applying audio effects. In all other cases, event editing is nondestructive, meaning that edits and effects are applied to events in real time and not to the source media files, which remain unaltered. There may be times, however, when you want to create a permanent file using an effect or effects. This may be useful in a very complicated project or when a slower computer cannot process the effects quickly enough for a real-time preview. By applying non-real-time event effects, you can make a new copy of a media file with the effects applied to it. This new media file is saved and added to the project as a take. For more information, see Working with takes on page 132.

1. Select an audio event. 2. From the Tools menu, choose Audio, and choose Apply Non-Real-Time Event FX from the submenu. 3. In the Plug-In Chooser dialog, add plug-ins to create a plug-in chain. For more information, see Adding plug-ins via the Plug-In
Manager on page 221.

4. Click OK. 5. In the Take window, adjust the settings for the plug-ins to create the desired effect. 6. Preview the effect by clicking the Preview button (
) in the Non-Real-Time Event FX window.

7. Click OK. 8. In the Take dialog, click Save to save the newly processed media file.
The new media file is saved and added to the project as a take.

Bypassing all audio effects
From the Options menu, choose Bypass All Audio FX to omit all audio effects (track, bus, and assignable effects) during playback. Bypassing effects allows you to quickly compare your project with and without effects and conserve processing power to avoid playback problems. When effects are bypassed, you can choose whether bypassed effects remain open. When the Keep bypassed FX running check box on the General tab of the Preferences dialog is selected, effects remain open so you can bypass/enable effects with no pause for A/B testing. When the check box is cleared, effects are fully bypassed, conserving processing power.

ADDING AUDIO EFFECTS | 225

226 | CHAPTER 13


Chapter 14 Recording Audio
Vegas® Pro software can record audio into multiple mono or stereo audio tracks while simultaneously playing back existing audio and video tracks. You are limited only by the performance of your computer system and audio hardware. Audio is recorded to a media file on your computer and into an event on the timeline. You may record into an empty track, a time selection, an event, or a combination of time and event selection. Audio output from your computer during recording is not necessarily recorded with the new audio. Recording does not alter any of the source media files in your project. Even when recording into an existing event, you are not overwriting the data in that event. Instead, the data is recorded into a new take for that event and saved to a media file on your hard drive.

Setting up your equipment
There are numerous ways to connect your equipment to your system. Refer to your equipment’s documentation for specific setup instructions. The following are some possible general configurations.

Basic setup
This setup includes a simple microphone and speaker that are connected to the computer’s sound card. With a more sophisticated microphone, you would typically want to use a preamplifier for input to the sound card.

Sound card out Sound card in

Setup with mixer
This setup includes a mixer where the speaker and microphone connect. The mixer is then connected to the computer’s sound card. Mixers usually have pre-amps built into them. This diagram does not show you an instrument or a physical preamplifier, such as a rack-mounted component. The reason for this omission is because these types of setups vary widely based on your mixer, instrument, and pre-amp type. Refer to your components’ documentation for specific setup configurations.

Mixer out Sound card out

Sound card in

Mixer in

Mixer

RECORDING AUDIO | 227

Setup with digital multitrack
This setup includes a digital multitrack recorder with an optional MIDI synchronization component. Usually you would have a mixer, a microphone, etc. connected to these components. Your particular setup will vary depending on your equipment. Refer to your components’ documentation for specific setup configurations.

Digital out Digital card Digital in MIDI card Sync. out Sync. in The dashed line indicates an option if you are synching Vegas Pro software to tape via a MIDI timecode. Digital multitrack

MTC converter

Synchronizing MIDI timecode Vegas Pro software can generate (output) MIDI timecode to synchronize external devices with project playback or can be triggered by MIDI timecode generated by an external device. To output MIDI, from the Options menu, choose Timecode, and choose Generate MIDI Timecode from the submenu. To allow Vegas Pro software to be triggered by an external MIDI device, choose Trigger from MIDI Timecode from the same submenu. For more information, see Triggering from MIDI timecode on page 232 and Sync tab on page 378.

Preparing to record
Before you record, you must arm the tracks into which you will record the new audio. You must also select the recording settings for the tracks. You have the additional options of using a metronome or turning off playback during recording. You may record into an empty track, a time selection, an event, or a combination of time and event selection. You can also record multiple takes for an event so you can maintain multiple versions of an event that you may play back and edit.

Tips:
• Select a media bin before recording if you want to automatically add your recorded audio to a media bin. To save track effects with your recorded files, create an effects package of the track effect settings and apply the chain to the event as a non-real time event effect. • To save track effects with your recorded files, create an effects package of the track effect settings and apply the chain to the event as a non-real time event effect.

Important: When input monitoring is on during audio recording, track effect chains that may delay the audio signal are displayed with
a . Chains that cannot be used for live monitoring are automatically bypassed and are displayed as a .

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Arming the track for recording
Whether recording into an existing track, an empty track, a selected event, or a time selection, you must prepare a track for recording. You can arm multiple tracks prior to recording.

1. Click the Arm for Record button ( ) in the track list.
The first time you arm a track to record in a project, the Project Recorded Files Folder dialog appears.

2. Browse to the location where you want to save your recorded audio files. 3. Click OK. Tip: You can change the location where recorded files are saved at any time. For more information, see Specifying where recordings are stored on page 233.
Once a track is armed, a record meter appears in the track list. Depending on your hardware, a record gain fader may also appear.

Arm the track first.

Track is ready for recording using the Sound Mapper.

Track is ready for recording from a specific device.

In addition, one of two Record Device Selector buttons appears: ( ) or ( ). The button that appears is based on the Audio device type selected in the Audio Device tab of the Preferences dialog. For more information, see Audio Device tab on page 373. Button
Stereo Mono left Mono right Stereo Mono left Mono right This button appears when Windows® Classic Wave Driver has been selected as the audio device type on the Preferences Audio tab. When you choose this option, you can specify which device (for example, a sound card) you will record from on any given track prior to recording. Click this button to view a menu with Stereo or Mono, and a submenu with all available devices for either option.

Description
This button appears when Use Microsoft® Sound Mapper™ has been selected as the audio device type on the Preferences Audio tab. The Sound Mapper allows you to choose how the signal will be recorded: stereo or mono. Click this button to view a menu with Stereo, Left, or Right.

Selecting recording settings
After the track has been armed for recording, select whether the track records the signal in stereo, in mono from the left channel, or in mono from the right channel. If you are using the Microsoft® Windows® Classic Wave Driver, you also must select the device from which the track will record.

RECORDING AUDIO | 229

Selecting recording settings for Sound Mapper

1. Click the Record Device Selector button (

). A menu appears.

2. From the menu, choose the recording method (Stereo, Left, or Right).

Selecting recording settings for Windows Classic Wave Driver.

1. Click the Record Device Selector button ( 3. From the submenu, choose the input device.

). A menu appears.

2. Choose either Stereo or Mono from the menu.

Using the metronome
A built-in metronome marks time to help with the timing and tempo when recording a performance. The metronome’s sound is not mixed in the final rendering of the project. Use the Preview fader in the Mixer window to control the metronome volume. For more information, see Using the Mixer Preview fader on page 194. To use the metronome, from the Options menu, choose Metronome.

Tip: You can customize the sound of the metronome in the Audio tab of the Preferences dialog. For more information, see Audio tab on page 372.

Recording
You may record into an empty track, a time selection, an event, or a combination of time and event selection. The recording is added to the timeline as new take and saves it to a media file on your hard drive. Triggering recording from MIDI timecode is also supported.

Recording into an empty track 1. Select a track. Alternately, to record to a new track, choose Audio Track from the Insert menu. 2. Place the cursor on the timeline where you want to begin recording. 3. Arm the track by clicking the Arm for Record button ( ) on the track.
If this is the first time you arm a track for recording in this project, you will be prompted to identify the location where the new audio files will be saved. For more information, see Arming the track for recording on page 229.

4. Start recording by clicking the Record button (

) on the transport bar.


Depending on the recording selection, a waveform is created along the timeline as you record into the armed track(s).


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Recorded waveform Start/stop recording Stop recording

5. Stop recording by clicking the Record button (
workspace.

) again or the Stop button (

) on the transport bar.

6. A small dialog opens displaying the name and location of the file or files that were just created. Click Done to return to the main

Item
Delete button Rename button Delete All button Done button Show after every recording session check box

Description
Removes the selected file. Changes the name of the selected file. Removes all files listed in the dialog. Closes the dialog and returns you to the timeline. When this check box is selected, Vegas Pro software displays this dialog after each recording session.

Note: The Recorded Files dialog does not appear if you are triggering from MIDI timecode, as this would interrupt the synchronizing. Instead, files are automatically named and saved according to your preferences.

Recording into a time selection
By making a time selection, you specify where along the timeline to record. The time selection also determines how long the software records. Any selected events that occur within the time selection are split and the recorded data is placed into the time selection.

Recorded waveform

The event’s waveform is displayed as it is recorded and automatically stops recording when the cursor reaches the end of the time selection.

Recording into an event
By recording into an event, you automatically create a new take containing the recorded material that is the same duration as the selected event. The edges of the selected event serve as the punch-in and -out points that are used for recording. Recording into an event allows you to establish a pre-roll before recording, which gives you time to prepare before recording starts. Because the entire recording is saved to the media file (not just the material between the edges of the take), you are not limited to the recorded material contained in the length of the new take. You can adjust the edges of the event or slip the contents of the event if necessary. For more information, see Shifting the contents of (slipping) an event on page 111. The existing event that you record into is not affected or deleted. Instead, the event now contains two media files, each listed as a separate take in the event. For more information, see Working with multiple recorded takes on page 233.
RECORDING AUDIO | 231

1. Place the cursor before the event to allow for pre-roll. 2. Press Ctrl and click the event to select it. Tip: You can record into multiple events by pressing Ctrl and making selections. 3. Click the Arm for Record button ( ) on the event’s track. When recording into multiple selected events, arm their respective tracks
at this time.

4. Click the Record button ( 5. Click the Record button (

) on the transport bar to begin recording. ) again or the Stop button ( ) on the transport bar to stop recording.

Recording into an event with a time selection
Recording into a time selection allows for a pre- and post- roll during recording. The time selection is adjustable to increase or decrease the pre- and post-roll duration. During recording, the selected event’s edges serve as the punch-in and -out points. You can create multiple punch-in and -out points by selecting more events within the time selection. You may need to split an existing event into three pieces so that you can select a smaller portion of the event to record into. For more information, see Splitting events on page 109.

1. Click the Arm for Record button ( ) on the desired track(s). 2. Select the event to record into. Tip: You may record into multiple events by pressing Ctrl and making your selections. 3. On the marker bar, drag a time selection. You may adjust the time selection by dragging the selection bar’s starting and ending
points. Make the time selection start before the event for a pre-roll.

4. Click the Record button (

) on the transport bar to begin recording.

If input monitoring is turned on, the track’s original audio is played until the cursor reaches the selected event. When the cursor plays through the selected event, you’ll hear your recording input, and the track’s original audio is played again when the cursor moves past the selected event.

Using pre-roll The previous technique allows you to define the playback region with a time selection and sets the punch-in and punch-out points in the recording to the event boundaries. When you click the Record button, playback begins at the beginning of the time selection. The event is then filled with the newly recorded material. The audio file that is recorded to your hard disk is the full duration of the time selection. The event only contains a portion of the full recorded performance and can therefore be trimmed (both shorter and longer) and repositioned within the event.
Time selection bar defines the recorded audio file’s duration.

Pre-roll Punch-in

Post-roll Punch-out

Triggering from MIDI timecode
Recording can be triggered and synchronized by an external MIDI device that outputs (generates) MIDI timecode (MTC). When triggering from MIDI timecode, you should have your audio devices connected together via a master digital word clock. The word clock keeps the audio hardware locked together, eliminating the need for the software to constantly vary its playback rate to stay synchronized. The incoming timecode is only used for an absolute time reference. For more information, see Sync tab on page 378.

1. From the Options menu, choose Preferences and go to the Sync tab. 2. From the Trigger from MIDI Timecode settings drop-down list, select the device that you want to trigger Vegas Pro software.
232 | CHAPTER 14

3. Click OK. The Preferences dialog closes. 4. Click the Arm for Record button ( ) on the desired tracks. 5. Right-click the time display and choose MIDI Timecode In. The time display now shows the timecode being generated from your
MIDI device. The top of the display reads MTC Input Waiting.

6. Begin generating MTC from your MIDI device. The top of the time display now reads MTC Input Locked, the time updates from the
MIDI device, and recording automatically begins. Typically, there is a short delay between when you begin generating MTC and synchronization.

Working with multiple recorded takes
Clicking the Loop Playback button ( ) on the transport bar enables you to continually create takes during recording. Takes are different versions of a recorded event that you can quickly switch between to choose the best one. Each take within an event references a different source media file. During recording with loop playback enabled, the time selection continually repeats and starts recording a new take until you stop recording. You can preview, select, rename, and delete takes. For more information, see Working with takes on page 132.

Specifying where recordings are stored
When you record, the event appears on the timeline while its media source file is written to your hard drive. The first time you arm a track to record in a project, you are prompted to identify the location where the recordings will be stored.

Changing where recorded files are stored when arming a track 1. Press Shift and click the Arm for Record button ( ) on a track. The Project Recorded Files Folder dialog appears. 2. Browse for the location where you want to save recorded files. 3. Click OK. Changing where recorded files are stored when starting to record 1. Press Shift and click the Record button (
) on the transport bar. The Project Recorded Files Folder dialog appears.

Tip: You can also press Ctrl+Shift+R to specify the location for recorded files when starting to record. 2. Browse for the location where you want to save recorded files. 3. Click OK. Changing where recorded files are stored in the Project Properties dialog 1. From the File menu, choose Properties. The Project Properties dialog appears. 2. Click the Audio tab to display the project’s audio properties. 3. Click Browse. The Recorded Files Folder dialog appears. 4. Browse for the location where you want to save recorded files. 5. Click OK. Tip: You can select Start all new projects with these settings in the Project Properties dialog to store recorded media source files to the same location in every new project.

RECORDING AUDIO | 233

Monitoring audio levels
While you’re recording, a responsive meter is provided in the track header to monitor the incoming signal level of the selected recording device. It is important that you record with the highest signal possible without clipping. A reading of 0 dB is the maximum for a digital signal. Clipping occurs when the incoming signal is too high to be represented as a digital value. The result is distortion in the recording. A clipped signal will be indicated by a red Clip warning at the top of the meters. Right-click the meters and choose a command from the shortcut menu to adjust the display of the meters.

Using record input monitoring
If you’re using an ASIO audio device and you want to hear your recording signal with real-time track effects, you can turn on input monitoring. or ) and choose Input Monitor from the menu, and then To turn on input monitoring, click the Record Device Selector button ( choose Auto or On from the submenu. During recording, your signal will be played back with the current track effects chain, but a dry (unprocessed) signal is recorded. When Auto is selected, you will hear the input monitor signal when playback is stopped and during recording. If you’re recording into selected events, you'll hear the input monitor signal only when the cursor passes over the selected events. When On is selected, the behavior is similar to Auto mode, but you will always hear the input monitor during recording—monitoring is not toggled on and off when recording in to a selected event.

Note: Your ability to monitor effects in real time is dependent on your computer's performance. Effect automation envelopes are bypassed during record monitoring.

234 | CHAPTER 14

Chapter 15 Working with 5.1 Surround
Vegas® Pro software allows you to create 5.1-channel mixes to prepare audio for DVD-Video.

Note: Vegas Pro software plays and mixes uncompressed 5.1-channel audio. Authoring software such as the 5.1
Surround Plug-In Pack is required to encode 5.1-channel audio to AC-3 for use in DVD authoring.


What is 5.1 surround?
5.1 surround is a standard format consisting of three speakers across the front and two speakers in the rear. The “.1” is a sixth channel called low-frequency effects (LFE) that enhances the bass levels in the mix.
5.1 surround includes five main channels... Left Center Right ...and a sixth channel for low-frequency effects. LFE

Left Surround

Right Surround

The LFE channel is commonly used in motion pictures to enhance low audio frequencies for effects such as explosions or crashes. Audio in this channel is commonly limited to a range from about 25 Hz to 120 Hz. Unlike the five primary channels, the LFE channel adds no directional information. Depending on the speaker setup and audio levels, the sound assigned to the LFE channel may be routed among the five main speakers or to an additional subwoofer.

Setting up surround hardware
Before you create surround projects, you should set up your system to provide 5.1 surround playback. To play a 5.1 surround project, you must have an appropriate speaker setup such as: • • Six powered speakers Six passive speakers with a six-channel amplifier

Your system must also have an appropriate sound card setup such as: • • • 5.1-compatible sound card Sound card with three stereo outputs Three stereo sound cards

WORKING WITH 5.1 SURROUND | 235

There are several ways to set up your system, depending on the sound card and speaker setup you are using. Six powered speakers
5.1-compatible sound card Connect powered speakers to your sound card’s outputs as indicated by your sound card’s documentation.

Six passive speakers with a six-channel amplifier
Connect your sound card’s front, rear, and center/ subwoofer outputs to the appropriate inputs on a six-channel amplifier/home theater receiver. Connect front, rear, center, and LFE speakers to the amplifier. Connect your sound card’s outputs to the appropriate inputs on a six-channel amplifier/home theater receiver. Connect front, rear, center, and LFE speakers to the amplifier.
Connect your sound card’s outputs to the appropriate inputs on a six-channel amplifier/home theater receiver. Connect front, rear, center, and LFE speakers to the amplifier.

Sound card with Connect powered speakers to your sound card’s three stereo outputs where you have routed each of the pairs outputs of channels. The left channel of the Center/LFE pair is the center channel; the right channel is the LFE channel.
Three stereo sound cards Connect powered speakers to your sound cards’ outputs where you have routed each of the pairs of channels. The left channel of the Center/LFE pair is the center channel; the right channel is the LFE channel.

Setting up surround projects
You can configure a Vegas Pro project to use 5.1 surround in the Project Properties dialog. You can also choose to apply a low-pass filter for the LFE channel. Applying a low-pass filter approximates the bass-management system in a 5.1 decoder and ensures that you’re sending only low-frequency audio to the LFE channel.

1. From the File menu, choose Properties. 2. Click the Audio tab. 3. From the Master bus mode drop-down list, choose 5.1 surround. 4. To limit the audio sent to the LFE channel, do the following:
• Select the Enable low-pass filter on LFE check box and enter a value in the Cutoff frequency for low-pass filter box. The lowpass filter isolates the audio sent to the LFE channel by limiting it to frequencies lower than the value entered in the Cutoff frequency for low-pass filter box. Choose a setting from the Low-pass filter quality drop-down list to determine the sharpness of the filter’s rolloff curve. Best produces the sharpest curve.

•

Note: Before rendering your surround project, check your surround authoring application’s documentation to determine its required audio format. Some encoders require a specific cutoff frequency and rolloff, while other encoders require that no filter be applied before encoding. 5. Click OK.
The track list and Mixer window switch to 5.1 surround mode. The Master bus becomes the Surround Master bus, which contains faders for each of the six surround channels. Surround panners appear on tracks and mixer controls. Tracks routed to mixer controls (busses or assignable effects) do not have surround panners; panning for these tracks takes place on the mixer control.

236 | CHAPTER 15

Track list in 5.1 surround mode

Mixer in 5.1 surround mode

Surround panner Track routed to LFE Track routed to Bus

Front L/R

Rear L/R

Center

LFE

Surround panners

Routing to hardware in the mixer
You must route the surround audio to the correct output in the mixer.

1. From the Options menu, choose Preferences. 2. Click the Audio tab. 3. From the Audio device type drop-down list, choose an audio device type other than Microsoft Sound Mapper (such as Windows
Classic Wave Driver).

4. Choose the playback devices for the six surround channels:
• • • From the Default Stereo and Front playback device drop-down list, choose the appropriate device for the front left and right surround channels. From the Default Rear playback device drop-down list, choose the appropriate device for the rear left and right surround channels. From the Default Center and LFE playback device drop-down list, choose the appropriate device for the center and LFE surround channels.

5. Click OK.
Overriding the default device routing By setting up the device routing in the Audio tab of the Preferences dialog, you have set the defaults for surround routing. However, you can override the default device routing at any time using the Surround Master bus in the Mixer window.

1. In the Mixer window, click the Audio Device Selector button (
(Front L/R, Rear L/R, and Center/LFE) appears.

) on the Surround Master bus. A menu of surround channels

2. In the submenu, match a surround pair with the appropriate output. 3. Repeat steps one and two to match each surround pair to the appropriate output.

Assigning audio to the LFE channel
Once the project is in 5.1 surround mode, you must decide whether a track will provide the “5” (surround panning) or the “1” (LFE channel) in 5.1 surround. Initially, all tracks in a surround project are set to provide surround panning, but you can assign a track to the LFE channel instead. You can assign an individual track to the LFE channel or you can route the track to a mixer control (bus or assignable effect chain) and assign the mixer control to the LFE channel. To assign audio to the LFE channel, right-click the surround panner on the track header or mixer control and choose LFE Only from the shortcut menu. The track or mixer control is assigned to the LFE channel.

WORKING WITH 5.1 SURROUND | 237

Right-click the surround panner and choose LFE Only...

...to assign the track or mixer control to the LFE channel.

To change a track or mixer control back to surround panning, right-click the LFE indicator and choose Surround Pan from the shortcut menu.

Note: Before rendering your surround project, check your surround authoring application’s documentation to determine its required audio format with respect to the LFE channel. For more information, see Setting up surround projects on page 236.

Adjusting volume
Adjusting track volume for 5.1 surround projects behaves almost identically to stereo projects. The controls in the track headers and
Mixer window can function as trim controls that adjust the overall volume of the track, bus, or assignable effects chain, or they can
adjust volume automation settings. For more information, see Track automation on page 169.


Adjusting track volume

You can adjust track volume using the Vol fader in the track header the same way you do in stereo projects.
Click the Automation Settings button ( adjust trim levels.
) on the track header and verify Show Automation Controls is not selected if you want to


Track header in trim mode

Select Show Automation Controls if you want to adjust volume automation. The fader handle is displayed as a

in automation mode.

Track header in automation mode

Adjusting assignable effects send or bus send levels
You can adjust send levels for busses or assignable effects chains using the multipurpose fader in the track header. Click the fader label and choose an assignable effects chain or bus from the menu. The fader in the track header can function as a trim control that adjusts the overall send level of the track, or it can adjust send level automation settings. Click the Automation Settings button ( adjust trim levels.
) on the track header and verify Show Automation Controls is not selected if you want to in automation mode.

Select Show Automation Controls if you want to adjust volume automation. The fader handle is displayed as a


Adjusting channel levels
Use the Surround Master bus control in the Mixer window to adjust the individual levels of the 5.1 channels. The faders in the track bus control can function as trim controls that adjust the overall level of each channel, or you can automate the master volume of the Surround Master bus (individual channel levels cannot be automated). Click the Automation Settings button ( want to adjust trim levels. 238 | CHAPTER 15 ) in the bus control or bus track and verify Show Automation Controls is not selected if you

Mixer controls in trim mode

Select Show Automation Controls if you want to adjust volume automation. The fader handle is displayed as a

in automation mode.

Mixer controls in automation mode

Panning audio
You can pan audio in a 5.1 surround project in two ways: • • Pan tracks individually using the Surround Panner window. Route tracks to mixer controls (busses, assignable effect chains) and pan the mixer controls using the Surround Panner window.

Panning tracks 1. Click the Automation Settings button ( ) on the track you want to pan and verify Show Automation Controls is not selected. 2. Double-click the surround panner on the track you wish to pan. The Surround Panner window appears.

Double-click to display the Surround Panner window

3. Adjust the panning settings. For more information, see Using the Surround Panner window on page 241.

WORKING WITH 5.1 SURROUND | 239

4. Close the Surround Panner window. Tip: You can also use the surround panner in the track header to pan your track.

Panning mixer controls
You may choose to route tracks to busses or other mixer controls (such as assignable effect chains) and pan them as a group rather than panning each track individually.

Note: When you route a track to a bus, stereo (two-channel) output is sent to the mixer control and the mixer control sends 5.1 (six­
channel) output to the Surround Master bus.

1. Add a bus or assignable effect chain to the project. For more information, see Using the Mixer on page 193. 2. Route tracks to the bus or assignable effect chain. For more information, see Using the Mixer on page 193. 3. Click the Automation Settings button ( ) on the mixer control you want to pan and verify Show Automation Controls is not
selected.

4. Double-click the surround panner on the mixer control to display the Surround Panner window.

Double-click to display the Surround Panner window

5. Adjust the panning settings. For more information, see Using the Surround Panner window on page 241. 6. Close the Surround Panner window. Tip: You can also use the surround panner on the mixer control to pan your track.

240 | CHAPTER 15

Using the Surround Panner window
Whether you’re adjusting track panning or mixer control panning, you use the same controls in the Surround Panner window. View the Surround Panner window by double-clicking a surround panner on a track header or mixer control. Once the Surround Panner window is open, you can dock it in the workspace. For more information, see Window docking area and floating window docks on page 24.

Tip: You can also choose Surround Panner from the View menu to display the Surround Panner window. Once the Surround Panner window is displayed, double-click the surround panner for a track or mixer control to view its pan settings.

Toggle options for constraining pan point movement Assign track/bus to LFE channel

= Muted channel = Active (included) channel Pan point

Pan type indicator

1. Click the speaker icons to mute or include channels.
Muting a channel ensures that no audio bleeds through a channel. For example, you might want to mute all but the center channel when you’re panning dialogue to the center channel.

Tip: Ctrl+ click a speaker icon to solo the channel. 2. Drag the pan point to position the sound within the sound field. For more information, see Moving the pan point on page 242. 3. Click the center speaker icon to include the center channel and drag the Center fader to apply a gain to the center channel.
Applying a gain to the center channel may make dialogue more present in the mix.

Note: When automating panning using keyframes, you cannot automate the gain applied using the Center fader. For more
information, see Automating panning on page 244.

WORKING WITH 5.1 SURROUND | 241

Moving the pan point A variety of methods are provided to help you position the pan point in the Surround Panner window. Method Description
Click to toggle through three options for constraining pan point motion as you drag: Move Freely ( ), Move Left/Right Only ( ), and Move Front/Back Only ( ). Double-click Double-clicking the pan point resets it to the center front of the surround panner. Double-clicking in the Surround Panner window moves the pan point to the double-click location. Ctrl+drag Shift+drag Alt+drag Shift+Alt+drag Arrow keys Ctrl+Arrow keys Page Up/Page Down Shift+Page Up/Page Down Numeric keypad 1-9 Ctrl+Numeric keypad 1,3,7, 9 Mouse wheel Shift+mouse wheel Ctrl+mouse wheel Ctrl+Shift+mouse wheel Makes fine adjustments. Constrains motion to a line through the center of the surround panner. Constrains motion to a constant radius from the center of the surround panner. Constrains motion to the maximally inscribed circle (a constant radius at the greatest possible distance from the center of the surround panner). Moves front/back/left/right. Makes fine adjustments. Moves front/back. Moves left/right. Jumps to a corner, edge, or center of the surround panner. Jumps to a location on the maximally inscribed circle (a constant radius at the greatest possible distance from the center of the surround panner). Moves front/back. Moves left/right. Makes fine front/back adjustments. Makes fine left/right adjustments.

Choosing pan types When you pan a track or mixer control, you can choose among several pan types to determine how to pan the audio. The current pan type appears at the bottom of the Surround Panner window. Right-click the Surround Panner window and choose a pan type from the shortcut menu: Type
Add Channels

Description
This pan type makes the audio appear to move as a unit among the surround channels. As you move the pan point toward a channel (speaker icon), more and more of the signal from the other channels are folded into the channel you are panning towards, until at the extreme, all channels are fed at full intensity into a single channel. This pan type uses a linear panning curve.

Important: You can introduce clipping when channels are added. Monitor the meters in the Mixer
and adjust the track volume accordingly.

242 | CHAPTER 15

Type
Balance

Description
This pan type is most useful for adjusting the relative signal levels of the channels in stereo source material. In this pan type, as you move the pan point from the center to a channel, the signal in the channel you are panning towards starts at the base dB level (either 0 dB, -3 dB, or -6 dB) and increases to 0 dB. The signal in the channel you are panning away from starts at a base dB level (either 0 dB, -3 dB, or ­ 6 dB) and decays to -infinity. This pan type uses a linear panning curve. For example, when you pan fully right, the right channel is played at 0 dB and the left channel is not audible. As you pan to the center, each channel is attenuated to the specified center value (0 dB -3 dB, or -6 dB). As you pan to the left, the left channel is played at 0 dB, and the right channel is not audible. Within the Balance (o dB center) setting, no gain or cut is applied when you’re panned to the center, which can make the center seem louder.

With the Balance (-3 dB center) setting, a -3 dB cut is applied when you’re panned to the center.

With the Balance (-6 dB center) setting, a -6 dB cut is applied when you’re panned to the center.

Panning in a 5.1 surround project follows the same rules: as you pan from the center to any channel in a 5.1 surround project, the signal in the channel you are panning toward progresses from the specified center value to 0 dB. The signal in the channel you are panning away from begins at the specified center value and decays to -infinity. Constant Power This pan type maintains a constant volume as you move the pan point from channel to channel. This pan type, which uses the constant-power panning curve, is most useful for panning monaural source media. If you pan a stereo file 100% R, only the right channel of your media file is played, and this channel is sent to both output channels. If you continue to pan to the left, the left channel is gradually added to the output, and the right channel is gradually faded out until only the left channel will be heard through both output channels when the slider is at 100% L.

If you pan a file fully right midway between the front and rear channels in a 5.1 surround project, only the right channel of your media file is played, and this channel is sent to the right-front and -rear output channels. If you pan to the left, the left channel is gradually added to the output, and the right channel is gradually faded out until only the left channel is sent to the left-front and -rear output channels. Film The pan type allows you to pan between pairs of speakers using a constant-power panning curve. As you drag the pan point to the center speaker, the sound becomes diffused through the front and rear speakers. When the track is panned fully to the center speaker, there is no sound from the front and rear speakers.

WORKING WITH 5.1 SURROUND | 243

Using the grid to monitor panning The grid in the Surround Panner window helps you to visualize how your panning will sound. The grid’s spacing changes to match the current pan type. The vertical lines represent the points where the left-to-right signal ratio is 6 dB, 0 dB, and -6 dB respectively: at the far-left line, the left channel is 6.0 dB louder than the right channel. The horizontal lines represent the points where the front-to-rear signal ratio is 6 dB, 0 dB, and -6 dB respectively. As you adjust the Center fader, the lines move forward or backward to compensate for the center-channel gain.

Note: The grid assumes that you're using a correctly set-up surround system (matched speakers and ideal positioning). Variations in
your monitoring system will cause inconsistencies between the graph and perceived output.

Automating panning
You can automate panning on a track or mixer control by adding keyframes. Keyframes are similar to envelope points in that they specify a settings state at a point in time. However, unlike envelope points, keyframes appear just below the track to which they apply. To add panning keyframes to a mixer control, you must first view the mixer control in timeline. From the View menu, choose Show Bus Tracks to view the bus track at the bottom of the timeline. For more information, see Viewing bus tracks on page 200.

Turning on panning keyframes
Before adding individual keyframes, you must first turn on the panning keyframes for the track or bus track.

1. Select the track or bus track for which you want to automate panning. 2. From the Insert menu, choose Audio Envelopes, and choose Surround Pan Keyframes from the submenu.
An additional row appears below the track with a single keyframe positioned at the beginning of the project. This single keyframe represents the current panning settings for the track.

Keyframe

Adding panning keyframes
With panning keyframes turned on, you can add keyframes at any location along the track or bus track.

1. Position the cursor where you want to begin panning the track. 2. Click the Automation Settings button ( ) on the track you want to pan and select Show Automation Controls. 3. Double-click the surround panner to display the Surround Panner window. 4. Adjust the panning settings. For more information, see Using the Surround Panner window on page 241. Note: You cannot automate muting/including channels. 5. Close the Surround Panner window.

A keyframe with the pan settings you created appears below the track at the cursor position.


New keyframe

244 | CHAPTER 15

Tip: You can also add keyframes by double-clicking the keyframe row or by right-clicking the row and choosing Add Point from the

shortcut menu. Once you’ve added the keyframe, double-click it to adjust panning settings in the Surround Panner window.
As you add keyframes to a track or bus track, the Surround Panner window shows the path of the panning keyframes. The Smoothness slider controls the smoothness of the interpolation path between the keyframes. For more information, see Adjusting the Smoothness slider on page 246.

Note: The Smoothness slider only displays at the bottom of the Surround Panner when you have inserted two or more keyframes on the
track.

The Surround Panner window shows the path of the panning keyframes.

Working with keyframes
After you add keyframes, you can work with them in much the same way as envelope points. For more information, see Composite level automation (video only) on page 174.

Moving keyframes Drag a keyframe to a new position below its track.

Duplicating keyframes Hold Ctrl and drag a keyframe to a new position below its track.

Editing keyframes

1. Double-click a keyframe to open the Surround Panner window. 2. Adjust the panning settings as desired and close the window.

WORKING WITH 5.1 SURROUND | 245

Changing keyframe interpolation curves To control how the pan is interpolated between keyframes, right-click a keyframe and choose an interpolation curve type from the shortcut menu. Keyframe interpolation curves control how the pan occurs over time. The keyframe color changes according to the interpolation curve you have chosen. Keyframe Interpolation curve
Hold Linear Fast Slow Smooth

Description
No interpolation takes place. The keyframe’s settings are maintained until the next keyframe. Panning is interpolated in a linear path. Panning is interpolated in a fast logarithmic path. Panning is interpolated in a slow logarithmic path. Panning is interpolated along a smooth, natural curve.

Adjusting the Smoothness slider If you have two or more keyframes, the Smoothness slider at the bottom of the Surround Panner controls the perceived motion of sound within the sound field among three or more keyframes. When you drag the Smoothness slider to 0, Vegas Pro software interpolates the changes between keyframes along a linear path. As you increase the smoothness value, the path between keyframes grows more curved and smooth.

1. Double-click a keyframe. The Surround Panner window appears.

Smoothness slider

2. Drag the Smoothness slider to adjust the smoothness of the spatial interpolation path leading up to this keyframe.
Three keyframes with smoothness=100... ...and the same three keyframes
with smoothness=0.


Locking keyframes to events If you want keyframes to move with an event when it is moved along the timeline, choose Lock Envelopes to Events from the Options menu.

246 | CHAPTER 15

Hiding keyframes

1. Select the track for which you want to hide keyframes. 2. From the View menu, choose Show Audio Envelopes, and choose Surround Pan Keyframes from the submenu.
Deleting keyframes Right-click a keyframe and choose Delete from the shortcut menu.

Rendering surround projects
Rendering a surround project creates six monaural files (AIFF, ATRAC, WAV/W64, or PCA) or a single 5.1-channel file (AC-3, WAV/W64, WMA, and WMV) that your authoring application can use to create DVD-Video or 5.1-channel music projects.

Note: Before rendering your surround project, check your surround authoring application’s documentation to determine its required audio format. Some encoders require a specific low-pass filter cutoff frequency and rolloff, and your encoder may require that no filter be applied before encoding. Use the Audio tab of the Project Properties dialog to configure a low-pass filter. For more information, see Setting up surround projects on page 236. 1. From the File menu, choose Render As. The Render As dialog appears. 2. From the Save in drop-down list, choose the drive and folder where the file will be saved. 3. Enter a new name for the project in the File name box. 4. From the Save as type drop-down list, choose the desired file format. 5. From the Template drop-down list, choose the multiple mono template, or choose an appropriate 5.1-channel template if the
selected file type supports it.

Tips:
• When you render a 5.1 surround project to AIFF (.aif), Perfect Clarity Audio (.pca), Wave64 (.w64), or Wave (.wav) formats, you can save each of the surround master busses to a separate file by choosing the multiple mono setting from the Template drop-down list. For example, if you'd typed My Film.wav in the File name box, the following files would be rendered: My Film Right.wav, My Film Right Surround.wav, My Film LFE.wav, My Film Left.wav, My Film Left Surround.wav, and My Film Center.wav. • When you render a 5.1 surround project to WAV or WAV64 format using the 48,000 Hz, 16 Bit, 5.1, PCM or 48,000 Hz, 32 Bit, 5.1, PCM template, you can create a single 5.1 channel file. The rendered file contains channel-mapping information so that Vegas will preserve surround panning information when adding these files to 5.1 surround projects. Legacy Sony applications (and third-party applications) may not be able to read these 5.1-channel files. In this case, you can render a single six-channel file by selecting the Enable multichannel mapping check box and creating a channel mapping using the Surround Master outputs. • For more information about rendering multichannel audio and setting up multichannel mapping, see Rendering multichannel audio files on page 337

6. Select the Render loop region only check box if you want to save only the portion of the project that is contained within the loop
region. Loop Playback does not need to be selected on the workspace for this option to work.

7. If the selected file type supports it, you can select the Save project markers with media file check box to include markers, regions,
and command markers in the rendered media file. If the information cannot save in your media file, it will create an .sfl file (using the same base name as your media file).

8. Click Save. A dialog is displayed to show rendering progress. 9. When rendering is complete, click the Open button to play the file with its associated player, or click Open Folder to open the
folder where you saved the file.

WORKING WITH 5.1 SURROUND | 247

Rendering the surround project SampleProject.wav...

...results in six .wav files.

Creating a DVD with DVD Architect Pro Software
If you have DVD Architect® Pro software from Sony Creative Software Inc., you can create menu-based DVDs, music compilations, picture compilations, or a single-movie DVD that will play back automatically in your DVD player. DVD Architect Pro software includes support for many file types and can convert your media to the formats required for DVD as needed. However, for best performance (decreased disc preparation time and recompression), render your files in the appropriate format. MPEG-2 video files rendered with the DVD NTSC or DVD PAL templates will not need to be recompressed. Audio will not need to be recompressed if rendered as stereo or surround AC-3 files with a bitrate of less than 448 kbps or as stereo, 48-kHz, 16-bit, WAV (PCM) files.

Note: AC-3 audio may not play back on some PAL DVD players. To ensure compatibility with PAL DVD players, use 48­ kHz, 16-bit, WAV (PCM) files for audio.

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Chapter 16 Using Advanced Video Features
While simple to learn, Vegas® Pro software is a powerful application with many advanced features. This chapter covers some of the advanced video features of this powerful tool.

Cropping video
With the Event/Pan Crop window, you can resize media in a video event or selectively crop media without resizing. The Stretch to fill frame drop-down list allows you to resize the media to fill the output frame (when Yes is selected), or to crop out a portion of the media without resizing (when No is selected).

When keyframes are added, you can use this window to create scrolling, panning, or zooming effects. For more information, see Using keyframe animation on page 302.

Tip: If you apply plug-ins to a event with panning or cropping, you can choose whether to process the plug-ins before or
after the panning or cropping. For more information, see Processing plug-ins on events with panning or cropping on page 273.

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Open the Event Pan/Crop window by clicking the Event Pan/Crop button (

) on the event.

Presets Show Properties Normal Edit Tool Zoom Edit Tool Enable Snapping Lock Aspect Ratio Size About Center Move Freely or Move in X or Y only Rotation area
Selection area


Smoothness

Handles

Keyframe controller

Note: If any controls shown in the figure above are not visible, enlarge the Event Pan/Crop window by dragging the lower right corner
until all controls are revealed. The Smoothness control and the keyframe controller are used when adding keyframe animation to create panning, zooming, or scrolling effects. For more information, see Animating event panning and cropping on page 307.

Tip: Use the Default Pan/Crop smoothness control on the Editing tab of the Preferences dialog to set the default Smoothness value
for new keyframes.

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Cropping
Cropping is the process of removing the outside edges from an image or video, thereby re-framing the subject. In the following example, the Event Pan/Crop window on the left has been used to create a selection area around the subject, removing extraneous information from the outside of the video. This creates a zoom effect that is similar to zooming in with a camcorder. The Video Preview window on the right displays the event after cropping.
Crop Area

Preview output

1. Click the Event Pan/Crop button (

) on the event. ). Drag the selection area to reposition

2. Drag the handles (small boxes) located around the perimeter of the selection area to change the size. 3. Move the mouse to middle of the selection area until the cursor changes to a move icon (
it. Be aware of the following as you crop a video event: • • • • • • To keep the selection area centered as you resize, select the Size About Center button ( To maintain the proportion of the selection area, select the Lock Aspect Ratio button ( ). ).

To prevent distortion of the source media file, ensure that Maintain aspect ratio is set to Yes. To restore the selection area to full frame, right-click the image and choose Restore from the shortcut menu. To set the selection area to a standard aspect ratio proportion, choose a preset from the Preset drop-down list. When using photographs or other media that is not the same frame aspect as your video, you'll see black bars on the sides or above and below the image. To create a crop rectangle that matches the project frame aspect, right-click the image and choose Match Output Aspect from the shortcut menu.

4. The cropping occurs instantly and the results are updated in the Video Preview window. Cropping applies to the entire event and
can be animated with keyframes. For more information, see Using keyframe animation on page 302.

5. If you want to create an animated crop or zoom, use the keyframe controller at the bottom of the Event Pan/Crop window to
establish distinct zoom settings throughout the duration of the event. During playback, intermediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation.

Tip: Use the Default Pan/Crop smoothness control on the Editing tab of the Preferences dialog to set the default Smoothness value
for new keyframes.

Bézier masks
You can use the Event Pan/Crop dialog to create masks using Bézier curves. For more information, see Bézier masks on page 288.

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Rotating
You can also rotate the selection area in the Event Pan/Crop window. If you rotate the entire frame, the background behind the video shows through. Position, size, and rotation can all be animated with keyframes. For more information, see Using keyframe animation on page 302.

1. Click the Event Pan/Crop button (
on page 251.

) on the event.

2. Resize and move the selection area as desired. For more information, see Cropping 3. Move the mouse outside the selection area until it becomes a rotate icon (
Drag to rotate the selection area. Alternately, you may enter precise rotation values in the Angle (degrees) box. ).

Adding animation
Keyframe animation dramatically increases the variety of panning, zooming, and rotating effects you can create using the Event Pan/ Crop window. A later chapter provides examples of zooming in on a still image and using pan-and-scan techniques. For more information, see Animating event panning and cropping on page 307.

252 | CHAPTER 16

Working with still images
You can use still images for a number of purposes including slide shows, overlay graphics, and titles. You can insert still images into projects just like any other media files. The default length for a still image event when it is first added to a track is five seconds (this is an adjustable preference), but this duration can be modified by dragging the edges to create a still image event of any length. Images cannot be looped, but share many characteristics with video files, including transparency. In addition, you can use many of the same tools on image events that you can on video events, such as track motion, panning and cropping, and video effects plug-ins. For more information, see Zooming in on a still image on page 307.

Creating still images for use in Vegas Pro software
Many image formats can be imported, including BMP, GIF, JPG, PNG, TIFF (requires QuickTime™), PSD (flattened), and TGA. If you have the option to create PNG files in your graphics software, this is the recommended file type. PNG files use lossless compression and can also include alpha channel information, which is one of the cleanest methods of creating transparency for overlays. an alpha channel can automatically be detected, if present, in PNG files.

Note: The alpha channel may not be automatically detected in TGA images. Right-click a TGA image in the Project Media window or an
event on the timeline and choose Properties. Then, in the Media Properties dialog, select the type of alpha channel from the list. If you know your media file has an alpha channel and it is not detected properly, right-click the media file in the Project Media window or an event on the timeline and choose Properties from the shortcut menu. Then, in the Media tab, select the appropriate alpha channel type from the Alpha channel drop-down list. Premultiplied is the recommended setting. You can save this setting so that the alpha channel is properly detected on other media files with the same properties. For more information, see Setting custom stream properties on page 268.

Correcting images for DV pixel aspect ratios For best results when importing still images, create images that account for the pixel aspect ratio of your desired output format. Vegas Pro software does a good job stretching images to fit the output format, but some distortion occurs if the pixel aspect ratio for the source format does not match the destination format. To calculate pixel aspect ratio correction, use this formula: Output frame pixel width X Output format pixel aspect ratio = Still image pixel width For example, this is the formula for NTSC DV format: 720 (DV screen frame pixel width) X .9091 (DV pixel aspect ratio)= 655 (pixel width) Use these figures as a guide when creating images: • • Full frame, pixel-aspect-corrected still images for use in NTSC DV projects are 655x480. Full frame, pixel-aspect-corrected still images for use in PAL DV projects are 787x576.

Automatically cropping still images added to the timeline Vegas Pro software can automatically crop still images you add to the timeline to match the project frame size.

Automatic crop setting turned off Portrait still image with pillarboxing

Automatic crop setting turned on Portrait still image cropped to fill frame

To enable this feature, select the Automatically crop still images added to the timeline check box on the Editing tab in the Preferences dialog. For more information, see Editing tab on page 376.
USING ADVANCED VIDEO FEATURES | 253

You can use the Event Pan/Crop window to adjust the cropping after you have added a still image to the timeline and the software has automatically cropped the image. For more information, see Cropping on page 251.

Capturing a timeline snapshot
You can create still images of a single frame of your project. Once saved, the snapshot can be used just like any other still image.

1. Position the cursor on the frame of the project you wish to capture as a still image. 2. Click the Save Snapshot to File button (
) on the Video Preview window. The Image Filename dialog appears.

3. Select a file format (JPEG or PNG) and enter a name for the new still image file. 4. Click Save. The image is added to the Project Media window. Creating a slide show
A slide show composed of still images and an accompanying soundtrack can be an excellent way to show off your pictures. You can insert multiple images to instantly create a slide show, complete with crossfades. Importing high-resolution still images and using panning, cropping, and track motion tools can add interest to an otherwise static slide show. For more information, see Cropping video on page 249 and Adding track motion on page 310.

1. In the Options menu, verify that Automatic Crossfades is selected. 2. From the Options menu, choose Preferences. Adjust the following settings on the Editing tab:
• • • Enter the length for the still images in the New still image length box. Select Automatically overlap multiple selected media when added. Enter the length of the automatic overlap in the Amount box in the Cut-to-overlap conversion section of the dialog.

3. Click OK. The Preferences dialog closes. 4. Select all of the images you want to use in the Explorer. 5. Right-click and drag these files to the timeline. 6. From the shortcut menu, choose Add Across Time.
If you want, you can replace the crossfades between images by dragging transitions to the crossfade regions at a later time. For more information, see Using transition effects on page 296.

Note: When using photographs or other media that is not the same frame aspect as your video, you'll see black bars on the sides or
above and below the image. To create a crop rectangle that matches the project frame aspect, right-click the image and choose Match Output Aspect from the shortcut menu.

254 | CHAPTER 16

Creating titles
Most video projects include titles and credits. There are two ways to add text to your project. You can use the titling engine (text generator) or you can use an external image-editing program to create titles. For more information, see Using generated media on page 275.

Creating titles from images
While every software application is slightly different, the general procedure for creating titles with a transparent background is as follows.

1. Start your image-editing application. 2. From the File menu, choose New. Set the dimensions of the new image to be the same as the frame size for the project. For more
information, see Correcting images for DV pixel aspect ratios on page 253. Make the default canvas (background) color a solid color. The background will be transparent in the final image, so any solid color works.

3. Select the Text tool and enter the text for your title. Note: Size and position your titles carefully to fit within the Title Safe Area or the titles may extend beyond the edges of your television.
For more information, see Identifying safe areas on page 321.

4. From the File menu, choose Save As. 5. From the Save as type drop-down list, choose TGA, PNG, PSD or BMP (PNG is recommended). Make sure that you save the alpha
channel information (for TGA and PNG), which is used for transparency.

6. Enter a name and click Save. 7. Insert the image in a track just above the one with the video that will be in the background. 8. Click the Compositing Mode button (
) on the title track and choose Source Alpha if your image has an alpha channel associated with it. If it does not, you may need to add a chroma key filter to the image and key out the background. For more information, see Chroma keying on page 292.

Note: The alpha channel is saved as a selection area in some programs. If you cannot save the alpha channel, use a black background and a mask will be created from the background. The alpha channel of TGA images may not be detected automatically. For more information, see Modifying media file properties on page 266.

USING ADVANCED VIDEO FEATURES | 255

Fading titles
Another common technique is to fade a still title in and out. You can create this effect by using an opacity envelope on a title event. For more information, see Using opacity envelopes on page 188. You can also create multiple title images and then use crossfades or custom transitions between them. For more information, see Using transition effects on page 296.

Adding closed captioning to Windows Media Video (WMV) files
Closed captioning makes your final video accessible to a wider audience. You can use text commands to add captions line-by-line to a Windows Media® Video (WMV) file, or for longer projects, you can add captioning from a script.

Adding closed captioning line-by-line 1. Position the cursor where you want the closed captioning text to appear. 2. From the Insert menu, choose Command. The Command Properties
dialog appears.

3. From the Command drop-down list, choose Text. 4. In the Parameter box, enter the closed captioning text you want to
display.

5. Click OK. 6. Repeat steps 1-5 for each line of closed captioning text you want to add. 7. Render your file in Windows Media Video format. For more information, see
Rendering a project on page 335.

Tip: Take steps to ensure that the closed captioning displays when the video is played. For more information, see Displaying closed
captioning on page 258.

Adding closed captioning from a script
Using a script to generate closed captioning involves several steps. First, you must copy and paste the lines from the script into a spreadsheet. You can create the spreadsheet from scratch (using the steps that follow) or use the sample shell (Vegas Captioning Shell.txt) provided in the Sample Projects folder on the Vegas Pro application disc. You can open this tab-delimited shell with a spreadsheet application or, in the absence of a spreadsheet application, any text editor. Once the spreadsheet is complete, you can copy and paste the lines into the Edit Details window. You can set the position for each line of closed captioning during playback.

Creating a script spreadsheet

1. Create a four-column, tab-delimited spreadsheet. 2. In the first column, enter 00:00:00:00 in each of the cells as a placeholder. You will set the actual position of each line during
playback.

3. In the second column, enter TEXT in each of the cells to specify the command type. 4. In the third column, enter the text that you want to display as a closed caption. Enter each line in its own cell. Tip: If you have a script, you can copy and paste individual lines into the cells.

256 | CHAPTER 16

5. In the fourth column, enter a label to identify your captions. An entry such as Line 001 can help you sort the captions once you
paste them into your Vegas Pro project.

Note: The final caption displays in the Microsoft® Windows Media® Player until the end of the video. To clear the final caption sooner,

add a final command with no text (as shown above).


Copying and pasting captions into Vegas Pro software

1. Select the cells in the spreadsheet and copy them. 2. Switch to Vegas Pro software and choose Edit Details from the View menu. The Edit Details window appears. 3. From the Show drop-down list, choose Commands. 4. Right-click the gray box in the upper-left corner and choose Paste from the shortcut menu. The spreadsheet data is pasted into the
Edit Details window.

5. Click the column header for the Comments column. This sorts the captions by line number.
Right-click to paste the spreadsheet contents into the Edit Details window. Click the Comments column header to
sort the captions by line number.


Setting closed captioning timing

1. Position the cursor shortly before where you want the first caption to occur. 2. Select the row for the first caption in the Edit Details window. 3. Click the Play button (
) to start playback.

4. When playback reaches the place where the first caption should occur, press Ctrl+K.
The first caption is inserted at the cursor position, updates the Position setting in the Edit Details window, and selects the next caption.

5. Press Ctrl+K to insert each subsequent caption. 6. Render your file in Windows Media Video format. For more information, see Rendering
a project on page 335.

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Displaying closed captioning
You may use one of two methods for displaying the closed captioning when the video is played: • Instruct your audience to turn on captioning: In Windows Media Player 7 and 8: from the View menu, choose Now Playing Tools, and then choose Captions from the submenu. In Windows Media Player 9: from the Play menu, choose Captions and Subtitles, and then choose On if Available from the submenu. • Create an HTML page with the Windows Media Player embedded in it. See the online help for a sample HTML page.

Resampling video
Resampling allows Vegas Pro software to interpolate frames in an event when the frame rate of a media file is lower than the project’s frame rate. With resampling, the intervening frames are interpolated from the source frames, much like a crossfade between the original frames. You can instruct Vegas Pro software to resample the video of a single video event or to resample the entire project at the time of final rendering: • To resample an event, right-click a video event and choose Properties from the shortcut menu. In the Video Event tab of the Properties dialog, choose the Smart resample, Force resample, or Disable resample radio button. For more information, see Accessing event properties on page 185. To resample the project, choose Render As from the File menu. In the Render As dialog, click the Custom button to access custom rendering settings. Select the Resample the frame rate of all video check box. For more information, see Customizing the rendering process on page 342.
The original media file
looks something like
this over three frames.


•

To convert these three frames into nine frames for a faster frame rate, Vegas Pro software must generate the intervening frames.

Without resampling, the intervening frames are simply the previous frame repeated.

With resampling, the intervening frames are interpolated from the source frames. It is similar to a crossfade effect between the original frames.

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Resampling at either the event or project level perform the same function. There are few cases where resampling may be particularly important: • • • When the frame rate of the source media for an event is slower than the project’s frame rate. For example, when you are using a source media file that has a 10 fps rate in a 29.97 fps rate project, resampling is recommended. When changing the speed of a video event. For example, when slowing a clip to 30% using a velocity envelope, resampling is recommended. When creating vertically scrolling titles.

When any of the previous situations are true, there are only ten frames of source material for every second of project time. When the project is rendered, there must be roughly thirty frames in each second. The frames must be created between the source media frames, sometimes known as padding. The easiest way to do this is to simply duplicate the previous frame. This can result in less than smooth video playback. Resampling allows Vegas Pro software to interpolate the intervening frames more smoothly.

Using Edit Decision Lists (EDL)
Vegas Pro Edit Decision Lists (EDL) are text lists of all of the media files used, where they are placed, and how they are trimmed. Vegas Pro EDLs are not the same as those used in traditional linear editing suites and are not intended as a project interchange for other editing applications.

Creating an EDL 1. From the File menu, choose Save As. The Save As dialog appears. 2. From the Save as type list choose EDL Text File (.txt). 3. Enter a name for the file and browse for a destination. 4. Click Save.
You can open EDLs created in another application in order to work with a rough copy of a project. For example, you could create an EDL from a project in a third-party editing application and then import the project into Vegas Pro software via the EDL. For best results, save the EDL file and source media files in a single folder before opening the EDL.

Opening an EDL 1. From the File menu, choose Open. 2. Locate the EDL file, select it, and click the Open button. If you are working on another project, you are prompted to save your work
before a new project is opened.

Note: EDLs do not contain any information about the location of source media. Therefore, the EDL file should be saved in the same directory as the source media. If it is not, or if media is stored in a number of different locations, you are prompted to relink these files when the EDL is imported.
Because of the significant differences between editing applications, third-party EDL files may not bring all of the project data into Vegas Pro software. Among other differences, events are inserted into the timeline on a single track, all transition effects are replaced with crossfades, and only four audio tracks can be imported.

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Working in DV format
Vegas Pro software is optimized for DV editing. If your project is destined for tape or television, the DV format is an excellent choice. The DV codec installed with Vegas Pro provides video with excellent image quality, even over multiple generations, and provides audio that is better than CD-quality. If you start with well-shot DV footage and stay within the DV format throughout the editing process, you can output broadcast-quality video programs. This section provides guidelines for working in the DV format.

Selecting source media
Wherever possible, use DV source video clips. You can capture video from DV cameras and decks using an IEEE-1394 card with no quality loss. You can also convert analog footage to DV using a media converter or by passing the video through a DV camcorder.

Setting project properties
Set your project to match the DV format of your final output. This provides a true WYSIWYG view of the project when you use an external monitor for previewing. This also prevents you from stretching output or changing field order unnecessarily. You can match the project settings to a video source file by using the Match Media Settings button ( ) in the Project Properties dialog. For more information, see Setting video properties based on a media file on page 48 and Modifying project video properties on page 264.

Selecting templates
Always select a DV template when performing any of the following tasks in a DV project: • • • • Prerendering video (For more information, see Prerendering video on page 319.) Rendering to a new track (For more information, see Rendering to a new track on page 168.) Printing video to tape from the timeline (For more information, see Printing video to tape from the timeline on page 350.) Rendering a project (For more information, see Rendering a project on page 335.)

When prerendering video or rendering to a new track, a DV template not only optimizes playback performance, but also helps you avoid needless recompression of DV footage. DV material is recompressed only when necessary. Cuts-only DV sequences are not recompressed when you output the project to DV from the timeline or in Video Capture. The DV templates are designed to provide high quality, pixel aspect-correct, DV-compliant renders when rendering a project or printing to tape from the timeline. Do not select an uncompressed setting when choosing rendering or print-to-tape options. An uncompressed setting produces a large file that will not print back to DV tape from Video Capture or from the timeline.

Eliminating out-of-range colors
The DV format allows color values to exceed broadcast NTSC and PAL color level standards. If you have a scene whose colors are too hot, or if you want to be sure that your video stays within legal broadcast levels, apply the Broadcast Colors effect to specific events or the entire project. Be aware that applying the Broadcast Colors effect results in recompression of the video. As a result, render times can increase significantly when the effect is applied to the entire project.

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Working in HDV format
HDV cameras record high-definition video to standard DV tapes using a highly compressed variation of the MPEG-2 format. Because of this compression, you can capture HDV clips at data rates that are no higher than DV capture. You can use HDV files just like any other supported media type on the timeline.

Capturing HDV clips
If you have an HDV camera, you can use Vegas Pro software to capture your clips as MPEG-2 transport streams.

Tip: If you will be delivering your project in standard definition (SD) via DVD or DV tape, you can use the camera’s built-in downconversion (if available) to convert your HDV video to the DV format. Use the camera’s Options menu to set the camera to output DV, and you can capture and edit video in the same way that you normally use DV in Vegas Pro projects. For more information, see Working in DV format on page 260. 1. Enable the Video Capture application: a. From the Options menu, choose Preferences. b. Click the Video tab. c.
Clear the Use external video capture application check box. in the Project Media window) to start the Video

d. Click the OK button. 2. From the File menu, choose Capture Video (or click the Capture Video button
Capture application.

3. Configure your HDV device in Video Capture: a. Click the Prefs c.
button in the Capture window to open the Capture Preferences dialog.

b. Click the Device tab.
From the Device type drop-down list, choose IEEE 1394/MPEG2-TS Device.

d. From the Device drop-down list, choose your HDV camera. 4. Capture your clip: a. Use the transport controls below the Video Preview window to cue your tape. b. Click the Start Capture button c. d. Click the Stop button
to start capturing. Press the Play button on your camcorder. (or press Esc) to end the capture procedure.

Your clip is saved to the folder specified on the Disk Management tab of the Capture Preferences dialog. This path is displayed in the Capture Folder box in the Video Capture window.

Note: Select the Enable HDV scene detection check box on the General tab of the Capture Preferences dialog if you want to create
multiple files if scene changes are detected. When the check box is cleared, HDV clips will be captured to a single file.

5. You’re ready to start editing on the timeline. For more information, see Editing HDV video on the timeline on page 262. Creating Proxy Files for High-Definition Editing
If you’re working on a system with limited processing power, converting to a lower-resolution format will streamline the editing process and allow you to preview your project.

1. Capture or import your high-definition clips. For more information, see Capturing HDV clips on page 261. 2. Start a new project. 3. Add your high-definition clips to the timeline.
4. Render your clips to an appropriate proxy format.

You can verify a template’s codec by looking at the Video format drop-down list on the Video tab of the Custom Template dialog.


USING ADVANCED VIDEO FEATURES | 261

If you’re performing frame rate or frame size conversion, ensure the Video rendering quality is set to Best on the Project tab of the Custom Template dialog. Destination
HDCAM over HD-SDI

Proxy Format
Render an .avi file that uses the Sony YUV codec. The frame rate and frame size should match your HDCAM master.

Digital Betacam or XDCAM Render an .avi file that uses the Sony YUV codec. The frame rate and frame size should match your over SD-SDI master. 24p DVD Render an .avi file that uses one of the following codecs: • Sony YUV (offers the highest quality, but requires a high-performance drive array). • Sony NTSC DV Widescreen (use the NTSC DV Widescreen 24p (2-3-3-2) pulldown .avi template). Windows Media HD Render an MPEG-2 file using one of the following templates. Choose the template that matches your HDV source: • HDV 720-25p. • HDV 720-30p. • HDV 1080-50i. • HDV 1080-60i.

5. After rendering is complete, you’re ready to start editing on the timeline. For more information, see Editing HDV video on the timeline
on page 262.

Tips:
• If you don't want to convert all clips in their entirety, create regions to indicate the portions of the captured HDV clips that you want to convert to a proxy format, and then render the regions to the desired format. • Remember that Vegas software supports multiple instances. You can use one instance of the application to render your proxy files while you continue editing in another instance. • Using DVD Architect software, you can create a DVD that contains an SD version of your project and place an HD Windows Media version in the Extras folder on the disk. When you browse to the Extras folder via Windows Explorer, you can play the HD version and output it to your computer's display, a home theater, or a projector.

6. If you’re working with proxy files and you plan to render to a format that supports high-definition video, replace the proxy clips
with the original high-definition clips before rendering your project or printing to tape.

a. Right-click the proxy file in the Project Media window. b. Choose Replace from the shortcut menu. c.
Browse to the MPEG-2 transport stream that corresponds to the proxy file, and then click Open.
If your destination format is standard definition, you don’t need to replace the proxy clips before rendering.


Editing HDV video on the timeline
You can use native HDV footage (called transport streams) files just like any other supported media type on the timeline.

1. Import the clips from your HDV camera to your local hard drive. For more information, see Capturing HDV clips on page 261. 2. Drag your captured clips from the Explorer or Project Media window to the timeline to create events. 3. Edit your project as needed. For more information, see Editing events on page 102. 4. Render your project or print to tape. For more information, see Saving, Rendering, and Printing Projects on page 333.

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Working with RED ONE camera files
RED ONE™ cameras record 4K footage as REDCODE™ RAW (.r3d) files that you can add directly to the Vegas Pro timeline and edit like any other supported media type.

1. Transfer the .RDM folder containing your clips from your RED ONE camera’s memory card or hard drive to your local hard drive. 2. Set your project properties to match the format of your final output.
• • • To output a 2K still-image sequence, use the 2K 16:9 24p (2048x1152, 23.976 fps) template. To output a 4K still-image sequence, use the 4K 16:9 24p (4096x2304, 23.976 fps) template. To output to Blu-ray Disc™, use the HD 1080-24p (1920x1080, 23.976 fps) template.

For more information on rendering still-image sequences, see Rendering still-image sequences on page 337. For more information on burning Blu-ray Discs, see Creating a Blu-ray Disc on page 391.

3. Drag the clips from the Explorer or Project Media window to the timeline to create events. Note: The RED ONE camera creates new “rollover” files for a clip each time a file reaches 2 GB on disk. For example, a 10-minute clip recorded in 4K will be approximately 20 GB on disk, divided among 10 .r3d files. You can drag any one of these files to the timeline to place the entire clip on the timeline. 4. Edit your project as needed. For more information, see Editing events on page 102. Modifying R3D decode properties
You can modify the decode properties of your RED ONE camera files in the R3D Decode Properties window. These settings are applied nondestructively to the raw .r3d file as metadata. To access this window for one or more .r3d files, select the files in the Project Media window, right-click them, and choose File Format Properties from the shortcut menu.

Modifying properties for multiple files • When multiple files are selected, check boxes appear for slider settings that do not match across all selected files. When you drag the slider or type a new value, the check box is automatically selected, and the new value is applied to all selected files when you click OK. Clear the check box to leave the setting unchanged for the selected files. If values already match for a slider setting, no check box is displayed, and any changes made to the setting are applied to all selected files. If values do not match for a drop-down setting, the setting is blank. If you choose a value for a blank drop-down setting, that value is applied to all selected files.

• •

USING ADVANCED VIDEO FEATURES | 263

Restoring default values • • • Double-click a slider ( ) to restore the setting to the clip default. Click the Clip Default button to restore all settings to the clip default. Click the Factory Default button to restore all settings to the default settings of the camera.

For more information about the settings in the R3D Decode Properties window, refer to your RED ONE camera documentation or http://www.red.com/support. These settings map one-to-one to settings on the RED ONE camera.

Modifying project video properties
You can access project video properties by clicking the File menu and choosing Properties or by clicking the Project Video Properties button ( ) on the Video Preview window. Many of these settings are identical to the settings found on the Project tab of the Custom Template dialog. Final render properties set up in the Custom Template dialog override the following Project Properties settings. For more information, see Working with project properties on page 360. These properties control all of the default settings for your project. Without making any changes, these are also the settings that are used to create a final rendered movie file. Item
Template

Description
Select a preset template from this drop-down list to automatically configure the remaining video controls in this dialog. Many popular formats are included, but you should consult your hardware manuals if you have any questions. You can also save your own custom template. Click the Match Media Settings button ( of a media file of your choosing. ) to set your project properties to match the properties

Match Media Settings Width/Height

Use the values in these boxes to set the frame size of your final movie. The maximum frame size for AVI, MPEG, QuickTime, RealMedia, Windows Media, and still-image output is 2048x2048.

Note: The maximum frame size is 4096x4096.
Field order Choose an option from this drop-down list to set the field order: • None (progressive scan): Select this option for video to be viewed on a computer monitor. • Upper field first: Select this option for video that will be viewed on a television. • Lower field first: Select this option for DV output or if Upper field first produces jittery or shaky output. Pixel aspect ratio Output rotation Choose the pixel aspect ratio for the final movie’s destination from this drop-down list. For more information, see Pixel Aspect Ratio on page 435. Choose a setting from the drop-down list to rotate your project’s output. Use output rotation to edit projects for display in portrait (rather than landscape) or inverted orientation.

Tip: If you want to rotate a media file’s orientation, you can use the Rotation drop-down list on the
Media Properties dialog. For more information about working with rotated projects, see Working with rotated projects on page 48. Frame rate Choose a frame rate for the final movie’s destination from this drop-down list. For more information, see Frame Rate (Video) on page 433.

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Item
Pixel format

Description
Choose a setting from the drop-down list to indicate whether you want to perform video processing (compositing, scaling, previewing, rendering, and most video plug-ins) using 8-bit or 32-bit, floating-point arithmetic. • 8-bit Performs video processing using 8-bit arithmetic and in the video (studio RGB, or 16-235) color space. • 32-bit floating point (video levels) Performs video processing using 32-bit arithmetic and in the video color space. • 32-bit floating point (full range) Performs video processing using 32-bit arithmetic and in the full-range color space. The 32-bit floating point settings allow greater precision for processing video, but require significantly more processing power than working with 8-bit video.

Tips:
• 32-bit floating point (video levels) is recommended when working with 10-bit YUV input/output or when using xvYCC/x.v.Color media. • When using 8-bit input/output, the 32-bit floating point (video levels) setting can prevent banding from compositing that contains fades, feathered edges, or gradients. • Video plug-ins and media generators that do not support floating-point processing are indicated by a blue icon ( ) in the Plug-In Manager and Plug-In Chooser with this icon in the Video FX and Media Generators windows. • If you’re creating a 32-bit project, you can increase performance during editing and playback by using the 8-bit setting and switching to 32-bit floating point (video levels) before rendering. Compositing gamma When you choose 32-bit floating point (full range) from the Pixel format drop-down list, you can choose a compositing gamma value: • 1.000 (Linear) The default setting when you choose 32-bit floating point (full range) from the Pixel format drop-down list. • 2.222 (Video) Processing in 8-bit video is always performed using a setting of 2.222. Choose this setting when you want to ensure maximum compatibility with projects created in previous version of Vegas Pro software. Full-resolution rendering quality Choose a rendering quality level from this drop-down list. For most projects, Good is the recommended setting. If you have critical material where nothing but the highest quality rendering will do, select Best. Note that rendering time may increase dramatically as large amounts of extra processing is required for the Best setting. Some effects and transitions can involve motion or animation. This list allows you to select whether the frames are blurred slightly to create the illusion of motion on individual frames. This can make computer generated animation appear more smooth and natural. Gaussian is the best choice in most situations where blurring is required. This drop-down list provides several options relating to interlacing. Source video from a television is interlaced. When Vegas Pro software renders effects, it needs to deinterlace the two fields that make up a frame. You can choose the exact method used in this list: • None The fields are left interlaced. • Blend Contents are used from both fields, which is a good choice for high-detail, low-motion material. • Interpolate A single field is used at a time, which is good for low-detail, high-motion material. Adjust source media to better match project or render settings Select this check box if you want Vegas to scale images or adjust interlacing to allow media files to
work better with your project.
This setting will correct for the following types of inconsistencies:
• DV media will be cropped for 320x240 Internet renders to prevent letterboxing. • DV widescreen media will be cropped in HD projects. • HD media will be cropped in DV widescreen projects. • 486-line media will be cropped in 480-line projects. • 480-line media will be padded in 486-line projects. When the check box is cleared, source media files are processed with their native settings. Prerendered files folder Displays the path where prerendered files are stored. The Browse button allows you to select a new location to store prerendered files. For more information, see Prerendering video on page 319. USING ADVANCED VIDEO FEATURES | 265

Motion blur type

Deinterlace method

Item
Free storage space in selected folder Start all new projects with these settings

Description
Displays the available disk space where prerendered files are stored. Select this check box to always use these settings for new projects.

Modifying media file properties
Vegas Pro software tries to automatically detect the properties of your media files. In most cases, these properties do not need to be modified, but there are times when you may need manual control over some of these attributes, depending on the type of file and your specific hardware configuration.

1. Right-click a file in the Project Media window or an event on the timeline and, from the shortcut menu, choose Properties, or select
a file in the Project Media window and click the Properties button ( Setting custom stream properties on page 268. ).

2. Modify the parameters on the Media tab as needed. For more information, see Editing properties for an audio file on page 266 and 3. Click OK. Editing properties for an audio file
The following settings are available for audio files.

Tip: You can also view the properties for the media file associated with an event. Right-click the event, choose Properties from the
shortcut menu, and click the Media tab.

Item
File name Tape name Stream Attributes Format

Description
Displays the current media file name and location. This can be used to display the name of the tape from which you recorded the audio. The name can be edited here or in the corresponding field in the Edit Details window. If a file contains multiple streams, you can use this control to select the stream for which you want view properties. Displays the file’s sample rate, bit-depth, number of channels, and length. Displays the compression format of the file.

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Editing properties for a video file
The following settings are available for video files:

Tip: You can also view the properties for the media file associated with an event. Right-click the event, choose Properties from the
shortcut menu, and click the Media tab. Item
File name Tape name

Description
Displays the current media file name and location. This can be used to display the name of the tape from which you captured the video. The name can be edited here or in the corresponding field in the Edit Details window.

Use timecode in Select this radio button to accept the default timecode settings. file Use custom timecode Stream Attributes Format Field order Select this radio button to specify a beginning value for the timecode. If a file contains multiple streams, you can use this control to select the stream for which you want view properties. Displays the frame size, in pixels (x,y). color depth, and length of the file. Displays the compression format of the file. Choose a setting from the drop-down list to change th e field order of the file. Consult your capture/video output card's manual for the proper field order. • None (progressive scan): Select this option when viewing the video on a computer. This option ignores interlacing. • Upper field first: Select this option (also called odd or field A) for video that will be viewed on a television. • Lower field first: Select this option (also called even or field B) for DV output or if Upper field first produces jittery or shaky output or if your hardware manual specifies lower field first. Pixel aspect ratio Choose a setting from the drop-down list to change the pixel aspect of the file. This setting will depend on your capture/video output card. Consult your capture/video output card manual for the proper settings. If the alpha channel in an image is not detected, choose the correct type of alpha channel from this drop-down list. If you’re unsure, try the Premultiplied setting first. • Undefined: Video provides no alpha channel information. This setting ignores any alpha channel information in the file. • None: Video has no alpha channel or there is an alpha channel but it’s completely opaque (solid). • Straight (unmatted): Transparency information is maintained in only the alpha channel. Alpha information must be applied to the RGB channels before compositing. • Premultiplied: The standard method of handling alpha information. Transparency information is maintained in the alpha and RGB channels, and the image is ready for compositing. No RGB component exceeds the alpha value. • Premultiplied (dirty): Similar to Premultiplied, but RGB components may exceed the alpha. This setting is used mainly for images created by 3D applications involving compositing of 3D images over a non-solid color image background. Rotation Choose a setting from the drop-down list to rotate a media file’s orientation. In this example, the video was shot with the camera tripod rotated 90 degrees. The project is rotated, but the media doesn’t match the project orientation, so the video is letterboxed within the frame.

Alpha channel Choose a setting from the drop-down list to change the alpha channel information for the file.

After choosing 90° clockwise from the Rotation drop-down list, the media is rotated, and the video fills the frame.

Tip: If you want to rotate a project’s orientation, you can use the Output rotation drop-down
list on the Video tab of the Project Properties dialog. For more information, see Working with rotated projects on page 48.

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Setting timecode media properties

These properties appear in the Timecode section of the Media tab:
• • • The Use timecode in file radio button is the default setting, where the media file’s timecode is used. The Use custom timecode radio button allows you to set the media file’s timecode manually. If you have selected the Use Custom timecode radio button, a drop-down list contains the available timecode formats. SMPTE Drop (29.97 fps, Video) for example, is the timecode format for NTSC DV. Changing the timecode format does not change the source media file in any way. It merely changes how the file is measured in time. For more information, see Timecode on page 427.

Setting custom stream properties
Media files are opened with a set of default values based on the media file type. When you change any of the values for a media file, these changes are saved for that file in the current project only. If you want to change the default settings for a particular type of video file whenever that type of file is used, click the Save settings to video profiles for future auto-detection button ( ) to the right of the Stream list. This adds an entry to a file called vegas video profiles.ini that can be referenced for future use. The following properties appear in the Stream properties section of the Media tab: • • • If the file has more than one stream of the given type, you can choose the particular stream for which you want to view properties from the Stream drop-down list. The Attributes, Format, and Frame rate boxes display basic information about the file. Choose an option from the Field order drop-down list to control how the video field order is handled on a television monitor. Choose None (Progressive) for video to be viewed on a computer monitor. For DV output, choose Lower Field First. If the output is jittery or shaky, or your hardware’s manual specifies it, choose Upper Field First. While you can choose a different value from the Pixel aspect ratio drop-down list, this value should always match the source video’s properties. The option selected in the Alpha channel drop-down list determines how transparency is handled in a file. The default alpha channel setting for most video files is None. PNG image files can have an alpha channel that is automatically detected. The options in this drop-down list are described below. Alpha channel option
Undefined None Straight (unmatted)

• •

Description
Because the image format provides no alpha channel information, this setting ignores any alpha channel information in the file. Either there is no alpha channel or there is an alpha channel but it’s completely opaque (solid). Transparency information is maintained in only the alpha channel. Alpha information must be applied to the RGB channels before compositing. The standard method of handling alpha information. Transparency information is maintained in the alpha and RGB channels, and the image is ready for compositing. No RGB component exceeds the alpha value. Similar to Premultiplied, but RGB components may exceed the alpha value. This option is used mainly for images created by 3D applications involving compositing of 3D images over a non-solid color image background.

Premultiplied

Premultiplied (dirty)

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Chapter 17 Using Video FX, Compositing, and Masks
Video plug-ins in Vegas® Pro software include effects and generators. Effects cover a broad range of electronic modifications that can be used to improve substandard video or artistically enhance a production. Generators can be used to create custom video events such as credit rolls or gradient overlays. A variety of options are provided in compositing video and using masks. Compositing involves mixing visual elements together into a final output. Multiple compositing modes are provided from which to choose. Masks, which are used extensively in television and movies, are an important part of creating overlays. Together, these professional tools can help you polish your productions.

Note: The compositing model in this version of Vegas Pro software differs significantly from the Vegas Pro 4.0 model. To
reproduce the Vegas Pro 4.0 parent/child masking behavior, set the compositing mode of the parent track to Multiply, and then apply the Mask Generator plug-in as a track effect on the parent track.

Using video effects
A great variety of video effects plug-ins are provided that are ready for you to drag-and-drop onto your projects, media files, tracks, and events. Previews of the different effect presets appear in the Video FX window. In addition to the presets, each plug-in has individual controls that allow you to customize the effects in precise detail. You can also animate video effects using keyframes. For more information, see Using keyframe animation on page 302. The mix of video effects applied at different levels (to events, tracks, files, etc.) is important to the final mix of a project. For more information, see Video signal flow on page 45. In general, effects are applied in the following order: • • • • To files in the Project Media window To events To tracks To the project (video output effects)

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Adding a video effects plug-in
You can apply video effects to video events, tracks, source media files (via the Project Media window), or to an entire video project. You can add a plug-in by selecting it in the Plug-In Chooser dialog, or you can drag-and-drop the plug-in from the Video FX or Plug-Ins windows.

Notes:
• Not all video plug-ins are capable of multithreaded rendering. Plug-ins that do not support multithreaded rendering are displayed with a yellow icon ( ) in the Plug-In Manager and Plug-In Chooser windows and with this icon in the Video FX window. • Video plug-ins and media generators that do not support floating-point processing are indicated by a blue icon ( Manager and Plug-In Chooser with this icon in the Video FX and Media Generators windows. ) in the Plug-In

Adding a plug-in using the Plug-In Chooser

1. Click the Video FX button (
• • • •

) in one of the following locations (see the illustration):

Media FX are applied before a media file is inserted into an event on the timeline. Every occurrence of this media file in a project has the effect applied to it. Media effects can be applied only to video files. Event FX are applied to events on the timeline. Track FX are applied to the output of a particular track. Video Output FX are applied to the final output and affect every event in a project.
Track FX Event FX Media FX Video Output FX

2. In the Plug-In Chooser dialog, select the effect that you would like to apply and click OK. 3. Modify the effect in the Video FX window and close the window when you are finished. For help on the different controls in the
Video FX window, click the Plug-In Help button ( ) to access online help.

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Adding a plug-in from the Video FX or Plug-In Manager window

1. If the Video FX or Plug-In Manager window is not currently visible, choose either Video FX or Plug-In Manager from the View menu
to view the appropriate window.

2. Drag a plug-in from the window to one of the following locations:
• • • • File in the Project Media window Event Track list or empty section of a track Video Preview window (video output effects) ) to access online help.

3. Modify the effect in the Video FX window and close the window when you are finished. For help on the different controls in the
Video FX window, click the Plug-In Help button (

Working with video effects plug-in chains
You can apply plug-ins in chains of two or more for even greater flexibility. A plug-in chain is a sequence of all of the plug-ins to be applied to a media file, event, track, or project. The same plug-in can be added to a chain more than once. Use the same steps to add additional plug-ins to a chain as you use to add a single plug-in. For more information, see Adding a video effects plug-in on page 270. After you apply a plug-in chain, the video is processed by each plug-in in order. The plug-ins are cumulative so, in some cases, you may want to rearrange their order to achieve the desired effect. To view and work with a plug-in chain, click the Video FX button ( window to open the Video FX window. ) for the event, track, Project Media window file, or Video Preview

Plug-in chain Click a plug-in to modify its settings in the lower part of the window. Clear the check box on a plug-in to bypass it. Drag a plug-in to move it within the chain.

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Bypassing plug-ins Video effects plug-ins can also be temporarily bypassed (turned off ) by deselecting them (clearing the check box on the plug-in). Since the effects are rendered very quickly in the Video Preview window, turning a plug-in on and off allows you to see the results of the plugin on your project.

Changing the plug-in order Video effects plug-ins are applied in the order that they appear in the chain. You can change this order by dragging a plug-in to a new location in the chain. Alternately, you can click the Plug-In Chain button ( ) in the Video FX window and reorder the plug-ins in the Plug-In Chooser dialog.
Plug-in chain Shift Plug-In Left/Right

In the following illustration, you can see how the order of plug-ins is important.

The goal of the above example is to use video effects plug-ins to create a very high-contrast mask out of a video clip of fire. In the image on the left, a Brightness and Contrast plug-in is applied first and then a Black and White plug-in. In the image on the right, the Black and White plug-in was applied first, removing the color, and then the Brightness and Contrast plug-in was applied. The mask created by the second example is much cleaner, even though all of the settings of the two plug-ins are identical.

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Processing plug-ins on events with panning or cropping When you add a plug-in to a video event that has panning or cropping applied to it, you have the choice of processing the plug-in before or after the pan/crop. For example, you might want to apply a Radial Blur plug-in before the video is cropped and then a Noise plug-in is applied after the cropping is complete. You can choose whether an effect is applied pre- or post-pan/crop in the keyframe controller at the bottom of the Video FX window. Click the Before/After Pan/Crop button to the left of the effect name to determine whether the effect is processed before ( ) or after ( ) Vegas Pro software pans or crops the event.

Here, the Deform plug-in is
applied before the pan/crop.
The Glow and Color Curves
plug-ins are applied after the
pan/crop.


Removing a plug-in

1. Click the FX button (

) on the event, track, Project Media window file, or Video Preview window that has the plug-in applied to it. The Video FX window appears.

2. Click the plug-in that you want to remove. 3. Click the Remove Selected Plug-In button.

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Modifying a video effects plug-in
Video effects plug-ins are highly customizable. You can select from a variety of presets or adjust the settings for custom effects. You can also save custom settings to be used again as a new preset.

1. Click the FX button (

) on the event, track, Project Media window file, or Video Preview window that has the plug-in applied to it. The Video FX window appears. ) to access online help.

2. Select a preset from the Preset drop-down list or adjust the parameters as needed. For help on the different controls in the Video
FX window, click the Plug-In Help button (

Changes you make are automatically updated in the Video Preview window, using the current cursor position as the example. To see the effect as applied to the video in motion, create a time selection (looped region) and preview in loop playback.

Saving custom plug-in settings as a preset 1. Click the Preset text box. The name of the current preset is highlighted. 2. Type a new name for the preset and click the Save button (
).

Tip: To use a saved custom preset, simply choose it from the drop-down list.

Using keyframe animation with plug-ins
You can use keyframe animation to control a plug-in over time. Keyframes are added to the keyframe controller at the bottom of the Video FX window. Since a number of plug-ins can be added to a single event, track or project, click the plug-in’s button in the chain and modify the particular attributes and keyframe controller for that plug-in. For more information, see Using keyframe animation on page 302 and Animating video effects plug-ins on page 308.

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Using generated media
Generated media plug-ins are a special class of plug-in that creates virtual media files contained in events on the timeline. These virtual files are stored in the Project Media window, where their properties can be viewed and modified.

Generated media provide an easy way to add text, backgrounds, or test patterns to your project. You can view the generators by choosing Media Generators from the View menu to display the Media Generators window. Generated media events can be animated using keyframes. For more information, see Using keyframe animation on page 302 and Animating generated text on page 309. Generated media
Checkerboard Color gradient Credit roll Noise texture ProType Titler

Description
Creates checked and striped patterns. Creates gradient colored events to be used behind overlays, as masks, or for fades. Creates events that format your text into credits. Text can be formatted within the Video Event FX dialog in Vegas Pro software, or pasted into this dialog from a word processing program. Creates realistic-looking textures. Create animated text effects with splined paths, per-character animation, and advanced curves. Add shadows, glows, blurs, and gradients for unique text treatments. Supports Unicode and TrueType fonts, as well as OpenType fonts with kerning pairs, alternate styles, bidirectional text, ligatures, custom kerning, and more. Creates solid colored events to be used behind overlays or for fades. Creates standard test patterns that can be used to calibrate your video output stream. Many studios and broadcast facilities require a color bar pattern at the beginning of your video so that engineers can calibrate their equipment. Creates events containing text for titles or simple credits. Text can be formatted with color, shadows, and other effects.

Solid color Test pattern

Text

For help on a specific plug-in, click the Plug-In Help button (

) in the Video Media Generators window to access online help.

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Adding a generated media event 1. Position the cursor where you want to create the event. 2. Select the media generator you want to use:
• From the View menu, choose Media Generators to display the Media Generators window. Select a generator in the left pane. The thumbnail images in the right pane represent each of the existing presets for the selected generator. Hover your mouse pointer over a preset to see an animated example, and drag the preset you want to use to the timeline —or— • From the Insert menu, choose Generated Media. The Plug-In Chooser is displayed. Select the plug-in you want to use and click OK.


The Video Media Generators dialog appears.


3. In the Video Media Generators dialog, type values in the Frame size and Length boxes to specify the size and duration of the
generated media.

4. Use the controls in the Video Media Generators dialog to adjust the plug-in’s settings. Tips:
• To create a generated media event quickly, drag a preset thumbnail from the Media Generators tab to the timeline. A new event is created where you drop the thumbnail using the preset’s parameters. • A generated media event is ten seconds long as a default. However, you can trim the event to any length. For more information, see
Trimming an event on page 107.


Editing a generated media event 1. Click the Generated Media button on an event. The Video Media Generators dialog appears.

2. Use the controls in the Video Media Generators dialog to adjust the plug-in’s settings.
• • • • Click the Match Event Length button ( Click the Media Properties button ( order, pixel aspect, and rotation. Click the Replace Plug-In button ( ) to set the length of the generated media to match the length of the event. ) to edit information about the generated media, such as the frame size, frame rate, field ) to change the media generator for the current event.

Use the lower portion of the Video Media Generators dialog to choose a new preset or adjust the plug-in’s settings.

Duplicating a generated media event
You can duplicate generated media events using copy and paste commands, by holding Ctrl while dragging an event to a new position on the timeline, or by dragging generated media from the Project Media window to the timeline. When you duplicate a generated media event, a dialog is displayed with two options: • • Create a new copy of the source media The new event is created using the same settings as the original event. Each event can be edited independently. Create a reference to the original media The new event uses the same source media as the original generated media event. Any change to either event affects both events.

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Compositing
Compositing is the process of mixing visual elements together into a final output. In Vegas Pro software, this means mixing tracks together vertically. Masks, generated text, and chroma keying all involve compositing. Understanding how compositing works is important to understanding these and many other video track mixing techniques.

Understanding the parent/child track relationship
The key to understanding overlays, masks, transparency, and compositing is to understand the parent/child relationship between tracks. In general terms, the parent track is the highest track in a group of tracks (often only two) and the behavior of the child tracks (that is, how they are composited together) is determined by the parent track. You can also produce complex compositing by creating nested parent/child groups with compositing parents and children at various levels. When you have multiple levels of parent and child tracks, clicking the Make Compositing Child button ( ) moves the track in one level and clicking the Make Compositing Parent button ( ) moves out one level. Hold Ctrl while clicking the Make Compositing Child button to move a track and all its child tracks in one level. The following three examples demonstrate different compositing relationships. The first example shows two independent tracks. The top track contains a generated text event that has a transparent background. The second track therefore shows through the transparent areas in the Video Preview window. Since the second track does not have any transparent areas, any tracks below it would be completely obscured.

In the second example, track two is the child track of track one (the parent track), and the compositing mode of track one is set to Mask. This parent/child relationship was set up by clicking the Make Compositing Child button ( ) in the track list for track two. This makes the text in track one act as a mask over track two, allowing the fire to show through the mask (that is, the text). The region outside of the text is still transparent, but there is nothing below these tracks, so it appears black.
Parent track

Make Compositing Child button

Child track

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In the third example, a generated media event was added to the track below the first two tracks, which are already paired in a parent/ child relationship. The color gradient event in track three shows through the transparent area of the top two paired tracks.

Selecting compositing modes
The Compositing Mode button ( ) determines how the transparency in a video track is generated. Because lower tracks show through higher tracks, it is the compositing mode of the higher track that determines how much of the lower track shows though.
Click to choose a compositing mode

Note: The compositing mode of the lowest video track is a special case. Selecting a mode for the lowest track affects its transparency
against a black background.

To select a compositing mode, click the Compositing Mode button and choose a mode from the menu that appears, or choose Custom to customize compositing with a 2-to-1 transform plug-in. The sample below uses a generated text event that is partially transparent. For more information, see Using generated media on page 275.

Set compositing mode for overlay track

Overlay track Background track

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The following table shows how these two sample tracks are blended using each of the compositing modes. Compositing mode
Add

Sample

Description
Adds the overlay color values to the background.

Subtract

Subtracts the overlay color values from the background.

Multiply (Mask)

Multiplies the overlay color values by the background color values. This makes overlay colors stronger and more present and results in a darker video image. The opposite of this mode is Screen.

Source Alpha

Uses the alpha channel to determine transparency in the overlay.
This compositing mode is based on the alpha channel characteristics of
an event or media file. If no alpha channel is present in the overlay, the
Source Alpha compositing mode has no effect.


Cut

Cuts out the overlay color values from the background.

Screen

Multiplies the inverse of the overlay color values with the background color values. This makes overlay colors weaker and less present and results in a lighter video image. The opposite of this mode is Multiply.

Overlay

Heightens contrast by using Multiply mode on darker colors and Screen mode on lighter colors.

Hard Light

Adds overlay colors as if the overlay were lit by a bright, focused spotlight.

Dodge

Brightens the background based on the overlay color values.

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Compositing mode
Burn

Sample

Description
Darkens the background based on the overlay color values.

Darken

Compares the overlay and background pixel by pixel and selects the darker color value for each pixel.

Lighten

Compares the overlay and background pixel by pixel and selects the lighter color value for each pixel.

Difference

Compares the overlay and background pixel by pixel and subtracts the darker color value from the lighter color to generate a new color value (difference).

Difference Squared

Remaps color values along a parabolic curve. The color values of the layers in the composite group are subtracted, and then the subtracted values are squared. The resulting image will have less extreme changes in color values as the colors approach black (RGB 0,0,0) and more extreme changes in color values as colors approach white (RGB 255,255,255).

Adjusting opacity with the composite level slider You can precisely control the transparency or blending of the overlay with the composite level slider. Left is transparent and right is 100 percent opaque. You can also double-click the current value to enter a specific numeric percentage.

Composite level slider

Using a 2-to-1 transform plug-in to customize compositing
Click the Parent Composite Mode ( ) or Composite Mode button and choose Custom from the menu to use plug-ins to control how the parent track modifies the tracks in its composite group. The included Displacement Map, Height Map, and Bump Map plug-ins can create interesting lens, mirror, water, fire, and other lightbending effects. These plug-ins are explained below: • • Displacement Map: Uses the parent image as a guide to offset the pixels in the composited child tracks along the horizontal and vertical axes. The X and Y offsets are independently encoded in the image color channels. Height Map: Uses the parent image as a guide to offset the pixels in the composited child tracks. The gradient of the image in the parent track is used to determine the amount of offset for the image displayed at that location, much like how light bends through a lens. Bump Map: Uses the parent image as a guide to add texture and lighting to the composited child tracks. The texture of the bump map is applied to the composited child tracks: light sections of the map represent high areas, and dark sections represent low areas.

•

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3D compositing
With 3D compositing, you can move video tracks anywhere in space to simulate realistic motion and lighting. With 2D compositing (and in previous versions of Vegas Pro software), you can move video or images along the X or Y axes, and you can rotate video along the Z axis. With 3D compositing, you can move or rotate along the X, Y, or Z axes to create distance, depth, and perspective. There are two basic rules to 3D compositing:

1. When you have a 2D track in the track list, 3D tracks below that track are rendered in 3D and then composited as a 2D image. 2. A 2D track at the root level (flush to the left of the track list) acts as a barrier to interaction between 3D tracks.
In the following examples, both text tracks have been rotated in 3D: the “hot” track is rotated toward the user, and the “cool” track is rotated away from the user. In the first example, the two tracks intersect along their rotation axis. In the second example, adding a 2D track above the “cool” track causes it to be rotated in 3D and composited as a 2D image so the “hot” text is displayed above it without intersecting.

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Single-track 3D motion 1. Click the Track Motion button (
displayed. ) on the track that contains the overlay that you want to animate. The Track Motion window is

2. From the Compositing Mode drop-down list, choose 3D Source Alpha.

3. Choose a setting from the Layout drop-down list to choose the workspace display that you want to use. The Layout setting allows
you to see your track from various points of view.

4. Adjust the selection area to change the viewable area of the track and its position in space. Guides are displayed in bold to indicate
how the track will be moved or rotated:

Dragging the track. Moving closer to or farther from viewer. Drag across corners to flip the track.

Rotating left to right around the Y axis.

Rotating forward or backward around the X axis.

Rotating around the Z axis.

5. Use the buttons at the top of the dialog to allow or prevent movement or scaling. For more information, see Changing editing
options on page 284.

Tip: Right-click the workspace to display a shortcut menu that displays commands to restore, center, or flip the selection box. You can also force the box to match the source media's aspect ratio or your project's output aspect ratio. Matching the output aspect ratio can prevent black bars from appearing when you use source media (such as photographs) that does not match your project's aspect ratio. 6. The 3D track motion occurs instantly, and the results are updated in the Video Preview window. 7. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the
duration of the track. During playback, immediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation. For more information, see Using keyframe animation on page 302.

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Composited group 3D motion 1. Click the Make Compositing Child button ( ) on the tracks you want to group to create a
compositing group. For more information, see Understanding the parent/child track relationship on page 277.

2. Click the Parent Composite Mode button (
Alpha.

) on the parent track and choose 3D Source

3. Click the Parent Motion button (
displayed.

Parent
motion


) on the parent track. The Track Motion window is

Parent track motion affects the parent track and all child tracks.
In the sample track list to the right, parent track motion on track 1 will affect tracks 1 through 6.
Parent track motion applied to track 4 will affect only tracks 4 through 6.


4. Choose a setting from the Layout drop-down list to choose the workspace display you want to
use. The Layout setting allows you to see your track from various points of view.

5. Adjust the selection area to change the viewable area of the track and its position in space.
Guides are displayed in bold to indicate how the track will be moved or rotated:

Dragging the track. Moving closer to or farther from viewer. Drag across corners to flip the track.

Rotating left to right around the Y axis.

Rotating forward or backward around the X axis.

Rotating around the Z axis.

6. Use the buttons at the top of the dialog to allow or prevent movement or scaling. For more information, see Changing editing
options on page 284.

Tip: Right-click the workspace to display a shortcut menu that displays commands to restore, center, or flip the selection box. You can also force the box to match the source media's aspect ratio or your project's output aspect ratio. Matching the output aspect ratio can prevent black bars from appearing when you use source media that does not match your project's aspect ratio. 7. The 3D track motion occurs instantly, and the results are updated in the Video Preview window. 8. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the
duration of the track. During playback, immediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation. For more information, see Using keyframe animation on page 302.

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Changing editing options
Use the toolbar at the top of the Track Motion window to change your editing options. Icon Command
Enable Rotation

Description
Select this button if you want to be able to rotate, or spin, the video. When the button is not selected, video is locked so you can move it along the X, Y, or Z axis, but the event will not rotate.

Enable Snapping to Grid

Select this button if you want your editing to snap to the grid.

Edit in Object Space Select this button if you want to edit in the object's space rather than the camera’s space.
For example, if a video object is rotated, its X axis may not correspond to the X axis of the of the
Video Preview window. Selecting the Edit in Object Space button in conjunction with the Prevent
Movement buttons allows you to move the object along its own X, Y, and Z axes.
Prevent Movement (X) Prevent Movement (Y) Prevent Movement (Z) Lock Aspect Ratio Scale About Center Select this button if you want to prevent horizontal movement of the track. Select this button if you want to prevent vertical movement of the track. Select this button if you want to prevent movement of the track along the Z axis (closer to or farther from the viewer). Select this button if you want the selection box to retain its aspect ratio during resizing. When the button is not selected, the height and width can be resized independently. Select this button if you want the selection box to retain its center point when you resize the box by dragging its edges. When the button is not selected, the opposite side of the selection box will remain anchored when you drag the edges to resize it. Prevent Scaling (X) Prevent Scaling (Y) Prevent Scaling (Z) Select this button if you want to lock the horizontal dimension of the selection box. Select this button if you want to lock the vertical dimension of the selection box. Select this button if you want to lock the Z-axis dimension of the selection box.

Examples of various 3D compositing scenarios
In the following examples, track two (blue-and-yellow checkerboard) is rotated forward in 3D space, track 4 (green-and-gray checkerboard) is rotated backward in 3D space, and track 3 (red-and-white checkerboard) is a 2D track. Track 1 is used to rotate tracks 2 through 4 so you can see the compositing interaction. In the first example, the 2D track is a compositing child to track 2. The 2D child is inserted in the composited output at a depth of zero on the Z axis, and tracks 2 and 4 intersect in 3D space.

In the next example, clicking the Make Compositing Parent button ( level) to be rendered in 3D and composited as a 2D image.

) on track 3 forces the track below (at the same compositing

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Track 4 (green-and-gray checkerboard) now has the appearance of depth—the checkerboard tapers to a vanishing point—but is inserted in the composited output as a 2D image at a depth of zero on the Z axis. Track 2 is still rotated in 3D space.

In the next example, clicking the Make Compositing Parent button ( ) on track 3 again forces the track below (at the same compositing level) to be rendered in 3D and composited as a 2D image. However, in this case, the 3D rotation that was applied as parent motion on track 1 is not applied to tracks 3 and 4.

In the next example, all tracks are compositing parents. The 3D track on track 2 is on top, the 2D track in track 3 is composited below track 2, and the 3D track in track 4 is composited below tracks 3 and 4.

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Creating masks
Masks are used to create overlays, limit the effects of a filter, and to create transparent titles. In their simplest form, masks work by making a particular color in an image or video transparent. More complex effects can be created with gradients (smoothly blending transparent areas together) and by altering the sensitivity of the mask.

Creating image masks
You can use media generated by Vegas Pro software to create simple masks. You can also create masks from just about any image file.
Masks created using color gradient generated media events

1. Create an image of a solid white circle on a black background in any paint program. This will be the mask. 2. Add the mask image file as an event into the top-most track on the timeline. 3. Insert a video event just below the mask track. This is the background video behind the mask and is the event that is masked. 4. Click the Make Compositing Child button ( ) located in the track list of the background video (lower) track. This makes the lower
track the child of the mask track (the parent track). In the following example, the white circle is a BMP image file. Black is 100% opaque and white is completely transparent.

Compositing Child indicator Compositing Child button

Masks can also be partially transparent. By using gradients and grayscale images, you can achieve smooth blending. Black is still 100% transparent and white is opaque, but the grays in between are only partially opaque.

The effects of the masks are very clear in these examples, but this is not how they would actually be used in a real production. Masks are commonly used to isolate a portion of the video from an effect. Masks do not need to be black and white, or grayscale, nor do they need to be still images.

Tip: It is best to use images that are the same size as your project’s frame size. You may also need to change the pixel aspect ratio of an image file to get it to display correctly. For more information, see Correcting images for DV pixel aspect ratios on page 253 and Modifying media file properties on page 266.

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Creating video masks
You can also use video files to create masks, although the process can be more complicated than using an image as a mask. The key to any mask is contrast. You can increase the difference between the light and dark areas of a video file using video effects plug-ins.

1. Insert the video that you want to use as a mask into a video track. 2. Drag a Black and White plug-in from the Video FX window to the event to remove the color. For more information, see Adding a
video effects plug-in on page 270.

3. Drag a Brightness and Contrast plug-in from the Video FX window to the event. 4. Adjust the Brightness and Contrast to create the mask. Watch the Video Preview window for a real-time preview of the mask. Adjust
the effect so that parts of the video are completely black (opaque) and other parts are completely white (transparent). This can often mean increasing the contrast while decreasing the brightness.

5. If necessary, mask areas can be inverted (reversing the black and white areas) with an Invert plug-in or by selecting the Invert check
box in the Mask Generator window. For more information, see Using the Mask Generator on page 291.

Original color event

Black and White plug-in

Brightness and Contrast plug-in


Invert plug-in


After you have created the mask, place it in the highest track. Add another video event to another track below the mask and click the Make Compositing Child button ( ) on that track. Any video that appears in a lower track below the Parent mask track and its Child shows through the areas outside of the mask. The entire setup is pictured in the following illustration.

Mask track (Parent) Masked track (Child) Background

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Bézier masks
You can use the Event Pan/Crop dialog to create masks using Bézier curves. Use the controls in the Path heading on the left side of the Event Pan/Crop dialog to create masks using Bézier curves. Each event can contain multiple Bézier masks. When you use a single setting for the duration of an event, you are masking the contents of the event. You can add keyframes to change the shape, size, or position of the mask to create an animated effect.

Tracks

Mask

Output

Creating a Bézier mask

1. From the Tools menu, choose Video, and choose Video Event Pan/Crop (or click the Event Pan/Crop button (
The Event Pan/Crop window is displayed.

) on the event).

2. Select the Mask row in the keyframe controller. When the Mask row is selected, Bézier curve-drawing tools are displayed so you can
create your mask.

3. Select the Mask check box to apply the mask so you can see the results of your masking in the Video Preview window, or clear the
check box to bypass the mask.

4. Select the anchor creation tool (

) on the left side of the Event Pan/Crop window and click in the workspace to create a mask. See the following table for a description of the tool's behavior.

Tip: Right-click the curve, choose Initialize Tangents, and choose a command from the submenu to smooth the path (or portions of the path) to help you get started with your editing.

Editing the path Use the tools on the left edge of the Event Pan/Crop window to edit your mask. Icon Tool
Normal Edit

Description
Use to select and edit control points and tangents. Click a point to select it, or drag to move the point. Hold Ctrl while clicking to select/deselect multiple points. Hold Alt and click a segment to select all points on the path. The pointer is displayed as a . Hold Alt+Shift while clicking an anchor point to invert the selection state of each anchor on the path. The pointer is displayed as a . Drag a segment between two anchor points to modify the tangents on each side of the segment. The pointer is displayed as a . Hold Ctrl while clicking an existing point in a closed path to show or hide the tangents. The pointer is displayed as a . Drag a tangent control to manipulate the curve. Both sides of the tangent control move about the anchor point. The pointer is displayed as a . Hold Ctrl while dragging a tangent control to split the halves of the control and adjust them independently or join the two halves of the control if the tangent was previously split.

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Icon

Tool
Anchor Creation

Description
Use to create control points. Click to create an anchor point. Drag before releasing the mouse button to modify the tangents of the new point. Click the first or last point of an open path to close the path. The tool is displayed as a releasing the mouse button to move the entire path. Click between two anchor points to create a new point. The tool is displayed as a If all paths are closed, click to create a new path. . . Drag before

Anchor Deletion Split Tangent

Use to remove control points. Use to adjust control point tangents. Click a point to display tangent controls, or click the center of a tangent control to reset it. Drag center of the tangent control to manipulate the curve. Both sides of the tangent control move about the anchor point. The pointer is displayed as a . Drag the point at either end of the tangent control to manipulate that half of the curve. The pointer is displayed as a . Hold Shift while dragging a tangent control to split the halves of the control and adjust them independently or join the two halves of the control if the tangent was previously split.

Setting path options

1. Select a path with the Normal Edit tool

.

2. Expand the Path heading on the left side of the window to set options for the selected path. 3. Choose a setting from the Mode drop-down list to choose the selected path's masking behavior.
• • • Positive The area inside the path is visible in your video output. Negative The area outside the path is visible in your video output. The area inside the path is transparent. Disabled The path is bypassed.

4. Select the Anti alias box and choose Yes or No from the drop-down list to indicate whether you want to apply an anti alias filter to
smooth the edges of the path.

5. Select the Opacity box and type a value in the box (or click the
• • • • In Feathering is applied to the inside edge of the path. Out Feathering is applied to the outside edge of the path. Both Feathering is applied to both sides of the path. None No feathering is applied.

to display a slider) to set the opacity of the area inside the path.

6. Select the Feather type box and choose a setting from the drop-down list to fade the edges of the path.

7. Select the Feather % box and type a value in the box (or click the
applied to the path.

to display a slider) to set the amount of feathering that is

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Fine-tuning masks
Depending on the source material, creating a clean mask can be a tricky exercise. There are a few tools and tricks you can use to fine tune a mask. • • Solo the track: Click the Solo button ( the mask. ) in the track list to isolate the masked track. This allows you to concentrate exclusively on

Toggle effects: Turn individual plug-ins on and off to isolate effects in a plug-in chain. Keep in mind that the order of the plug-ins in the chain is important in determining the final composited output.

•

Isolate channels: Isolate individual color channels in the Video Preview window by clicking the Overlays button ( ). Click the arrow on the button to select the specific channel to be isolated and whether to display this channel in grayscale only. Then click the main button to toggle the channel display on and off. The Alpha as Grayscale option isolates the alpha channel mask and displays it in grayscale. For more information, see Understanding the Video Preview window on page 317.

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Using the Mask Generator
The Mask Generator is a plug-in that controls the transparency of events to be used as masks when you use events that are not grayscale. Apply the plug-in to an event (or a track) in the same way as any other plug-in: just drag-and-drop. The Mask Generator plugin can be found in the Video FX window (from the View menu, choose Video FX).

How the Mask Generator works The following illustration demonstrates some of the effects of the Mask Generator. The background image is the original mask. There are five ellipses on the mask: white, red, green, blue and an invisible alpha channel. Note especially the checkered ellipse in the lower left of the mask; this is the alpha channel. You can base the alpha channel on a color or define the alpha channel in a graphics program that supports alpha channel creation. Masks with alpha channels must be saved in a format that supports this method of transparency, such as PNG or TGA. As in this example, the alpha channel may be invisible in the actual mask.

Mask track (Parent) Masked track (Child)

Luminance

Blue

The top-right example uses luminance to determine the transparency in the mask. The white area is completely transparent. Since white is made up of 100% values of red, green, and blue (255,255, and 255), those three colors are all 33% transparent as well. In the lowerright example, blue is the selected transparent index. The blue area is 100% transparent and so are all areas that have a value of 255 for blue (0,0,255), including white (255,255,255).

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Chroma keying
Chroma keying or bluescreening is a special case of overlay transparency. A color key is a specific color or a range of similar colors in an image that are made transparent, allowing a background video to show through. The idea is to take a video subject and film it against a solid, uniform background color. It is critical that the color be smooth and uniformly lit with no shadows, and that the color chosen for the background not be used in the subject. The most important factors in successful blue screening happen during shooting, well before the footage is imported into Vegas Pro software. Compression of the source video is also an important consideration. While almost all video is compressed in some way, highly compressed video does not key well because colors can be smeared together and edges tend to not be very sharp. If your source footage is good and the captured video file is also of high quality, color keying is an easy process.

Magnified area

1. Insert a video with a blue (or any solid colored) background into a track.
This is the overlay video.
Uncompressed video

2. Insert the background video that will show through the blue areas into
the next lower track.
Compressed video

Note: You do not need to set the lower track as a child track when using the Chroma Keyer plug-in as you would with a mask. 3. Click the overlay video (foreground, higher track) to select it. 4. Drag a Chroma Keyer plug-in from the Video FX window onto the overlay video. The Video Event FX window displays. 5. Click the down arrow to the left of the Split Screen View button ( 6. In the Video Event FX window, click the Eyedropper button (
) on the Video Preview window and choose FX Bypassed. This will bypass the effect of the Chroma Keyer plug-in until you are ready to view the effect. ). The cursor changes to an eyedropper icon.

7. Draw (click and drag) a small rectangular selection area around the color(s) to key out. Although you can select the color range
from just about anywhere, the Video Preview window is the best location.

Note: Other effects that can change the color of the event should be bypassed when using the Eyedropper tool. 8. Click the Split Screen View button (
) on the Video Preview window to restore the video effects. The Video Preview window shows the result of the Chroma Keyer plug-in.

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When a subject is filmed against a solid colored background in a studio, you can key out the background color using the Mask Generator or the Chroma Keyer plug-in. You can select a wider range of colors using the Chroma Keyer plug-in, making it the perfect tool for less­ than-perfect blue screens. This procedure selects a small range of colors to use as a key. In the example above, the blue sky around the dome is far from uniform and it would be difficult to key it out with a traditional blue screen key. The color is uniform enough, however, that a range of blues can be selected directly from the preview image. Use the controls at the bottom of the dialog box to determine the sensitivity of the colors selected. Since the filter selects a range of colors, it is a good idea to try to select a relatively small range of similar colors. Drawing a color selection area that spans both blue and red colors would make very large sections of an overlay transparent.

Tip: It is possible to use multiple Chroma Keyer plug-ins on a single event, keying out the blues with one and the reds with the other,

without keying out any colors between blue and red.


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Chapter 18 Adding Video Transitions and Motion
Want something other than a cut or crossfade between video events? Vegas® Pro software provides a wide variety of transitions you can add to your project. This chapter also covers track motion and keyframe animation, which allows you to automate video effects, media generators, cropping, panning, and more.

Understanding basic transitions
Transitions occur between two video events. Most professional productions, on television or on the big screen, use only two types of transitions. The first is a simple cut, where one scene immediately cuts to the other without delay or effects. The other is a fade, otherwise known as a crossfade or a dissolve.

Cuts
A cut is actually not a transition. Instead, the last frame from an event is immediately followed by the first frame of the next event. This is what happens with two adjacent events on the timeline, either in the same track or in different tracks. This can also happen when an event is punched into another (with fade edge edits turned off ).
Adjacent events Events on different tracks Punch-in events

Crossfades
You can fade one event out and fade into the next event by simply overlapping the two. The duration of the transition is determined by the amount of overlap. For more information, see Crossfading events on page 115.

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Using transition effects
Transition effects are more complex than a simple cut or crossfade. You can replace a crossfade with a transition and then customize the transition to meet your needs.

Tip: Select the Event Fade Lengths option on the View menu to display fade lengths between selected and nonselected events in the timeline. You can use this display as a quick indicator of a transition’s length.

Adding a transition 1. Insert a video event onto the timeline. 2. Insert another event so that it overlaps the first to create an automatic crossfade. 3. In the Transitions window, browse for a transition effect. If the Transitions window is not visible, choose Transitions from the View
menu.

4. Drag the effect onto the crossfade between the two events. Note: The duration of a transition is automatically determined by the amount of overlap between the two events. As with other events, you can control the precise duration of a transition by dragging the edges in and out. You can also slide a transition for more precise control. For more information, see Sliding a crossfade on page 116.
The original crossfade... ...and the new transition effect.

Tips:
• Some transitions also have their own shortcut keys. On the numeric keypad, press / to insert a crossfade, * to insert a dissolve, and - to insert a linear wipe. Hold Ctrl while pressing / to convert the transition to a cut at the cursor position. • Select the Event Fade Lengths option on the View menu to display fade lengths between selected and nonselected events in the timeline. You can use this display as a quick indicator of a transition's length.

Adding a transition to the end of an event
Typically, a transition occurs between two events on a track, but you can also use transitions to fade to and from the background, whether that is an underlying image, video, or background color. For example, you can drag a Clock Wipe transition to the end of a video event and have the wipe go from the video event to black.

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Adding a transition to all selected events
If you tend to use the same transitions often, you can save yourself some time by adding a transition to all selected events at once.

1. Select the events where you want to add the transition. 2. From the View menu, choose Transitions to display the Transitions window.

3. Select a transition from the list on the left side of the window. The thumbnail images on the right side of the window represent
each of the existing presets for the selected transition. Hover your cursor over a preset to see an animated example.

4. After you’ve found the setting that you want to use, drag it to the position where you want it to occur on the timeline. 5. The Video Event FX dialog is displayed to allow you to edit the transitions settings, and a
is displayed in the timeline to show you where the transition takes place. You can also click this icon to edit the transition’s settings.

Dropping on existing cuts, crossfades, or transitions • • • If you drop the preset on an existing transition, only transitions within the selection will be changed. Cuts and crossfades are preserved. If you drop the preset on an existing crossfade, only crossfades and transitions within the selection will be changed. Cuts are preserved. If you drop the preset on an existing cut, all cuts, crossfades, and transitions within the selection will be changed.

Dropping on event edges • • • If you drop the preset on a transition that is at the beginning or end of an event (but does not span two events), only single-event transitions that occur on the same end of the event within the selection will be changed. If you drop the preset on an event fade-in or -out, event fade-ins/outs and single-event transitions that occur on the same end of the event within the selection will be changed. If you drop the preset on an event edge with no fade, all other event edges, event fade-ins/outs, and single-event transitions that occur on the same end of the event within the selection will be changed.

Note: To change the length of the transition for cuts that are converted to transitions, use the Cut-to-overlap conversion settings on the
Editing tab of the Preferences dialog.

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Adding a transition progress envelope
Normally, a transition progresses from 0 to 100% in a linear fashion over the length of the transition. A transition progress envelope gives you complete control over a transition: you can hold, reverse, and repeat individual transitions.

1. Right-click a transition. 2. From the shortcut menu, choose Insert/Remove Envelopes, and then choose Transition Progress from the submenu. An envelope
is added to your transition.

3. Add points and adjust the fade curves as desired. For more information, see Using the Envelope Edit tool on page 179.
In the following example, the transition starts, progresses to 50%, reverses direction, and then finishes.

Understanding track layers
If you want, you can view and modify transitions in an A/B roll mode. Right-click the track header and choose Expand Track Layers from the shortcut menu to expand the track to reveal three layers within the main track. These layers are called the A roll, the B roll, and the transition roll.
A roll Transition roll B roll

The concept of an A/B roll is fundamentally different from the multitrack philosophy. Every track is in some way mixed (composited) into the final output in a multitrack system, but events are not mixed on the A/B roll. Instead, either the A roll or the B roll is playing, with the two trading places during a transition. You could mix the two for as long as you want with a transition, but they do not blend without an intervening transition. Transitions move from one roll and into the other. This could be from A to B or from B to A. The direction of the transition is automatically set. The small arrows on the side of the transition event indicate this direction.

Transition direction arrow

As the sequence below shows, the video output can shift from the A to the B and back to A many times during a production, but there is only one video output from any particular roll at a time. This means that the A and B rolls are not composited.

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Converting a cut to a transition
The transition between two events that are adjacent to each other on the same track is instantaneous and is called a cut. However, if the first event is trimmed back from the end and the second event is trimmed back from the beginning (in other words, both have enough media to overlap), you can transform the cut into a transition effect using this extra media.

1. Right-click the line between two adjacent events at the cut position. 2. From the shortcut menu, choose Transition and then choose the transition that you want to insert (for example, Insert Sony Iris).

You can also drag a transition to the cut from the Transitions window.
The duration of the newly inserted transition event is determined by the Cut-to-overlap conversion time set in the Editing tab of the
Preferences dialog. To access this dialog, choose Preferences from the Options menu.

This event’s media is longer than the trim. After the conversion, both events are
longer and extend into the transition.


Cut

This event’s media extends before the beginning.

Notes:
• There must be enough media in the respective events to cover the transition (for example, the end of the first event must not be the end of the media file). • You can also convert cuts between audio events to crossfades. Click the cut and press / on the numeric keypad to create a crossfade. There must be enough media on either side of the cut to create the crossfade.

Converting a crossfade or transition to a cut 1. Click to position the cursor within the transition. 2. Hold Ctrl while pressing the / key on your numeric keypad.
The transition will convert to a cut, using the Cut-to-overlap conversion settings on the Editing tab of the Preferences dialog to determine where the cut occurs.

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Previewing a transition
The easiest way to preview a transition is to set the loop region to the duration of the transition and then loop the playback. This allows you to adjust the transition while it is playing and make changes in real time.

1. Double-click the transition. This automatically creates a time selection equal to the length of the transition.

2. Click the Loop Playback button ( 3. Click the Play button (
).

) to turn loop playback on. The selection area bar is dark blue when loop playback is turned on.

To preview complicated transitions, you may want to build a dynamic RAM preview or prerender the effect. For more information, see Building dynamic RAM previews on page 320 or Prerendering video on page 319.

Modifying a transition
All of the transitions include several presets that create standard transitions. If a preset doesn’t meet your needs, you can customize a transition to suit your taste.

Tip: You can also animate the parameters of a transition with keyframes. For more information, see Using keyframe animation on page
302.

1. Click the Transition Properties button (

) on the transition or right-click the transition and choose Transition Properties from the shortcut menu. The Video Event FX window appears. FX window, click the Plug-In Help button ( ) to access online help.

2. Change the parameters. Changes update in real time in the Video Preview window. For help on the different controls in the Video

Transition parameters

Keyframe controller

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Saving custom settings as a preset
After you modify a transition, you can save your settings as a preset for use at a later time. You can apply presets by choosing them from the Preset drop-down list.

1. Modify the settings in the window to create your desired transition effect. For help on the different controls in the window, click the
Plug-In Help button ( ) to access online help.

2. Click the name in the Preset drop-down list. The current text is highlighted. 3. Enter a name for the new preset. 4. Click the Save Preset button (
).
You can save any additional changes to the custom preset by clicking the Save Preset button.


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Using keyframe animation
Keyframe animation is a technique that computer artists use to quickly make complex animated sequences. Instead of drawing every frame of a title scrolling in from top to bottom by hand, an animator simply has to set a starting and ending position for the animation and let the computer interpolate the intermediate frames. The animation pictured on the right has three keyframes: a starting, middle, and ending keyframe. More complex animations use more keyframes. While keyframing motion may be the most obvious use for keyframe animations, just about any parameter of an effect can be animated with keyframes. Keyframe animation techniques are used in many areas, including transition effects, video effects, event panning and cropping, generated media, and track motion. You can animate color, brightness, transparency, motion, size, perspective, and many other parameters with keyframes.

These three frames show the progression
of a title across three keyframes.


Understanding the keyframe controller
The keyframe controller appears at the bottom of the Video FX window (used for transitions, effects, and generated media), the Track Motion window, and the Event Pan/Crop window.
Cursor position Keyframes

Each effect in a video effects chain can have its own keyframes.

Sync Cursor First Previous Next Last

Delete Create

The cursor position is marked by a flashing line on the controller. This position can also be automatically updated on the timeline, with the Video Preview window also updating in real time to reflect changes. Click the Sync Cursor button ( to sync the keyframe cursor with the timeline cursor. 302 | CHAPTER 18 ) on the keyframe controller

Adding keyframes
Every effect has a starting keyframe at the beginning (left side) of the keyframe controller. This sets the initial parameters for the effect. In order to animate the effect, you must add another keyframe to the effect and change some of the parameters. When you first add a new keyframe, it has the same settings (for the transition, effect, pan/crop, etc.) as the first keyframe. You can then modify the settings of the new keyframe to create the animation from the first keyframe settings to the second.

1. Click the keyframe controller timeline to move the cursor where you want to add a keyframe. The current position is marked by a
blinking cursor.

2. Click the Create Keyframe button (

).

3. Modify the settings in the window for the new keyframe as desired. Tip: You can also add a new keyframe by positioning the cursor in the keyframe controller and changing any parameters in the window.
A keyframe is added with the new settings at the cursor position.

Deleting keyframes 1. Select a keyframe in the keyframe controller. 2. Click the Delete Keyframe button ( Navigating in the keyframe controller
Use the keyframe navigation buttons (First, Previous, Next, and Last) to quickly jump to a keyframe. Alternately, press Ctrl+Left Arrow or Ctrl+Right Arrow to move to the previous or next keyframe. ).

Modifying keyframes
After you create your keyframes, you can move them, copy and paste them, and change the interpolation curves between them.

Moving keyframes You can move a keyframe within the keyframe controller by dragging it to a new position. For track-level keyframes, you can also move the keyframes in the timeline. For more information, see Working with keyframes in the timeline on page 305.

Copying and pasting keyframes Keyframes on the controller can be copied, pasted, and duplicated.

1. Right-click a keyframe. 2. From the shortcut menu, choose Copy. 3. Right-click the keyframe controller at the position where you want to paste the keyframe. 4. From the shortcut menu, choose Paste.
Duplicating keyframes

1. Right-click and drag a keyframe to a new position. 2. From the shortcut menu, choose Copy. A duplicate keyframe is created at the new position.
You can also duplicate a keyframe by holding the Ctrl key while dragging it.

ADDING VIDEO TRANSITIONS AND MOTION | 303

Changing the interpolation curve The interpolation curve determines the rate at which Vegas Pro software animates between two keyframe settings. You can right-click a keyframe to choose a different shape for the interpolation curve. The shortcut menu provides six options: Linear, Fast, Slow, Smooth, Sharp, and Hold. Selecting Hold from the shortcut menu prevents any animation from being interpolated between two keyframes. The color of the keyframe indicates which interpolation curve is being used.
Linear (gray) Fast (green) Slow (gold) Smooth (lilac) Sharp (pink) Hold (red)

Changing the relative spacing of keyframes You can change the relative positions of the keyframes as a group. This can be useful if you need to change the overall length of an animated sequence or if you need to copy a set of keyframes to another event that has a different duration than the original.

1. Click on the first keyframe, hold the Shift key, and click on the last keyframe in the sequence to select all of the keyframes. 2. Hold Alt and drag the first or last keyframe to scale the keyframes.
When copying keyframes from longer events to shorter events, you must temporarily lengthen the duration of the shorter event so that all of the keyframes appear on the keyframe controller. Once you have pasted the keyframes, you can rescale the keyframes using the above procedure, and then resize the event to its original length.

Creating keyframe presets
The 2D and 3D track motion dialogs allow you to create, save, and recall keyframe presets. Keyframe presets save the settings of the selected keyframe row at the cursor position.

Notes: Presets for the Position, 2D Shadow, and 2D Glow keyframe rows are saved separately.
Presets for 2D and 3D track motion are saved separately: presets you create in the 2D Track Motion window will not be available in the 3D Track Motion window.

Saving a preset

1. Adjust your Position, 2D Shadow, or 2D Glow settings as desired to create a keyframe. 2. Type a name in the Preset box. 3. Click the Save Preset button ( Notes:
• Presets for the Position, 2D Shadow, and 2D Glow keyframe rows are saved separately. • Presets for 2D and 3D track motion are saved separately: presets you create in the 2D Track Motion window will not be available in the 3D Track Motion window. ).

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Recalling a preset

1. Click in the Position, 2D Shadow, and 2D Glow keyframe row to select a row and position the cursor where you want to apply the
preset.

2. Choose a setting from the Preset drop-down list.
If no keyframe exists at the cursor position, one is created using the settings from the preset. If a keyframe exists at the cursor position, the keyframe’s settings are replaced with the settings from the preset.

Deleting a preset Click the Delete Preset button ( ) to delete the current preset.

Working with keyframes in the timeline
You can move and modify track keyframes in the timeline. These keyframes are used in the following three track-level effects: • • • Track effects plug-in (For more information, see Adding a video effects plug-in on page 270.) Track motion (For more information, see Adding track motion on page 310.) Mask generator plug-in on a parent compositing track (For more information, see Using the Mask Generator on page 291.)

Viewing and moving track keyframes Once you have added keyframes to one of these track-level effects, the track keyframes appear at the bottom of the track on the timeline. Click the Expand Track Keyframes button ( ) to view the keyframes. You can drag a keyframe on the track in the same way you would in the keyframe controller. To move several keyframes at once, use the Envelope Edit tool ( ) to select and drag multiple keyframes.
Expand Track Keyframes button With track keyframes collapsed, keyframes are minimized. Keyframe Collapse Track Keyframes button

With track keyframes expanded, each set of keyframes is displayed. You can move any keyframe by dragging it to a new position. Keyframe

Tip: You can use ripple editing to automatically move track keyframes as you edit in the timeline. For more information, see Applying
post-edit ripples on page 113.

Adding new track keyframes You can add new track keyframes to an existing track-level effect by double-clicking the track keyframe area.

Editing track keyframes Double-click a track keyframe to open the associated window and adjust the settings. To change a keyframe interpolation curve, rightclick the keyframe and choose a curve type from the shortcut menu.

ADDING VIDEO TRANSITIONS AND MOTION | 305

Locking track keyframes to events When track keyframes are locked, you can move events along the track and the keyframes move along with them. Only keyframes that occur within the selected events move. Select the Lock Envelopes to Events button ( ) to lock track keyframes to the events on the track.

Hiding track keyframes If the timeline becomes too cluttered, you can hide track keyframes from view. From the View menu, choose Show Video Envelopes, and choose Track Keyframes from the submenu to hide track keyframes.

306 | CHAPTER 18

Sample uses for keyframe animation
The following section provides several examples of how keyframe animation can be used with features such as event panning and cropping, video effects plug-ins, and generated text events.

Animating event panning and cropping
You can combine event panning and cropping tools with keyframe animation to create several special effects. For more information, see Cropping video on page 249.

Zooming in on a still image By using keyframe animation in the Event Pan/Crop window, you can zoom in and out on a still image. In this example, four keyframes are used to zoom in on faces in an old photograph and zoom back out again. A generated color gradient event masks the edges of the image during the zoom to enhance the effect. For more information, see Using generated media on page 275.

1. Click the Event Pan/Crop button ( ) on the still image event. 2. Click the keyframe controller to position the cursor for the second keyframe. 3. Click the Add Keyframe button ( 5. Click the Add Keyframe button ( 7. Click the Add Keyframe button (
image for the last keyframe. ). Resize and move the selection area to zoom in on a portion of the image. ). Resize and move the selection area to zoom in on a different portion of the image. ).

4. Click the keyframe controller to position the cursor for the third keyframe. 6. Click in the keyframe controller near the end of the event to place the final keyframe. 8. Right-click in the selection area and choose Restore from the shortcut menu. The selection area is zoomed out to include the full 9. Preview the event in the Video Preview window. Adjust the settings in the Event Pan/Crop window as you preview the zoom effect.
First keyframe Second keyframe Third keyframe Last keyframe

ADDING VIDEO TRANSITIONS AND MOTION | 307

Using pan-and-scan Another way to use keyframe animation in the Event Pan/Crop window is panning, or pan-and-scan. Pan-and-scan is a technique commonly used when film is converted for television. Movie screens and film are usually wider (~2.35:1) than television (~1.33:1). When you transfer the film to video, you have four choices: (1) squash the film horizontally to fit, distorting it in the process; (2) crop it, possibly losing information on the sides; (3) letter box it so the top and bottom have black areas and the picture is shorter overall; and (4) panand-scan. Pan-and-scan is a variation of cropping, where someone goes through the movie and moves the crop area back and forth to follow the action or subject.

1. Click the Event Pan/Crop button (

) on the event. The Event Pan/Crop window appears.

2. Confirm that the Stretch to fill frame check box is selected. 3. Right-click the selection area and choose Match Output Aspect from the shortcut menu. 4. Select a starting position, size, and angle of rotation for the crop rectangle. This is the start position (first keyframe). 5. Click in the keyframe controller and press Ctrl+End. This moves the cursor to the end of the event. 6. Click the Create Keyframe button (
). A new keyframe appears in the keyframe controller at the end of the event.

7. Change the position, size, and angle of rotation. This is the final position (last keyframe). 8. Preview the event. Add and adjust keyframes as needed to create the desired effect. You can adjust both temporal and spatial
interpolation for each keyframe: • Temporal interpolation (how the pan occurs over time) is controlled by the keyframe interpolation curve type. Experiment with temporal interpolation by right-clicking a keyframe to change the interpolation curve type (hold, linear, fast, slow, smooth) and previewing the result. For more information, see Changing the interpolation curve on page 304. Spatial interpolation (how the pan occurs within the video image) is controlled by the Smoothness setting of each keyframe. A smoothness value of 0 makes the movement linear from one keyframe to the next. A higher smoothness value makes the path of the pan more curved. Select a keyframe and change the Smoothness value to adjust spatial interpolation.

•

Animating video effects plug-ins
You can use keyframe animation to smoothly and gradually apply an effect to an event. This example uses the Add Noise plug-in. The Add Noise plug-in adds static or noise to a video sequence. When added to a simple solid-colored background with a monochrome setting and animated, a pattern is produced that is similar to a television that is not tuned to any station.

1. Add an Add Noise plug-in to an event. (For more information, see Adding a video effects plug-in on page 270.) The Video FX window
appears with the keyframe controller at the bottom of the window.

2. Add two keyframes to the event for a total of three including the one at the beginning. New keyframe attributes are copied from
the previous keyframe.

3. Click the first keyframe to select it. Drag the Noise level slider to 0. 4. Click the last keyframe to select it. Drag the Noise level slider to 0. 5. Click the second keyframe to select it. From the Preset drop-down list, select Grainy. 6. Hold Ctrl and drag the second keyframe to duplicate it. Position this new keyframe between the second and final keyframes.
The effect is off at the first keyframe and smoothly transitions to a grainy effect at the second keyframe, at which point the effect remains constant until the third keyframe. Then the effect gradually fades out until it reaches a minimum value at the last keyframe.
Keyframe 1 Noise = None Keyframes 2 and 3 Noise = Grainy Keyframe 4 Noise = None

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The results of gradually transitioning into an effect using keyframe animation.

Animating generated text
You can add a generated text event to a project by dragging a text generator from the Media Generator window. For more information, see Using generated media on page 275. You can then animate the text by adding keyframes. Not all attributes of generated text media can be animated using keyframes, however. You cannot, for example, morph one text message into a different one. Some aspects can be easily and smoothly animated using the keyframe controller, such as text, color, transparency, leading, tracking, and position. Other aspects of generated text do not allow interpolated keyframe animation. For example, if you set the text to “One” initially and then at five seconds change it to “Two”, the text will suddenly jump to the new value at the five second keyframe. This behavior is different from the behavior of other keyframe animation techniques. In this example, keyframes are used to make a title appear one letter at a time across the screen.

1. Drag a text generator from the Media Generator window to the timeline. 2. Right-click the new event and choose Edit Generated Media. 3. Enter the first letter of the title, for example “T”. 4. Click the keyframe controller at the 1.000 second mark and enter the second letter, for example “y”. The title now reads “Ty”. A new
keyframe appears in the keyframe controller at the 1.000 second mark.

5. Proceed down the keyframe controller to 2.000 and enter the letter “p”. 6. Proceed down the keyframe controller repeating this process until the title is finished: “Typing”. 7. Preview the event in the Video Preview window. The word “Typing” appears one letter per second until finished.

Text box


Keyframe
Controller


ADDING VIDEO TRANSITIONS AND MOTION | 309

Adding track motion
The Track Motion window (accessible by clicking the Track Motion button on any video track) is used to move a video track across a background. This background can be a solid color, another video event, or an image. Picture-in-picture effects and scrolling title sequences are two simple cases where this tool is important. The gray area in the center of the window (covered by the blue/gray rectangle) represents the actual screen or area that is visible in the movie. The area outside of the main screen, which is filled with dotted lines, is the general workspace. The video you are moving can be positioned off of the visible screen and then animated onto and across the screen. The dots are markers to help position the video window. If snapping is enabled, these serve as snapping points. The main window allows you to control the placement, size, and orientation of the overlay video through time. The blue and gray rectangular overlay in the middle represents the video on the track. The selection box in the workspace is used to represent the orientation of the track. You can also use 3D compositing to move tracks through space. For more information, see 3D compositing on page 281.
Keyframe presets Properties Controls Track area

Keyframe controller

Controlling track motion 1. Click the Track Motion button (
displayed. ) on the track that contains the overlay that you want to animate. The Track Motion window is

2. Adjust the selection area to change the viewable area of the track and its position in space. Guides are displayed in bold to indicate
how the track will be moved or rotated:

Moving closer to or farther from viewer. Drag across
corners to flip the track.


Dragging the track.


Rotating around the Z axis.

3. Use the buttons at the top of the dialog to allow or prevent movement or scaling. For more information, see Changing editing
options on page 311.

4. The track motion occurs instantly, and the results are updated in the Video Preview window. 5. Use the keyframe controller at the bottom of the Track Motion window to establish distinct track motion settings throughout the
duration of the track. During playback, immediate frames are interpolated to create smooth motion. Expand the Keyframe interpolation heading on the left side of the window and drag the Smoothness slider to adjust the interpolation. For more information, see Using keyframe animation on page 302.

310 | CHAPTER 18

Tip: Use the Default Track Motion smoothness control on the Editing tab of the Preferences dialog to set the default Smoothness
value for new keyframes.

Using the track motion shortcut menu
When you right-click anywhere in the Track Motion window, a shortcut menu appears:

• • • • • • • • •

Restore View returns the workspace display to its original state. Restore Box returns the overlay to its original state (size, rotation, and position). Restore Rotation returns the overlay to its unrotated state. Restore Size returns the overlay to its original size. Restore Center moves the overlay to the center of the frame. Flip Horizontal flips the overlay backwards or left to right. Flip Vertical flips the overlay upside-down. Match Output Aspect sets the aspect ratio to the frame value. Make Square Aspect sets selection box to a square aspect.

Changing editing options
Use the toolbar at the top of the Track Motion window to change your editing options. Icon Command
Enable Rotation

Description
Select this button if you want to be able to rotate, or spin, the video. When the button is not selected, video is locked so you can move it horizontally or vertically, but the track cannot be rotated.

Enable Snapping to Grid Edit in Object Space

Select this button if you want your editing to snap to the grid. Select this button if you want to edit in the object’s space rather than the camera’s space. For example, if a track is rotated, its X axis may not correspond to the X axis of the of the Video Preview window. Selecting the Edit in Object Space button in conjunction with the Prevent Movement buttons allows you to move the object along its own X and Y axes. Select this button if you want to prevent horizontal movement of the track. Select this button if you want to prevent vertical movement of the track.

Prevent Movement (X) Prevent Movement (Y)

Lock Aspect Ratio Select this button if you want the selection box to retain its aspect ratio during resizing. When the button is not selected, the height and width can be resized independently. Scale About Center Select this button if you want the selection box to retain its center point when you resize the box by dragging its edges. When the button is not selected, the opposite side of the selection box will remain anchored when you drag the edges to resize it. Prevent Scaling (X) Select this button if you want to lock the horizontal dimension of the selection box. Prevent Scaling (Y) Select this button if you want to lock the vertical dimension of the selection box.

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Using keyframes in track motion
Keyframes are what create the motion in the track motion feature. You can create, modify, and remove keyframes in the keyframe controller in the same way as with any other feature that uses keyframes. In addition, for track motion and 3-D track motion, you can use keyframe presets to save and recall the settings of the selected keyframe row at the cursor position. For more information, see Using keyframe animation on page 302. The keyframe controller in the Track Motion window has three attributes that can be animated: position, shadow, and glow. Each effect can be animated independently. The shadow and glow effects can be turned on and off. Each effect has its own set of controls that appear on the left-hand side of the window. You can access these controls by clicking the respective item on the keyframe controller.

Tip: If any controls described in this section are not visible on the screen, enlarge the Track Motion window by dragging the lower right
corner until all controls are revealed.

Position You can control the position of the overlay in the main window by dragging the selection box or editing the controls on the left side of the window. However, the Position, Orientation, and Rotation controls in the window are invaluable when you need precision in resizing, moving, or rotating the overlay. The Smoothness box allows you to modify the smoothness of the interpolation curve among three or more keyframes. You can use the Workspace controls to adjust the magnification and viewable area of the workspace. Use the Snap Settings controls to adjust the grid in the workspace.

2D Shadow This creates a simple drop shadow that appears under the entire window or only under the opaque (nontransparent) parts of the overlay. You can control the size and offset of the shadow as well as the shadow color. A shadow is especially effective under a picturein-picture window or to emphasize text and titles. Use the Eyedropper tool to select a specific color from anywhere on the screen. The shadow effect creates a drop shadow under an object, window, or title. A shadow is especially effective under a picture-in-picture window.

1. Select the 2D Shadow row in the keyframe controller. When the 2D Shadow row is selected, shadow controls are displayed in the
Track Motion dialog. Select the 2D Shadow check box to apply the shadow so you can see the results of your shadow in the Video Preview window, or clear the check box to bypass the shadow.

2. Use the 2D Shadow controls on the left side of the window to set the color and appearance of the shadow:
• • • button to display a slider you can use to soften the edge of the shadow. Set to 0 Blur Type a number in the box or click the for a hard edge, or increase the setting to feather the edge of the shadow. Intensity Type a number in the box or click the button to display a slider you can use to establish the transparency of the shadow's blurred edge. Decrease the setting for a translucent shadow, or increase the setting for a more opaque shadow. Color Click the down arrow next to the color swatch to display a color picker. Use the sliders or edit boxes in the color picker to set the shadow color, or use the eyedropper tool ( ) to sample a color from your screen.

3. Adjust the size position of the shadow by dragging the box in the workspace or using the Position, Orientation, and Rotation
controls on the left side of the window. For more information about manipulating the selection box, see Controlling track motion on page 310.

312 | CHAPTER 18

Cropped video

Shadow

4. To animate the shadow, click in the 2D Shadow row of the Keyframe Controller to set the cursor to a later time and adjust the
shadow settings.

2D Glow Glow is a bright haze surrounding an overlay. In general, light colors are used for glow effects, but you can emphasize bright text on complex backgrounds by using a very small black glow, with little or no feathering, and 100% intensity.

1. Select the 2D Glow row in the keyframe controller. When the 2D Glow row is selected, glow controls are displayed in the Track
Motion dialog. Select the 2D Glow check box to apply the glow so you can see the results of your shadow in the Video Preview window, or clear the check box to bypass the glow.

2. Use the 2D Glow controls on the left side of the window to set the color and appearance of the glow:
• • • button to display a slider you can use to soften the edge of the glow effect. Set to Blur Type a number in the box or click the 0 for a hard edge, or increase the setting to feather the edge of the glow. Intensity Type a number in the box or click the button to display a slider you can use to establish the transparency of the glow’s blurred edge. Decrease the setting for a translucent glow, or increase the setting for a more opaque glow. Color Click the down arrow next to the color swatch to display a color picker. Use the sliders or edit boxes in the color picker to set the glow color, or use the eyedropper tool ( ) to sample a color from your screen.

3. Adjust the size position of the glow by dragging the box in the workspace or using the Position, Orientation, and Rotation controls
on the left side of the window. For more information about manipulating the selection box, see Controlling track motion on page 310.

ADDING VIDEO TRANSITIONS AND MOTION | 313

Cropped video

Glow

4. To animate the glow, click in the 2D Glow row of the Keyframe Controller to set the cursor to a later time and adjust the glow
settings.

Creating a picture-in-picture effect
Picture-in-picture is an easy effect to reproduce using track motion.

1. Insert the background video into a track. 2. Insert the overlay video into another track just above the background video track. 3. Click the Track Motion button ( ) on the upper overlay track. 4. In the Track Motion window, position and resize the track area.
The illustration below shows some of the relevant parts of this procedure. Note the shadow cast by the overlay video. This is added by selecting the 2D Shadow check box on the keyframe controller. The Video Preview window displays the results.

Tip: While overlay picture-in-picture windows are often completely opaque, you can fade them in and out using opacity envelopes. For
more information, see Using opacity envelopes on page 188.

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Animating the overlay
You can animate many aspects of an overlay using the keyframes at the bottom of the Track Motion window.

1. Insert a video event onto the timeline. 2. Click the Track Motion button ( ) in the track list. 3. In the Track Motion window, resize the overlay by dragging the handles at the edges of the overlay. 4. Drag the middle of the overlay to position it. This will be the size and position for the start of the animation. 5. Click the timeline of the keyframe controller at a later time to move the cursor to that position. Tip: With the Sync Cursor button (
) enabled, you can also navigate to a new position on the main timeline. The cursor is
automatically moved on the keyframe controller to the same location.


6. Reposition the overlay. A new keyframe is automatically added to the keyframe controller at the new cursor position.
When you preview the video, the position of the overlay interpolates between the two keyframes with a smooth animation.

ADDING VIDEO TRANSITIONS AND MOTION | 315

316 | CHAPTER 18


Chapter 19 Previewing and Analyzing Video
As you work in Vegas® Pro software, you can preview your video by using the Video Preview window or by connecting to an external monitor. You can optimize previews by adjusting preview quality, prerendering video, or building a dynamic RAM preview. The Video Preview window also provides features such as safe area overlays, grid overlays, and isolated color channel displays to further enhance your productivity.

Understanding the Video Preview window
The workspace for editing video can get quite crowded, so the Video Preview window can be configured in a number of ways to make it more useful. The Video Preview window can be used on a separate monitor or Windows display (if your video hardware supports this feature), docked at the bottom of the workspace, or floated freely on the screen.
Preview Quality Split-Screen View Video Output FX Project Video Properties Preview on External Monitor Save Snapshot to File Copy Snapshot to Clipboard Overlays

Properties status bar

Button
Project Video Properties Preview on External Monitor Video Output FX Split-Screen View

Description
Displays the project’s properties. For more information, see Modifying project video properties on page 264. Sends the preview out to an external monitor. This only functions if your hardware supports this feature. For more information, see Preview Device tab on page 369. Opens the Video Output FX window for adding video effects plug-ins for the entire project. For more information, see Using video effects on page 269. Turns split-screen previews on or off. Split-screen previews allow you to split the preview window so you can see your affected and unaffected video or your video and the contents of your clipboard at the same time. Changes the preview resolution and display size. You can choose a lower resolution to drop fewer frames during playback. Choose an Auto option to display the preview at the current Video Preview window size; choose a Full option to display the preview at project size.

Preview Quality

Note: If your project properties are set to either the Blend or Interpolate deinterlace method,
you will not see the effects of deinterlacing in Draft and Preview quality preview modes. Deinterlacing only occurs in the Good and Best quality preview modes. Overlays Copy Snapshot to Clipboard Options include safe areas, grids, and individual channels. Copies the contents of the frame to the clipboard.

Save Snapshot to File Saves the contents of the preview window as a JPEG or PNG. The new image file is automatically saved to the Project Media window. For more information, see Capturing a timeline snapshot on page 254.

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Using the Video Preview window shortcut menu
Right-click the Video Preview window to adjust the following options: • • • • • • • Choose Default Background, Black Background, or White Background to set the background color for the window. Simulate Device Aspect Ratio displays the output in square pixels. This can prevent distortion of the preview when using sources with rectangular pixels. This does not affect the final render. Choose Scale Video to Fit Preview Window if you want the preview to fill the Video Preview window. This setting is used for previewing only. Choose Adjust Size and Quality for Optimal Playback to emphasize frame rate during playback. When this option is not selected, video quality is emphasized, and the frame rate will be reduced if necessary. Show Toolbar toggles the toolbar at the top of the window. Show Status Bar toggles the information display at the bottom of the window. Preview Device Preferences displays the Preview Device tab of the Preferences dialog, allowing you to configure an external monitor.

Optimizing the Video Preview window
Timing and synchronization are critical aspects of any multimedia production. Because complex multimedia projects are challenging for any computer, a number of tools are provided to maintain real-time playback even though the computer may not be able to process the data quickly enough.

Note: If you want to emphasize frame rate during preview, right-click in the Video Preview window and select Adjust Size and Quality for Optimal Playback from the shortcut menu. When this option is not selected, video quality is emphasized, and the frame rate will be reduced if necessary.

Adjusting preview quality and resolution
You can adjust the resolution of the Video Preview window and the quality of the preview rendering in order to improve playback. Lower-resolution previews are less clear but allow more frames to be displayed per second. This may be particularly important with projects that use overlays, transitions, and effects. Click the Preview Quality button and choose a setting from the menu to change the quality and resolution for rendering your video preview. The Auto setting will adjust the frame size to fit the Video Preview window size. The Full setting processes frames at the project frame size. The Half setting processes frames at half the project frame size. The Quarter setting processes frames at one-quarter of the project’s frame size. For example, if you have an NTSC (720x480) project, Half creates a 360x240 preview; Quarter creates a 180x120 preview.

Tip: Choosing a Quarter or Half setting can improve playback performance when previewing high-definition source material.
If you want to display square pixels in the Video Preview window even if the Pixel aspect ratio setting in the Project Properties dialog is using nonsquare pixels (DV), right-click the display and choose Simulate Device Aspect Ratio from the shortcut menu. If you want the preview to fill the Video Preview window, right-click the display and choose Scale to Fit Preview Window from the shortcut menu.

Tip: Try setting the preview quality to Preview > Full and enabling Scale to Fit Preview Window.
This setting is used for previewing only and has no effect on the final rendered video. Decreasing the preview resolution can allow the Vegas Pro Video Preview window to display a higher frame rate, especially for complex projects that contain overlays, transitions, and effects.

Note: To view the effects of the deinterlacing method you chose in your project properties, you will need to use the Good or Best quality preview mode. The Draft and Preview quality preview modes do not deinterlace.

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Prerendering video
There are times where nothing but a full, high-quality preview will do. In these cases, Vegas Pro software can take the time necessary to selectively render only the portions of your project that need extra processing. These sections are prerendered and short files are created to use for previews. The prerendering can take anywhere from a few seconds to a few minutes, depending on the length and complexity of the video. Once these temporary files have been created, they are used whenever those sections of the project are played back, increasing playback quality and performance. As long as no changes are made to the events in the prerendered sections, the newly created files continue to be used for previews, even if changes are made to other sections of the project.

1. To prerender a portion of the project, create a selection containing the portion you want to prerender. 2. From the Tools menu, choose Selectively Prerender Video. The Prerender Video dialog appears. 3. Select the type of prerender file to create in the Prerender as drop-down list. Click Custom to configure any custom compression
options.

Notes:
• You’ll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your project properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog. Use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template if you intend to use the file on the Vegas Pro timeline. • If you cleared the Allow pulldown removal when opening 24p DV check box before adding your media and your project properties are not set to 24p, your 24p video is read as 29.97 fps interlaced video (60i), so you can choose whichever NTSC DV or PAL DV template suits your project requirements.

4. To preview just a portion of the project, verify that Render loop region only is selected. To create a prerender of the entire project,
clear this check box.

5. Select the Stretch video to fill output frame size (do not letterbox) check box when you are rendering to an output format with a
slightly different aspect ratio than your project settings. This will prevent black bars from appearing on the top and bottom or the sides of the output.

6. Click OK. A progress bar displays the progress of the render.
When prerendering is complete, bars appear at the top of the timeline indicating the sections that have been prerendered.
Prerendered sections

As a default, these preview files are saved when a project is closed. To delete these files when you close the project, from the Options menu, choose Preferences and, on the General tab, clear the Save active previews on project close check box. You can set the location of these preview files by clicking the Project Video Properties button ( ) and choosing a Prerendered files folder in the Project Properties dialog. Ideally, this folder should be on a different physical drive from where Windows is installed. You can delete prerendered preview files from your hard disk by choosing Clean Up Prerendered Video from the Tools menu.

Note: Each prerendered section will consist of no more than 10 seconds (approximately 40 megabytes). Because selective prerendering creates multiple files, minor editing on the timeline will not invalidate all of your prerendered video—only the sections you modify will need to be rerendered.

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Building dynamic RAM previews
Video frames are automatically dropped when previewing if the computer can’t keep up with processing demands. This means that you may not be seeing all video frames as you preview your project. If you prefer not to prerender your project, there is another option for improving previews of selected portions of a project. A portion of your RAM is dedicated to cache video frames that Vegas Pro software cannot render in real time. A cache of 16 MB is automatically maintained for dynamic RAM previews. To change the cache amount, choose Preferences from the Options menu and change the Dynamic RAM Preview Max value on the Video tab.

Note: Although not all frames appear in previews of a project, all frames are included when you render a file. For more information, see Rendering a project on page 335.
You can make a time selection and add each frame in the selection to the cache. Once the frames are cached, all video frames can display in a selection.

1. Select a region containing the frames you want to cache. 2. From the Tools menu, choose Build Dynamic RAM Preview.
Vegas Pro software plays through the time selection and builds the cache frame by frame.

Using split-screen previewing
Click the Split Screen View button ( ) in the Video Preview window to turn split-screen previews on or off. Split-screen previews allow you to split the Video Preview window so you can see your affected and unaffected video or your video and the contents of the clipboard at the same time. Use split-screen previews to fine-tune video effects or to match colors for color correction.

Note: The Video Preview window temporarily enters split-screen preview mode when you slip-trim a video event. This temporary splitscreen mode allows you to see the event's first and last frame as you trim. You can toggle this preview mode by selecting or deselecting the Video Event Edge Frames option on the View menu.

Previewing affected and unprocessed video 1. Click the down arrow next to the Split Screen View button ( 2. Select the Split Screen View button (
) and choose FX Bypassed from the menu. . ). The cursor is displayed as a

3. Choose a preset selection or drag in the Video Preview section to create a selection. This selection will display the unprocessed
video. In the following example, the Add Noise plug-in was applied to the event, and the selection displays the original video.

Tip: Double-click in the Video Preview window to select the full window, or drag again to replace the existing selection.

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Showing the video at the cursor position and the contents of the clipboard 1. Position the cursor on the timeline and click the Copy Snapshot button (
clipboard. ) in the Video Preview window to copy a frame to the

2. Position the cursor at another point on the timeline. 3. Click the down arrow next to the Split Screen View button ( 4. Select the Split Screen View button (
clipboard. ). ) and choose Clipboard from the menu.

5. Choose a preset selection or drag in the Video Preview section to create a selection. This selection will display the contents of the

Tip: Double-click in the Video Preview window to select the full window, or drag again to replace the existing selection.

Changing the selection for displaying split-screen views
Click the down arrow next to the Split Screen View button ( ) and choose Select Right Half, Select Left Half, or Select All to indicate which portion of the Video Preview window you want to use to display unprocessed video or the contents of the clipboard. When the Split Screen View button ( create a custom selection. ) is selected, the cursor is displayed as a . Drag a rectangle in the Video Preview window to

Identifying safe areas
The Video Preview window displays the entire video frame data. However, most television monitors do not display all of this data. Previewing the video on a television monitor is the only way to verify what frame information will display. You should also note that individual television monitors vary in what they display. While there is no substitute for previewing on a television, safe areas are a good method of estimating the extent of the masking.

1. Click the down arrow next to the Overlays button (
• •

) and choose Safe Areas.

2. Click the Overlays button to toggle the safe areas display on or off. The display shows two areas:
The safe action area is the frame area that is visible on a television screen. The safe title area is a suggested area to limit the extent of titles. It is always smaller than the safe action area.

Safe title

Safe action

Tip: To customize safe area sizes, choose Preferences on the Options menu, and on the Video tab, enter the Action safe area and Title safe area values as a percent of the frame size. For more information, see Video tab on page 360.

PREVIEWING AND ANALYZING VIDEO | 321

Viewing the grid
The Video Preview window can display vertical and horizontal lines over your video. You can use the grid to help you align objects. To ) and choose Grid. view the grid, click the down arrow next to the Overlays button ( Set the grid spacing using the Horizontal grid divisions and Vertical grid divisions settings on the Video tab in the Preferences dialog.

Isolating color channels
The Video Preview window allows you to select a specific channel to be isolated and whether the channel should be displayed in grayscale only. To display a channel, click the down arrow next to the Overlays button ( ) and choose a color channel.

Note: Use the Alpha as Grayscale setting to isolate the Alpha channel mask and display it in grayscale.

Monitoring video with scopes
From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. Broadcast video uses a narrower range of color than the RGB you see on your computer. When you broadcast a project that contains out-of-range colors, you can introduce image problems or even noise into the audio stream. Use the scopes to analyze the your video and adjust accordingly with the Brightness and Contrast, Broadcast Colors, Color Corrector, Color Corrector (Secondary), and Levels plug-ins before rendering. Choose a setting from the drop-down list to choose which scope you want to display.
Choose setting Display video scopes settings

Update scopes while playing

Note: If your video hardware will add a 7.5 IRE setup, click the Settings button ( ) and select the 7.5 IRE Setup check box in the Video Scopes Settings dialog. Black will be displayed as 7.5 in the waveform monitor. If your video hardware does not add a 7.5 setup, clear the check box, and black will be displayed as 0.

Displaying chrominance using the vectorscope monitor
The vectorscope monitor in the Video Scopes window allows you to monitor the chrominance (color content) of your video signal. The monitor plots hue and saturation on a color wheel. The vectorscope displays targets for broadcast-legal saturations of red (R), magenta (Mg), blue (B), cyan (Cy), green (G), and yellow (Yl). Individual colors in your video signal are displayed as dots in the vectorscope. A dot's distance from the center of the scope represents its saturation, and the angle of the line from the dot to the center of the scope represents its hue. For example, if an image has a blue cast, the distribution of dots in the vectorscope will be concentrated toward the blue portion of the color wheel. If the image includes out-of-range blue values, vectorscope display will extend beyond the blue target. You can use the vectorscope to calibrate color between scenes. Without calibration, you may see noticeable color differences between scenes from multicamera shoots.

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1. From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. 2. Choose Vectorscope from the drop-down list. 3. Position the cursor in the frame you want to analyze. If the Update Scopes While Playing button (
your video during playback. ) is selected, you can monitor

4. The vectorscope monitor displays the chrominance of the video signal:
Frame Vectorscope display of frame

5. Hover over a portion of the monitor to display the chroma value at the pointer position:

Chroma value

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Displaying luminance using the waveform monitor
The waveform monitor in the Video Scopes window allows you to monitor the luminance (brightness or Y component) of your video signal. The monitor plots luminance on the vertical axis and the width of the current frame on the horizontal axis. If you want to include chroma (color or C component) information in the waveform monitor, choose Composite from the drop-down list at the top of the monitor window. When you choose Luminance, chroma information is omitted.

1. From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. 2. Choose Waveform from the drop-down list. 3. Position the cursor in the frame you want to analyze. If the Update Scopes While Playing button (
the waveform during playback. ) is selected, you can monitor

4. The waveform monitor displays the luminance of the video signal:
Frame Waveform display of frame

5. Hover over a portion of the monitor to display the luma value at the pointer position:

Luma value

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Displaying color levels and contrast using the histogram monitor
The histogram monitor in the Video Scopes window allows you to monitor color levels and contrast of your video. Use the histogram before rendering your project to find and correct out-of-range values that could cause problems on the destination playback device. The bar graph plots the number of pixels that exist for each color intensity. For example, when using the Blue setting, the vertical axis represents the number of pixels, and the horizontal axis represents the RGB color range from 0,0,0 to 0,0,255. To get acquainted with the histogram, use an external monitor to preview your video and watch the video output and histogram as you use plug-ins to modify the colors.

1. From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. 2. Choose Histogram from the drop-down list. 3. Choose a histogram type from the menu:
• • • • • • Luminance: charts the luminance or brightness of colors in your video. Red: charts the red tones in your video. Green: charts the green tones in your video. Blue: charts the blue tones in your video. Alpha: charts the alpha channel (transparency) in your video. Luminance/R/G/B: stacks luminance and RGB charts. ) is selected, you can monitor

4. Position the cursor in the frame you want to analyze. If the Update Scopes While Playing button (
your video during playback.

5. Use the histogram to evaluate the colors in your video. The Mean value indicates the average intensity of all pixels in the graph, and
the Standard Deviation value indicates the average percentage by which pixels in the graph vary from the Mean value.

6. Use plug-ins such as Brightness and Contrast, Broadcast Colors, and Levels to adjust the color. For more information, see Using video
effects on page 269.

Frame Histogram display of frame


Graph

Mean and standard deviation hues

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Displaying RGB components with RGB parade monitor
The RGB parade monitor in the Video Scopes window displays waveforms for the red, green, and blue components of your video signal. The monitor plots RGB values from 0-255 on the vertical axis and three times on the horizontal axis. The parade monitor helps you determine whether the individual RGB components of your video signal are within limits and whether the total video signal is clipping.

1. From the View menu, choose Video Scopes to toggle the display of the Video Scopes window. 2. Choose RGB Parade from the drop-down list. 3. Position the cursor in the frame you want to analyze. If the Update Scopes While Playing button (
your video during playback. ) is selected, you can monitor

4. The waveform monitor displays the RGB values of the video signal. Hover over the monitor to display the RGB value at the pointer
position:

RGB value

Adjusting video scope settings
Click the Settings button ( ) in the Video Scopes window to set your display options. These options adjust the display of data in the Video Scopes window and have no effect on your data.

7.5 IRE setup If your video hardware will add a 7.5 IRE setup, you can configure the Video Scopes window so the display will be consistent with an external scope connected to a device that adds 7.5 IRE setup. NTSC video in the United States adds 7.5 IRE setup to convert black to 7.5 IRE. Consumer video hardware typically does not add 7.5 IRE setup, and most professional hardware allows you to turn 7.5 IRE setup on or off. PAL video and NTSC video in Japan do not add setup. Refer to your video hardware documentation to determine whether your hardware adds 7.5 IRE setup.

1. Click the Settings button (

) in the Video Scopes window.

2. Select the 7.5 IRE Setup check box in the Video Scopes Settings dialog.
Black will be displayed as 7.5 in the waveform monitor. If your video hardware does not add 7.5 setup, clear the check box.

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Studio RGB display RGB values on your computer can range from 0 to 255. Studio RGB values range from 16 to 235. If you want to limit the display of the Video Scopes window to studio RGB standards, perform the following steps:

1. Click the Settings button (

) in the Video Scopes window.

2. Select the Studio RGB (16 to 235) check box in the Video Scopes Settings dialog.
Whether you need to use the Studio RGB (16 to 235) setting depends on the codec you will use to render your video before printing to tape. Suggested settings follow. Refer to the codec’s documentation to determine whether the Studio RGB (16 to 235) check box should be selected. Codec
Sony DV Microsoft® DV Matrox® DV MainConcept™ DV Canopus®

Studio RGB Setting

On
Off
Off
Off
On


Apple® QuickTime™ DV Off


You can render using a third-party DV codec by choosing a specific codec from the Video format drop-down list on the Video tab of the Custom Template dialog.

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Previewing in a player
You can create a full-quality preview that automatically plays in the appropriate media player. You can preview the entire project or select a portion.

1. To preview a portion of the project, create a selection containing the portion you want to preview. 2. From the Tools menu, choose Preview in Player. The Preview in Player dialog appears.

3. Select the type of preview file to create. Select a template or click Custom to configure any compression options. 4. To preview just a portion of the project, verify that Render loop region only is selected. To create a preview of the entire project,
clear this check box.

5. Click OK.
A progress bar displays the progress of the render. When finished, the file automatically plays in the appropriate media player.

Using an external monitor
You can feed video directly from the timeline to a television monitor or secondary Windows display. With this feature, you can free up valuable space in the Vegas Pro window by viewing a full-screen preview of your project on a different display, or you can make your final editing decisions on a broadcast monitor (which differs significantly from a computer monitor) before printing the project to tape. This feature supports video output only; audio is not output to the external monitor.

Notes:
• If you intend to deliver your project in an interlaced format, previewing on a computer monitor is not a substitute for previewing on an interlaced broadcast monitor. • Vegas Pro software allows you to use one external video device at a time. The external monitor display will be unavailable during video capture. • When using an external video monitor, you need to enable external-monitor preview each time you start Vegas Pro. This change was made to prevent the possibility of hiding the main Vegas Pro window behind the secondary display when monitors are improperly configured.

Configuring an external monitor
Prior to previewing on an external monitor, you’ll need to configure your system to use this feature. From the Options menu, choose Preferences and then click the Preview Device tab to configure an external monitor. Your video will be sent to this device when you click the Preview on External Monitor button ( ) in the Video Preview window. For more information, see Setting preferences on page 366.

Previewing video on a secondary Windows display
If your Windows desktop is extended across multiple displays, you can use one of those displays to preview the timeline with no A/V synchronization drift—perfect for ADR and foley work.

Important: If you intend to deliver your project in an interlaced format, previewing on a computer monitor is not a substitute for
previewing on an interlaced broadcast monitor.


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Windows secondary display preview requirements: • A multiple-output graphics card that supports 3D acceleration (or multiple graphics cards: you could install AGP and PCI video cards in your system, for example).
You can also use the Windows Secondary Display device on a computer with a single monitor. When you enable the external
monitor, the video preview will fill your screen.
• • A CRT, LCD, or projector connected to your computer’s secondary video output. If you have a video card with DVI outputs, you can use a DVI-to-HDMI converter to connect to an HDMI monitor. The Extend my Windows desktop onto this monitor check box must be selected on the Settings tab of the Display Properties dialog (Start > Settings > Control Panel > Display).

Notes:
• Vegas Pro software allows you to use one external video device at a time. The external monitor display will be unavailable during video capture. • When using an external video monitor, you need to enable external-monitor preview each time you start Vegas. This change was made to prevent the possibility of hiding the main Vegas window behind the secondary display when monitors are improperly configured. Follow the steps below to set up your preview:

1. Use the Preview Device tab in the Preferences dialog to configure the display you want to use as a video preview monitor. For more
information, see Preview Device tab on page 369.

2. Select the Preview on External Monitor button (

) in the Video Preview window.

You can turn off external preview by pressing Alt+Shift+4 or by clicking the secondary display and pressing Esc.

Tip: Video is sent to your secondary display and the Video Preview window at the same time. If you experience dropped frames, try
clearing the Display frames in Video Preview window during playback check box on the Preview Device tab of the Preferences dialog.

Viewing on an external monitor via IEEE-1394
You can send video directly from the timeline to a television monitor. With this feature, you can make your final editing decisions on a broadcast monitor (which differs significantly from a computer monitor) before printing the project to tape. IEEE-1394/FireWire/i.Link external monitor requirements: • • OHCI-compliant IEEE-1394 DV card DV camcorder or DV-to-analog converter box

Note: Vegas Pro software allows you to use one external video device at a time. The external monitor display will be unavailable during
video capture. While configuring your computer for DV external monitor previewing is not difficult, the setup may require some troubleshooting. The Vegas Pro forum is a good resource for peer-to-peer system troubleshooting: http://www.sonycreativesoftware.com/forums

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Setting up an external monitor The diagram below shows the preferred setup for sending video from the timeline to an external television monitor.
Computer Video to camcorder Analog to television

1394 card

Camcorder or Media converter

Television monitor

Audio to speakers Sound card Speakers

The video is converted to DV format and is sent through the IEEE-1394 card to the DV device (camcorder or DV-to-analog media converter). The DV device sends analog output to the television monitor. Use the Preview Device tab in the Preferences dialog to configure your IEEE-1394 card.

Note: The DV device must support pass-through in order to use an external monitor. Some PAL camcorders do not support this feature.

Previewing audio External monitor previewing differs in one respect from printing to tape from the timeline: no audio is sent through the preview device. As shown in the illustration above, the audio is routed to the sound card and then on to the mixer (if present) and speakers. This allows you to mix your audio on better speakers than are typically found in television monitors. Before printing to tape, you might want to preview the audio through the television monitor speakers to ensure a good TV mix. You can use the print-to-tape feature to send the full video and audio to the external monitor. Follow the steps for printing to tape from the timeline but do not set the camcorder to record. Both the video and audio are sent through the 1394 card to the external monitor. For more information, see Printing video to tape from the timeline on page 350.

Enabling external-monitor preview

1. Use the Preview Device tab in the Preferences dialog to configure the display you want to use as a video preview monitor. For more
information, see Preview Device tab on page 369.

2. Select the Preview on External Monitor button (

) in the Video Preview window.

You can turn off external preview by pressing Alt+Shift+4.

Tip: Video is sent to the external monitor and the Video Preview window at the same time. If you experience dropped frames, try clearing the Display frames in Video Preview window during playback check box on the Preview Device tab of the Preferences dialog. For more information, see Preview Device tab on page 369.

Optimizing preview quality Keep in mind that complex effects and/or transitions may not play back in real time from the timeline. What effects can and cannot be played back depends on the speed of your computer. You may want to prerender more complex portions of a project. For more information, see Prerendering video on page 319.

Note: The compression settings used to create the prerendered video must be identical to your captured files for timeline playback to
work.

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Viewing on an external monitor via SDI
You can send video directly from the timeline to a video monitor connected to a card.

Important: AJA Xena LH, LHe, LS, and LSe cards are supported. Note: Vegas Pro software allows you to use one external video device at a time. The external monitor display will be unavailable during
video capture.

1. Use the Preview Device tab in the Preferences dialog to configure your SDI card. For more information, see Preview Device tab on
page 369.

2. Select the Preview on External Monitor button (

) in the Video Preview window.

You can turn off external preview by pressing Alt+Shift+4.

Tip: Video is sent to the external monitor and the Video Preview window at the same time. If you experience dropped frames, try clearing the Display frames in Video Preview window during playback check box on the Preview Device tab of the Preferences dialog. For more information, see Preview Device tab on page 369.

PREVIEWING AND ANALYZING VIDEO | 331

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Chapter 20 Saving, Rendering, and Printing Projects
Vegas® Pro software allows you to save and render projects into many different multimedia formats. When you render your Vegas Pro project, the project itself is not altered, but rather can be rendered in any number of different formats. This chapter explains saving a project and using the Save As and Render As functions. In addition, you will find reference information for the rendering options available. This chapter also describes the different options for delivering your projects, such as printing to tape, burning a Video CD, or burning a multimedia CD.

Saving a project
A Vegas Pro project is saved as a small .veg file. This file contains all of the information needed to recreate your project: source file locations, trimming, track and bus plug-ins, volume and panning envelopes, bus assignments, assignable effects settings, etc. This is not the same as creating a final media file, which is done with the Render As command.

Note: The option is also provided of saving a project as an Edit Decision List (EDL). For more information, see Creating an EDL on page 259. 1. Click the Save button (
). The first time a project is saved, the Save As dialog appears.

In subsequent saves, the Save As dialog is bypassed, your existing file name is retained, and your project is updated to include any changes.

2. Select Vegas Project File (.veg) from the Save as type list (default). 3. Select the drive and folder where you want to store the project. 4. Type the project name in the File name box. 5. Click Save. Renaming or creating a copy of a project (using Save As)
After you have been working with your project, you can use the Save As command in the File menu to create a copy of the small project file with a different name. Since multimedia projects can be very complex, and since Vegas Pro project files are so small, saving a number of different versions of a project is a low-risk way to try new techniques.

1. From the File menu, choose Save As. The Save As dialog appears. 2. Select the drive and folder where you want to store the project. 3. Type a new name in the File name box. 4. From the Save as Type drop-down list, choose the format in which you want to save the project.
Extension
.veg

Format Name
Vegas Pro project

Description
This option saves the references to media files used in the project. Also saved is project information, track effects, envelopes, bus assignments, and output properties. The .veg file does not combine events into a single file. This option creates a text version of event placements in the timeline. This text description can then be imported into a database or text application for modification or other purposes. These options create AAF (Advanced Authoring Format) files that you can use to exchange projects between applications. For example, if your postproduction facility uses a tool other than Vegas Pro software, you could provide your project as an AAF file.

.txt

EDL text file

.aaf .aaf

Edit Protocol Compliant AAF File Avid Legacy AAF File

5. Select the Copy media with project check box if you want to create copies of each of the project’s media files in the
same location as the project file. This allows you to collect all of a project’s assets in a single location.

6. Click the Save button.

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7. If you selected the Copy media with project check box, a dialog is displayed to allow you to specify how you want to copy media
files: • Select the Copy source media radio button to copy the entire source media files to your project folder.

Note: Any project media files from folders outside the project folder are copied to the project folder. Media files that are saved in folders below the project folder are not copied.
• Select the Create trimmed copies of source media radio button and enter a value in the Extra head and tail box to reduce the number and size of media files necessary to represent your project.

Your project will be scanned to determine how much of each media file is being used and those regions will be rendered to new media files. The amount of time specified in the Extra head and tail setting will be added before and after the media file to allow subsequent edits. All events are then updated to point to the new files. Finally, inactive takes are removed from the project, and the project is saved.

Note: The newly rendered files will match the source files’ properties as closely as possible:
• Audio/video events are saved in a new AVI file. You can trim DV AVI, uncompressed AVI, Sony YUV AVI, and CineForm AVI files. Because of the lossy nature of other video formats, those video files will not be trimmed, but will simply be copied to the project folder. • Audio-only events will be rendered to the Wave format if under 2 GB (or Wave64 if over 2 GB), and DV files will be rendered as DV AVI files.

Autosaving a project
A backup copy of your project is automatically saved every five minutes. If your system crashes, you are prompted to open the backup file the next time you start the program. Backup files are saved in the location specified in the Temporary files folder box on the General tab of the Preferences dialog. Files are saved with the .autosave.veg extension and are deleted when you close Vegas Pro software. If you prefer not to autosave your project, you can clear the Enable autosave check box on the General tab of the Preferences dialog. Vegas Pro software also creates .veg.bak files in your project folder when you save a project to allow you to return to the project’s lastsaved state. Creation of .veg.bak files is independent of autosaving.

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Rendering a project
Rendering refers to the process of converting a project into a single new multimedia file and formatting it for the desired playback method: media player, Internet streaming media, CD-ROM, video tape, etc. The project file is not overwritten, deleted, or altered during the rendering process. You can return to the original project to make edits or adjustments and render it again later. Rendering a video file can take quite a bit of time, depending on the complexity of your project, the speed of your CPU, and the final format you have selected. For longer projects, you might want to plan to render your movie overnight or when you are not using your computer. If you’ve prerendered your project, those prerendered sections can be used for your final render when the destination formats match. When you render video to any of the following formats, unedited video frames are passed through without recompression: • • • • • • DV AVI DV MXF IMX MXF (IMX 24p MXF is not supported for no-recompress rendering) HD MXF MPEG-2 (for files such as those from HDV and DVD camcorders) AVCHD video in MPEG-2 transport streams (for files imported from the same source)

Notes:
• In order to perform rendering without recompression, the width, height, frame rate, field order, and bit rate of the source media, project settings, and rendering template must match. Frames that have effects, compositing, or transitions applied will be rendered. You can clear the Enable no-recompress long-GOP rendering check box on the General tab of the Preferences dialog to turn the feature off. For more information, see General tab on page 366. • When you route busses to hardware outputs, the outputs from those busses will not be included in the mix when you render your project. • For specific information on 5.1 surround projects, see Rendering surround projects on page 247.

1. From the File menu, choose Render As. The Render As dialog appears.

2. Select the drive and folder from the Save in drop-down list, or use the browse window to locate the folder where you want to save
your file.

3. Type a name in the File name box, or select a file in the browse window to replace an existing file. 4. Choose a file type from the In the Save as type drop-down list.

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5. If you’re rendering to .wav, .w64, .avi, or .mxf format, you can select the Enable multichannel mapping check box to render a file
with multiple audio channels. For more information, see Rendering multichannel audio files on page 337.

6. Choose a template from the Template drop-down list to specify the parameters that should be used for rendering your file, or click
the Custom button to create a new template. For more information, see Customizing the rendering process on page 342.

Tips:
• Templates that match your project settings (frame size, pixel aspect ratio, and frame rate) are displayed with an equal sign (=) in the dropdown list. • When you render a 5.1 surround project to AIFF (.aif), Perfect Clarity Audio (.pca), Wave64 (.w64), or Wave (.wav) formats, you can save each of the surround master busses to a separate file by choosing the multiple mono setting from the Template drop-down list. For example, if you'd typed My Film.wav in the File name box, the following files would be rendered: My Film Right.wav, My Film Right Surround.wav, My Film LFE.wav, My Film Left.wav, My Film Left Surround.wav, and My Film Center.wav. • When you render a 5.1 surround project to Wave or Wave64 format, you can render a single six-channel file by selecting the Enable
multichannel mapping check box and creating a channel mapping using the Surround Master outputs.


Note: You'll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your project properties are set
to 24p or if you selected the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog. Use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template if you intend to bring the file back into the timeline as source material.

7. Select the Save project as path reference in rendered media check box to save the path to your Vegas project in the rendered file.
Saving the project path allows you to easily return to the source project if you use your rendered file in another project. The check box will be unavailable if you haven’t saved your project or if you’re rendering using a third-party file-format plug-in. For more information, see Project references in rendered media files on page 62.

Notes:
• The project information in the rendered file is a reference to a project file only. If you modify the project file after rendering, the project data will no longer match the rendered file. To edit a project using a path reference, the project file and all media must be available on your computer. • The check box will be unavailable if you haven't saved your pr oject or if you're rendering using a third-party file-format plug-in.

8. Select the Render loop region only check box to render only the portion of your project within the loop region. Loop Playback
does not need to be selected for this option to work.

9. Select the Stretch video to fill output frame size (do not letterbox) check box when you are rendering to an output format with a
slightly different aspect ratio than your project settings. This will prevent black bars from appearing on the top and bottom or the sides of the output.

10. If the selected file type supports it, you can select the Save project markers in media file check box to include markers, regions and
command markers in the rendered media file.

Note: If the selected file type cannot save markers internally, Vegas will save the metadata to an external file with an .sfl extension (using the same base name as your media file). 11. Select the Render using networked computers check box if you want to queue multiple renders on a single computer or to
harness the power of those other computers to speed up your rendering times. For more information, see Rendering with networked computers on page 345.

12. Click Save. A dialog is displayed to show the progress of the render. You can cancel the rendering process by clicking the Cancel
button in the dialog box. You can also view the progress of the render or cancel the render using the status bar in the lower-left corner of the window.

13. When rendering is complete, click the Open button to play the file with its associated player, or click Open Folder to open the
folder where you saved the file.

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Rendering still-image sequences
1. If you want to render only a portion of your project, create a time selection and/or solo the tracks you want to include in the stillimage sequence.

2. From the File menu, choose Render As. The Render As dialog appears. 3. In the File name box, type the base file name you want to use for rendered images. Files will be numbered automatically using this
file name.

4. Choose Image Sequence from the Save as Type drop-down list. 5. Choose an image format from the Template drop-down list. 6. Select the Render loop region only check box if you want to save only the portion of the project that is contained within the loop
region. The Loop Playback button ( ) does not need to be selected for this option to work.

7. Select the Stretch video to fill output frame size (do not letterbox) check box when you are rendering to an output format with a
slightly different aspect ratio than your project settings. This will prevent black bars from appearing on the top and bottom or the sides of the output.

8. Select the Render using networked computers check box if you want to queue multiple renders on a single computer or to
harness the power of those other computers to speed up your rendering times. For more information, see Rendering with networked computers on page 345.

9. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation
setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated. You can use this setting to proof your project on an unrotated display.

10. Click the Save button. A dialog is displayed to show rendering progress.
When rendering is complete, you can click the Open Folder button to open the folder where you saved the files.

Rendering multichannel audio files
If you want to render a single audio file with multiple audio channels, you can render to one of the following formats: • • • WAV/WAV64 (For information about rendering 5.1 channel WAV/WAV64 files, see Rendering surround projects on page 247.) AVI MXF

Note: MXF files require a video stream.
Render format
DV MXF

Number of channels
Always contains 4 audio channels. You can use the Channels drop-down list on the Audio tab of the Custom Template dialog to choose how many channels will be filled with audio. For example, if you choose 2 from the Channels drop-down list, the rendered file will contain 4 audio channels: two channels will contain audio, and two channels will contain silence.

IMX MXF

Always contains 8 audio channels. You can use the Channels drop-down list on the Audio tab of the Custom Template dialog to choose how many channels will be filled with audio. For example, if you choose 2 from the Channels drop-down list, the rendered file will contain 8 audio channels: two channels will contain audio, and six channels will contain silence.

HD MXF

Can contain 2 or 4 audio channels. You can use the Channels drop-down list on the Audio tab of the Custom Template dialog to choose how many channels will be rendered. For example, if you choose 2 from the Channels drop-down list, the rendered file will contain only 2 audio channels.

Note: WMV/WMA, AC-3, and ATRAC support multichannel surround formats; channel mapping is not supported. For more information,
see Rendering surround projects on page 247.

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1. Create your project. 2. In the Mixer window, add a bus for each channel (or channel pair) you want to include in your rendered file.
For example, if you wanted to create a six-channel .wav file, you could set up your mixer with three or six busses. If you use three busses, the left and right channels of each bus will be saved to a separate channel. If you use six busses, you can save the mono downmix from each bus as a separate channel.

Note: If you're working with a 5.1 surround project, you can map the six channels from the Surround Master bus to six output channels. 3. Assign tracks to busses to map the audio in your project to the desired channel. 4. From the File menu, choose Render As to display the Render As dialog. 5. Choose a drive and folder from the Save in drop-down list, or use the browse window to locate the folder where you want to save
your file.

6. Type a name in the File name box, or select a file in the browse window to replace an existing file. 7. Choose a file type from the Save as type drop-down list. 8. Select the Enable multichannel rendering check box. 9. Click the Channels button if you want to map the busses in your project to channels in the rendered file. If you don't specify a
channel mapping, Vegas Pro will not render a multichannel file.

a. In the Channel Mapping dialog, select the check box for each bus you want to include in the rendered file. Each stereo bus will
be saved to two channels in the rendered file. If you want to save a bus to a single channel, select the (Mono downmix) check box for that bus.

b. If you want to change order of the busses in the channel mapping, select the bus and click the Move Up or Move Down
button.

c. Click OK to close the Channel Mapping dialog and return to the Render As dialog. Tip: Channel mapping is also available when printing to tape from the timeline, rendering to a new track, and exporting video to an

XDCAM disc.


10. Choose a template from the Template drop-down list to specify the parameters that should be used for rendering your file, or click
the Custom button to create a new template.

Notes:
• If you choose a rendering template that specifies more channels than you have set up in the Channel Mapping dialog, the additional channels will be rendered as silence. • If you choose a template that specifies fewer channels than you have set up in the Channel Mapping dialog, the setting from the template will be used. Additional mapped channels will be ignored.

11. Select the Save project as path reference in rendered file check box if you want to save the path to your Vegas Pro project in the
rendered file. Saving the project path allows you to easily return to the source project if you use your rendered file in another project.

Notes:
• The project information in the rendered file is a reference to a project file only. If you modify the project file after rendering, the project data will no longer match the rendered file. To edit a project using a path reference, the project file and all media must be available on your computer. • The check box will be unavailable if you haven't saved your pr oject or if you're rendering using a third-party file-format plug-in.

12. Select the Render loop region only check box if you want to save only the portion of the project that is contained within the loop
region. Loop Playback does not need to be selected for this option to work.

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13. Select the Stretch video to fill output frame size (do not letterbox) check box when you are rendering to an output format with a
slightly different aspect ratio than your project settings. This will prevent black bars from appearing on the top and bottom or the sides of the output.

14. If the selected file type supports it, you can select the Save project markers in media file check box to include markers, regions,
and command markers in the rendered media file.

15. Select the Render using networked computers check box if you want to queue multiple renders on a single computer or to
harness the power of those other computers to speed up your rendering times. For more information, see Rendering with networked computers on page 345.

16. Click the Save button. A dialog is displayed to show rendering progress. 17. When rendering is complete, click the Open button to play the file with its associated player, or click Open Folder to open the
folder where you saved the file.

Rendering surround projects
Rendering a surround project creates six monaural files (AIFF, ATRAC, WAV/W64, or PCA) or a single 5.1-channel file (AC-3, WAV/W64, WMA, and WMV) that your authoring application can use to create DVD-Video or 5.1-channel music projects. For more information, see Rendering surround projects on page 247.

Rendering MPEG format
Use the MainConcept plug-in to render MPEG files for Video CDs, Super Video CDs, and DVDs. The plug-in includes templates that will work well for most of your encoding needs, and you can create custom templates if you have special encoding requirements.

Notes:
• Vegas Pro software does not create SVCDs or DVDs, but you can use the MPEG plug-in to render files for your SVCD/DVD-creation
application. Consult the application's documentation to determine the file requirements before rendering.
• If you choose to save markers in your rendered MPEG-2 file, DVD Architect Pro will read those markers as chapter markers. Ensure the Render I-frames at markers check box is selected before rendering (in the Render As dialog, choose MainConcept MPEG-2 from the Template drop-down list, and then click the Custom button. In the Custom Template dialog, select the Video tab and select the Render Iframes at markers check box).

Important: MPEG video requires frame widths that are divisible by 16 and frame heights that are divisible by 2. Noncompliant frame dimensions can cause unpredictable results or system instability.

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Using default MPEG templates
Template
VCD NTSC

Use for
Use this template to create an NTSC Video CD-compliant MPEG-1 file. NTSC is used in the United States, North and Central America, parts of South America, and Japan.

Description
Audio is a 224 kbps, 44.1 kHz MPEG-1 layer 2 stream. Video is 29.97 fps with a frame size of 352x240 pixels. Audio is a 224 kbps, 44.1 kHz MPEG layer 2 stream. Video is 25 fps with a frame size of 352x288 pixels.

MPEG-1 Templates

VCD PAL

Use this template to create a PAL Video CD-compliant MPEG-1 file. PAL is used in Europe and much of Asia.

MPEG-2 Templates SVCD NTSC Use this template to create an NTSC Super Video CD (SVCD) Audio is a 224 kbps, 44.1 kHz MPEG layer 2 compliant MPEG-2 file. stream. Video is 29.97 fps with a frame size of 480x480 pixels. SVCD PAL Use this template to create a PAL SVCD-compliant MPEG-2 file. Audio is a 224 kbps, 44.1 kHz MPEG layer 2 stream. Video is 25 fps with a frame size of 480x576 pixels. DVD NTSC Use this template to create an MPEG-2 file with an NTSC DVD-compliant video stream and an MPEG layer 2 audio stream. Use this template to create a PAL DVD-compliant MPEG-2 file. Audio is a 224 kbps, 48 kHz MPEG layer 2 stream. Video is 29.97 fps with a frame size of 720x480 pixels. Audio is a 224 kbps, 44.1 kHz MPEG layer 2 stream. Video is 25 fps with a frame size of 720x576 pixels. DVD NTSC video Use this template to create an NTSC DVD-compliant MPEG-2 Video is 29.97 fps with a frame size of 720x480 stream video elementary stream file. The rendered file will have the pixels. extension .m2v. You must render your audio separately in a format compliant with your specific DVD-authoring software. Consult your DVD-authoring software documentation to determine the supported audio formats. DVD PAL separate streams DVD Architect NTSC video stream DVD Architect NTSC Widescreen video stream DVD Architect PAL video stream Use this template to create separate to create separate PAL DVD-compliant video and audio elementary files. The video file will use an .m2v extension, and the audio file will use an .mpa extension. Audio is a 224 kbps, 44.1 kHz MPEG layer 2 stream. Video is a 25 fps .m2v file with a frame size of 720x576 pixels.

DVD PAL

Use this template to create an NTSC video stream for use in Video is 29.97 fps with a frame size of 720x480 DVD Architect Pro (you’ll need to render your audio stream pixels. separately). Use this template to create a 24 fps, progressive-scan, DVD- No audio. compliant, video-only, widescreen MPEG-2 file for use in Video is 23.976 fps with a frame size of 720x480. DVD Architect Pro. Use this template to create a PAL video stream for use in DVD Architect Pro (you’ll need to render your audio stream separately). Video is 25 fps with a frame size of 720x576 pixels. Video is 25 fps with a frame size of 720x576 pixels. Audio is a 384 Kbps, 48 kHz, MPEG layer 2 stream. Video is 25 fps with a frame size of 1280x720. Audio is a 384 Kbps, 48 kHz, MPEG layer 2 stream. Video is 29.97 fps with a frame size of 1280x720.

DVD Architect Use this template to create a widescreen PAL video stream PAL Widescreen for use in DVD Architect Pro (you’ll need to render your video stream audio stream separately). HDV 720-25p HDV 720-30p Use this template to create HDV MPEG-2 transport streams (.m2t). Use this template to create HDV MPEG-2 transport streams (.m2t).

340 | CHAPTER 20

Template
HDV 1080-50i

Use for
Use this template to create HDV MPEG-2 transport streams (.m2t). Use this template to create HDV MPEG-2 transport streams (.m2t). Use this template to create high-definition MPEG-2 files for authoring Blu-ray™ discs using Blu-print™ software. Use this template to create high-definition MPEG-2 files for authoring Blu-ray™ discs using Blu-print™ software.

Description
Audio is a 384 Kbps, 48 kHz, MPEG layer 2 stream. Video is 25 fps (interlaced) with a frame size of 1440x1080. Audio is a 384 Kbps, 48 kHz, MPEG layer 2 stream. Video is 29.97 fps (interlaced) with a frame size of 1440x1080. No audio. Video is 23.976 fps (progressive-scan) with a frame size of 1920x1080. No audio. Video is 29.976 fps (interlaced) with a frame size of 1920x1080.

HDV 1080-60i

Blu-print 1080­ 24p Blu-print 1080­ 60i

Creating custom MPEG templates

In the Render As dialog, choose MainConcept MPEG-1 or MainConcept MPEG-2 from the Save as Type drop-down list and click the
Custom button if you want to create your own MPEG encoding templates.
For information about the active page in the Custom Template dialog, click the Help button (
).

Important: Custom templates have many available options, and consequently, a lot of room for error. Verify your file requirements
before creating a template. If you’re using third-party DVD-burning software, for example, refer to the application’s documentation to
determine the application’s file requirements.


Viewing MPEG-2 files on a computer
MPEG-2 files require an MPEG-2 decoder in order to view them in Windows Media Player and other applications. The Windows operating system does not include an MPEG-2 decoder, but you can download MPEG-2 decoders at http://www.vcdhelp.com. Sony Creative Software Inc. does not endorse or support any third-party MPEG-2 decoders.

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Customizing the rendering process
Every media file format has different variables and controls. You can use a template to automatically configure a particular format for a particular destination. You can also choose to create custom settings for your render by clicking Custom. Once you have customized the settings, you can create your own template so that you can reuse the custom settings at a later time.

Selected rendering format Selected template and description

Click Custom to change control settings or create/delete a template.

Customizing the Render As settings 1. From the File menu, choose Render As. 2. In the Render As dialog, choose the format (for example, Video for Windows (.avi)). 3. Click Custom. The Custom Template dialog appears. Note: Built-in templates cannot be edited. 4. Adjust the settings in each of the tabs as desired. Note: When determining bit rates, 1K=1024. 5. Click OK to close the Custom Template dialog. 6. Enter a name and location for the new file and click Save. Saving custom settings as a template
You can save customized rendering settings for future use. One of the most important reasons to save a new template is to save the specific compression codec used to create the final media file, since this is not predetermined by the project properties.

1. Modify the parameters in the Custom Template dialog. Note: When determining bit rates, 1K=1024.

342 | CHAPTER 20

2. In the Template drop-down list, enter a name for the new template. Note: Built-in templates cannot be edited. 3. Click the Save Template button (
).
To use the new template in the future, choose it from the Template list in the Save As dialog.


Deleting a template 1. Use the Render As dialog to specify a location and name for the file you want to save. 2. Click the Custom button to open the Custom Template dialog. 3. Choose a template from the Template drop-down list. 4. Click the Delete Template button (
).

Note: Built-in templates cannot be deleted. 5. Click OK to return to the Render As dialog. Copying rendering templates between computers or user accounts
You can make your customized rendering templates available on another computer or user account by copying .sft2 files to the appropriate location in the new account or computer. Rendering templates are stored in the following folders: • • Windows XP: C:\Documents and Settings\<username>\Application Data\Sony\Render Templates\<plug-in name> Windows Vista: C:\Users\<username>\AppData\Roaming\Sony\Render Templates\<plug-in name>

Notes:
• The Application Data/AppData folder is not visible unless the Show hidden files and folders radio button is selected on the View tab of the Windows Folder Options control panel. • You can find a plug-in’s name by clicking the About button in the Render As dialog. To make a template available on another computer or user account, copy the .sft2 file to the same location in another account. For example, to make JSmith’s custom wave template available for the AJones user account in Windows XP, copy the appropriate .sft2 file from this folder: C:\Documents and Settings\JSmith\Application Data\Sony\Render Templates\wave to this folder: C:\Documents and Settings\AJones\Application Data\Sony\Render Templates\wave Tip: If you’re copying templates from an older Sony Creative Software application, templates are saved as .sft files in the following folder: C:\Documents and Settings\<username>\Application Data\Sony\File Templates\<plug-in name>\<plug-in GUID>.

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Exporting a movie to a PSP™
If you want to render your project to Sony AVC/AAC format and transfer it to a USB-connected PSP™ (PlayStation® Portable) system, you can do this using the Vegas Pro Export to PSP™ feature.

Notes:
• PSP firmware version 2.0 or higher is required to use this feature. To check your firmware version, choose Settings > System Settings > System Information on the PSP™. For the latest firmware, go to http://us.playstation.com (in the United States) or http:// www.playstation.com (outside the United States). • Full-screen and high-bit-rate rendering templates require the latest PSP™ firmware for playback. • If you’re using high-resolution video, choose Best from the Full-resolution rendering quality drop-down list on the Video tab of the Project Properties dialog before exporting your movie to prevent resizing artifacts.

1. Click in the timeline to position your cursor on the frame you want to use to represent your movie. This image will be displayed as a
thumbnail on the PSP™ navigation system.

2. Connect the USB cable and AC adapter to the PSP™ system and place it in USB mode. 3. From the Tools menu, choose Export to PSP™ (PlayStation®Portable). The Export to PSP™ (PlayStation®Portable) dialog is
displayed.

Note: If you want to render an AVC video without transferring to a PSP™, use the Render As dialog and choose Sony AVC/AAC (*.mp4) from the Save as Type drop-down list. 4. The Title box displays the title of your project from the Summary tab of the Project Properties dialog. This title will be displayed on
the PSP™ system. Editing the title in the Export to PSP™ (PlayStation®Portable) dialog will also update the Project Properties dialog.

5. The File path box displays the folder and file name that will be used to render your movie.
Click the Refresh button if you need to rescan the device.

6. Choose a setting from the Template drop-down list to specify the settings that will be used to save your file.
You can choose to encode with QVGA, QVGA widescreen, PSP™ full-screen, or standard-definition NTSC frame aspect. • • • Both QVGA settings create 320x240 video, but the widescreen templates use anamorphic widescreen encoding, which is properly decoded on the PSP™ system. The PSP™ full-screen templates create 480x270 video to match the PSP™ screen resolution. The SD NTSC templates create 720x480 video to match a standard-definition NTSC screen.

Notes:
• The settings for the selected template are displayed in the Description box. • The 512 Kbps QVGA and PSP™ full-screen templates are useful when you want to minimize file size, and the 896- and 1128-Kbps templates will produce higher-quality video, especially in scenes with high-motion video.

7. Select the Render loop region only check box if you only want to render a portion of your project. If the check box is cleared, the
entire project will be rendered to a new file.

8. Select the Stretch video to fill output frame size (do not letterbox) check box if you want to reformat your video so it fills the
output frame size listed in the Description box. When the check box is cleared, the current aspect ratio is maintained and black borders are added to fill the extra frame area (letterboxing). This option is useful when the desired output format does not match the frame aspect ratio of your project.

9. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation
setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated. You can use this setting to proof your project on an unrotated display.

10. Click OK. Your movie file (<filename>.mp4) and thumbnail file (<filename>.thm) are created and transferred to the appropriate
folder on the PSP™ system.

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Rendering with networked computers
Network rendering allows you to designate a specific computer to render the entire output file, or you can distribute a single rendering job among several computers. • Distributed network rendering splits the video into segments that are rendered by multiple computers. In this mode, each computer renders a portion of the project, and the rendered sections are then reassembled into a single file by one computer (called the stitch host). Distributed rendering is a good way to reduce the time it takes to render a project containing a significant amount of processed video (video effects, transitions, panning/cropping, track motion, and compositing). However, distributed rendering requires increased disk space and network traffic because each segment must be saved before the final output can file be generated. • • Nontemporal video output formats, such as DV or uncompressed AVI, are also well suited for distributed network rendering because segments can be reassembled without re-encoding. Nondistributed network rendering behaves very much like standard rendering, but you can choose which computer you want to render the project. In this mode, each computer renders a complete file from a Vegas Pro project or the loop region. If you want to encode the same project to multiple streaming formats and bit rates, it is best to queue up multiple nondistributed jobs because streaming formats use temporal compression and you can assign different renderers to different output formats. If you have a project or output format with audio only, choose nondistributed rendering because only video is rendered in the first phase of a distributed job. Both distributed and nondistributed rendering jobs can be queued to be performed as computing resources become available so you can render multiple projects or render the same project in multiple formats. Rendering using a computer other than your main editing computer allows you to continue working without waiting for the render job to complete.

Setting up your computers for network rendering
The computer that initiates and manages a network render is considered the owner of the job. Each networked computer that you use for rendering is called a renderer. The computer that reassembles rendered segments in a distributed rendering job is called the stitch host. The computer that is designated to perform a nondistributed network render job is called the render host. To use network rendering effectively, we recommend the following: • • 100 Mbps switched local area network. Your media files and output file must be in shared folders, preferably on a dedicated file server, All renderers must have permission to read, write, create, and delete files in the shared folders.

Before network rendering begins, a copy of your project will be saved in the shared output folder for use by the renderers. This version will have all media paths remapped based on the Network Render Service file mappings. For more information, see Setting file mappings on page 348.

Note: In order to use network rendering with nested projects, the nested project must contain only media from folders that do not

require remapping. Before nesting your Vegas Pro project, update the project so that all media in the project is added from a network
folder or a local, shared folder that is mapped to the same drive letter on all renderers and the render host.


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Setting up a rendering computer

1. Install Vegas Pro software as a render-only client.
You can install Vegas Pro software as a render-only client on two computers for each Vegas Pro license you purchase. However, certain file formats, such as MPEG-2, AC-3, and MP3, cannot be used on render-only clients.

2. Start the Vegas Network Render Service application (VegSrv70.exe). The service must be running and you must be logged into the
computer before you can use it for rendering.

3. If necessary, you can change the TCP port the render service uses to communicate with other renderers: a. Exit the Vegas Network Render Service application if it is running. b. Open the NetRenderService.config file in a text editor. This file is located in the Vegas Pro installation folder. c. Edit the <channel ref="tcp" port="53704" /> tag in the file to reflect the port you want to use. d. Save the file. e. Restart the Vegas Network Render Service application.
Adding renderers to a host

1. Start the Vegas Network Render Service application (VegSrv80.exe) on the computer you will use to initiate network rendering.
If you do not start the service before starting a rendering job, it will start automatically, but it will not be visible. Right-click the icon in the system tray and choose Show from the menu to display the window.

2. Select the Renderers tab. This tab allows you to edit the list of computers running the render service. Note: A computer will be displayed on the Renderers tab only if you have logged on to Windows and the Vegas Network Render Service is running. If the computer is not in an area you can monitor easily, you can use Ctrl+Alt+Delete to lock the computer after logging on and starting the service. 3. Click the Host box of a blank row in the table, and then type the IP address or name of the computer you want to use as a renderer.
To find your computer name, right-click My Computer and choose Properties from the shortcut menu to display the System Properties dialog. Click the Computer Name tab, and your computer name is displayed in the Full computer name entry.

4. Press Enter to connect to the renderer. If the connection is made, the Status column will display Ready. Troubleshooting initiation problems
If you receive an error message that indicates the Network Render Service cannot start when you start the application, you may need to resolve DNS suffixes on your computer.

1. Open a DOS window: a. From the Start menu, choose Run to display the Run dialog. b. In the Open box, type CMD. c. Click OK. A DOS window is displayed. 2. Type ipconfig at the command prompt.
Your Windows IP Configuration information is displayed. Note the Connection-specific DNS suffix setting.

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3. Update your computer’s DNS suffix: a. Right-click My Computer on your desktop and choose Properties from the shortcut menu (or press the Windows key + Pause)
to open the System Properties dialog.

b. Select the Computer Name tab. c. Click the Change button to display the Computer Name Changes dialog. d. Click the More button to display the DNS Suffix and NetBIOS Computer Name dialog. e. In the Primary DNS suffix of this computer box, type the DNS suffix you recorded in step 2. 4. Click OK to close all dialogs and restart your computer. Using nondistributed network rendering 1. Save your project. Note: In order to use network rendering with nested projects, the nested project must contain only media from folders that do not

require remapping. Before nesting your Vegas Pro project, update the project so that all media in the project is added from a network
folder or a local, shared folder that is mapped to the same drive letter on all renderers and the render host.
Your original project does not need to be saved in a shared folder. Before network rendering begins, a copy of your project will be saved in the shared output folder (see step 4) for use by the renderers. This version will have all media paths remapped based on the Network Render Service file mappings. For more information, see Setting file mappings on page 348. After rendering begins, you can continue to make edits to your original project without disrupting in-progress network render tasks.

2. If you want to render only a portion of your project, create a time selection that includes the portion you want to render. 3. From the File menu, choose Render As. 4. Use the Render As dialog to choose the file format and location where you want to save your file. The location of the output file
must be in a shared folder.

5. Select the Render loop region only check box in the Render As dialog if you want to render the selected portion of your project. 6. Select the Render using networked computers check box in the Render As dialog, and then click the Save button. The Network
Render dialog is displayed.

7. From the Render Host drop-down list, choose the URL of the renderer you want to use to render your project. 8. The Temporary Files Location box displays the path to the folder where the temporary .veg project will be saved. If you want to use
a folder other than the output folder you choose in step 4, you can choose a folder from the drop-down list or click the Browse button to choose a folder. This folder must be in a shared location.

9. Click OK to start rendering. 10. To add a project to the queue, open the project and repeat steps 1 through 8.
You can choose a different renderer for each project or time selection if you want to render the files concurrently on separate computers. If you choose the same renderer, the rendering jobs will be queued to run sequentially on that computer.

Using distributed network rendering 1. Save your project. Note: In order to use network rendering with nested projects, the nested project must contain only media from folders that do not

require remapping. Before nesting your Vegas Pro project, update the project so that all media in the project is added from a network
folder or a local, shared folder that is mapped to the same drive letter on all renderers and the render host.
Your original project does not need to be saved in a shared folder. Before network rendering begins, a copy of your project will be saved in the shared output folder (see step 4) for use by the renderers. This version will have all media paths remapped based on the Network Render Service file mappings. For more information, see Setting file mappings on page 348.

SAVING, RENDERING, AND PRINTING PROJECTS | 347

After rendering begins, you can continue to make edits to your original project without disrupting in-progress network render tasks.

2. From the File menu, choose Render As. 3. Use the Render As dialog to choose the file format and location where you want to save your file. The location of the output file
must be in a shared folder.

4. Select the Render using networked computers check box in the Render As dialog, and then click the Save button. The Network
Render dialog is displayed.

5. Select the Distribute Rendering check box in the Network Render dialog. 6. From the Stitch Host drop-down list, choose the computer you want to use to assemble the rendered segments. 7. Choose a file format for your rendered segments.
• Select the Use Final Render Template check box if you want to render segments using the format you chose for your final output in the Render As dialog. Use this option when you’re working with uncompressed or DV files. Using the final rendering template for rendered segments makes the final stitching process fast because the segments can be copied and assembled without being reencoded. • Clear the Use Final Render Template check box and choose settings from the Save as Type and Template drop-down lists if you want to render segments using a format other than your final output format. Use this option when you’re rendering to a format that uses temporal compression, such as QuickTime, RealMedia, or Windows Media. Rendering segments as uncompressed or DV AVI files allows transitions and composited tracks to be rendered in a high-quality format. When the segments are stitched, the project is re-encoded using the format you chose for your final output in the Render As dialog.

8. The Temporary Files Location box displays the path to the folder where the temporary .veg project and rendered segments will be
saved. If you want to use a folder other than the output folder you chose in step 3, you can choose a folder from the drop-down list or click the Browse button to choose a folder. This folder must be in a shared location.

Tip: Choosing a folder other than the final output folder can help improve performance during the stitching phase when you render a project with uncompressed segments. 9. Click OK to start rendering. Monitoring rendering progress 1. Right-click the
status. icon in your system tray and choose Show from the menu to display the Vegas Network Render Service window.

2. Select the Progress tab. The Progress tab displays a list of the segments that are queued to render, the assigned peer, and the 3. Choose Details or Summary from the drop-down list in the Progress tab to see more or less information. Setting file mappings
File mappings help remote renderers find the media used in your project. When you import media from a local disk, the file paths saved in your project are often valid only on the local machine. This can be the case even if the media resides in a shared folder. Use the File Mappings tab to map local folders to universal paths.

Note: In order to use network rendering with nested projects, the nested project must contain only media from folders that do not

require remapping. Before nesting your Vegas Pro project, update the project so that all media in the project is added from a network
folder or a local, shared folder that is mapped to the same drive letter on all renderers and the render host.


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Adding a file mapping

1. Right-click the

icon in your system tray and choose Show from the menu to display the Vegas Network Render Service window.

2. Select the File Mappings tab. The tab displays a list of local folders and their universal paths. 3. Click a blank row in the table. 4. In the Local box, type the path to the local folder (c:\media, for example). 5. In the Universal box, type the UNC path or mapped drive letter to the folder (\\renderer\media\, for example). Note: Before you start rendering, verify that the remote renderer has access to the folder and is logged in.
On the renderer, choose Run from the Start menu to display the Run dialog. In the Open box, type the UNC path to the folder
(\\renderer\media\ in our previous example). If you're prompted to log on, type your username and password.


Creating file mappings automatically

1. Right-click the

icon in your system tray and choose Show from the menu to display the Vegas Network Render Service window.

2. Select the File Mappings tab. The tab displays a list of local folders and their universal paths. 3. From the Action menu, choose Auto-Fill File Mappings. Shared folders on the local machine are added to the list as universal
paths. However, no mappings will be added in the following circumstances: • • • If all shared folders are already listed in the table. If the computer does not have any shared folders. If your user account does not allow you to create or modify folder sharing.

Removing file mappings

1. Right-click the

icon in your system tray and choose Show from the menu to display the Vegas Network Render Service window.

2. Select the File Mappings tab. The tab displays a list of local folders and their universal paths. 3. Right-click a mapping and choose Delete File Mapping from the shortcut menu to delete it. Click a blank row in the table. Choose
Delete All File Mappings to delete all file mappings.

Setting render service options 1. Right-click the
icon in your system tray and choose Show from the menu to display the Vegas Network Render Service window.

2. Select the Options tab.
Item
Enable rendering Automatically run after login Exit service when window is closed Exit Vegas Pro when idle

Description
Select this check box if you want the local computer to be available as a renderer. Select this check box if you want to start the service automatically after logging in to the Windows operating system. Select this check box if you want to keep the service running after closing the window. If the check box is cleared, the service is minimized to the system tray when you close the window. Select this check box if you want to close the instance of Vegas Pro software that is launched by the network render service when no jobs are in the queue. If the check box is cleared, the application continues running until you close it or exit the service.

Remove completed Choose a setting to indicate how long jobs should be maintained on the Progress tab of the Vegas Network jobs from progress Render Service window. display after Default segment length Choose a setting to indicate the number of frames per segment when using distributed rendering. Adjusting this value can increase performance slightly depending on the complexity of the project and your
specific rendering computers.
If the setting yields more than 90 segments for a rendering job, the segment length for that job is
automatically increased to limit the number of segments.


SAVING, RENDERING, AND PRINTING PROJECTS | 349

Printing video to tape

Vegas Pro software provides two methods for printing your final movie to tape: you can print to tape directly from the Vegas Pro timeline, or you can use the Video Capture application to print an existing rendered file to DV tape.

Printing video to tape from the timeline
You can print either a portion of your project or the entire video right from the project timeline to a camera or deck. Your project is examined, any complex portions are prerendered, and then printed to tape all in one action. For more information, see Prerendering video on page 319.

Note: Printing to tape from the timeline can require significant drive space for temporary prerendered files. Set the Prerendered files folder on the Video tab of the Project Properties dialog to an A/V-capable drive with sufficient space. Prerendering a DV project uses approximately 228 MB/minute, so plan accordingly.

Printing to a DV device

1. To print just a portion of your project, make a time selection in the timeline. 2. From the Tools menu, choose Print Video to Tape. The Device Setup dialog is displayed. 3. Use the Device Setup dialog to configure your camera or deck: a. From the Device drop-down list, choose OHCI-Compliant IEEE 1394/DV. b. If necessary, drag the Record engage delay slider to specify the number of frames it takes your camera or deck to switch from
Record Pause to Record mode. If you’re missing frames from the beginning of your file after printing to tape, increase the setting. If you see duplicated frames at the beginning of your video, decrease the setting.

c. Click the Next button. The Conform Timeline to Device Format dialog is displayed. 4. Use the Conform Timeline to Device Format dialog to choose the format you want to use to print your video to tape. a. Select the Enable multichannel mapping check box if you’re working with multichannel source files and need to specify
which channels to use in the stereo file when printing to tape. Click the Channels button to choose which channels you want to render. For example, if your video source contained 6-channel audio, you could route each channel’s track to a separate bus. Then, when printing to tape, you could click the Channels button and choose which bus should be printed to tape. For more information, see Rendering multichannel audio files on page 337.

Note: Multichannel audio is not supported when printing to a DV device. b. From the Template drop-down list, choose the setting that matches your destination format, or click Custom to create a new
template.

Notes:
• You’ll need to choose a rendering template that inserts pulldown fields to create a standard DV file if your properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DV check box selected on the General tab of the Preferences dialog. Use the NTSC DV 24p (inserting 2-3-3-2 pulldown) template if you intend to bring the file back into the timeline as source material. • If you cleared the Allow pulldown removal when opening 24p DV check box before adding your media and your project properties are not set to 24p, your 24p video is read as 29.97 fps interlaced video (60i), so you can choose whichever NTSC DV or PAL DV template suits your project requirements.

c. Select the Render loop region only check box if you want to print only the portion of your project that you selected in step 1. d. Select the Render audio to proxy file check box if you want to prerender the audio portion of your project before printing to
tape.

e. Click Next. The Leader and Trailer dialog is displayed.

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5. Use the Leader and Trailer dialog to set up the data that will be printed before and after your project: a. Select the Add test pattern leader check box if you want to print a test pattern before your video. b. From the Test pattern style drop-down list, choose a test pattern type and video format. c. Type a value in the Duration box to determine the length of the test pattern. d. Select the Play 1 kHz tone with test pattern check box to add an audio test tone that will play along with the test pattern. e. Select the Add black leader check box and type a value in the Duration box if you want to print black frames before your
video.

f.

Select the Add black trailer check box and type a value in the Duration box if you want to print black frames after your video.

g. Click Next. The Device Control dialog is displayed. 6. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your DV recorder and how you want to
print to tape: • • Select Manual if your IEEE-1394 DV device is not OHCI-compliant or if the application is unable to obtain device control of your DV recorder. You will need to cue the tape and press the Record button on your DV camcorder before recording. Select Crash Recording if you are using an OHCI-compliant IEEE-1394 DV device and the application is able to obtain device control of your DV recorder. Recording will begin automatically at the timecode position specified in the Device timecode box when you click Finish.

7. Click Finish. If you have not already prerendered, portions of your project that cannot be rendered and printed to tape in real time
will be selectively prerendered.

a. If you’re using Manual mode, a dialog will be displayed after rendering is finished. You can specify a delay time in the Delay
playback countdown timer box and select the Beep each second during countdown check box if you want to count down before sending video to your device.

b. If you’re using Crash Recording mode, your DV recorder will start and begin recording after rendering is finished.
Printing to a tape deck connected to a AJA SDI card

1. To print just a portion of your project, make a time selection in the timeline. 2. From the Tools menu, choose Print Video to Tape. The Device Setup dialog is displayed. 3. Use the Device Setup dialog to configure your camera or deck: a. From the Device drop-down list, choose AJA Video Device. b. If necessary, drag the Record engage delay slider to specify the number of frames it takes your camera or deck to switch from
Record Pause to Record mode. If you’re missing frames from the beginning of your file after printing to tape, increase the setting. If you see duplicated frames at the beginning of your video, decrease the setting.

c. Select the Use progressive segmented frame (psf) video formats check box if you’re using a camera or deck that stores
progressive-scan frames in an interlaced format.

d. Click the Next button. The Conform Timeline to Device Format dialog is displayed.

SAVING, RENDERING, AND PRINTING PROJECTS | 351

4. Use the Conform Timeline to Device Format dialog to choose the format you want to use to print your video to tape. a. Select the Enable multichannel mapping check box if you want to render a file with multiple audio channels. For more
information, see Rendering multichannel audio files on page 337.

b. From the Template drop-down list, choose the setting that matches your destination format, or click Custom to create a new
template. For more information, see Customizing the rendering process on page 342.

Notes:
• You’ll need to choose a rendering template that inserts pulldown fields to create a standard interlaced file if your project properties are set to 24p or if you selected the Allow pulldown removal when opening 24p DV check box on the General tab of the Preferences dialog. • If you cleared the Allow pulldown removal when opening 24p DV check box before adding your media and your project properties are not set to 24p, your 24p video is read as 29.97 fps interlaced video (60i), so you can choose whichever template suits your project requirements.

c. Select the Render loop region only check box if you want to print only the portion of your project that you selected in step 1. d. Select the Render audio to proxy file check box if you want to prerender the audio portion of your project before printing to
tape.

e. Click Next. The Leader and Trailer dialog is displayed. 5. Use the Leader and Trailer dialog to set up the data that will be printed before and after your project: a. Select the Add test pattern leader check box if you want to print a test pattern before your video. b. From the Test pattern style drop-down list, choose a test pattern type and video format. c. Type a value in the Duration box to determine the length of the test pattern. d. Select the Play 1 kHz tone with test pattern check box to add an audio test tone that will play along with the test pattern. e. Select the Add black leader check box and type a value in the Duration box if you want to print black frames before your
video.

f.

Select the Add black trailer check box and type a value in the Duration box if you want to print black frames after your video.

g. Click Next. The Device Control dialog is displayed.

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6. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your deck:
Setting
Manual Crash Recording

Description
Select this radio button if the application is unable to obtain device control of your deck. You will need to cue the tape and press the Record button on your deck before recording. Select this radio button if the application can perform basic device control of your deck. You will need to cue the tape to the location where you want to begin printing. The device’s timecode location is displayed in the Device timecode box. When you click Finish, recording will begin automatically and will stop after reaching the end of the selection or project.

Auto Edit

Select this radio button if your deck supports Auto Edit/Insert Edit mode.

Important: When using Auto Edit mode, use a striped tape to ensure continuous timecode over the portion of the tape where you plan to record. 1. Select the Preview only check box if you want to preview your print-to-tape operation without
engaging the deck's record head. Use Preview only mode to double-check and adjust your Start printing at timecode setting as needed.

2. The Start printing at box displays the current device timecode location. You can cue the tape or type a
value to indicate where you want to begin recording. The End at box displays the frame where recording will end (much like punch-in audio recording).

3. When you click Next, the Select Channels page is displayed. 4. On the Select Channels page, select a radio button to choose which channels you want to print to
tape. Write all rendered channels: Select this radio button to print video and all audio channels to tape. Write only selected channels: Select this radio button if you want to choose which channels you want to print to tape. Select the check box for each channel you want to print.

5. Click Finish. Recording will begin and end automatically at the specified timecode positions.

6. Click Finish. If you have not already prerendered, portions of your project that cannot be rendered and printed to tape in real time
will be selectively prerendered. • • If you’re using Manual mode, a dialog will be displayed after rendering is finished. You can enter a delay time in the Delay box and select the Beep check box if you want to count down before sending video to your deck. If you’re using Crash Recording or Auto Edit mode, your deck will begin recording after rendering is finished.

Printing HDV video to tape

From the Tools menu, choose Print Video to HDV Tape to print your project to an HDV camera or deck.


Printing to HDV tape from the timeline Use this procedure when you’re creating an HDV project on the timeline and need to render a MPEG2 transport stream and print it to HDV tape.

1. Load your HDV project. For more information, see Working in HDV format on page 261. 2. If you want to print only a portion of your project, create a time selection that includes the section of your project. 3. From the Tools menu, choose Print Video to HDV Tape. The HDV Print to Tape - Device page is displayed. 4. Choose your HDV camera or deck from the Device drop-down list. 5. Click Next. The HDV Print to Tape - Select Format/File page is displayed.

SAVING, RENDERING, AND PRINTING PROJECTS | 353

6. Choose render settings: a. Select the Render format radio button. b. In the File path box, type the path to the file you want to render, or click the Browse button to browse to the folder you want
to use and they type a file name.

c. From the Template drop-down list, choose the setting that matches your destination format. This list will include only formats
that are supported by the selected device. Information about the selected rendering template is displayed in the Description box.

d. Select the Render loop region only check box if you want to print only the portion of your project that you selected in step 2. e. Select the Delete file after print check box if you want to delete the rendered file after the print-to-tape operation is finished. f.
Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation setting from the Project Properties dialog for your rendered file. For more information, see Working with rotated projects on page 48. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated. You can use this setting to proof your project on an unrotated display.

7. Click Next. The HDV Print to Tape - Device Control page is displayed. 8. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your HDV recorder and how you want to
print to tape: • • Select Manual if your HDV device is not OHCI-compliant or if the application is unable to obtain device control of your HDV recorder. You will need to cue the tape and press the Record button on your HDV recorder before recording. Select Crash Recording if you are using an OHCI-compliant IEEE-1394 HDV device and the application is able to obtain device control of your HDV recorder. You will need to cue the tape to the location where you want to begin printing. The device’s timecode location is displayed in the Device timecode box. When you click Finish, recording will begin automatically and will stop after reaching the end of the selection or project.

9. Click Finish. Your project will be rendered to the file you specified in step 6.
• If you’re using Manual mode, a dialog will be displayed after rendering is finished. You can specify a delay time in the Delay playback countdown timer box and select the Beep each second during countdown check box if you want to count down before sending video to your device. If you’re using Crash Recording mode, your HDV recorder will start and begin recording after rendering is finished.

•

Printing a rendered file to HDV tape
Use this procedure when you have a rendered MPEG 2 transport stream that you want to print to HDV tape.

Important: If you are printing a rendered file to HDV tape, the file must precisely conform to the target HDV device and file type
requirements, or the print-to-tape operation will fail. Rendering using the provided HDV MPEG-2 render templates—unmodified in any way—is required to successfully print to HDV tape.

1. Load your HDV project. For more information, see Working in HDV format on page 261. 2. If you want to print only a portion of your project, create a time selection that includes the section of your project. 3. From the Tools menu, choose Print Video to HDV Tape. The HDV Print to Tape - Device page is displayed. 4. Choose your HDV camera or deck from the Device drop-down list. 5. Click Next. The HDV Print to Tape - Select Format/File page is displayed. 6. Choose the file you want to print: a. Select the Use an existing file radio button. b. In the File path box, type the path to the file you want to print, or click the Browse button to choose the file you want to print. 7. Click Next. The HDV Print to Tape - Device Control page is displayed.

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8. Use the Device Control dialog to indicate whether Vegas Pro software will have control of your HDV recorder and how you want to
print to tape: • • Select Manual if your HDV device is not OHCI-compliant or if the application is unable to obtain device control of your HDV recorder. You will need to cue the tape and press the Record button on your HDV recorder before recording. Select Crash Recording if you are using an OHCI-compliant IEEE-1394 HDV device and the application is able to obtain device control of your HDV recorder.
You will need to cue the tape to the location where you want to begin printing. The device’s timecode location is displayed in
the Device timecode box.
When you click Finish, recording will begin automatically and will stop after reaching the end of the selection or project.

9. Click Finish.
• If you’re using Manual mode, a dialog will be displayed before printing begins. You can specify a delay time in the Delay playback countdown timer box and select the Beep each second during countdown check box if you want to count down before sending video to your device. If you’re using Crash Recording mode, your HDV recorder will start and begin recording after you click the Finish button.

•

Printing to tape using Video Capture 1. If you have not already done so, connect your video camera to your video capture card using the cable provided with the card. 2. In the Project Media window, click the Capture Video button (
). The Video Capture application starts.

Note: If your video camera is properly connected, the Video Preview window in the center of the application area should display “Device connected.” 3. Follow the instructions for printing to tape provided in the Video Capture online help. To access online help, click the Help menu
within the Video Capture application, and choose Contents and Index. The Video Capture online help file opens.

SAVING, RENDERING, AND PRINTING PROJECTS | 355

356 | CHAPTER 20


Chapter 21 Customizing Vegas Pro Software
You can customize Vegas® Pro software to suit your project needs and working preferences. Many of the settings depend on your equipment or studio setup. Vegas Pro software can be set to work with the components that you use in your studio. In this chapter, you will find information about functions that allow you to customize the appearance of Vegas Pro software, set a project’s properties, and set the application’s preferences.

Changing the Vegas Pro color scheme
The default Vegas Pro color scheme uses shades of gray that can make using the software in a dark room easier on your eyes. You can turn off the default color scheme and use your Windows theme instead.

Default Vegas Pro color scheme

Vegas Pro with Windows Vista theme

1. From the Options menu, choose Preferences. 2. Click the Display tab. 3. Clear the Use Vegas color scheme check box. 4. Click OK. You must restart Vegas Pro software for the change to take effect.

Displaying frame numbers
You can display frame numbers on video events. Once you have enabled frame numbering, a small box appears at the bottom of the event thumbnail with the frame offset, time, or timecode. The small black arrow marks the exact position of that frame in time.

When the workspace is zoomed in far enough, each thumbnail represents a single numbered frame in the source video file. At intermediate zoom levels, marks between the frame numbers show the location of intermediate frames. These frame marks are not visible at lower magnifications.

1. From the Options menu, choose Preferences. 2. Click the Video tab. 3. Choose an option from the Show source frame numbers on event thumbnails as drop-down list. 4. Click OK.

CUSTOMIZING VEGAS PRO SOFTWARE | 357

Changing the ruler format
You can customize the ruler to display a number of different standard formats. The format that you select affects how the ruler and time display window display time units. For more information, see Timecode in Vegas Pro software on page 427. To change the ruler’s format, right-click the ruler and choose the desired time format from the shortcut menu or, from the Options menu, choose Ruler Format and choose the desired time unit. You can also change ruler settings on the Project Properties dialog’s Ruler tab. For more information, see Ruler tab on page 361. The following are the different time units available (hh=hours, mm=minutes, ss=seconds, and ff=frames): Time format name
Samples Time Seconds Time & Frames Absolute Frames Measures & Beats Feet & Frames 16mm (40 fpf ) Feet & Frames 35mm (16 fpf ) SMPTE Film Sync IVTC (23.976 fps, Video) SMPTE Film Sync (24 fps) SMPTE EBU (25 fps, Video) SMPTE Non-Drop (29.97 fps, Video) SMPTE Drop (29.97 fps, Video) SMPTE 30 (30 fps, Audio) Audio CD Time

Units
numbered (starting with zero) hh:mm.ss.sss sssss.sss (to three decimal places) hh:mm:ss.ff frames are numbered starting with 0 measures.beats.ticks, where 64 ticks = 1 beat feet+frames, where 40 frames = 1 foot feet+frames, where 16 frames = 1 foot hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss:ff hh:mm:ss or hh:mm:ss:ff when zoomed in tightly

Editing the ruler offset
The ruler doesn’t necessarily need to start with zero at the far left side. You can enter an offset to change the orientation of the ruler in a project. One use of this is to create a lead-in into a project. A five-second offset would mean that the ruler would start at -5 seconds and would be at 0 five seconds into the project.

Note: You cannot create a ruler offset in an audio CD layout project. 1. Position the cursor at the desired location along the timeline. 2. Right-click the ruler and choose Set Time at Cursor from the shortcut menu. The current ruler value is highlighted.

3. Type a time value. 4. Press Enter to set the ruler’s time. The value that you enter at the cursor’s position affects the entire ruler.

358 | CHAPTER 21

Changing grid spacing
Grid spacing is different from the ruler and provides an alternate method of subdividing a project’s time. This can be useful if you want the ruler to display SMPTE video timecode, but you need to create your music in terms of beats and measures. You can display the grid spacing in time, frame, measure, or note units. The grid can also be set to match the ruler’s time format. The grid appears across all tracks in your project and the grid’s lines can be used as snap points.
Ruler and grid increments can be different.
This new project is set with Ruler = SMPTE non-drop and Grid = Quarter notes.


To change grid spacing, choose Grid Spacing from the Options menu, and choose the desired time unit from the submenu. The grid spacing changes to reflect your selection.

Note: In some cases, the grid lines and the ruler do not match. This is because they are two independent functions.

Using the Time Display window
The Time Display window reflects the cursor’s position on the timeline and the end point of a time selection. You can customize the time display’s settings, including what time the window displays and what colors it uses. You can move the Time Display window from its docked position above the track list to float on the workspace. In addition, you can dock the time display in the window docking area. For more information, see Window docking area and floating window docks on page 24.

Changing the time display settings
The time display always reflects the ruler settings that are selected. You can change the ruler settings via the time display or vice versa. For more information, see Changing the ruler format on page 358.

1. Right-click the time display. A shortcut menu appears. 2. From the shortcut menu, choose Time Format, and choose the desired time format from the submenu.
Both the time display and ruler display the chosen time format.

Changing the time display colors
You can change the background color and text color used in the time display.

1. Right-click the time display to display the shortcut menu. 2. From the shortcut menu, choose Text Color or Background Color and then choose Custom. The Time Display Color dialog appears. 3. Choose the color setting that you want. 4. Click OK to set the text or background color or click Cancel to keep the existing color settings and close the dialog. Tip: To return the time display’s text or background color to its default settings, choose either Text Color or Background Color from the
shortcut menu, and choose Default from the submenu.

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Setting the time display to monitor MIDI timecode
You can use the time display to monitor the status of incoming or outgoing MIDI timecode. Vegas Pro software can monitor MIDI timecode being generated from an external device or monitor MIDI timecode and MIDI clock information generated by Vegas Pro software. From within Vegas Pro software, the time display settings work in conjunction with your project’s properties and MIDI setup options. For more information, see Sync tab on page 378.

1. Right-click the time display. 2. From the shortcut menu, choose the type of MIDI monitoring to be displayed.

Monitors incoming MIDI timecode Monitors MIDI timecode generated by Vegas Pro software Monitors MIDI clock generated by Vegas Pro software

Once you have made your selection, the time display displays both the MIDI timecode being input or output and a status message.

Working with project properties
A large range of formats and various types of media files are supported. Some settings in a project’s properties are simply informational details about the project, while others control how your project is handled and its output. If you have multiple projects, the settings used for each project are stored. These settings can be saved as templates for future use. To view and modify project properties, choose Properties from the File menu. The Project Properties dialog has five tabs: Video, Audio, Ruler, Summary, and Audio CD. An overview of each tab and its settings follows.

Video tab
This tab allows you to set different characteristics the project uses to handle the video. Also, this tab displays information about the video contained in your project. For more information, see Modifying project video properties on page 264.

Audio tab
This tab allows you to set different characteristics the project uses to handle the audio. This page also displays the available drive space where recorded audio is stored. Item
Master bus mode Number of stereo busses Sample rate (Hz) Bit depth

Description
Choose Stereo to create a two-channel stereo project. Choose 5.1 Surround if you want to perform advanced 5.1-channel mixing. Enter the number of stereo busses that you want in your project. You may add up to 25 additional busses. The busses appear in the Mixer. Choose a sample rate from the drop-down list or enter your own rate. The sample rate range is 2,000 Hz to 96,000 Hz. Higher sample rates result in better quality sound, but also mean larger audio files. Choose a bit depth from the drop-down list. A higher bit depth results in better quality sound, but also means larger audio files.

Resample and stretch quality Choose Preview, Good, or Best to determine the accuracy with which audio files will be resampled to match your project settings. This setting also determines the quality of processing when timestretching audio events. Enable low-pass filter on LFE Applies a low-pass filter to each track in a 5.1 surround project that is assigned to the LFE channel. (surround projects only)

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Cutoff frequency for low-pass Choose a frequency to set the frequency above which audio will be ignored by the LFE channel. filter (Hz) Low-pass filter quality Recorded files folder Free storage space in selected folder Start all new projects with these settings Choose Preview, Good, or Best to determine the sharpness of the filter’s rolloff curve. Best produces the sharpest curve. Displays the path where recorded audio is stored. The Browse button allows you to select a new location to store recordings. Displays the available disk space where recorded audio is stored. Use the project properties that you have specified whenever a new project is created.

Ruler tab
This tab allows you to change ruler settings used in your project. You can also change ruler settings in timeline. For more information, see Changing the ruler format on page 358. Item
Ruler time format Ruler start time Beats per minute Beats per measure Note that gets one beat Start all new projects with these settings

Description
Choose a ruler time format from the drop-down list. Enter a value that the ruler will use at the beginning of your project. This feature is useful for synchronization purposes. Enter the desired number of beats per minute for the project. Enter the desired number of beats to occur per measure for the project. The value entered will determine the time signature used by the ruler when its format is set to Measures and Beats. For example, if the entered value is 4, then a quarter note gets one beat. Use the project properties that you have specified whenever a new project is created.

Summary tab
This tab allows you to enter information about the project. You can leave the boxes on this tab blank or, if information exists, you can change it at any time. Property
Title Artist Engineer Copyright Comments Start all new projects with these settings

Description
Enter the name or title of the open project. Enter the name of the narrator, band, or artists being recorded into the project. Enter the names of the people who mixed and edited the project. Enter the date and ownership rights of the project. Enter information that identifies and describes the project. Use the project properties that you have specified whenever a new project is created.

Audio CD tab
This tab allows you to enter information used when burning audio CDs. Property
Universal Product Code/ Media Catalog Number First track number on disc

Description
If your CD-R device supports writing UPC/MCN codes, you may specify the value in this field. If you leave the field blank, no UPC/MCN value will be written to the CD. Otherwise, the value consists of 13 digits. This sets the number for the first track on the disc.

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Using the toolbar
The main toolbar is automatically displayed below the menu bar. However, you may hide and customize the toolbar to suit your preferences. The settings that you apply to the toolbar remain set until you change them again.

Hiding and displaying the toolbar
If you prefer to use shortcut keys when working with your project, you may hide the toolbar to create more workspace. Choose Toolbar from the View menu to hide it. The check mark next to the command is removed and the toolbar disappears. The toolbar remains hidden until you choose Toolbar from the View menu to display it again.

Reordering toolbar buttons
You can change the main toolbar’s button order to suit your preferences. The Customize Toolbar dialog allows you to control the order and functionality available on the main toolbar. You may return the toolbar to its default settings by clicking the Reset button.

1. From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears.

2. In the Current toolbar buttons list, select the button that you want to move and click Move Up or Move Down. 3. Click Close to save the toolbar changes and close the dialog. Adding buttons to the toolbar
A series of buttons are included that you may add to the main toolbar. These buttons are listed in the Customize Toolbar dialog. You may also add separators on the toolbar to organize the buttons to suit your preferences. You may return the toolbar to its default settings by clicking the Reset button on the dialog.

1. From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears. 2. In the Available toolbar buttons list, use the scroll bars to locate the button that you want to add, and then select it. 3. On the Current toolbar buttons pane, select the button that you want the newly added button to proceed in order. 4. Click Add. The new button is added above the selected button in the Current toolbar buttons list. Note: You may also double-click a button to add it to the toolbar. 5. Click Close to save the toolbar settings and close the dialog. Removing buttons from the toolbar
You may remove buttons and separators from the main toolbar. If you have added buttons to the toolbar, removing unused or unwanted buttons allows you to maximize the toolbar’s space.

1. From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears. 2. On the Current toolbar buttons pane, select the button that you want to remove. 3. Click Remove. The button is removed from the Current toolbar buttons pane and will not appear on the toolbar. 4. Click Close to save the toolbar settings and exit the dialog.

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Saving and recalling window layouts
A window layout stores the sizes and positions of all windows and floating window docks in the Vegas Pro workspace. You can store any number of window layouts on your computer, and up to ten window layouts are available in the View menu (and via keyboard shortcuts) so you can quickly recall frequently used layouts. For example, you could have a layout dedicated to multitrack audio recording and another for ADR work.

Notes:
• Window layouts are saved in the folders listed below. You can transfer layouts between computers by copying the .VegasWindowLayout files. In Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Vegas Pro\9.0 In Windows Vista: C:\Users\<user name>\AppData\Roaming\Sony\Vegas Pro\9.0 • Window layouts saved in Vegas Pro 9.0 cannot be loaded in earlier versions of Vegas Pro software.

Loading default window layouts
Vegas Pro software comes with three built-in window layouts: a default layout, a layout optimized for audio mixing work, and a layout optimized for color correction work. To load these layouts, choose Window Layouts from the View menu, and then choose Default, Audio Mixing, or Color Correction from the submenu. You can also use the following keyboard shortcuts to load these layouts. Layout
Default Audio Mixing Color Correction

Keyboard shortcut
Ctrl+Alt+D Ctrl+Alt+A Ctrl+Alt+C

Saving a window layout 1. Arrange the windows and docked windows as desired. Tip: Press Ctrl+Alt+D, release the keys, and then press a number on your keyboard (not the numeric keypad) to save the layout in that
space.

2. From the View menu, choose Window Layouts, and then choose Save Layout As from the submenu. The Save Layout As dialog is
displayed. Choose Save Layout from the submenu if you want to update the current window layout. A bullet ( ) is displayed next to the current layout.

3. In the Name box, type the name you want to use to identify the layout. This name will be used in the Organize Layouts dialog. 4. Choose a setting from the Shortcut drop-down list to set the shortcut that will be used to load the layout.
For example, if you choose 4, you could press Alt+D, release the keys, and then press 4 on your keyboard to load the layout.

5. The Folder box displays the path to the folder where the layout will be saved.
Window layouts are saved in the following folders by default: • • In Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Vegas Pro\9.0 In Windows Vista: C:\Users\<user name>\AppData\Roaming\Sony\Vegas Pro\9.0

You can click the Browse button to choose a different folder.

6. Click OK to save the new layout.

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Loading a saved layout

From the View menu, choose Window Layouts, and then choose the window layout you want to use from the submenu.


Tip: To load a layout quickly, press Alt+D, release the keys, and then press a number on your keyboard (not the numeric keypad) to recall
the layout saved in that space. If no layout is saved in that space, nothing will happen when you press the shortcut. If you’ve modified the current window layout, choose Window Layouts, and then choose Reload Selected Layout from the submenu to reset the window layout to the last-saved version.

Adding a layout to the View > Window Layouts submenu 1. From the View menu, choose Window Layouts, and then choose Organize Layouts from the submenu. The Organize Layouts
dialog is displayed.

2. Select a layout in the Available layouts in current folder box.
This box lists the .VegasWindowLayout files in the folder displayed in the Current layout folder box. If the layout you want to use is saved in a different folder, you can click the Browse button to choose a new folder.

3. Select a layout in the Current layouts in menu box. 4. Click the Assign (or Replace) button to add the layout to the View > Window Layouts submenu.
You can click the Move Up or Move Down buttons to change the order of the layouts in the menu.

5. Click the Activate button to apply the selected layout to the Vegas Pro workspace. 6. Click OK to close the Organize Layouts dialog and apply your changes. Removing a layout from the View > Window Layouts submenu 1. From the View menu, choose Window Layouts, and then choose Organize Layouts from the submenu. The Organize Layouts
dialog is displayed.

2. Select a layout in the Current layouts in menu box. 3. Click the Clear button to remove the selected layout from the View > Window Layouts submenu.
If you want to replace the selected layout, select a layout in the Available layouts in current folder box and click the Replace button.

4. Click OK to close the Organize Layouts dialog and apply your changes. Note: Removing a layout from the View > Window Layouts submenu does not remove the .VegasWindowLayout file from your computer.

Deleting a layout from your computer 1. From the View menu, choose Window Layouts, and then choose Organize Layouts from the submenu. The Organize Layouts
dialog is displayed.

2. Select a layout in the Current layouts in menu box. 3. Click the Delete Layout button to remove the selected layout from your computer. Note: You cannot delete a layout that is included in the Current layouts in menu list. First, select the layout in the Current layouts in
menu list and click the Clear button. Next, select the layout in the Available layouts in current folder list and click the Delete Layout button.

4. Click OK to close the Organize Layouts dialog and apply your changes.

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Customizing keyboard shortcuts

From the Options menu, choose Customize Keyboard to customize the keyboard shortcuts available in the Vegas Pro interface.
The Keyboard mapping box displays the currently assigned shortcut keys. Click a tab in the middle of the dialog to choose which
shortcuts you want to see.


Editing or creating new shortcuts 1. From the Options menu, choose Customize Keyboard. The Customize Keyboard dialog is displayed. 2. Click a tab in the middle of the dialog to indicate the type of command you want to assign to a keyboard shortcut. 3. Select a command in the list. Tip: You can type a word in the Show commands containing box to filter the list of commands to display only commands that contain the word you typed. 4. Click the Shortcut keys box and press the key combination you want to assign to the selected command. 5. Click the Add button to assign the key combination in the Shortcut keys box to the selected command. Saving a keyboard mapping 1. From the Options menu, choose Customize Keyboard. The Customize Keyboard dialog appears. 2. Click the Save as button and type a name to save your current keyboard shortcuts to an .ini file in the following folders:
• • Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Vegas Pro\9.0 Windows Vista: C:\Users\<user name>\AppData\Roaming\Sony\Vegas Pro\9.0

Note: The Application Data folder is not visible unless the Show hidden files and folders radio button is selected on the View tab of the
Windows Folder Options control panel. You can use this file as a backup or to share your keyboard shortcuts with other Vegas Pro users.

Deleting a keyboard mapping 1. From the Options menu, choose Customize Keyboard. The Customize Keyboard dialog is displayed. 2. Choose a mapping from the Keyboard mapping drop-down list and click the Delete button to remove the selected keyboard
mapping.

Note: You cannot delete the default Vegas Pro keyboard mapping.

Importing or renaming a keyboard mapping
Copy a Vegas Pro keyboard mapping .ini file to the following folders: • • Windows XP: C:\Documents and Settings\<user name>\Application Data\Sony\Vegas Pro\9.0 Windows Vista: C:\Users\<user name>\AppData\Roaming\Sony\Vegas Pro\9.0

Note: The Application Data folder is not visible unless the Show hidden files and folders radio button is selected on the View tab of the Windows Folder Options control panel.

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The next time you start Vegas Pro, the new keyboard mapping will be available from the Keyboard mapping drop-down list in the Customize Keyboard dialog.

Tip: If you want to edit a the name used to identify a keyboard mapping in the Customize Keyboard dialog, open the .ini file in a text
editor and change the <Display Name> portion of the Name=<Display Name> entry. Save the .ini file and restart Vegas Pro to use the new name.

Resetting the default keyboard mapping 1. From the Options menu, choose Customize Keyboard. The Customize Keyboard dialog is displayed. 2. Choose [Default] from the Keyboard mapping drop-down list and click OK to restore the default configuration.

Setting preferences
The preferences options are different from project properties. Project properties are unique to each project, while preferences affect how Vegas Pro software functions. Any changes that you make to the preferences remain set until you change them again or reset Vegas Pro software to use the default presets. You can access the Preferences dialog by choosing Preferences from the Options menu. This dialog contains tabbed pages. The following sections explain the settings on each tab.

General tab

The General tab includes a variety of settings. The following is a list of these preferences and their meaning.
Preference
Automatically open last project on startup Confirm media file deletion when still in use Save active prerenders on project close Close media files when not the active application Close audio and MIDI ports when not the active application

Description
When Vegas Pro software is run, the last project saved automatically opens. When deleting media in the Explorer or Project Media windows, Vegas Pro software warns you if any events in the project are using these files. Full quality preview renders are cleaned up and deleted when a project is closed, Select this if you want these prerendered files to be available later. This allows media files to be edited in external editors (audio, image, etc.) while they are contained in events. Select this check box if you want Vegas Pro software to close audio and MIDI ports when you switch to another application.

Use Net Notify to stay Select this option to have Vegas Pro software periodically display information about available updates informed about Sony product from Sony Creative Software Inc. at startup. updates Enable autosave Save media-usage relationships in active media library Enable Media Manager (requires Vegas Pro restart) Creates a temporary project file that can aid in crash recovery. When enabled, autosave occurs every five minutes. The autosave process does not overwrite the original project file. When this check box is selected, the Media Manager™ will save information about media usage so you can perform searches for media relationships. You can search for projects that use a media file, projects where a media file was previewed, media that was rendered with a media file, and so on. When this check box is selected, the Media Manager will start when you start Vegas Pro software. Clear the check box to turn off the Media Manager and prevent it from starting with the application. If you’re not using the Media Manager, you may want to turn it off to conserve processing power or memory. When this check box is selected, Vegas Pro will check whether Vegas Pro files are associated with Vegas Pro software and will prompt you to restore the file association if necessary. Select this checkbox if you want to have joystick control for editing in Vegas Pro software. The Wave format is limited by a maximum file size of ~2GB (4GB if the Allow Wave renders up to 4 GB check box is selected). When this check box is selected, you can render larger files as Wave64™ files. Select this check box to enable support for WAV files up to 4 GB before switching to WAV64. Clear the check box for compatibility with other software applications.

Check project file type associations at startup Enable joystick support Render large Wave files as Wave64 Allow Wave renders up to 4 GB

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Preference
Ignore fact chunk when opening compressed WAV files

Description
When this check box is selected, Vegas Pro will ignore fact chunks when opening compressed WAV files. A fact chunk stores information about the number of samples contained in a compressed WAV file. If you experience problems opening a compressed WAV file, select this check box and reopen the file.

Note: If you change the setting of this check box, delete any proxy (.sfap0) files associated with compressed WAV files.
Allow pulldown removal when opening 24p DV AAF Export - Use frame unit for audio Select this option to have Vegas Pro software remove pulldown on DV video files in 24 fps progressivescan (24p) format. When this check box is cleared, Vegas Pro software will open 24p files as 29.97 fps interlaced video (60i). Select this check box if you want to use frame units for audio tracks when you export your project as an AAF file. When the check box is cleared, audio will be exported as sample units. Selecting the check box will improve compatibility with other applications for project interchange: some applications will not import your project correctly when frame units are used for video and sample units are used for audio. Clear the check box only if your project contains audio only or if you know the application that will import your AAF file supports frame units for video and sample units for audio. This setting has no effect when you export your project as an AAF and choose Avid Legacy AAF File from the Save as Type drop-down list. Avid legacy AAF files are always exported using frame units for audio. AAF Export - Use clip-based audio envelope Select this check box if you want to combine track and event gain envelopes and save them as clipbased gain envelopes when exporting AAF files. For more information, see Importing and exporting AAF files on page 55. When the check box is cleared, track envelopes are saved as track envelopes, and event envelopes are saved as clip envelopes. Import MXF as multichannel Enable no-recompress longGOP rendering When this check box is selected, Vegas Pro will import MXF files with all 8 channels and create tracks for each. When this check box is cleared, Vegas Pro will import MXF files as a single stereo track. Select this check box if you want to pass through unedited frames without recompression for the following formats: • DV AVI • DV MXF • IMX MXF (IMX 24p MXF is not supported for no-recompress rendering) • HD MXF • HDV • AVCHD video in MPEG-2 transport streams (for files imported from the same source) In order to perform rendering without recompression, the width, height, frame rate, field order, and bit rate of the source media, project settings, and rendering template must match. Frames that have effects, compositing, or transitions applied will be rendered. Prompt to keep files after recording Create undos for FX parameter changes Opens a dialog where you can enter a name and select a location where audio will be saved after recording into a track. Allows you to undo changes made in the FX, Transition, Event Pan/Crop and Track Motion windows.

Keep bypassed FX running (to Select this check box if you want effects to remain open so you can bypass/enable effects with no avoid pause on bypass/ pause for A/B testing. When the check box is cleared, effects are fully bypassed, conserving processing enable) power. Automatically name regions and markers if not playing Use linear scrub range Allow Ctrl+drag cursor style scrub over events Make spacebar and F12 Play/ Pause instead of Play/Stop Always draw marker lines When regions and markers are added, this option automatically prompts you for a name. This does not happen when adding markers on-the-fly during playback. When this check box is selected, the scrub control uses a linear range. When this check box is cleared, the scrub control uses a logarithmic range. Vegas Pro software allows scrubbing on empty sections of the timeline using Ctrl+drag on the cursor. Select this option to enable timeline scrubbing over events as well. Changes the spacebar and F12 keys to start and pause playback rather than start and stop. Select this check box if you want Vegas Pro software to extend marker and region lines across tracks in the timeline. When the check box is cleared, marker lines are drawn only when Enable Snapping is turned on.

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Preference
Allow edit cursor to be dragged

Description
Select this check box if you want to be able to drag the cursor to change its position on the timeline and in the Trimmer window. When this check box is selected, you can position the cursor without losing your loop region. To create a time selection without moving the cursor, hold the Shift key.

Double-click on media file The default Explorer double-click behavior is to insert an event at the cursor position on the timeline. loads into Trimmer instead of Select this option to open the media file in the Trimmer instead. For more information, see Opening files tracks in the Trimmer by default on page 139. Show Trimmer history with file name first, then folder Automatically save Trimmer markers and regions with media file Recently used project list Temporary files folder The Trimmer history drop-down list displays the media file’s name first, followed by the folder it is in. Select this check box to reverse the names. Markers and regions created at the media file level in the Trimmer can be saved to the file. For more information, see Automatically saving Trimmer markers and regions with media files on page 138. Select the number of files to be listed at the bottom of the File menu. Select a location for all temporary files.

Free storage space in selected Displays the available disk space in the folder specified in the Temporary files folder box. folder Default All Restores all general preferences to the default settings.

Video tab

The Video tab in the Preferences dialog controls the display of video media, video events and video tracks.
Preference
Dynamic RAM Preview max (MB) Maximum number of rendering threads

Description
Determines the size of the RAM cache for building dynamic RAM previews in the Video Preview window. For more information, see Building dynamic RAM previews on page 320. This setting specifies the maximum number of threads that will be used for rendering files. Increasing the setting will not increase performance beyond the number of available processors; for example, if you have a single-processor computer, choosing 2 will not improve rendering performance. Decrease the setting if you have a multiprocessor (or multicore) computer and want to limit processor use or turn off multithreaded rendering. For example, if you had a dual-processor hyperthreaded computer, choosing 3 would allow you to keep one thread available for other tasks while rendering.

Note: Not all video plug-ins are capable of multithreaded rendering. Plug-ins that do not support
multithreaded rendering are displayed with this icon ( windows and with this icon ( ) in the Video FX window. Show source frame numbers on event thumbnails as Thumbnails to show in video events Display frame, time, or timecode numbering on video event thumbnails. Choose a setting from the drop-down list to choose which thumbnails you want to draw in video events. None: No video frames are displayed. Head: Only the first frame is displayed. Head, Tail: The first and last frame are displayed. Head, Center, Tail: The first, middle, and last frames are displayed. All: All frames are displayed. Use external video capture application Action safe area and Title safe area Horizontal grid divisions and Vertical grid divisions Display at project size Simulate device aspect ratio Select the check box and browse for the application to be launched when you click the Open Video Capture button ( ). Sets the reference overlay safe areas in the Video Preview window. For more information, see Identifying safe areas on page 321. Sets the spacing of the grid overlay in the Video Preview window used in aligning visual elements in a project. For more information, see Changing grid spacing on page 359. Sets the Video Preview window to always display the video at full project size. Determines how the video is displayed in the Video Preview window. In short, televisions display rectangular pixels and computer monitors display square pixels. This can result in a distorted preview, although the source media and rendered video is unaffected. ) in the Plug-In Manager and Plug-In Chooser

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Preference
Background color Display take names Display take numbers Active take indicator

Description
Sets the background color of the Video Preview window (black by default) that shows either when there is no visual content or when using a transparent overlay with no background visual content. Select this check box if you want to display take names in the Video Preview window when editing multicamera video. Select this check box if you want to display take numbers in the Video Preview window when editing multicamera video. Click to display a color picker you can use to choose the color that will be used to indicate the current take when editing multicamera video. Click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the Change Color Space button ( ) to switch between RGB and HSL color modes, or click the Pick Color from Screen button ( ) to sample a color from your screen. Click OK to return to the Video tab, and then click OK to save your preference changes.

Track fade top

Determines the color of the fade-to-color envelope when the envelope is dragged toward the top of the track. For more information, see Fade-to-color automation (video only) on page 174. Click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the Change Color Space button ( ) to switch between RGB and HSL color modes, or click the Pick Color from Screen button ( ) to sample a color from your screen. Click OK to return to the Video tab, and then click OK to save your preference changes.

Tip: You can set the track fade colors for each video track independently by right-clicking the track
header, choosing Fade Colors, and then choosing Top or Bottom from the submenu. Track fade bottom Determines the color of the fade-to-color envelope when the envelope is dragged toward the bottom of the track. For more information, see Fade-to-color automation (video only) on page 174. Click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the Change Color Space button ( ) to switch between RGB and HSL color modes, or click the Pick Color from Screen button ( ) to sample a color from your screen. Click OK to return to the Video tab, and then click OK to save your preference changes. Default All Restores all video preferences to the default settings.

Preview Device tab
This tab allows you to identify an external monitor for Vegas Pro software to communicate with. The selected video device is used to display previews on an external monitor. Vegas Pro uses this device when you click the Preview on External Monitor button ( ) in the Video Preview window.

Note: Audio is not output to the external monitor. If your project contains complex effects or compositing and you cannot attain full­
frame-rate playback, use selective prerendering to prerender the sections of your project that cannot be rendered in real time.


Configuring an AJA Xena LHe, LH, LSe, or LS SDI If you have an AJA SDI card, you can configure Vegas Pro software to work with it.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the Preview Device tab. 3. From the Device drop-down list, choose AJA Video Device. Information about the device displays in the Details area. 4. Use the Conform output to the following format controls to adjust the video to display properly on your external monitor. a. Choose the desired format from the Conform output to the following format drop-down list. b. Select a radio button to indicate when you want to adjust the output to the selected format.
Setting
Only when the project does not match any available format

Description
Select this radio button if you want to adjust the video only if the project settings do not conform to a standard format. For more information, see Working with project properties on page 360.

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Setting
Always

Description
Select this radio button if you want to adjust the video output to the selected format whenever you preview on the external monitor. Use this setting when you do not have a preview device that supports your required project format. For example, if you’re creating a PAL project, but you don’t have a PAL monitor, you could use this setting to preview on an NTSC monitor.

5. If audio and video do not play back in synchronization, drag the Sync offset slider to specify a frame offset to restore
synchronization.

Note: This setting affects preview synchronization only. Audio and video synchronization in your project is unaffected. Depending on your hardware setup, you may need to adjust your settings. For example, you might need one setting when previewing directly to a monitor and a slightly higher setting when previewing through a monitor that is connected to a deck. 6. Select the Use progressive segmented frame (psf) video formats check box if your project properties are set to a progressive-scan
format and you want to preview on a device that stores and transfers progressive scan frames by dividing fields.

7. Select the Use 10-bit encoding check box if you’re using 10-bit source material and the Pixel format setting on the Video tab of the
Project Properties tab is set to 32-bit floating point (video levels). For more information, see Modifying project video properties on page 264. Enabling 10-bit encoding allows your preview to maintain higher color resolution when previewing video. When the check box is not selected, the video preview output will use 8-bit encoding.

8. Select the Recompress edited frames check box to recompress any edited frames in your project before previewing. When the
check box is cleared, edited frames will not be passed to the device.

9. Select the Display frames in Video Preview window during playback check box if you want to preview on the external monitor
and in the Vegas Pro Video Preview window simultaneously. When the check box is cleared, video is sent only to the external monitor.

10. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation
setting from the Project Properties dialog for previewing your project. For more information, see Working with rotated projects on page 48. When the check box is cleared, the media is rotated according to its Media Properties setting, but the Video Preview output is unrotated. You can use this setting to proof your project on an unrotated display.

11. To replace all custom functions with the default settings, click the Default All button.
Configuring an OHCI-compliant IEEE 1394/DV device If you have an OHCI-compliant IEEE 1394/DV device, you can configure it to work with Vegas Pro software.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the Preview Device tab. 3. In the Device drop-down list, select OHCI-compliant IEEE 1394/DV. Information about the device displays in the Details area. 4. Use the Conform output to the following format controls to adjust the video to display properly on your external monitor. a. Choose the desired format from the Conform output to the following format drop-down list. b. Select a radio button to indicate when you want to adjust the output to the selected format.
Setting
Only when the project does not match any DV format Always

Description
Select this radio button if you want to adjust the video only if the project settings do not conform to a standard DV format. For more information, see Working with project properties on page 360. Select this radio button if you want to adjust the video output to the selected format whenever you preview on the external monitor. Use this setting when you do not have a preview device that supports your required project format. For example, if you’re creating a PAL project, but you don’t have a PAL monitor, you could use this setting to preview on an NTSC monitor.

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5. If audio and video do not play back in synchronization, drag the Sync offset slider to specify a frame offset to restore
synchronization.

Note: This setting affects preview synchronization only. Audio and video synchronization in your project is unaffected. Depending on your hardware setup, you may need to adjust your settings. For example, you might need one setting when previewing directly to a monitor and a slightly higher setting when previewing through a monitor that is connected to a deck. 6. Select the Recompress edited frames check box to recompress any edited frames in your project before previewing. When the
check box is cleared, edited frames will not be passed to the device. If you’re previewing a project that consists of DV media with no compositing or transitions, the DV will be passed directly to your preview device. If, however, you added a 6-frame crossfade, the crossfade would be passed to the preview device only if the check box is selected.

7. Select the Display frames in Video Preview window during playback check box if you want to preview on the external monitor
and in the Vegas Pro Video Preview window simultaneously. When the check box is cleared, video is sent only to the external monitor.

8. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation
setting from the Project Properties dialog for previewing your project. For more information, see Working with rotated projects on page 48. When the check box is cleared, the media is rotated according to its Media Properties setting, but the Video Preview output is unrotated. You can use this setting to proof your project on an unrotated display.

9. To replace all custom functions with the default settings, click the Default All button.
Configuring a Windows Secondary Display If you have a Windows secondary display device, you can configure it to work with Vegas Pro software.

Note: You can also use the Windows Secondary Display device on a computer with a single monitor. When you enable the external

monitor, the preview window will fill your screen.


1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the Preview Device tab. 3. In the Device drop-down list, select Windows Secondary Display. Information about the device displays in the Details area. 4. From the Display Adapter drop-down list, choose the device where your preview monitor is connected.
You can click the Identify Displays button to determine which display corresponds to each setting in the drop-down list. A number will be displayed on each monitor.

Note: If the monitor number is displayed in red, the graphics card does not support 3D acceleration or acceleration has been turned off.
In Windows, you can go to Start > Settings > Control Panel > Display > Settings > Advanced > Troubleshoot to turn on acceleration if your adapter supports it.

5. From the Display Mode drop-down list, choose the frame size and refresh rate you want to use for the secondary display.
Setting
Use current settings Automatic size settings Use custom settings

Description
Video is displayed using the monitor’s resolution and refresh rate specified in the Windows Display Properties control panel. The software will attempt to choose the optimum resolution and refresh rate. This setting overrides the Windows Display Properties setting as long as the secondary display window is active. You can choose the resolution and refresh rate you want to use. This setting overrides the Windows Display Properties setting as long as the secondary display window is active.

6. Select the Scale output to fit display check box if you want the video preview to fill the display.

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7. Select the Apply deinterlace filter check box if you’re previewing interlaced video on a noninterlaced display. This filter can reduce
the artifacts you often see on the edges of moving areas.

Note: The Apply deinterlace filter check box will be unavailable if your video adapter does not support pixel shading. 8. If you want to adjust color reproduction for video previews, use the color management controls. a. Select the Use color management check box. b. Select the Use Studio RGB check box if your source media conforms to studio RGB color (black=16 and white=235) and you
will be previewing on your computer’s CRT or LCD monitor. When the check box is selected, the studio RGB range is expanded to 0 to 255 to conform to a computer display. Clear the check box if you will be previewing on a TV monitor or if your source media does not conform to studio RGB color.

c.

From the Monitor color profile drop-down list, choose the color profile that best matches your display.


You can obtain ICC/ICM color profiles from the display manufacturer, or you can create your own if you have a calibration system.


Note: The Use color management check box will be unavailable if your video adapter does not support gamma adjustment. 9. Select the Recompress edited frames check box. 10. Select the Display frames in Video Preview window during playback check box if you want to preview on the secondary monitor
and in the Vegas Pro Video Preview window simultaneously. When the check box is cleared, video is sent only to the secondary monitor.

11. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation
setting from the Project Properties dialog for previewing your project. For more information, see Working with rotated projects on page 48. When the check box is cleared, the media is rotated according to its Media Properties setting, but the Video Preview output is unrotated—you can use this setting to proof your project on an unrotated display.

12. To replace all custom functions with the default settings, click the Default All button. 13. Click OK to close the Preferences dialog. Audio tab
The Audio tab allows you to set preferences to optimize how your computer’s components are used to handle resource-intensive audio. This tab also allows you to configure Vegas Pro software to the equipment that is connected to your computer. Preference
Waveform display while recording Normalize peak level (dB) Import audio at project tempo

Description
Allows you to display or hide waveforms when recording into an audio track. Sets the maximum level that is used when normalizing an event. When this check box is selected, ACID loops are automatically stretched to match the project tempo (specified on the Ruler tab of the Project Properties dialog) when you add them to the timeline or preview from the Explorer window. When the check box is cleared, tempo information is ignored.

Track prefader sends listen to Select this check box if you want pre-volume sends from tracks to busses and assignable effects to mute respond to the track mute state. When the check box is cleared, the pre-volume sends are not affected by the mute state (in order to facilitate cue mixes). Use legacy track send gain Select this check box if you want to configure audio track sends to behave as they did in Vegas 7.0 and earlier. When the check box is selected, you can open projects created with earlier versions of Vegas and be assured they will sound the same as they did in earlier versions of Vegas. Displays the path of the audio editor that you can start directly from Vegas Pro software to perform destructive edits to audio. Allows you to use a default metronome sound or to select custom sound files to be used as the metronome beats. Restores all audio preferences to the default settings.

Preferred audio editor Metronome Default All

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Audio Device tab
Preference
Audio device type

Description
Choose a driver type from the drop-down list . The Microsoft Sound Mapper is the default setting. If you want to activate specific sound cards, choose Windows Classic Wave Driver or ASIO and choose a device from the Default Stereo and Front playback device drop-down list. For more information, see Routing busses to hardware on page 197. Choose the device that you want to use for playing stereo sound data and the front-left and -right channels of a 5.1 surround project. Selecting the Microsoft Sound Mapper allows Windows to select an appropriate device to use for the current sound data.

Default stereo and front playback device

Note: If you have selected Microsoft Sound Mapper, you will not be able to assign busses to different
devices. Default rear playback device Choose the device that you want to use for playing the rear channels of a 5.1 surround project. Default center and LFE playback device Playback buffering (seconds) Enable track buffering Choose the device that you want to use for playing the center and low-frequency effect channels of a 5.1 surround project. Sets the amount of memory used during project playback. For more information, see Adjusting the playback buffering slider on page 374. Select this check box and drag the Track buffering slider if you want to adjust the amount of audio that is prerendered ahead of the cursor position.
When the check box is selected, a separate processing thread is used to render audio from tracks. On
multiprocessor or multicore computers, a thread will be created for each logical processor.
When the check box is cleared, a single processing thread is used to render audio from tracks and
busses.
Default audio recording device Automatically detect and offset for hardware recording latency Advanced Default All Sets the default device for recording into a track. Select the check box to automatically compensate for offset between the time you initiate recording and when your sound card starts recording. Clear the check box and drag the User offset (samples) (ms) slider to specify an offset value. Clicking this button opens the Advanced Audio Preferences dialog. For more information, see Advanced audio preferences on page 374. Restores all audio device preferences to the default settings.

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Advanced audio preferences You can access advanced settings by clicking the Advanced button on the Audio Device tab. The Advanced Audio Configuration dialog displays all of the audio devices that are installed on your computer and allows you to set the controls for each device. Preference
Audio devices Interpolate position

Description
This list contains all of the audio devices that are installed in your computer. Selecting one from the list allows you to set the options below for that device. During project playback, you may notice that the cursor position is different than what you are hearing. This problem stems from inaccuracies in some audio devices. Select this control’s check box to have Vegas Pro software attempt to compensate for the inaccuracies by interpolating the cursor’s correct position during playback or recording. The position bias control gives you additional cursor control when it is inaccurately displayed during project playback and recording. If you have enabled the Interpolate position control and are still experiencing cursor position inaccuracies, move the Position bias control forward or backward to compensate for the inaccuracies of the audio device. When this option is not selected, Vegas Pro software begins storing (buffering) project audio information prior to playback. This storing is very fast and unnoticeable in most cases. However, some audio devices stutter when you begin playback as a result of the buffering process. If your audio stutters when you start playback, select this check box to prevent buffering audio information prior to playback. Drag the slider to set the number of audio buffers that will be used. Adjusting this setting can help you synchronize the input and output for record input monitoring. Choose a setting from the drop-down list to indicate the buffer size you want to use. Choose MME to use the Playback buffering setting on the Audio Device tab in the Preferences dialog. Choose a setting from the drop-down list to set the priority that is assigned to your audio buffers. Increasing the buffers’ priority can help you attain smoother playback, but it can also adversely affect other processes. Select this check box to enable the monitoring of your recording input through Vegas Pro software while you are recording.

Position bias

Do not pre-roll buffers before starting playback

Audio buffers Buffer size (samples)

Priority

Enable input monitoring

Adjusting the playback buffering slider The playback buffer controls how much memory is used when playing back your project. This preference is useful, but must be carefully adjusted. If you set the buffer size too high, you may experience gapping during playback. Conversely, if you set the buffer size too low, you may experience gapping as well because Vegas Pro software has too little memory to work with during playback. The playback buffer slider should be set to balance RAM usage and playback buffering. The rule is to set this slider as low as possible without introducing gapping.

1. Open a project that has multiple events. 2. On the Audio device tab, move the Playback buffering (seconds) slider to 0.25.

3. Start playing back the project. 4. If the playback still gaps, increase the Playback buffering (seconds) slightly.
You may have to experiment to find the correct settings. If you continue to experience gapping, you can try the following to control the gapping: • • Decrease the number of events you are trying to play back. This may mean muting tracks or soloing a couple of tracks. RAM is mostly affected by the number of unique events that are playing back simultaneously. Use the Render to New Track command (on the Tools menu) to combine all the events into one event. For more information, see Rendering to a new track on page 168.

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MIDI tab
Use the MIDI tab to set options for using MIDI devices with Vegas Pro software. To display this tab, choose Preferences from the Options menu, then click the MIDI tab. Preference
Make these devices available for MIDI output Make these devices available for MIDI input Default All

Description
Select the check box for each MIDI device that you want to use as a MIDI output for a control surface. Select the check box for each MIDI device that you want to be available for a control surface. Restores all MIDI preferences to the default settings.

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VST Effects tab
Preference
Default VST search folder Alternate VST search folder Select VST effects to be available as audio plug-ins

Description
Displays the location where the software looks for VST effects. Click Browse to choose an alternate location where VST effects can be found. Select the VST effects that you want available for use as Vegas Pro audio plug-ins. Only the VST effects located in the default or alternate search folders appear in this box.

Editing tab
Preference
Enable looping on events by default Preserve pitch when stretching audio events

Description
Sets events that are trimmed longer than their source media to automatically loop. When this option is not selected, extended events repeat the final frame of a video file. Prevents pitch shifting when you stretch an audio event.

Collapse loop region when no When selected, a loop region does not persist when there is no time selection. This means that when time selection is present you click the timeline and move the cursor (destroying the any previous time selection), the loop region is also reset to zero. By default, this option is not selected and loop regions persist until modified or until a new time selection is created. Cut, copy, and delete grouped When this check box is selected, cutting, copying, or deleting an event will affect all events in the same events group. Do not quantize to frames for When this check box is selected, audio-only edits (event moves, trims, and ASR times) are not audio-only edits quantized even if Quantize to Frames is enabled. JKL/shuttle speed Quick fade length for audio events (ms) New still image length (seconds) Default time between CD tracks Cursor preview duration (seconds) Choose a setting from the drop-down list to set the speed that will be used for scrubbing the timeline with the JKL keys or with a multimedia controller. Sets a fast fade on the edges of audio events (10ms by default) to soften potentially harsh beginnings and endings. Sets the default duration of inserted still image files (for example, .bmp and .png files). Sets the default time created between CD tracks when using the Add Media as CD Tracks command in the Project Media window. For more information, see Adding media as CD tracks to a new project on page 382. Enter a value in the edit box to specify the length of the time Vegas Pro software will preview when you preview the cursor. To preview the cursor, press the 0 key on the numeric keypad. Vegas Pro software creates a temporary selection (centered over the cursor) and begins playback automatically. Cursor preview will loop if the Loop Playback mode is enabled. Automatically overlap Creates automatic crossfades between events when multiple media files are added to the same track multiple selected media when across time. When this check box is not selected, multiple media files are added end-to-end across added time with no overlap. For more information, see Creating a slide show on page 254. Cut-to-overlap conversion (seconds) Sets the behavior of the cut-to-overlap feature. The cut-to-overlap feature allows you to transform a cut from one event to another into a transition. The Amount field sets the duration of the extended overlap. The Alignment value determines the direction of the extension. For more information, see Converting a cut to a transition on page 299.

Time selection envelope fades When this check box is selected, all envelope points within a time selection are adjusted as you drag, (ms) and fades are applied to the beginning and end of the selection. Additional envelope points are created as necessary. Clear this check box if you want to edit envelope points individually. For more information, see Applying envelope fades within a time selection on page 178. Automatically crop still images added to timeline Default All When this check box is selected, Vegas Pro software automatically crops still images you add to the timeline to match the project frame size. For more information, see Automatically cropping still images added to the timeline on page 253. Restores all editing preferences to the default settings.

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Display tab
Preference
Track colors

Description
Use these controls to change the default colors used to display tracks in your project. Select a track from the Track drop-down list, and then click the color swatch to display a color picker. You can choose any color using the RGBA or HSLA controls. Click the RGB and HSL color modes, or click the eyedropper button to switch between

to sample a color from your screen.

When you click OK or Apply, all tracks that used the selected color are updated. Envelope colors Use these controls to change the default colors used to display envelopes in the timeline. Choose an envelope type from the Envelope type drop-down list and click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the to switch between RGB and HSL color modes, or click the eyedropper screen. Snap colors button to sample a color from your

Use these controls to change the default colors used to snapping indicators in the timeline. Choose an snap indicator type from the Snap type drop-down list and click the color swatch to display a color picker, where you can choose any color using the RGBA or HSLA controls. Click the to switch between RGB and HSL color modes, or click the eyedropper screen. button to sample a color from your

Icon color saturation Icon color tint

Drag the slider to adjust the color intensity of icons in the Vegas Pro window. Drag to the left to decrease the color saturation, or drag to the right to increase it. Drag the slider to adjust the amount of tinting that is applied to the icons in the Vegas Pro window. Drag the slider to the right to add an average of the title bar colors to the icons. Drag to the left to decrease the amount of tinting applied. Select this check box to use the gray Vegas color scheme to draw the interface instead of your Windows theme. Clear this check box to use your Windows theme. For more information, see Changing the Vegas Pro color scheme on page 357. Select this check box if you want the window docking area to hide automatically when you’re not using it. Hover over the top of the Vegas Pro window to show the window docking area.

Use Vegas color scheme

Automatically hide docking area

Note: If the Display timeline at bottom of main window check box is also selected, double-click
the splitter above the timeline to make the docking area visible again. Display timeline at bottom of Select this check box if you want to display the timeline at the bottom of the Vegas Pro window. The main window window docking area will be displayed at the top of the window. Position tabs at top of docked Select this check box if you want to display tabs at the top of docked windows: windows

Default All

Restores the Display page options to the default settings.

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CD Settings tab
The CD Settings tab allows you to set preferences for burning CDs and extracting audio from your own CDs. Preference
Use strict Red Book specification for DAO validation Include wide SCSI devices when searching for drives

Description
Select this check box if you want to be notified prior to burning a disc-at-once CD if anything about your CD project is against strict Red Book standards. These warnings are not critical, and in most cases you will not write an unreadable disc if you proceed. Clearing this check box will not suppress critical warnings that will result in an unreadable disc. Select this check box if you want Vegas Pro software to scan for wide SCSI CD drives when you attempt to extract data from or burn CDs. When the check box is cleared, Vegas Pro software will not scan for wide SCSI devices, which can increase compatibility with some USB device drivers that incorrectly identify themselves as wide SCSI.

Skip drive database; autodetect drive capabilities on startup Use SPTI direct Default All

When the check box is cleared, Vegas Pro software will use an internal configuration file to determine your drive’s capabilities. If you encounter problems burning CDs, select this check box, and Vegas Pro software will test your drive to determine its capabilities. Select this check box if you want to use SPTI (SCSI Pass-Through Interface) to communicate with your CD burning drive. Restores all CD preferences to the default settings.

Sync tab
These preferences are used to set up Vegas Pro software to generate or trigger from MIDI timecode from external MIDI devices. For more information, see Synchronizing MIDI timecode on page 228. Preference
Generate MIDI Timecode settings Generate MIDI Clock settings Trigger from MIDI Timecode settings

Description
Sets the output device and frame rate used when generating MIDI timecode. Sets the output device used when generating MIDI Clock information. You can choose the same device that you chose for Generate MIDI Timecode settings. Sets the input software or device and frame rate used when triggering from MIDI timecode.

Note: When Sync is active (Vegas Pro software is triggering from MTC), media files are not closed (that is, cannot be edited outside of
Vegas Pro software) when Vegas Pro software is not the active application. You will also not be prompted to rename or delete recorded takes as this may interrupt the synchronization.

Setting advanced Sync preferences From the Sync tab, you can access advanced settings by clicking Advanced. The Advanced Sync Preferences dialog has three tabs: MTC Input, MTC Output, and MIDI Clock Output. The display of these tabs is dependent on your selections in the Sync tab. See the following sections on each tab for more information.

MTC Input tab This tab appears only if you choose a device in the Trigger from MIDI Timecodes settings drop-down list on the Sync tab. Preference Description

Free-wheel for timecode loss When selected, Vegas Pro software co ntinues to play for a specified period of time without chasing if timecode is lost. Enabling this option can compensate for infrequent losses in timecode monitoring. If losses in timecode are frequent, troubleshooting should be done on your hardware to find the cause of the problem. Free-wheel slack time (seconds) Free-wheel playback time (seconds) Specifies the amount of time that timecode can be lost before the Free-wheel playback time starts. A longer time is more tolerant of losses in the incoming timecode. Specifies the amount of time that Vegas Pro software plays back after the Free-wheel slack time has been exceeded.

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Preference
Synchronization delay time (seconds)

Description
Specifies the amount of time required for Vegas Pro software to synchronize itself to incoming timecode. On slower computers, this time should be set to around two seconds. On faster computers, it may be set lower.

Offset adjust (quarter frames) If Vegas Pro software is consistently behind or ahead of the MTC generator, enter a value to adjust a synchronization offset with quarter-frame accuracy.
If Vegas Pro software is behind the MTC generator, enter a negative number such as -4. If Vegas Pro
software is ahead of the MTC generator, enter a positive number such as 4.


MTC Output tab
This tab displays only if you choose a device in the Generate MIDI Timecode settings drop-down list on the Sync tab.
Preference
Full-frame message generation

Description
Specifies when Vegas Pro software sends full-frame timecode messages. Full-frame messages are used by some external audio synchronizers to seek a proper location prior to synchronization. For example, tape-based recorders benefit from seeking to full-frame messages because of the time required to move the transport to the proper location. However, full-frame messages are ignored by some devices and may actually cause unexpected behavior in other devices. Check your hardware documentation to find out if it supports full-frame messages.

MIDI Clock Output tab
This tab displays only if you choose a device in the Generate MIDI Clock Settings drop-down list on the Sync tab.
Preference
Send Start instead of Continue when beginning playback Song Position Pointer generation

Description
When selected, Vegas Pro software sends a Start command rather than a Continue command. Normally, Vegas Pro software sends a Continue command to allow the chasing device to start at a specific time. However, some older MIDI sequencers do not support the Continue command and must start from the beginning every time. Specifies when Vegas Pro software sends Song Position Pointer messages. Song Position Pointer messages are used by MIDI applications and devices to seek to a proper location prior to starting the synchronization process.

External Control & Automation tab
Use the External Control & Automation tab to set up and customize control surfaces and adjust settings for automation envelopes. To display this tab, choose Preferences from the Options menu, then click the External Control & Automation tab. Preference Description

Smooth and thin automation When recording automation, Vegas Pro software creates as many envelope points or keyframes as data after recording possible to represent your control movements. Select this check box if you want to reduce the number of envelope points/keyframes after recording is finished. For more information, see Recording automation settings on page 181. Set controls to default values when automation is turned off Available devices Active control devices New audio envelopes Select this check box if you want controls to return to their default values when set the track’s automation recording mode to Automation Off. Automated effect parameters do not have default settings and will retain their last-set values when you turn automation off. When the check box is cleared, controls will retain their last-set values when you turn automation off. Choose a device from the drop-down list and click Add to choose the control surfaces that will be available to Vegas Pro software. Adding a device loads its default profile. Lists the control devices that you’ve added. Double-click a device name to customize its behavior. Choose a setting from the drop-down list to set the default fade type that will be used when you add volume and panning envelopes. For more information, see Volume or pan automation (audio only) on page 170. This setting is used only when you create new envelopes. When you add a point to an existing envelope, the new point always uses the same fade type as the preceding envelope point.

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Preference
New audio event gain

Description
Choose a setting from the drop-down list to set the default fade type for the fade-in and fade-out curves on audio event gain envelopes. For more information, see Using audio event envelopes (ASR) on page 187. This setting is used only for events that you place on the timeline after changing the setting. Existing events will use the default fade type that was active when they were added to the timeline.

New audio FX automation envelopes

Choose a setting from the drop-down list to set the default fade type that will be used when you add audio effect automation envelopes. For more information, see Adding or removing track effect automation on page 173. This setting is used only when you create new envelopes. When you add a point to an existing envelope, the new point always uses the same fade type as the preceding envelope point.

New video envelopes

Choose a setting from the drop-down list to set the default fade type that will be used when you add fade-to-color, composite level, transition progress, motion blur, supersampling, and event velocity envelopes. For more information, see Fade-to-color automation (video only) on page 174, Composite level automation (video only) on page 174, Adding a transition progress envelope on page 298, Adding a motion blur envelope on page 175, Adding a video supersampling envelope on page 176, and Using velocity envelopes on page 189. This setting is used only when you create new envelopes. When you add a point to an existing envelope, the new point always uses the same fade type as the preceding envelope point.

New video event opacity

Choose a setting from the drop-down list to set the default fade type for the fade-in and fade-out curves on video event opacity envelopes. For more information, see Using opacity envelopes on page 188. This setting is used only for events that you place on the timeline after changing the setting. Existing events will use the default fade type that was active when they were added to the timeline.

New video FX keyframes

Choose a setting from the drop-down list to set the default keyframe type that will be used when you add video track effect keyframes. For more information, see Using video effects on page 269. This setting is used only when you add new effects. When you add a keyframe to an existing effect, the new keyframe is created as the same type as the preceding keyframe.

New video motion keyframes Choose a setting from the drop-down list to set the default keyframe type that will be used when you add track motion, parent track motion, 3D track motion, or pan/crop keyframes. For more information, see Adding track motion on page 310, 3D compositing on page 281, and Cropping video on page 249. This setting is used only when you add new effects. When you add a keyframe to an existing effect, the new keyframe is created as the same type as the preceding keyframe. Track Motion default smoothness Type a value in the box (or use the spin control) to set the default Smoothness value for track motion and 3D track motion keyframes. For more information, see Adding track motion on page 310 and 3D compositing on page 281.

Pan/Crop default smoothness Type a value in the box (or use the spin control) to set the default Smoothness value for event pan/ crop keyframes. For more information, see Cropping video on page 249. Default all Restores all control surface preferences to the default settings.

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Chapter 22 Burning Discs
You created your project in Vegas® Pro software, and now you are ready to write the project to a CD or Blu-ray Disc. With the CD- burning capabilities of Vegas Pro software, you can place and arrange audio files to produce professional audio CDs. You can burn CDs for multiple- or single-track projects and build audio CD layouts automatically or manually. You can also create video CDs that can be played in many home DVD players and on computers with a CD-ROM drive and VCD player software, and multimedia CDs that can be played in any computer with the appropriate player. You can also burn Blu-ray Discs that can be played in a Blu-ray player or on any computer with a Blu-ray drive.

Understanding track-at-once and disc-at-once CD burning
Two ways are provided for recording audio to a CD-R disc: track-at-once and disc-at-once.

Track-at-once
Track-at-once writing records individual tracks to the disc and results in a partially recorded disc. However, the CD-R disc remains unplayable on most systems until you close the disc. The advantage of track-at-once writing is that you can record tracks onto the disc as you finish them versus waiting until you have finished your whole album. Track-at-once writing burns the entire project as a single track.

Disc-at-once (Single Session or Red Book)
Disc-at-once writing is the most common burning method in the music industry. This writing mode is used when creating a master disc to be sent to a disc manufacturer for mass replication. Disc-at-once works just as it sounds. Multiple tracks of audio are written to the CD in one recording session.

Understanding tracks and indices
You are ready to burn a CD. If you plan to use track-at-once to record a single track, you can proceed right on to writing the entire project to a CD. However, you are more likely to set up tracks—and perhaps indices—within your project and burn several tracks at once. Tracks distinguish songs in the project and have a starting and ending point. Tracks are used to indicate to the CD-R device where to mark the beginning and ending of a track during the writing process. Indices are single markers that subdivide a track. Indices are useful for navigating to specific areas within a track. For example, a sound effects CD may have one track of breaking glass. The track is then indexed to allow navigation to a specific glass-breaking effect within the track. However, be aware that not all CD players allow navigation to indices. Tracks and indices are identified in a track list, which is a chronological text list of all tracks and indices defined in the audio CD project.

Setting up to burn audio CDs
You can set the project properties and adjust preferences to better accommodate writing audio CDs. The ruler and time display are set up for you automatically.

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Viewing the ruler and time display
The ruler and time display are automatically changed to audio CD time for you when you mark CD tracks in a project. Audio CD time formats are as follows: Display
Ruler Time display

Format
hh:mm:ss (hours:minutes:seconds) or hh:mm:ss:ff (hours:minutes:seconds:frames, with fps=75) when zoomed in tightly tt+mm:ss:ff (track number +/- minutes:seconds:frames, with fps=75)

Setting project properties
Click the Properties button ( ) to access project properties. On the Audio CD tab, you can set the Universal Product Code/Media Catalog Number (UPC/MCN) or set the number for the first track on the CD. For more information, see Audio CD tab on page 361.

Setting preferences
From the Options menu, choose Preferences to access the Preferences dialog. On the CD Settings tab, you can set several options related to your CD/DVD drive(s) and CD burning. For more information, see CD Settings tab on page 378. You can also enter the number of seconds added between tracks when adding Project Media window files as CD tracks. In the same Preferences dialog, click the Editing tab, and enter a value in the Default time between CD tracks box. Finally, you may want to turn off the Quantize to Frames command in the Options menu. When quantizing to frames is active, your edits are limited to the starting edge of frame boundaries. In a CD layout project, you can turn this feature off to allow greater precision in editing and track placement. For more information, see Quantizing to frames on page 129.

Importing CD Architect files
You can use Vegas Pro software to open projects created in CD Architect™ software.

1. From the File menu, choose Open. The Open dialog appears. 2. Browse to the location of the project file. 3. In the Files of type drop-down list, select CD Architect 4 Project Files (.cdp). 4. Select the file. 5. Click Open.

Creating audio CD layout projects
Several ways are provided to create an audio CD layout project. If you have a set of audio files you wish to burn to a CD, you can add the files as tracks to a new audio CD layout project. Or, if you want to burn an audio CD from an existing project, you can mark the tracks in your project either automatically or manually.
CD layout bar Track markers

Adding media as CD tracks to a new project
You have a collection of completed audio files that you want to write to a CD. An audio CD layout project can quickly be assembled from sound files in the Project Media window. You can add the tracks one at a time, or use the Project Media window to sort them into track order and add them all at once.

1. Create a new project.
382 | CHAPTER 22

2. Add all the media to be included in the project to the Project Media window. For more information, see Using the Project Media
window on page 51.

3. To add all tracks at once, use the following steps to sort the files into track order:
• • • • In the Project Media window, click the arrow on the Views button ( Media window changes to Details view. Click the Comments column header to sort the list into track order. Select the sorted files in the Project Media window. ) and choose Details from the menu. The Project

In the Comments column, enter the track number for each media file (01, 02, etc.).

4. Right-click a media file (or the selected media files) and choose Add as CD Track from the shortcut menu.
The files are added to a new track and the audio CD tracks are marked on the CD layout bar. The name of the media file is used to name each track. If necessary, you can edit the information for the new audio CD tracks using the markers on the CD layout bar or using the Edit Details window. For more information, see Working with tracks and indices on page 385.

Marking tracks in an existing project
Once you have laid out your audio project with the appropriate pauses, you can mark tracks and indices either automatically or manually.

Note: In DAO CD burning, Vegas Pro software burns from the beginning of the timeline to the last track marker, regardless of the location of the first track marker. Material before the first marker is included as a hidden track on the disc (if your drive supports burning this material).

Adding pauses Each audio CD track in your project should have a two-second pause following it. This default setting is based on the Red Book specification for audio CDs. The exception to this standard is a continuous recording, such as a live concert CD. For a continuous recording, you can omit the pauses after tracks for continuous playback. For more information, see Red Book specification on page 436.

Note: The Red Book specification also requires a two-second pause at the beginning of an audio CD. If the first track in your project
begins before the two-second mark, a ruler is added offset to ensure the project begins with the required two-second pause. If you use the Add as CD Track command to add tracks from the Project Media window, the appropriate pauses are added automatically. However, if you are laying out your project manually, you must create these pauses between audio CD tracks.

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Two-second pauses

1. Position the cursor where you want to insert the pause. 2. From the Insert menu, choose Time. The Insert Time dialog appears.

3. Enter two seconds in the Amount of time to insert box. 4. Click OK. Two seconds are inserted in the timeline at the cursor position.
Marking tracks automatically Vegas Pro software can examine the events in your project and mark the audio CD tracks for you. Once the tracks are marked, you can adjust them manually if necessary. For more information, see Moving track and index markers on page 385.

1. Lay out your project with two-second pauses between tracks. 2. From the Tools menu, choose Lay Out Audio CD from Events.
The new audio CD track markers appear on the CD layout bar above the timeline. The name of the media file for each event is used to name the tracks.

Marking tracks manually You can make a time selection and then mark that selection as an audio CD track.

1. Make a time selection that includes the audio for the new track. 2. From the Insert menu, choose Audio CD Track Region. The markers for the new audio CD track appear on the CD layout bar.
Marking indices You can create an index marker in much the same way as you create track markers.

1. Position the cursor where you want the index mark to appear. 2. From the Insert menu, choose Audio CD Track Index. The new index marker appears on the CD layout bar.

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Working with tracks and indices
Once you have marked your tracks and indices, you can edit, move, rename, or delete them as needed.

Navigating to and selecting tracks and indices
Several shortcuts are provided for navigating to and selecting audio CD tracks on the CD layout bar. • • • • • • Double-click a track marker to select the track. Press . (period) to jump the cursor to the next track or index marker. Press , (comma) to jump the cursor to the previous track or index marker. Press Ctrl+. (period) to jump the cursor to the next track marker (index markers are skipped). Press Ctrl+, (comma) to jump the cursor to the previous track marker (index markers are skipped). Add Shift to any of these keystrokes to select rather than jump. For example, press Ctrl+Shift+. (period) to select from the cursor position to the next track marker.

The shortcut keystrokes can be used to jump the cursor while working on a project or during playback.

Moving track and index markers
Track and index markers function just like markers and regions in Vegas Pro software. (For more information, see Adding project markers and regions on page 118.) You can drag a track or index marker to move it along the CD layout bar. Alternately, you can use the Edit Details window to make precise adjustments.

Tip: Move both the starting and ending markers for a track by pressing Alt and dragging either of the markers.

Renaming track and index markers 1. Right-click a marker and choose Rename from the shortcut menu that appears. 2. Type a new name for the marker and press Enter. Deleting track and index markers
You can delete a single track or index marker by right-clicking it and choosing Delete from the shortcut menu. To delete all markers at once, right-click the CD layout bar and choose Delete All from the shortcut menu.

Editing markers using the Edit Details window
The Edit Details window provides a way to adjust the settings for a track or index.

1. From the View menu, choose Edit Details. The Edit Details window displays. 2. From the Show drop-down list, choose Audio CD Track List. The track settings display. 3. Double-click a setting to edit it:
• • • • • • • In the Position column, adjust the track starting position or index position. In the End column, adjust the track ending position. the Length column, adjust the track length. In in the Name column, enter the name of the track or index. the Prot column, select the check box to apply copy protection to the track. In In the Emph column, select the check box to enable a simple noise reduction process that is implemented by a CD player. For more information, see Emphasis on page 432. In the ISRC column, enter the ISRC number for the track (if used).

BURNING DISCS | 385

Copying a track list from the Edit Details window
You can use the Edit Details window to copy your track list and paste it into another application.

1. Click the gray box in the upper-left corner of the Edit Details window to
select all the cells.

2. Press Ctrl+C to copy the cells. 3. Switch to another application and paste the information into a document or
spreadsheet.

Burning audio CDs
You can burn either single tracks (track-at-once) or the entire disc (disc-at-once).

Burning single tracks (track-at-once)
You can burn your Vegas Pro project as a single track (track-at-once). Once you have burned all your tracks to the CD, you must close the disc before it can be played.

Burning a track-at-once CD

1. From the Tools menu, choose Burn Disc, and choose Track-at-Once Audio CD from the submenu. The Burn Track-at-Once Audio
CD dialog displays the length of the current file and the amount of time remaining on the disc in your CD recorder.

2. Choose a setting from the Action drop-down list:
• • • • • Burn audio begins recording audio to your CD when you click the Start button. You will need to close the disc before it can be played in an audio CD player. Test, then burn audio performs a test to determine whether your files can be written to the CD recorder without
encountering buffer underruns. Recording begins after the test if it is successful.
Test only performs a test to determine whether your files can be written to the CD without encountering buffer underruns. No audio is recorded to the CD. Close disc closes your disc without adding any audio when you click the Start button. Closing a disc allows your files to be played on an audio CD player. Erase RW disc erases your rewritable CD when you click the Start button.

3. Select your burning options:
• • • • • Buffer underrun protection: Select this check box if your CD recorder supports buffer underrun protection. Buffer underrun protection allows a CD recorder to stop and resume burning. Erase RW disc before burning: If you’re using a rewritable CD, select this check box to erase the CD before you begin burning. Close disc when done burning: Select this check box to close the CD after burning. Closing a disc allows your files to be played on an audio CD player. Eject disc when done: Select this check box to eject the CD automatically when burning has completed. Burn selection only: Select this check box to burn only the audio within the loop region.

4. From the Drive drop-down list, choose the CD drive that you want to use to burn your CD. 5. From the Speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s fastest possible speed;
decrease the setting if you have difficulty burning.

6. Click the Start button. Warning: Clicking the Cancel button after the disc-writing process has begun will render your disc unusable. 7. When the writing process is complete, a confirmation message displays. Click OK to clear the message.

386 | CHAPTER 22

Closing a track-at-once CD

1. From the Tools menu, choose Burn Disc, and choose Track-at-Once Audio CD from the submenu. The Create CD dialog appears. 2. Click the Close Disc button. 3. When the disc is closed, a confirmation message displays. Click OK to clear the message. Burning a disc (disc-at-once) 1. From the Tools menu, choose Burn Disc, and choose Disc-at-Once Audio CD from the submenu. The Burn Disc-at-Once Audio CD
dialog appears.

2. From the Drive drop-down list, use the CD drive that you want to use to burn your CD. 3. From the Speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s fastest possible speed;
decrease the setting to prevent the possibility of buffer underruns.

4. Select the Buffer underrun protection check box if your CD recorder supports buffer underrun protection. Buffer underrun
protection allows a CD recorder to stop and resume burning.

Note: Buffer underrun protection can create a disc that can be played in CD players, but may contain a bit error where burning stopped and restarted. Consider clearing this check box when creating a premaster disc. 5. Choose a radio button in the Burn mode box:
• • Burn CDs begins recording audio to your CD immediately. Test first, then burn CDs performs a test to determine whether your files can be written to the CD recorder without encountering buffer underruns. No audio is recorded to the CD during the test, and recording begins after the test if it is successful. Test only (do not burn CDs) performs a test to determine whether your files can be written to the CD recorder without encountering buffer underruns. No audio is recorded to the CD.

•

6. Select the Render temporary image before burning check box if you want to render your CD project to a temporary file before
recording. Prerendering can prevent buffer underruns if you have a complex project that cannot be rendered and burned in real time.

Note: The rendered temporary file will remain until you modify your project or exit. If an image file exists when you open the Burn Disc­ at-Once Audio CD dialog, the check box is displayed as Use existing rendered temporary image. 7. Select the Automatically erase rewritable discs check box if you’re burning to rewritable media and want to erase the disc before
burning.

8. Select the Eject when done check box if you want the CD to eject automatically when burning has completed. 9. Click OK to start burning.

BURNING DISCS | 387

Burning video CDs
Video CDs can be played in many home DVD players and on computers with a CD-ROM drive and VCD player software.

1. From the Tools menu, choose Burn Disc and choose Video CD from the submenu. The Burn Video CD dialog appears.

2. From the Burn drive drop-down list, use the CD drive that you want to use to burn your Video CD. 3. From the Burn speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s fastest possible speed;
decrease the setting to prevent the possibility of buffer underruns.

4. Select the Buffer underrun protection check box if your CD recorder supports buffer underrun protection. Buffer underrun
protection allows a CD recorder to stop and resume burning.

Note: Buffer underrun protection can create a disc that can be played in CD players, but may contain a bit error where burning stopped and restarted. Consider clearing this check box when creating a premaster disc. 5. Select the Automatically erase rewritable discs check box if you’re burning to rewritable media and want to erase the disc before
burning.

6. Select the Eject when done check box if you want the CD to eject automatically when burning has completed. 7. Choose a radio button in the Burn mode area:
• • Burn CDs begins recording the video file to your CD immediately. Test first, then burn CDs performs a test to determine whether your file can be written to the CD recorder without encountering buffer underruns. The file is not recorded to the CD during the test, and recording begins after the test if it is successful. Test only (do not burn CDs) performs a test to determine whether your file can be written to the CD recorder without encountering buffer underruns. The file is not recorded to the CD.

•

388 | CHAPTER 22

8. Choose the movie file you want to use:
• If you want to render the current project, select the Render format radio button.

a. Edit the contents of the File path box to specify the name and location of your rendered file. b. Choose a template from the Template drop-down list to specify the parameters that should be used for rendering your
file, or click the Custom button to create a new template.

c. Select the Render loop region only check box if you want to use only a portion of your project. If the check box is cleared,
the entire project will be rendered and saved to the Video CD.

d. Select the Stretch video to fill output frame check box if you want your video to be reformatted so it fills the output
frame size listed in the Description box. When the check box is cleared, the current aspect ratio is maintained and black borders are added to fill the extra frame area (letterbox). This option is useful when the desired output format does not match the frame aspect ratio of you project.

e. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the
Output rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display. For more information, see Working with rotated projects on page 48. • If you want to use an already-rendered MPEG file, select the Use an existing file radio button, and enter the path to the file in the File path box (or click the Browse button to locate the file).

9. Click OK. 10. Your movie is recorded to the CD. When recording is finished, you can select the Save movie file check box to keep the MPEG file
that was rendered, or you can clear the check box to delete the file.

11. Click Finish.

Creating a multimedia CD
From the Tools menu, choose Burn Disc and choose Multimedia CD from the submenu to render your project and burn it to a data CD. The rendered project can be played in any computer with the appropriate player.

1. From the Tools menu, choose Burn Disc, and choose Multimedia CD from the submenu. The Burn Multimedia CD dialog appears.

2. From the Burn drive drop-down list, use the CD drive that you want to use to burn your multimedia CD.
BURNING DISCS | 389

3. From the Burn speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s fastest possible speed;
decrease the setting to prevent the possibility of buffer underruns.

4. Select the Buffer underrun protection check box if your CD recorder supports buffer underrun protection. Buffer underrun
protection allows a CD recorder to stop and resume burning.

Note: Buffer underrun protection can create a disc that can be played in CD players, but may contain a bit error where burning stopped and restarted. Consider clearing this check box when creating a premaster disc. 5. Select the Automatically erase rewritable discs check box if you’re burning to rewritable media and want to erase the disc before
burning.

6. Select the Eject when done check box if you want the CD to eject automatically when burning has completed. 7. Choose a radio button in the Burn mode area:
• • Burn CDs begins recording the media file to your CD immediately. Test first, then burn CDs performs a test to determine whether your file can be written to the CD recorder without encountering buffer underruns. The file is not recorded to the CD during the test, and recording begins after the test if it is successful. Test only (do not burn CDs) performs a test to determine whether your file can be written to the CD recorder without encountering buffer underruns. The file is not recorded to the CD.

•

8. Choose the movie file you want to use:
• If you want to render the current project, select the Render format radio button.

a. Edit the contents of the File path box to specify the name and location of your rendered file. b. Choose a template from the Template drop-down list to specify the parameters that should be used for rendering your
file, or click the Custom button to create a new template.

c. Select the Render loop region only check box if you want to use only a portion of your project. If the check box is cleared,
the entire project will be rendered and saved to the multimedia CD.

d. Select the Stretch video to fill output frame check box if you want your video to be reformatted so it fills the output
frame size listed in the Description box. When the check box is cleared, the current aspect ratio is maintained and black borders are added to fill the extra frame area (letterbox). This option is useful when the desired output format does not match the frame aspect ratio of you project.

e. Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the
Output rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display. For more information, see Working with rotated projects on page 48. • If you want to use an already-rendered MPEG file, select the Use an existing file radio button, and enter the path to the file in the File path box (or click the Browse button to locate the file).

9. Select the Play movie inside Web page check box if you want to create an HTML file that will automatically play your movie when
the CD is inserted.

10. Select the Include movie player installer check box if you want to include movie player software with your CD. Click the Browse
button to locate the movie player's installation program.

11. Click OK. 12. Your movie is recorded to the CD. When recording is finished, you can select the Save movie file check box to keep the MPEG file
that was rendered, or you can clear the check box to delete the file.

13. Click Finish.

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Creating a Blu-ray Disc
You can render your project and burn it to a Blu-ray Disc. The rendered project can be played in a Blu-ray player or on any computer with a Blu-ray drive. Vegas Pro 8.0 burns Blu-ray BDMV format to BD-R and BD-RE, and DVD recordable media.

Important: Not all Blu-ray players can read DVD media. The PlayStation® 3 treats DVD media with Blu-ray content as a data disc. In order to play your media, you’ll need to navigate to the BDMV folder on the disc and select the stream you want to play. Tips:
• A 25 GB single-layer BD recordable disc can store approximately 3 hours, 42 minutes of AVC video or 2 hours, 15 minutes of MPEG-2 video (25 Mbps). • A 50 GB dual-layer BD recordable disc can store approximately 7 hours, 25 minutes of AVC video (15 Mbps) or 4 hours, 31 minutes of MPEG-2 video (25 Mbps). • A 4.7 GB single-layer DVD recordable disc can store approximately 1 hour, 17 minutes of AVC or MPEG-2 video (8 Mbps). • An 8.5 GB dual-layer DVD recordable disc can store approximately 2 hours, 20 minutes of AVC or MPEG-2 video (8 Mbps). • You can store large amounts of standard-definition MPEG-2 video on a BD disc. • You can create your own rendering templates if you need to adjust the bit rates.

1. From the Tools menu, choose Burn Disc and choose Blu-ray Disc from the submenu. The Burn Blu-ray Disc dialog is displayed. 2. Select a radio button to choose what you want to do:
• • • Render image and burn: renders your current project as a Blu-ray compliant file and burns it to disc. Render image only: renders your current project as a Blu-ray compliant file that you can burn at a later time. Burn existing image file: burns an already-rendered file to Blu-ray Disc.

3. If you selected the Render image and burn or Render image only radio button, choose your rendering settings: a. Choose a setting from the Video format drop-down list to indicate whether you want to burn AVC or MPEG-2 video. b. Choose a setting from the Video template drop-down list to specify the parameters that should be used for rendering your
video stream. Video for Blu-ray Discs can use MPEG-2 or AVC encoding: • • • The Vegas Blu-ray MPEG-2 video templates have an average bit rate of 25 Mbps. The Vegas Blu-ray AVC video templates have an average bit rate of 15 Mbps. If you’re burning to DVD media, Vegas provides 8 Mbps AVC and MPEG-2 video templates.

c. Choose a setting from the Audio format drop-down list to indicate whether you want to burn AC-3 or wave (PCM) audio. d. Choose a setting from the Audio template drop-down list to specify the parameters that should be used for rendering your
audio stream. AC-3 audio for Blu-ray Discs uses Dolby Digital 2.0- or 5.1-channel encoding at 192 Kbps or 448 Kbps respectively. Wave64 (PCM) audio for Blu-ray Discs can use any of the following formats: • • 48 kHz, 16 or 24-bit, stereo or 5.1 surround (available only for 5.1 surround projects) 96 kHz, 16 or 24-bit, stereo or 5.1 surround (available only for 5.1 surround projects)

Important: When burning a surround project to DVD with PCM audio, use 48 kHz, 16- or 24-bit audio only. e. Select the Render loop region only check box if you want to use only a portion of your project. If the check box is cleared, the
entire project will be rendered and saved to the disc.

f.

Select the Use project output rotation setting check box if you’re rendering a rotated project and want to use the Output rotation setting from the Project Properties dialog for your rendered file. When the check box is cleared, the media is rotated according to its Media Properties setting, but the project itself is unrotated—you can use this setting to proof your project on an unrotated display.

BURNING DISCS | 391

For more information, see Working with rotated projects on page 48.

g. Select the Insert chapter points at markers check box if you want to use markers from the timeline as chapter points in your
rendered file.

h. Select the Stretch video to fill output frame check box if you want to reformat your video so it fills the output frame size listed
in the Description box. When the check box is cleared, the current aspect ratio is maintained, an black borders are added to fill the extra frame area (letterbox). This option is useful when the desired output format does not match the frame aspect ratio of your project.

4. If you selected the Render image and burn or Render image only radio button, the File path box displays the folder and file that
will be used to render your project. If you selected the Burn existing image file radio button, type the path to the file you want to burn in the File path box (or click the Browse button to locate the file).

5. Select recording options for your Blu-ray drive: a. Choose a drive from the Burn drive drop-down list to specify the drive you want to use. b. From the Burn speed drop-down list, choose the speed at which you want to record. Max will record using the fastest speed
possible with your drive; decrease the speed if you have difficulty recording.

c. Select the Eject when done check box if you want to eject the disc automatically when burning has completed. 6. Click OK to start rendering your image file and burning your disc.

392 | CHAPTER 22

Chapter 23 Using Scripting
Using the scripting features, Vegas® Pro software becomes an even more powerful and flexible tool. You can use scripting to streamline repetitive tasks, integrate with external applications, and implement customized features. To use scripting, you’ll need to install the Microsoft® .NET Framework. This component is available from the Microsoft Windows® Update site. (Choose Windows Update from the Start menu.) You can find the scripting API (application programming interface) and sample scripts in the Extras folder of the Vegas application disc or on our Web site: http://www.sonycreativesoftware.com/download/devkits. For more information about scripting, check out the Vegas scripting forum: http://www.sonycreativesoftware.com/forums/ShowTopics.asp?ForumID=21.

Note: To use scripts that were created for Vegas Pro 4.0 software, you'll need to revise the script's namespace from
SonicFoundry.Vegas to Sony.Vegas. For example, the line that includes “import SonicFoundry.Vegas;” should be changed to “import Sony.Vegas;” before running the script.

Warning: Scripts can pose a security risk to your computer. A script has the power to delete files, read files, write files,
execute programs, access the Internet, access files on your network, and so on. Always examine the contents of a script before running it. If you don't understand the script, do not run it unless it comes from a trusted source. In general, take the same precautions you would take for any program you download from the Internet or receive in an e-mail attachment.

Running a script
1. From the Tools menu, choose Scripting, and then choose Run Script from the submenu. The Run Script dialog
appears.

2. Browse to the script file (.vb or .js) you want to run. 3. Select the file and click the Open button. The script runs.

Adding scripts to the Scripting menu
When you start the program, Vegas Pro software looks at the Script Menu folder in the Vegas Pro program folder to determine which scripts appear in the Scripting submenu. This folder is C:\Program Files\Sony\Vegas Pro 9.0\Script Menu by default.

1. Add or delete scripts in the Script Menu folder to change the contents of the submenu. Tip: To prevent duplication of script files, you can use shortcuts in the Script Menu folder. 2. From the Tools menu, choose Scripting, and then choose Rescan Script Menu Folder to update the menu.

USING SCRIPTING | 393

Using Vegas extensions
Vegas extensions are compiled scripts that are available under the Extensions submenu in the View, Edit, or Tools menus. These extensions are loaded when Vegas starts and remain loaded as long as the program is running. Extensions can respond to changes in project data, control playback, and display a nonmodal interface. You can use the Customize Toolbar dialog to add Vegas extensions to the toolbar, or use the Customize Keyboard dialog to assign keyboard shortcuts to Vegas extensions. • • For more information on the Customize Toolbar dialog, see Adding buttons to the toolbar on page 362. For more information on the Customize Keyboard dialog, see Customizing keyboard shortcuts on page 365.

Vegas extensions are saved in the following folders: • • Windows XP: C:\Documents and Settings\<user name>\My Documents\Vegas Application Extensions Windows Vista: C:\Users\<user name>\Documents\Vegas Application Extensions

For more information about creating Vegas extensions, refer to the scripting API (application programming interface) in the Extras folder of the Vegas application disc or on our Web site at http://www.sonycreativesoftware.com/download/devkits.

Creating a script
Vegas scripting uses the Microsoft .NET framework. You can write scripts in C#, JScript, or Visual Basic .NET.
For more information on C#, see http://msdn.microsoft.com/en-us/library/kx37x362.aspx.
For more information on JScript, see http://msdn.microsoft.com/en-us/library/72bd815a(vs.71).aspx.
For more information on Visual Basic .NET, see http://msdn.microsoft.com/en-us/library/aa903378.aspx.


Editing an existing script
All you need to edit a script is a simple text editor (and a working knowledge of JScript or Visual Basic .NET scripting). The scripts that are included are fully commented to help you find and edit the parameters you need.

1. Create a copy of the script (.vb or .js) file you want to edit, assigning a descriptive name to the copy. 2. Open the new copy of the script in your text editor. 3. Edit the script as needed. The comments in the script will help you find the parameters you need to edit.
Comments are indicated with double forward slashes: //. For example, the AddEffectToAllMedia.js script includes the following lines:
// This is the full name of the effect plug‐in you want to add.
var plugInName = "Sony Timecode";


// This is the name of the preset you want. Set this to null if you
// want the default preset.
var presetName = "SMPTE Drop (29.97 fps)";


The default script applies the Sony Timecode plug-in to all video media in your project using the SMPTE Drop (29.97 fps) preset. If you wanted to apply the Broadcast Colors plug-in’s Extremely Conservative - 7.5 Setup preset to all audio media, you could edit the script as follows (changes appear in red):
// This is the full name of the effect plug‐in you want to add.
var plugInName = "Sony Broadcast Colors";
// This is the name of the preset you want. Set this to null if you
// want the default preset.
var presetName = "Extremely Conservative ‐ 7.5 Setup";


394 | CHAPTER 23

The plugInName variable should use the plug-in name that is displayed in the Plug-In Chooser. The presetName variable should use the preset name that is displayed in the Preset box in the FX window.

4. Save the script.

Create custom button images for scripts
If you want to display custom icons for scripts in the Scripting menu and toolbars, you can add .png files to your Script Menu folder.

1. Create a 32-bit PNG file with the icon you want to use. Icons must be 16x16 pixels, and transparency is supported. 2. Save the PNG file in your Script Menu folder (typically C:\Program Files\Sony\Vegas Pro 9.0\Script Menu) using the same name as
the script the icon should represent. For example, to assign a custom icon to the HelloWorld.js script, the icon should be saved as HelloWorld.js.png.

3. Customize the toolbar as needed, and the custom icons will be displayed in the Scripting menu (and in any toolbars that include
the script) toolbar the next time you start the application.

Vegas command-line options
You can use the following commands to start Vegas from the command line, open projects, start scripts, pass arguments to scripts, or start Vegas extensions.

NOLOGO Starts Vegas without displaying the application splash screen. Example: Vegas90.exe /NOLOGO

OPEN Starts Vegas and opens the specified media file or project. Examples: Vegas90.exe /OPEN "E:\Video\Wildflowers 001.avi"
—or—
Vegas90.exe /OPEN "E:\Vegas_Projects\24p widescreen.veg"


RUNSCRIPT Starts Vegas and runs the specified script. Examples: Vegas90.exe /RUNSCRIPT "C:\CustomScripts\ScriptName.cs"
—or—
Vegas90.exe /SCRIPT "C:\CustomScripts\ScriptName.cs"


SCRIPTARGS Starts Vegas and passes the specified arguments to a script. Example: Vegas90.exe /SCRIPTARGS "<argument>" /SCRIPT "<script path>"

Note: For more information about script arguments, see the Vegas Scripting API:
http://www.sonycreativesoftware.com/download/devkits.

USING SCRIPTING | 395

CMDMODULE Starts Vegas and loads the specified Vegas extension.
You can use this method to add Vegas extensions that are not saved in the extensions search path.
Example: Vegas90.exe /CMDMODULE "E:\Extensions\MyExtension.dll"


OPENPRJ Starts Vegas and opens the project file referenced in the specified media file. Example: Vegas90.exe /OPEN "E:\Video\Wildflowers 001.avi"

Note: This command will have no effect if the specified media file was not rendered with an embedded project path reference.

396 | CHAPTER 23

Appendix A Using Hardware Controllers
Vegas® Pro software supports several types of hardware devices you can use to adjust controls in the user interface, from a full-featured, professional control surface to a simple gaming joystick. A hardware controller lends a tactile element to your editing sessions, providing a hands-on feel that your mouse just can’t duplicate.

Using a Control Surface
A control surface is a hardware device that uses knobs, faders, and buttons to control user interface elements that are normally controlled with a mouse. Using a control surface lends a tactile feel to your editing sessions. Unlike keyboard shortcuts—which determine the shortcut’s behavior based on the portion of the Vegas Pro window that has focus—a control surface’s mapped functions work no matter what part of the application has focus.

Connecting your control surface
You can use one Mackie Control Universal (with up to four Mackie Control Universal Extenders), one Frontier TranzPort,
and up to five generic control surfaces with Vegas.
If you’re using Mackie Control Extenders, you’ll need a multiport MIDI interface with MIDI In/Out ports for each device.
Perform the following steps for each device.


1. Connect the MIDI Out port on your MIDI interface to the MIDI In port on your control surface. 2. Connect the MIDI In port on your MIDI interface to the MIDI Out port on your control surface. 3. If you’re using Mackie Control Extenders, repeat Steps 1 and 2 for each Mackie Control Extender. Note: If you’re using a USB interface such as the Frontier TranzPort, just plug in the USB cable.

Configuring Vegas Pro software to use your control surface
Use the MIDI tab in the Preferences dialog to select the device to which your control surface is connected.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Enable your MIDI input and output ports: a. Select the MIDI tab in the Preferences dialog. b. In the Make these devices available for MIDI output box, select the check box for the MIDI port that is
connected to your control surface’s In port.

c. In the Make these devices available for MIDI input box, select the check box for the MIDI port that is
connected to your control surface’s Out port.

d. Click Apply. 3. Choose your control surface: a. Select the External Control & Automation tab in the Preferences dialog. b. Choose a device from the Available devices drop-down list and click the Add button. Adding a device loads its
default profile. If you want to customize the behavior of the control surface, double-click its entry in the Active control devices list.

4. Click OK to apply your changes and close the Preferences dialog. Configuring or customizing your control surface
Use the External Control & Automation tab in the Preferences dialog to select the control surfaces you want to use and adjust their configuration.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the External Control & Automation tab.
APPENDIX A | 397

3. Choose a device from the Available devices drop-down list and click the Add button. The device is added to the Active control
devices list.

4. Double-click the entry in the Active control devices list to display the configuration dialog.
• • • For more information about setting up a Mackie control, see Using a Mackie Control Universal with Vegas Pro on page 398. For more information about setting up a Frontier TranzPort, see Using a Frontier TranzPort on page 414. For more information about setting up a generic MIDI control, see Using a generic control surface on page 415.

Using your control surface
This section describes how to use your control surface in general terms.
For information about your specific device, refer to the manufacturer’s documentation.


1. From the Options menu, choose External Control to enable your selected control surfaces. 2. If necessary, press the Automation button on your control surface. 3. Click the Automation Settings button ( ) for each track you want to edit with the control surface and choose Automation Write
(Touch) or Automation Write (Latch) to enable automation recording. To enable automation recording for audio busses or the main video output, use audio bus tracks or the video bus track.

4. Use the functions on your control surface to edit your project.

Using a Mackie Control Universal with Vegas Pro
The Mackie Control is fully supported by Vegas Pro (versions 5 and later) software and lends a tactile element to your editing sessions. An overlay is available from Mackie that you can use to label the Mackie Control buttons and controls with their mapped functions in Vegas Pro. For more information about Mackie Control overlays, check the Mackie Web site: http://www.mackie.com/products/mcu/ index.html

The overlay identifies the default control mapping. You can also customize the buttons and controls on the Mackie control. For more information, see Configuring or customizing control mappings on page 400. When you use the default mapping, the Mackie Control is divided into several functional areas. All functionality described in this document refers to the default control mapping.

398 | APPENDIX A

Hardware setup
You can use one Mackie Control Universal (with up to four Mackie Control Extenders) with Vegas Pro. Perform the following steps for each device. If you’re using Mackie Control Extenders, you’ll need a multiport MIDI interface with MIDI In/Out ports for each device.

Connecting the Mackie Control Universal

1. Connect the MIDI Out port on your MIDI interface to the MIDI In port on your Mackie Control Universal. 2. Connect the MIDI In port on your MIDI interface to the MIDI Out port on your Mackie Control Universal. 3. Repeat Steps 1 and 2 for each Mackie Control Extender.
Configuring the software to use the Mackie Control Universal

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Enable your MIDI input and output ports: a. Select the MIDI tab in the Preferences dialog.

b. In the Make these devices available for MIDI output box, select the check box for the MIDI port that is connected to the
Mackie Control Universal’s In port.

c. In the Make these devices available for MIDI input box, select the check box for the MIDI port that is connected to your
Mackie Control Universal’s Out port.

d. Repeat Steps 2b and 2c for each Mackie Control Extender. e. Click Apply. 3. Choose your control surface: a. Select the External Control and Automation tab in the Preferences dialog. b. From the Available devices drop-down list, choose Mackie Control and click the Add button to load the default profile. 4. Click OK to apply your changes and close the Preferences dialog. 5. From the Options menu, choose External Control to enable the Mackie Control Universal.
Configuring channel mappings for Mackie Control Extenders If you’re using Mackie Control Extenders, you’ll need to set up your channel mapping. Channel mapping tells the software how the devices are arranged on your desktop.

APPENDIX A | 399

For example, if your Mackie Control Universal is on the left of your Mackie Control Extender, you could configure the Mackie Control to adjust channels 1 through 8 and use the Mackie Control Extender to adjust channels 9 through 16. If you have a Mackie Control Universal positioned between two Mackie Control Extenders, you could adjust channels 1 through 8 on the left Extender, adjust channels 9 through 16 on the Mackie Control Universal, and adjust channels 17 through 24 on the right Extender.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the External Control & Automation tab. 3. Double-click your Mackie Control in the Active control devices list to display the Configure Mackie Control dialog.
The current channel mapping is displayed on each device's LCD.

4. Choose the channels you want to control with the Mackie Control Universal: a. From the Device Type drop-down list, choose Mackie Control. b. From the Channel Mapping drop-down list, choose the channels you want to adjust with the Mackie Control Universal.

5. Choose the channels you want to control with the Mackie Control Extender: a. From the Device Type drop-down list, choose Mackie Control Extender. b. From the Channel Mapping drop-down list, choose the channels you want to adjust with the Mackie Control Extender.

6. Repeat Step 5 for each Mackie Control Extender. 7. Click OK to apply your changes and close the Configure Mackie Control dialog. 8. Click OK to apply your changes and close the Preferences dialog.
Configuring or customizing control mappings Use the External Control & Automation tab in the Preferences dialog to select the control surfaces you want to use and adjust their configuration.

Reminder: When you customize your control mappings, button functions may not match the labels on the overlay. You

can click the Default All button in the Configure Mackie Control dialog to restore the default settings.


1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the External Control & Automation tab.

400 | APPENDIX A

3. Double-click your Mackie Control in the Active control devices list to display the Configure Mackie Control dialog.

4. To add or change a function do the following: a. Select an item in the User defined surface control mappings list. b. Select an item in the Available host functions list. c.
Click the Assign button.

5. To remove a function, select an item in the User defined surface control mappings list and click the Clear button. 6. To remove all functions, click the Clear All button. 7. To replace all custom functions with the default settings, click the Default All button. Using the Mackie Control Universal
The following sections describe the default control mapping for the Mackie Control Universal when used with Vegas Pro.

Note: The Mackie Control Universal can control either trim or automation settings. In order to control automation
settings, the Automation button ( ) in the Audio/Video section must be selected, and the track or bus you want to
edit must be set to Automation Write (Touch) or Automation Write (Latch). Hold the F1 button while turning the V-
Pot (or use the Automation Settings button) to change the automation recording mode for each track and bus track.


Channel section The channel section includes V-Pots (knobs), buttons, and faders that you can use to edit your tracks and busses.

APPENDIX A | 401

If you’re using Mackie Control Extender units, you can control eight additional channels with each Extender. For more information, see Configuring channel mappings for Mackie Control Extenders on page 399.

1 2 3 4 5 6

7

Item
1 V-Pot

Description
Adjusts values for panning, volume (when Flip button is selected), video track opacity (when Flip button is selected), video track fade-to-color, and effect parameter values. • Audio track volume Adjusts track volume when the Pan or Sends button is selected and the Flip button is selected. • Audio track panning Adjusts audio track panning when the Pan button is selected. • Bus send levels Adjusts bus send levels when the Sends button is selected. • Video track opacity Adjusts video track opacity when the Video and Flip buttons are selected. • Video track fade to color Adjusts video track fade-to-color envelope when the Video button is selected, the Automation button in the Audio/Video section is selected, and the track is in Automation Write (Touch) or Automation Write (Latch) mode. • Compositing mode Adjusts the track compositing mode when the Video button is selected and you press the Output/Compositing button twice to change the track assignment to CO. • Effect parameters Adjusts effect parameters when the Inserts button is selected.
The V-Pot is velocity sensitive, so rotating quickly changes values quickly, and you can press the button to
choose a selection.
When the Pan or Sends button is selected, press the V-Pot to edit the track or bus chain.


2 Rec/Ready Button 3 Signal LED 4 Solo Button 6 Select Button

Arms audio tracks for recording. Indicates whether an audio track or bus is outputting a signal. Press to solo a track or remove it from the solo group. Press to select a track.

5 Mute Button Press to mute or unmute a track.

402 | APPENDIX A

Item
7 Fader

Description
Adjusts the track or bus level (unless the Flip button is selected). When the Automation button is selected, the fader adjusts the automation envelope if the track is in
Automation Write (Touch) or Automation Write (Latch) mode.
The fader can also adjust settings for the following items when you select other buttons in the Channel section.
• Audio track panning Adjusts audio track panning when the Pan and Flip buttons are selected. • Bus send levels Adjusts bus send levels when the Sends and Flip buttons are selected. • Video track opacity Adjusts video track opacity when the Video button is selected. • Video track fade to color Adjusts video track fade-to-color settings when the Automation, Video, and Pan/ Fade to Color buttons are selected.
Adjusts video track fade-to-color envelope when the following conditions are met:
• The Video button is selected.
• The Automation button in the Audio/Video section is selected.
• The Pan/Fade to Color button is selected.
• The track is in Automation Write (Touch) or Automation Write (Latch) mode.
The fader is touch sensitive, so if you're recording automation parameters, recording will begin when you touch the fader and stop when you release it. The current setting is displayed in the Mackie Control display.

Footswitches (not shown) The Mackie Control has two switched inputs (labeled User Switch A and User Switch B) that you can use to connect footswitches. By default, footswitch A toggles playback, and footswitch B starts and stops recording. You can customize the footswitches in the Configure Mackie Control dialog. Double-click Mackie Control in the Active control devices list on the External Control & Automation tab of the Preferences dialog to display the Configure Mackie Control dialog. For more information, see Configuring or customizing control mappings on page 400.

Control buttons The buttons in the Control section determine the operation of the V-Pots and faders in the channel section of your Mackie Control. In every mode, the fader adjusts track volume, and the V-Pot adjusts the selected control mode. You can press the Flip button to reverse the V-Pot and fader function.

1 2 3 4 5 6 Item Description

1 Output/ Press the Output button to set the output device for each track or bus. Turn the V-Pot in the channel section to Compositing choose an output device and press the V-Pot to select it. When the Video button is selected, you can set the compositing mode for each track using the V-Pot. 2 Input/ Motion Blur 3 Pan/Fade to Color Press to set the recording input device for each track. Turn the V-Pot in the channel section to choose an input device and press the V-Pot to select it. When the Video button is selected, press the V-Pot to enable or bypass motion blur for each video track. Press to adjust track panning using the V-Pot in the channel section. In 5.1 surround projects, pressing the Pan button toggles left-to-right panning, front-to-rear panning, and
center-channel level adjustment using the V-Pot.
When the Video button is selected, you can adjust the opacity of video tracks with the fader in the channel
section and adjust fade-to-color settings with the V-Pot when the Automation button in the Audio/Video
section is selected and the track is in Automation Write (Touch) or Automation Write (Latch) mode.


APPENDIX A | 403

Item
4 Sends 5 Inserts

Description
Press to adjust bus and assignable effects send levels. Press the Sends button to scroll through the available busses and assignable effects chains, and then turn the V-Pot to adjust the send level. Press to adjust effects settings. Press the button once to display PL in the Mackie Control Assignment display. The Mackie Control LCD displays the effects that are assigned to each track or bus. The following example shows a three-track project:

Turn the V-Pot to scroll through the effects, and press the V-Pot to edit the current effect. In editing mode, PE is displayed in the Assignment display. The following example shows the settings for the Noise Gate plug-in on track one:

PE mode uses the following controls: • V-Pots 1-4: Turn to edit the effect’s parameters. For “switch” parameters such as Bypass, press the V-Pot to change the setting. • V-Pot 5: Turn to scroll through an effect’s property pages. • V-Pot 6: Turn to choose from a plug-in’s available presets. Press the V-Pot to choose a preset. • V-Pot 7: Turn to edit the current effect for a different channel. • V-Pot 8: Turn to choose other effects for the current channel. Press the Inserts button again to view effects chains. PS is displayed in the Assignment display. The following example shows the effects chain on track one:

PS mode uses the following controls: • V-Pots 1, 3, and 5: Turn to choose other effects for the current channel. Press to edit the selected effect and enter PE mode. • V-Pots 2, 4, and 6: After choosing an effect with V-Pot 1, 3, or 5, press V-Pot 2, 4, or 6 to add it to the channel. • V-Pot 7: If a channel has multiple pages of effects in the chain, turn to display additional effects. In the previous example, Aud 1 1/2 means that track one has two pages of effects. • V-Pot 8: Turn to choose effects chains for other channels. When <No Insert> is displayed above a V-Pot, you can turn the V-Pot to view effects that you can add to the chain. New effects are displayed with a *. Press the next V-Pot (to the right) to add the effect. 6 Settings Press to adjust track or bus settings using the F1 through F6 buttons. • F1: Hold the button and turn the V-Pot to change the automation recording mode for each track and bus track. • F2: Hold the button and turn the V-Pot to change the current panning mode. • F3: Hold the button and press the V-Pot to change the track phase. • F4: Hold the button and turn the V-Pot to change record input monitoring settings when you’re using an ASIO audio device. • F5: When the Pan button is selected, press the Settings button and then hold F5 while pressing the V-Pot to change the bus or assignable effects output fader to Pre FX or Post FX.
When the Sends button is selected, press the Settings button and hold F5 while pressing the V-Pot to change
a track’s bus or assignable effects send level to Pre Volume or Post Volume. Press the Sends button to scroll
through the available bus and effects sends.
• F6: Press the Settings button and hold F6 while pressing the V-Pot on a channel to return the channel's settings to the track defaults.

404 | APPENDIX A

Fader Banks buttons The Fader Banks buttons control the behavior of the channel section controls.

1 2 3 4 Item
1 Bank 2 Channel

Description
Press the left or right arrow button to scroll the channels 8 units at a time. For example, if tracks 1-8 are currently displayed, pressing the right arrow will change to tracks 9-16. Press the left or right arrow button to scroll the channels 1 unit at a time. For example, if tracks 1-8 are currently displayed, pressing the right arrow will change to tracks 2-9. Hold the Option button while pressing either Channel button to change track order. For example, if track two is selected and you press Option+ < Channel, track two becomes track one. Conversely, if track one is selected and you press Option + Channel >, track one becomes track two.

3 Flip 4 Video

Press to exchange the behavior of the fader and V-Pot when allowed. Press to toggle audio and video modes. For example, you press the Pan/Fade button in audio mode, you can perform audio track panning with the VPot. If you press the button in video mode, you can adjust fade-to-color settings if the Automation button in the Audio/Video section is selected and the track is in Automation Write (Touch) or Automation Write (Latch) mode.

Display buttons The Display buttons control the behavior of the channel section controls.

1 2

Item
1 Meters/ Values

Description
When you’re working with audio tracks or busses, press to display meters or numeric values. Even in Meters mode, numeric values are displayed when you edit a value. In Audio mode, hold the Shift button in the Modifiers section while pressing the Meters/Values button to toggle control of tracks, busses, or tracks and busses. • Press once to show audio tracks. • Press again to show audio tracks. • Press again to show busses. • Press again to show tracks and busses.

2 Time Fmt Zero

Press and hold to display the current time format. Turn V-Pot 8 while holding the button to change the format. Hold the Shift button in the Modifiers section while pressing the Time Fmt/Zero button to set the current cursor position to zero.

APPENDIX A | 405

Markers buttons The Markers buttons control additional track and channel settings.

1 2 3 4 5 6 7 8

Item
1 Marker 1/9 Automation Mode

Description
Press to place the cursor at marker 1, or hold Shift and press to place the cursor at marker 9. When the Settings button is selected, hold the button and turn the V-Pot to change the automation recording mode for each track and bus track.

2 Marker 2/10 Press to place the cursor at marker 2, or hold Shift and press to place the cursor at marker 10. Pan Mode When the Settings button is selected, hold the button and turn the V-Pot to change the current panning mode. 3 Marker 3/11 Press to place the cursor at marker 3, or hold Shift and press to place the cursor at marker 11. Track Phase When the Settings button is selected, hold the button and press the V-Pot to change the track phase. 4 Marker 4/12 Press to place the cursor at marker 4, or hold Shift and press to place the cursor at marker 12. Input When the Settings button is selected, hold the button and turn the V-Pot to change record input monitoring Monitor settings when you're using an ASIO audio device. 5 Marker 5/13 Press to place the cursor at marker 5, or hold Shift and press to place the cursor at marker 13. Pre/Post When the Pan button is selected, press the Settings button and then hold F5 while pressing the V-Pot to change the bus or assignable effects output fader to Pre FX or Post FX. When the Sends button is selected, press the Settings button and hold F5 while pressing the V-Pot to change a track's bus or assignable effects send level to Pre Volume or Post Volume. Press the Sends button to scroll through the available bus and effects sends. 6 Marker 6/14 Press to place the cursor at marker 6, or hold Shift and press to place the cursor at marker 14. Default Press the Settings button and hold F6 while pressing the V-Pot on a channel to return the channel's settings to the track defaults. 7 Marker 7/15 Press to place the cursor at marker 7, or hold Shift and press to place the cursor at marker 15. 8 Marker 8/16 Press to place the cursor at marker 8, or hold Shift and press to place the cursor at marker 16.

Add New buttons The Add New buttons add busses or tracks to your project.

1 2

Item
1 Track 2 Bus

Description
Press to add a new audio track. When the Video button is selected, a new video track is added. Press to add an audio bus to your project.

406 | APPENDIX A

Windows buttons The Windows buttons control the display of various Vegas Pro windows.

1 2 3

Item
1 Mixer 2 Video Preview 3 Plug-Ins

Description
Press to show the Mixer window. If the window is not docked, pressing the button shows/hides the window. Press to show the Video Preview window. If the window is not docked, pressing the button shows/hides the window. Press to show the Plug-In Manager window. If the window is not docked, pressing the button shows/hides the window.

View buttons The View buttons control the display of various sections of the Vegas Pro window.

1 2 3

Item
1 Bus Tracks 2 Dock Area 3 Track List

Description
Press to show or hide audio bus tracks in the Vegas Pro timeline. When the Video button is selected, press to show or hide the video bus track. Press to show or hide the Window Docking Area at the bottom of the Vegas Pro window. Press to show or hide the track list in the timeline.

APPENDIX A | 407

Modifiers buttons The Modifiers buttons extend the functionality of other buttons on the Mackie Control.

1 2

3 4

Item
1 Shift

Description
Hold the Shift button while pressing a button labeled with inverse text to perform the shift function. For example, hold Shift while pressing the Undo/Redo button to reverse an undo action.

2 Option/Track Hold the Option/Track Order button while pressing a button in the Settings, Add New, or Windows group for Order alternative functions. Hold the Option/Track Order button while pressing a the Channel < or Channel > button to change track order. Hold the Option/Track Order button while pressing F1 to F16 to perform custom functions you can define. For more information, see Configuring or customizing control mappings on page 400. 3 Ctrl 4 Alt Hold the Ctrl button while using a control for alternative functions. Hold the Alt button while using a control for alternative functions. Hold Alt while pressing F1 through F10 to run scripts 1-10 from the Tools > Scripting submenu.

Audio/Video buttons The Audio/Video buttons control various audio and video settings for your project.

1 2 3 6 5 4 Item
1 Automation

Description
Press to place the controls on the Mackie Control in automation mode. The controls in the channel section of the Mackie Control will affect the automation parameters on the track or bus if Automation Write (Touch) or Automation Write (Latch) mode is selected. When the button is not selected, the buttons control trim (static) values. Press to bypass/enable all audio effects. Press to turn the metronome on or off.

2 Bypass FX 3 Metronome

408 | APPENDIX A

Item
4 Surround/ Ext Monitor 5 Downmix/ Split Screen 6 Dim/ Overlays

Description
Press to toggle the project properties between stereo and 5.1 surround mode. When the Video button is selected, press the Surround/Ext Monitor button to send your video preview to an external monitor. Press to toggle the state of the Downmix Output button in the Mixer window. When the Video button is selected, press the Downmix/Split Screen button to toggle split-screen video previews. Press to toggle the state of the Dim Output button in the Mixer window. When the Video button is selected, press the Dim/Overlays button to toggle the display of overlays (grid, safe areas, and RGB channels) in the Video Preview window.

Project buttons The Project buttons perform various project-level commands.

1 2 3 4 Item
1 Save 2 Undo/Redo 3 OK 4 Cancel

Description
Press to save your project. Press to reverse edit operations. Hold Shift while pressing the button to reverse an undo operation. Not used. Not used.

APPENDIX A | 409

Timeline buttons The Timeline buttons perform various commands for the project timeline.

1 2 3 4 5 6 7

Item
1 Marker/ CD Index

Description
Press to place a marker at the cursor position. Hold the Shift button while pressing the Marker/CD Index button to place a CD index marker at the cursor
position.
Hold the Ctrl button while pressing the Marker/CD Index button to remove a marker.
Hold the Ctrl and Shift buttons while pressing the Marker/CD Index button to remove a CD index marker.


2 Region/ CD Track

Press to convert the current selection to a region. Hold the Shift button while pressing the Region/CD Track button to convert the current selection to a CD track
region.
Hold the Ctrl button while pressing the Region/CD Track button to remove a region.
Hold the Ctrl and Shift buttons while pressing the Region/CD Track button to remove a CD track.


3 Loop/ Select 4 Mark In/ Go to In 5 Mark Out/ Go to Out 6 Event Trim/ Center Cursor 7 RTZ/ End

Press to toggle looped playback mode. Hold the Shift button while pressing the Loop/Select button to create a time selection from the loop region. Press to set the beginning of the loop region at the cursor position. Hold the Shift button while pressing the Mark In/Go to In button to move the cursor to the beginning of the loop region. Press to set the end of the loop region at the cursor position. Hold the Shift button while pressing the Mark Out/Go to Out button to move the cursor to the end of the loop region. Press to toggle event edge-trimming mode. Press the right or left arrow button to select the next or previous event edge, and then turn the jog dial to trim the event edge. Hold the Shift button while pressing the Event Trim/Center Cursor button to center the cursor in the timeline view. Press to move the cursor to the beginning of the project. Hold the Shift button while pressing the RTZ/End button to move the cursor to the end of the project.

410 | APPENDIX A

Transport buttons The Transport buttons allow you to navigate the timeline and preview your project.

1 2 3 4 5

Item
1 Rewind 3 Stop 4 Play

Description
Press and hold to move backward through the timeline at 20x speed. Press to stop playback and return the cursor to its position before playback started. Hold the Shift button while pressing the Stop button to create a dynamic RAM preview. Press to start playback. Press again to stop playback and leave the cursor at its current position. Hold the Shift button while pressing the Play button to preview the cursor position. To change the playback duration, use the Cursor preview duration control on the Editing tab of the Preferences dialog.

2 Fast Forward Press and hold to move forward through the timeline at 20x speed.

5 Record

Press to start recording. Press again to stop recording and leave the cursor at its current position. Hold the Shift button while pressing the Record button to render the current selection to a new track.

APPENDIX A | 411

Arrow buttons The arrow buttons allow you to navigate the timeline and preview your project.

1

2

Item
1 Left/Right

Description
When the Zoom button is not selected: • Press the left or right arrow button to move left or right in small increments. • Hold Ctrl while pressing the left or right arrow button to move to the previous or next marker. • Hold Ctrl + Shift while pressing the left or right arrow button to select to the previous or next marker. When the Zoom button is selected: • Hold Shift while pressing the left or right arrow button to select left or right by pixels. • Hold Ctrl while pressing the left or right arrow button to move to the previous or next marker. • Hold Ctrl + Shift while pressing the left or right arrow button to select to the previous or next marker.

2 Up/Down

When the Zoom button is not selected: • Press to zoom in or out. • Hold Shift while pressing the up or down arrow button to change the magnification of audio waveforms. • Hold Ctrl + Shift while pressing the up or down button to change track heights. When the Zoom button is selected: • Press to zoom in or out. • Hold Shift while pressing the up or down button to change the magnification of audio waveforms. • Hold Ctrl while pressing the up or down buttons to zoom to a selection or to the high in/max out. • Hold Ctrl+Shift while pressing the up or down buttons to change track heights.

412 | APPENDIX A

Jog dial The jog dial allows you to navigate the timeline when playback is stopped.

Navigating the timeline When playback is paused and the Scrub button is not selected, the jog dial performs the following functions: • • • When the Zoom button is not selected, turn the dial clockwise or counterclockwise to navigate the timeline by frames. When the Zoom button is selected, turn the dial clockwise or counterclockwise to navigate the timeline by pixels. Hold the Shift button and turn the dial to create a time selection or extend a selection.

Scrubbing the timeline During playback, turning the jog dial increases or decreases the playback rate.
When playback is paused and the Scrub button is selected, turning the jog dial scrubs the timeline.


Trimming events

1. Press the Event Trim button to enter event trimming mode. 2. Press the left or right arrow button to select the event edge you want to trim. A red bracket is displayed to indicate which event
edge will be trimmed.

3. Turn the jog dial to trim the event edge left or right in one-frame increments. Hold Ctrl while turning the dial to trim in one-pixel
increments. Depending on the current zoom level, the trim duration will vary.

APPENDIX A | 413

Using a Frontier TranzPort
Using a Frontier TranzPort, you can control Vegas wirelessly.
For more information about configuring Vegas to use a control surface, see Using a Control Surface on page 397.


Viewing the control mappings
The map for the TranzPort assigns the controls as follows. Control
Track Track

Function
Focus to previous track or mixer control. Focus to next track or mixer control. Arm track for record. Mute track. Solo track. Undo. Set loop start. Set loop end. Toggle metronome. Toggle looped playback.

Shift Function
Insert audio track.

Rec Mute Solo Undo In Out Punch Loop

Redo.

Toggle jog wheel control of volume, panning, input, or output device for tracks or Mixer controls. 1. Press Track or Track to select the track you want to adjust. 2. Press Shift + Loop until the item you want to edit is displayed on the TranzPort. 3. Hold Shift while rotating the jog wheel to adjust the selected control.

Shift Markers Prev Markers Add Markers Next

Toggle alternate functions. Move to previous marker. Insert marker at cursor. Move to next marker. Adjust volume or pan for current track. Go to start. Go to end.

Jog Wheel Scroll cursor. Rewind. Fast forward. Stop playback or recording. Play/pause. Punch in or start recording.

Adjusting track or bus volume 1. Press Track
or Track to select the track or mixer control you want to adjust.

2. Press Shift+Loop until the TranzPort displays volume. 3. Hold Shift while rotating the jog wheel to adjust the volume of the selected track or mixer control. Adjusting track or bus panning 1. Press Track
or Track to select the track or mixer control you want to adjust.

414 | APPENDIX A

2. Press Shift+Loop until the TranzPort displays panning. Note: Not all mixer controls allow panning adjustment. 3. Hold Shift while rotating the jog wheel to adjust panning for the selected track or mixer control. Editing a track’s input device 1. Press Track
or Track to select the track you want to adjust.

2. Press Shift+Loop until the TranzPort displays the track’s input device. 3. Hold Shift while rotating the jog wheel to scroll through the available inputs. When you change the input device, an asterisk is
displayed before the device name on the TranzPort.

4. Press Shift+Punch to set the input device. Editing a track or mixer control’s output device 1. Press Track
or Track to select the track or mixer control you want to adjust.

2. Press Shift+Loop until the TranzPort displays the track’s output device. 3. Hold Shift while rotating the jog wheel to scroll through the available output devices. When you change the output device, an
asterisk is displayed before the device name on the TranzPort.

4. Press Shift+Punch to set the output device.

Using a generic control surface
You can configure up to five generic MIDI control surfaces to work with the Vegas interface.
For information about your specific device, refer to the manufacturer’s documentation.
For more information about setting up a control surface, see Using a Control Surface on page 397.


Notes:
• If you have a MIDI controller that includes buttons and knobs or faders, you can use the device as an external control
device. For an example of how you can set up a generic control surface to control tracks in your project, see Configuring a
generic control surface on page 416.
• Effects parameters cannot be adjusted with a generic controller. • A generic control surface can control either trim or automation settings. In order to control automation settings, you must
assign a button to place the control surface in automation mode, and the Automation Settings button ( ) on the track
or bus you want to edit must be set to Automation Write (Touch) or Automation Write (Latch).


Customizing your control mappings
Use the External Control & Automation tab in the Preferences dialog to select the control surfaces you want to use and adjust their configuration.

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the External Control & Automation tab. 3. Double-click the Generic Control entry in the Active control devices list to display the Configure Generic Control dialog. 4. To add or change a function do the following: a. Choose a setting from the View function group drop-down list. b. Select the Learn check box. c. Select an command in the Host Command list and activate the control on your control surface. d. You can click the Edit button to fine-tune the MIDI message settings. 5. Repeat step 4 for each command you want to make available on your control surface.
APPENDIX A | 415

6. To remove a function, select an item in the Host Command list and click the Reset button. 7. To remove all functions, click the Reset All button. 8. Click the Save As button to save your updated configuration file. Loading a control mapping file 1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the External Control & Automation tab in the Preferences dialog. 3. Double-click the Generic Control entry in the Active control devices list to display the Configure Generic Control dialog. 4. Click the Open button and browse to the mapping file you want to use. 5. Click OK to apply your changes and return to the Preferences dialog. 6. Click OK to close the Preferences dialog.

Configuring a generic control surface
If you have a MIDI controller that includes buttons and knobs or faders, you can use the device as an external control surface. For example, let’s assume that you have a MIDI keyboard that has 8 knobs. This section will show you how you can use those knobs to control the volume on the tracks in your project.

Notes:
• You can use this same process to assign a controller to any configurable parameter. To adjust track volume, we're selecting Channel x Fader in the Host Command list in step 9 below. However, if you wanted to adjust panning, you could choose Channel x Pan, or if you wanted to adjust the bus send level, you could choose Channel x Send. • Effect parameters cannot be controlled with a generic controller. • A generic control surface can control either trim or automation settings. In order to control automation settings, you must assign a button to place the control surface in automation mode, and the Automation Settings button ( ) on the track or bus you want to edit must be set to Automation Write (Touch) or Automation Write (Latch).

1. From the Options menu, choose Preferences to display the Preferences dialog. 2. Select the MIDI tab, and verify that the port where your controller is connected is selected in the Make these devices available for
MIDI input list.

3. Select the External Control & Automation tab. 4. From the Available devices drop-down list, choose Generic Control, and then click the Add button. The Generic Control is added
to the Active control devices list.

5. Double-click the Generic Control entry in the Active control devices list to display the Configure Generic Control dialog. 6. Because the MIDI keyboard in our example has 8 knobs, type 8 in the Number of channels box. 7. Now, let’s assign buttons to shift the channel banks up and down so you can control all the tracks in your project.
For example, when you start using the controller, the knobs will adjust tracks 1-8. When you shift the banks down, you can control tracks 9-16, and so on.

a. From the View function group drop-down list, choose Channels. b. Select the Learn check box. c. Select Channel Bank Down from the Host Command list. d. Press the button or key you want to use to switch to the next group of 8 tracks. e. Select Channel Bank Up from the Host Command list. f.
Press the button or key you want to use to switch to the previous group of 8 tracks.

8. Choose Audio Channels from the View function group drop-down list. 9. Program each knob: a. Verify that the Learn check box is still selected. b. Select Channel 1 Fader from the Host Command list.
416 | APPENDIX A

c. Turn knob 1 on your MIDI keyboard. You’ll notice that the Channel, MIDI Message, and MIDI Data columns are updated. d. Repeat steps 9a and 9b to program knobs 2 through 8 on your keyboard. 10. Now, let’s assign a button to toggle the controller in and out of automation mode so we can use the knobs to adjust the track’s
volume (trim) or record volume automation:

a. From the View function group drop-down list, choose Assign. b. Select Toggle Automation Mode from the Host Command list. c. Verify that the Learn check box is still selected, and then press the button or key you want to use to switch your control surface
in and out of automation mode. You’ll notice that the Channel, MIDI Message, and MIDI Data columns are updated.

11. Click OK to close the Configure Generic Control dialog, and then click OK to close the Preferences dialog. 12. From the Options menu, choose External Control to enable your controller.
You’re ready to start using your controller. • • Turn each knob on your controller and notice that turning knob 1 adjusts the volume (trim) of track 1, turning knob 2 adjusts the volume of track 2, and so on. Press the button that you assigned to scroll the channel bank down in step 7. Turn each knob on your controller and notice that turning knob 1 now adjusts the volume (trim) of track 9, turning knob 2 adjusts the volume of track 10, and so on. • • Press the button that you assigned to scroll the channel bank up in step 7 so you can control tracks 1-8 again. Press the button that you assigned to toggle automation mode in step 10.
Select the Automation Settings button (
) on each track to enable automation recording. Start playback, and turn each knob on your controller, and notice that turning knob 1 records volume automation on track 1, turning knob 2 records automation on track 2, and so on. • Press the automation mode toggle button once more, and you can use the knobs to adjust track trim levels again.

Using a joystick
You can use a joystick to adjust faders, surround panning, and the color wheel controls in the color corrector plug-ins. If you’re using a force-feedback joystick, force feedback adds a tactile element to your editing sessions. The Joystick Profiles folder in the Vegas program folder contains .ini files to provide button mapping for several joysticks and instructions for creating or editing joystick mappings. These profiles are specific to each model of joystick. If only trigger functions are working for your joystick, a default profile is being used. Please check our download page for updated profiles: http:// www.sonycreativesoftware.com/download/default.asp Follow your manufacturer’s instructions for calibrating your joystick before using it with Vegas software.

APPENDIX A | 417

Using the Microsoft SideWinder Force Feedback 2 joystick
Control
Trigger Stick Hat (POV) switch Button 2

Function
Enable joystick. Move the control that has focus. Move pan point to edges or corners of surround panner or Surround Panner window. Reset control to default for faders that take focus or Color Corrector color wheels. Centers track panning for stereo projects. Open/close Surround Panner window. Move to previous panning keyframe, Mixer control, or Color Corrector color wheel. Move to next panning keyframe, Mixer control, or Color Corrector color wheel. Hold button and adjust throttle control to adjust Volume fader in track list. Hold button and adjust throttle control to adjust bus Volume or assignable effect Output fader in Mixer. Hold button and adjust throttle control to adjust Center fader in Surround Panner window.

Button 3 Button 4 Button 5

Button 6

Hold button and adjust throttle control to adjust multipurpose fader in track list. Hold button and adjust throttle control to adjust assignable effect input fader in Mixer. Hold button and adjust throttle control to adjust Smoothness slider in Surround Panner window.

Button 7 Button 8 Throttle control

Move focus to previous track, Mixer control, or color wheel. Move focus to next track, Mixer control, or color wheel. Combine with buttons 5 or 6 to adjust the selected control.

Using the Logitech Wingman joystick
Control
Trigger Stick Hat (POV) switch Button 2 Button 3 Button 4 Button 5 Button 6

Function
Enable joystick. Move the control that has focus. Move pan point to edges or corners of surround panner or Surround Panner window. Move focus to previous track, Mixer control, or Color Corrector color wheel. Move focus to next track, Mixer control, or Color Corrector color wheel. Move to next panning keyframe or Mixer control, or Color Corrector color wheel. Move to previous panning keyframe or Mixer control, or Color Corrector color wheel. Reset control to default for faders that take focus or Color Corrector color wheels. Centers track panning for stereo projects. Open/close Surround Panner window. Hold button and adjust throttle control to adjust Volume fader in track list. Hold button and adjust throttle control to adjust bus Volume or assignable effect Output fader in Mixer. Hold button and adjust throttle control to adjust Center fader in Surround Panner window.

Button 7

Throttle control

Combine with button 7 to adjust the selected control.

Using the Gravis Eliminator Precision Pro joystick
Control
Trigger Stick Hat (POV) switch Button 2 Button 3 Button 4

Function
Enable joystick. Move the control that has focus. Move pan point to edges or corners of surround panner or Surround Panner window. Change pan curve in Surround Panner window. Move focus to previous track, Mixer control, or Color Corrector color wheel. Move focus to next track, Mixer control, or Color Corrector color wheel.

418 | APPENDIX A

Control
Button 5

Function
Reset control to default for faders that take focus or Color Corrector color wheels. Centers track panning for stereo projects. Open/close Surround Panner window. Move to previous/next panning keyframe or Mixer control, or Color Corrector color wheel. Open/close Surround Panner window. Hold button and adjust throttle control to adjust Volume fader in track list. Hold button and adjust throttle control to adjust bus Volume or assignable effect Output fader in Mixer. Hold button and adjust throttle control to adjust Center fader in Surround Panner window.

Scroll wheel Button 6 (Press scroll wheel) Button 7

Button 8

Hold button and adjust throttle control to adjust multipurpose fader in track list. Hold button and adjust throttle control to adjust assignable effect Input fader in Mixer. Hold button and adjust throttle control to adjust Smoothness slider in Surround Panner window.

Throttle control

Combine with button 7 or 8 to adjust the selected control.

APPENDIX A | 419

Using a Multimedia Controller
Vegas software supports several multimedia controllers that you can use for mouse-free editing and playback. Now you can increase your productivity and still have a free hand for your coffee mug. This topic is intended to show you how the Vegas interface interacts with several multimedia controllers that we’re familiar with and have tested. Other controllers may also work. For specific information about your multimedia controller, please refer to the manufacturer’s documentation.

Contour ShuttlePro default settings
Default setup ShuttlePro .pref files are included with your Vegas installation. You can use these files to configure the Contour ShuttlePro or ShuttlePro v2 for use with Vegas software. After you use the ShuttlePro Control Panel to import the appropriate .pref file from the Vegas application folder, the controls will behave as follows:

Tip: If you have version 2.5 or later of the Shuttle Pro driver, you can use the driver’s Export Settings Info feature to create a graphical

representation of your current settings.

Top Button Row Previous Marker Ctrl+Left Arrow Second Button Row Deselect All Ctrl+Shift+A Shuttle Ring Select Event Start [ Exit Event Edit Numeric Keypad 5 Select Event End ] Preview Cursor Numeric Keypad 0 Previous Grid Division Page Up Next Grid Division Page Down Next Marker Ctrl+Right Arrow

Mark In (ShuttlePro v2 only) Jog Dial Bottom Button Row Play/Pause Enter Play/Stop Spacebar

Turn left or right for variable-speed playback Jog/Edit Left F3 Jog/Edit Right F9 Zoom In Up Arrow Zoom Out Down Arrow

Mark Out (ShuttlePro v2 only)

420 | APPENDIX A

Contour ShuttleXpress default settings
ShuttleXpress .pref files are included with your Vegas installation. You can use these files to configure the Contour ShuttleXpress for use with Vegas software. After you use the ShuttleXpress Control Panel to import the appropriate .pref file from the Vegas application folder, the controls will behave as follows:

Tip: If you have version 2.5 or later of the ShuttleXpress driver, you can use the driver’s Export Settings Info feature to create a graphical
representation of your current settings.
Buttons Shuttle Ring Play/Pause Enter Select Event Start [ Exit Event Edit Numeric Keypad 5 Select Event End ] Preview Cursor Numeric Keypad 0

Turn left or right for variable-speed playback Jog Dial Jog/Edit Left F3 Jog/Edit Right F9

Navigating the timeline with a ShuttlePro or ShuttleXpress
Use shuttle ring and jog dial to navigate the timeline. If you’re using a ShuttlePro, you can also use the buttons in the top and bottom rows to navigate. You can set the speed of the shuttle ring using the JKL / shuttle speed drop-down list on the Editing tab of the Preferences dialog. For more information, see Editing tab on page 376.

Navigating the timeline with a PowerMate or other controller
If you have a multimedia controller such as the Griffin Technology PowerMate, you can map your controller to the F3/F9 jog/edit keys.
Map the single-button function to the Enter key for Play/Pause functionality. When paused, the knob will jog by frame.
When you use the [ or ] keys to enter event edge-trimming mode, the knob will trim the event:
• • • • Turn the knob left or right to trim the selected event edge: Hold Alt while turning the knob to perform a slip trim. Hold Ctrl while turning the knob to change the event's playback rate. Hold Ctrl+Alt while turning the knob to perform an adjacent trim.

During playback, the knob will function as a variable-speed shuttle control. You can set the speed of the shuttle control using the JKL / shuttle speed drop-down list on the Editing tab of the Preferences dialog. For more information, see Editing tab on page 376.

Editing events with a ShuttlePro or ShuttleXpress
You can use the second row of buttons and the jog dial to make the keyboard-based event edge-trimming method even better.

1. If you want downstream events to ripple as you trim, click the Auto Ripple button ( 2. Press the Deselect All button on the ShuttlePro to deselect all events. 3. Select a track and position the edit cursor over the event you want to edit.

) to turn on Auto Ripple mode.

4. Press the Select Event Start or Select Event End buttons and move to the edge you’d like to edit. A red bracket is displayed in the
timeline to indicate which event edge will be trimmed.

5. Edit to your heart’s content:
• • • • Turn the jog dial left or right to trim the selected event edge. Hold Alt while turning the jog dial to perform a slip trim. Hold Ctrl while turning the jog dial to change the event’s playback rate. Hold Ctrl+Alt while turning the jog dial to perform an adjacent trim.
APPENDIX A | 421

422 | APPENDIX A

Appendix B Troubleshooting
Troubleshooting resources
Visit the Sony Creative Software Inc. Web site to access product updates, look for answers in the knowledge base, contact customer support, or participate in an online forum: http://www.sonycreativesoftware.com

Common questions
Why are some of my DirectX plug-ins not working correctly?
Vegas® Pro software is a nondestructive time-based editor. As a result, there are certain types of DirectX® plug-ins that perform poorly in Vegas Pro software. These types of plug-ins are roughly classified as any plug-ins that output a different amount of time than what goes in. This includes all plug-ins such as time compress/expand, gapper/snipper and pitch shift without preserving duration. However, these types of effects plug-ins may perform suitably as bus effects, but only if just one bus is used in the project. Plug-ins that require a lot of pre-buffering (such as Acoustic Mirror™ when using long impulse files) may also perform poorly. Also, make certain that the plug-ins you use in Vegas Pro software are DirectX plug-ins and not DXi plug-ins. DXi plug-ins are not supported in the application and do not perform properly.

Why do I hear gaps in my audio playback?
Check to see if any Vegas Pro software updates have been posted on the Sony Creative Software Inc. Web site: http://www.sonycreativesoftware.com/download Click Updates to access the Updates page. Any updates to the application are posted at this location.
If software updates do not address the playback problem, check these other reasons that your audio playback can gap:
• • • • Playing back too many tracks simultaneously can overload your hard drives. Not enough physical RAM can cause the Windows® operating system to use virtual memory, which is slower. Your CPU may not be able to process a complex mix of plug-ins. Problematic video card settings. For more information, see Trouble-free video: hardware solutions on page 425.

The following are some things you can check and do to make sure your system is optimized to prevent gapping.

RAM usage You could be gapping because virtual memory is being used. Virtual memory is a method used by Microsoft Windows to write information to your hard drive to make room in physical RAM. This process uses a lot of your computer’s resources. Try the following to optimize RAM usage: • • Exit all background applications not in use. Adjust the playback buffering slider on the Audio tab in the Preferences dialog. Adjust this slider as low as possible. However, be aware that setting it too low may cause gaps as well. For more information, see Adjusting the playback buffering slider on page 374. Mute/solo some of the events or tracks in the mix. Add more RAM to your computer.

• •

APPENDIX B | 423

Disk usage You may experience gapping when data is not being read off the hard drive fast enough. Try the following to optimize disk usage: • • • • • Fully defragment your audio hard drives regularly. Split audio usage between different physical hard drives, not just different partitions of the same drive. Run fewer events simultaneously. It is not how many tracks you have in the project, but how many different events are playing simultaneously that matters. Make sure that you trim out any silent sections of events to minimize the wasted disk access. Use hard drives with fast seek times and spindle speeds of 7200 RPM or greater. SCSI drives usually have better prolonged data transfer performance than IDE drives. Under Microsoft Windows XP and Windows 2000 operating systems, Vegas Pro software can take advantage of SCSI asynchronous reads, which can be a big performance advantage.

CPU usage If you have checked your RAM usage and disk usage and you are still experiencing gapping, you can try to adjust how Vegas Pro software utilizes the central processing unit (CPU). Try the following to optimize CPU usage: • • • Zoom out (Ctrl+Down Arrow) fully on the timeline while playing so that the screen does not have to scroll to keep the cursor on it. Run fewer DirectX or VST plug-ins. Make sure that the peak files are built for all of the audio data in the project before playing. Peaks are only built for those files on screen. If all peak files are not build, you can encounter gapping when the screen scrolls as it plays and the application must build peaks on the fly. Press F5 before playback to rebuild peaks for all of the events, on or off of the screen.

Why do mono events increase 6 dB when panning a track hard?
In Vegas Pro software, all audio events are treated as stereo. A mono audio event is interpreted as a stereo event with the same data in both channels. If you’re using the add channels panning mode, this duplication doubles the amplitude and results in a 6 dB increase in volume when you pan a track hard left or right. Try using the constant power panning mode instead. Right-click the multipurpose slider and choose Constant Power from the shortcut menu. For more information, see Adjusting stereo panning on page 162.

Why do buffer underruns occur during a test or real write to a CD?
Buffer underruns occur when data transferred to the CD-R is too slow. This may be caused by a variety of factors relating to optimizing your system. Try writing the CD at a slower speed or prerendering the audio. For more information, see Burning a disc (disc-at-once) on page 387.

Why can’t I work with footage captured using an MJPEG card?
Vegas Pro software requires that you have the MJPEG codec (for the MJPEG card used to capture the video) installed locally on your workstation. Check to make sure that the appropriate MJPEG codec is installed on your PC.

424 | APPENDIX B

Trouble-free video: software solutions

There are literally dozens of possible configurations of hardware for editing video on a PC. While it is impossible to go into detail for each and every system, the following explains some of the concepts behind the various settings in Vegas Pro software. Editing and playing back full-frame, 30 fps video is one of the most demanding activities for any computer. The hardware you use is an important part of the equation, but there are a number of things you can do to optimize your PC for video. The following list is arranged from the most to the least important. • Close all other applications. When capturing video or playing it back, it is critical that no other applications interrupt this process. Close any applications that are not vital. This includes screen savers, task schedulers, and even virus-detection software. You can ensure that you have closed all unnecessary applications by pressing Ctrl+Alt+Delete, selecting the individual applications, and clicking the End Task button to close them. Certain processes are required and should not (cannot) be terminated (for example, Explorer). Check your virtual memory. Windows operating system uses virtual memory when RAM is low. This is a method for Windows to use the hard disk to create more memory and is sometimes called a paging file. If Windows tries to write to the paging file during playback or capture, this can interrupt the video software and cause problems. Make sure that a different disk drive is being used for virtual memory other than the one from which you are capturing or playing your video. If you have enough space, use C:\ for virtual memory and use a physically distinct drive for capturing and playing back video. Make sure you have the latest drivers for your video card and capture card and the latest updates and patches to all relevant software. One caveat to this is that you shouldn’t try to fix a program that is working correctly. Many times patches and updates fix relatively minor bugs that only affect a small number of users. If you are not experiencing any problems, it is probably best not to upgrade unless the manufacturer recommends it. Uncompressed video may be high quality, but it results in very large files with very high data rates. Selecting a more appropriate compression scheme (codec) will definitely improve the situation. If you are creating movies that need maximum quality, however, this may not be an option.

•

•

•

Trouble-free video: hardware solutions
Even with a fast computer, video is still a hardware challenge. On the other hand, it is definitely possible to properly configure a 400 MHz Pentium to work with large video files. There are three parts of your PC that are important and the speed of your CPU is not necessarily the most critical. The following list is arranged from the most to the least important.

Video subsystem
Many graphics cards (video boards, primary display cards) on a PC cannot handle full-screen, full-frame rate video. While this leads to jerky, hesitating playback, it may not actually be a serious problem. A common video configuration is to have a separate video capture card and a primary display card. In this case, the playback using the primary display on the computer may be jerky, but when you finally output the video to tape and view it on your television monitor there may not be any problems. If you are not creating movies to go back to the television or VCR and you are experiencing stuttering playback, you should consider using a smaller frame size (320X240) and frame rate (15 fps).

Hard disk
The second most common problem is slow hard disks. Until recently, fast, expensive SCSI AV hard disks were required to properly capture and play back video on a PC. Slow hard disk problems also manifest themselves with jerky video playback, although the stutters are less frequent and of longer duration than if the video subsystem is the problem. Slower hard disks (for example, 5400 RPM IDE) can cause an occasional dropped frame. DV enthusiasts have fewer problems due to the low data rate (~3.6 MB/sec.) of that format. The following section outlines some recommendations arranged in order of importance. • Buy a dedicated video drive. This is easily the most important piece of hardware advice. A dedicated, physically distinct hard drive is almost a requirement for any type of serious video work. This means that you have one primary C:\ drive (or wherever your operating system is installed) and a separate drive for video. You can use your dedicated drive for other purposes, especially storage, but it is a good idea not to run any applications from it and to keep Windows virtual memory off of it. It is very important that the drive only be used for video when playing and capturing, and that other programs (including Windows) are not trying to access it. Since video files are so large, a dedicated drive is not an unreasonable item even if digital video is just a hobby. You can never have too much hard disk space.

APPENDIX B | 425

•

Buy a faster hard drive. Older 5400 RPM hard drives may not be fast enough for capturing and playing back video for any length of time, while newer 7200 RPM drives are almost always adequate. Be careful: manufacturers are usually talking about burst transfer rates when they talk about the speed of a drive. A drive that can transfer data at 80MB/sec is worthless for video if it cannot sustain a much slower rate of 8MB/sec for thirty minutes (or more) without dropping a frame. Look to other computer video enthusiasts for additional advice. Again, the RPMs are a very good indicator, because 7200 RPM IDE drives are usually newer (c.1998) and older 7200 RPM drives are usually SCSI, which are already higher quality drives to begin with. IDE vs. SCSI. While this was a big issue just a few years ago, it has fortunately faded in importance. Hard drives can be hooked up to your computer in a number of ways, with the two largest divisions being IDE and SCSI. This interface simply determines how much data can be transferred to and from the drive in a second. The interface almost always far outstrips the performance of even the best hard disks and even the slower interfaces exceed the transfer requirements of video data. SCSI hard disks are usually more expensive and require a special controller, and while SCSI-2 promises 80MB/sec transfer rates, this is overkill for most people. Newer IDE hard disks with designations of EIDE, DMA, Ultra-DMA, ATA-33, and ATA-66 (and newer drives that came out after this writing) can all handle most sustained video requirements.

•

CPU and RAM (memory)
While the CPU and the RAM are probably the most important overall aspects of a PC’s speed and performance, these factors are only third on the list for video. For the most part, these critical components do not affect the capture or playback of video. This does not mean that a faster CPU or more RAM will not help, because bigger and faster is always better: CPU and RAM definitely impact rendering speeds. Creating a final AVI file, especially in a movie project that uses a lot of effects and transitions, can take a long time. A thirtyminute movie could easily take six or more hours to render, depending on the format and effects used. CPU speed is also important for more advanced compression codecs, such as MPEG and newer streaming formats.

Audio proxy files (.sfap0)
Working with certain types of media files with particular audio compression schemes can be inefficient and slow. To compensate for this, Vegas Pro software creates audio proxy files for formats that are known to dramatically impact performance. There are two cases where this occurs. Multimedia video files often contain both video and audio information. In certain formats, these two streams can be packed together in such a way as to make editing slow and inefficient. Vegas Pro software therefore takes the audio stream from these files (for example, type-1 DV, QuickTime™) and saves it to a separate and more manageable audio proxy file. QuickTime audio-only files can also be compressed in a way that makes editing slower. Vegas Pro software also uses audio proxy files in this situation as well. While audio proxy files may be large (because they are uncompressed), the performance increase is significant. The file is saved as a proprietary .sfap0 file, with the same name as the original media file and has the same characteristics as the original audio stream. So movie.avi yields a movie.avi.sfap0 audio proxy. Additional audio streams in the same file are saved as movie.avi.sfap1, movie.avi.sfap2, etc. This is a one-time process that greatly speeds up editing. The conversion happens automatically and does not result in a loss of quality or synchronization. The original source file remains unchanged (the entire process is nondestructive). Audio proxy files can be safely deleted at any time since the application recreates these files as needed.

Note: Vegas Pro software saves audio proxy files to the same folder as the source media. If the source media folder is
read-only (for example, CD-ROM), the files are saved to a temporary directory.


426 | APPENDIX B

Timecode

Timecode is a method of labelling frames with a unique and searchable identifier. It is primarily important for synchronizing video (in frames per second) with time in the real world and, in the case of Vegas Pro software, with other media in a project. Changing the timecode used to measure a video file does not alter the contents of the file. For example, no frames are ever dropped or removed when using SMPTE 29.97 drop frame timecode. Instead, specific frame numbers are periodically dropped to compensate for differences between timecode and time in the real world. Confusion between using drop versus non-drop timecode can cause synchronization problems between video and audio. For very short periods of time, the error would be unnoticeable. After about a half an hour, you might notice that mouths and words do not quite match in shots of people speaking. Longer stretches of time show larger discrepancies in synchronization. Changing the timecode displayed on an event is not equivalent to converting a video to another format. You cannot convert NTSC video at 29.97 fps to PAL video at 25 fps by simply changing the timecode. To convert NTSC video to PAL video in Vegas Pro software, you need to re-render the video in the new format. In this situation, the conversion process necessarily results in some frames of video actually being removed from the original sequence.

SMPTE timecode types
The following are descriptions of each of the Society of Motion Picture and Television Engineers (SMPTE) timecode types.

SMPTE 25 EBU (25 fps, Video) SMPTE 25 EBU timecode runs at 25 fps, and matches the frame rate used by European Broadcasting Union (EBU) television systems. Use SMPTE 25 EBU format for PAL DV/D1 projects.

SMPTE Drop Frame (29.97 fps, Video) SMPTE Drop Frame timecode runs at 29.97 fps, and matches the frame rate used by NTSC television systems (North America, Japan). Use SMPTE Drop Frame format for NTSC DV/D1 projects. Both SMPTE Drop and SMPTE Non-Drop run at 29.97 fps. In both formats, the actual frames are not discarded, but they are numbered differently. SMPTE Drop removes certain frame numbers from the counting system to keep the SMPTE clock from drifting from real time. The time is adjusted forward by two frames on every minute boundary except 0, 10, 20, 30, 40, and 50. For example, when SMPTE Drop time increments from 00:00:59.29, the next value is 00:01:00.02.

SMPTE Non-Drop Frame (29.97 fps, Video) SMPTE Non-Drop Frame timecode runs at a rate of 29.97 fps. This leads to a discrepancy between real time and the SMPTE time, because there is no compensation in the counting system as there is in SMPTE Drop Frame. Use SMPTE Non-Drop format for NTSC D1 projects that are recorded on master tapes striped with Non-Drop timecode.

SMPTE 30 (30 fps, Audio) SMPTE 30 is an audio-only format and runs at exactly 30 fps. SMPTE 30 is commonly used when synchronizing audio applications such as multitrack recorders or MIDI sequencers. This format should not be used when working with video.

SMPTE Film Sync (24 fps) The SMPTE Film Sync time format runs at 24 fps (frames per second). This frame rate matches the standard crystal-sync 16/33 mm film rate of 24 fps.

Timecode in Vegas Pro software
Video timecode crops up fairly frequently in Vegas Pro software. Being a multimedia production tool, time in the application can be measured in real-world time (hours, minutes, seconds), in video timecode (involving frames of video), or in musical time (measures and beats).

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Ruler format and timecode The ruler in Vegas Pro software can be set to measure time in any way that is convenient. This setting does not change how the final file is rendered, but controls the grid lines and how snapping behaves. Right-click the ruler and choose a time format from the shortcut list. For more information, see Changing the ruler format on page 358.

Preferences dialog timecode settings From the Options menu, choose Preferences and click the Video tab to adjust the Show source frame numbers on event thumbnails as drop-down list. These settings take precedence over those found in the source media Properties dialog (see the next topic) and are displayed on events inserted into the timeline. None means that no numbers are displayed on events, Frame Numbers marks frames in the media file starting with 0, Time displays the time in seconds, and Timecode allows the source media’s timecode to be detected or selected.

Source media timecode format Right-click an event, choose Properties, and click the Media tab to view these properties. By default, Use timecode in file is selected.

Note: You can override these settings by choosing different settings on the Video tab of the Preferences dialog. Select Timecode from the Source frame numbering list to allow event-level specification.

Render media file format The timecode of a final rendered media file is determined by the specified format. The frame rate of the project ultimately determines the timecode and is often constrained by the type of media file being rendered or the codec being used for compression. For example, NTSC DV is typically limited to a frame rate of 29.97 fps and uses SMPTE drop frame timecode.

Time formats in Vegas Pro software A variety of time formats are provided in the application. For more information, see Changing the ruler format on page 358.

Troubleshooting DV hardware issues
Vegas Pro software is designed to integrate seamlessly with OHCI compliant IEEE-1394 DV video capture hardware and DV camcorders. While most people never have any problems, the vast number of hardware configuration possibilities makes this a potentially complex issue. There are a number of resources at the Sony Creative Software Inc. Web site that may be able to assist you. More detailed information is available at: http://www.sonycreativesoftware.com/Support/Productinfo/OHCI.asp You can also visit the Vegas Pro Updates Web page to access a troubleshooting document for OHCI-compliant devices. From the Sony Creative Software Inc. home page, go to the Download page and click Updates. Click the Vegas Pro Update link to access the update page.

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Appendix C Glossary
A-Law A companded compression algorithm for voice signals defined by the Geneva Recommendations (G.711). The G.711 recommendation defines A-Law as a method of encoding 16-bit PCM signals into a nonlinear 8-bit format. The algorithm is commonly used in United States telecommunications. A-Law is very similar to μ-Law, however, each uses a slightly different coder and decoder.

Adaptive Delta Pulse Code Modulation (ADPCM) A method of compressing audio data. Although the theory for compression using ADPCM is standard, there are many different algorithms employed. For example, the ADPCM algorithm from Microsoft® is not compatible with the International Multimedia Association’s (IMA) approved ADPCM.

Aliasing A type of distortion that occurs when digitally recording high frequencies with a low sample rate. For example, in a motion picture, when a car’s wheels appear to slowly spin backward while the car is quickly moving forward, you are seeing the effects of aliasing. Similarly, when you try to record a frequency greater than one-half of the sampling rate (the Nyquist Frequency), instead of hearing a high pitch, you may hear alias frequencies in the low end of the spectrum. To prevent aliasing, an anti-aliasing filter is used to remove high-frequencies before recording. Once the sound has been recorded, aliasing distortion is impossible to remove without also removing other frequencies from the sound. This same anti-aliasing filter must be applied when resampling to a lower sample rate.

Amplitude Modulation (AM) A process whereby the amplitude (loudness) of a sound is varied over time. When varied slowly, a tremolo effect occurs. If the frequency of modulation is high, many side frequencies are created which can strongly alter the timbre of a sound.

Analog When discussing audio, this term refers to a method of reproducing a sound wave with voltage fluctuations that are analogous to the pressure fluctuations of the sound wave. This is different from digital recording in that these fluctuations are infinitely varying rather than discrete changes at sample time. (See Quantization (Audio) on page 436.)

ASIO ASIO (Audio Stream In/Out)™ is a low-latency driver model developed by Steinberg Media Technologies AG.

Attack The attack of a sound is the initial portion of the sound. Percussive sounds (drums, piano, guitar plucks) are said to have a fast attack. This means that the sound reaches its maximum amplitude in a very short time. Sounds that slowly swell up in volume (soft strings and wind sounds) are said to have a slow attack.

Attenuation A decrease in the level of an audio signal.

Audio Compression Manager (ACM) The Audio Compression Manager from Microsoft® is a standard interface for audio compression and signal processing for Windows. The ACM can be used by Microsoft® Windows® programs to compress and decompress WAV files.

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AVI A file format of digital video. Vegas Pro software allows you to open, edit and create new AVI files.

Bandwidth Refers to the EQ plug-in that is built in. Each frequency band has a width associated with it that determines the range of frequencies that are affected by the EQ. An EQ band with a wide bandwidth affects a wider range of frequencies than one with a narrow bandwidth. Bandwidth can also refers to the amount of data that can be transferred via a connection, such as a network or modem. For example, streaming media must be compressed due to the limited bandwidth of most Internet connections.

Beats Per Measure In music theory, the time signature of a piece of music contains two pieces of information: the number of beats in each measure of music, and which note value gets one beat. This notion is used to determine the number of ticks to put on the ruler above the timeline, and to determine the spacing when the ruler displays in measures and beats format.

Beats Per Minute (BPM) In music theory, the tempo of a piece of music can be written as a number of beats in one minute. If the tempo is 60 BPM, a single beat occurs once every second. Lower BPM’s equal slower tempo, and vice versa.

Bit A bit is the most elementary unit in digital systems. Its value can only be 1 or 0, corresponding to a voltage in an electronic circuit. Bits are used to represent values in the binary numbering system. As an example, the 8-bit binary number 10011010 represents the unsigned value of 154 in the decimal system. In digital sampling (specifically the PCM format), a binary number is used to store individual sound levels, called samples.

Bit Depth The number of bits used to represent a single sample. Vegas Pro software uses either 8, 16, or 24-bit samples. Higher values increase the quality of the playback and any recordings that you make. While 8-bit samples take up less memory (and hard disk space), they are inherently noisier than 16 or 24-bit samples.

Bus A virtual pathway where signals from tracks and effects are mixed. A bus’s output can be a physical audio device in the computer from which the signal is heard.

Byte Refers to a set of 8 bits. An 8-bit sample requires one byte of memory to store, while a 16-bit sample takes two bytes of memory to store.

Clipboard The Clipboard is where data that you have cut or copied in Vegas Pro software is stored. You can then paste the data back into Vegas Pro software at a different location, or paste it into other applications. Some data, such as audio, cannot be pasted into applications such as Microsoft Word or Notepad, but the text data from the Edit Details window can be pasted. This allows you to then print or format the data. The Video Preview window also lets you capture still frames to the Clipboard for use in any image editing program. For more information, see Understanding the Video Preview window on page 317.

Clipping Clipping is what occurs when the amplitude of a sound is above the maximum allowed recording level. In digital systems, clipping is seen as a clamping of the data to a maximum value, such as 32,767 in 16-bit data. Clipping causes sound to distort.

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Codec An acronym for COmpressor/DECompressor. A codec is an computer algorithm that is used to compress video and audio data, shrinking file sizes and data rates.

Compositing Compositing is the term used to describe the way separate video sources are mixed together. Overlay titles are composited onto a background video sequence.

Crossfade Mixing two pieces of overlapping audio or video by fading one out as the other fades in.

Cutoff frequency The cutoff frequency of a filter is the frequency at which the filter changes its response. For example, in a low-pass filter, frequencies greater than the cutoff frequency are attenuated while frequencies less than the cutoff frequency are not affected.

DC Offset DC Offset occurs when hardware, such as a sound card, adds DC current to a recorded audio signal. This current causes the audio signal to alternate around a point above or below the normal -infinity dB (center) line in the sound file. To see if you have a DC offset present, you can zoom all the way into a sound file and see if it appears to be floating over the center line.

Decibel (dB) A unit used to represent a ratio between two numbers using a logarithmic scale. For example, when comparing the numbers 14 and 7, you could say 14 is two times greater than the number 7; or you could say 14 is 6 dB greater than the number 7. Where did we pull that 6 dB from? Engineers use the equation dB = 20 x log (V1/V2) when comparing two instantaneous values. Decibels are commonly used when dealing with sound because the ear perceives loudness in a logarithmic scale. In Vegas Pro software, most measurements are given in decibels. For example, if you want to double the amplitude of a sound, you apply a 6 dB gain. A sample value of 32,767 (maximum positive sample value for 16-bit sound) can be referred to as having a value of 0 dB. Likewise, a sample value of 16,384 can be referred to having a value of -6 dB.

Device Driver A program that enables Microsoft Windows to connect different hardware and software. For example, a sound card device driver is used by Microsoft Windows software to control sound card recording and playback.

Digital Signal Processing (DSP) A general term describing anything that alters digital data. Signal processors have existed for a very long time (tone controls, distortion boxes, wah-wah pedals) in the analog (electrical) domain. Digital Signal Processors alter the data after it has been digitized by using a combination of programming and mathematical techniques. DSP techniques are used to perform many effects such as equalization and reverb simulation. Since most DSP is performed with simple arithmetic operations (additions and multiplications), both your computer’s processor and specialized DSP chips can be used to perform any DSP operation. The difference is that DSP chips are optimized specifically for mathematical functions while your computer’s microprocessor is not. This results in a difference in processing speed.

DirectX Application Programming Interface A set of interfaces designed by Microsoft for multimedia development. A DirectX® plug-in, such as the Noise Reduction™ DirectX plugin, uses the DirectX Media Streaming Services (DMSS) API. Because DMSS is a standard API, a DirectX plug-in can be used in any application that supports DMSS.

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Dithering The practice of adding noise to a signal to mask quantization noise. See also Noise-shaping on page 434.

Drag and Drop A quick way to perform certain operations using the mouse. To drag and drop, you click and hold a highlighted selection, drag it (hold the left-mouse button down and move the mouse) and drop it (let go of the mouse button) at another position on the screen.

Dynamic Range The difference between the maximum and minimum signal levels. It can refer to a musical performance (high volume vs. low volume signals) or to electrical equipment (peak level before distortion vs. noise floor). For example, orchestral music has a wide dynamic range, while thrash metal has a very small (always loud) range.

Emphasis A rudimentary noise reduction process that involves a boost in the high frequencies during the recording of the CD and a complimentary cut in the same frequencies during the playback of the CD. The result reduces high frequency noise without disrupting the natural frequency response of the source material. If the emphasis flag is set for a track, any CD player that has a de-emphasis circuit will impart the high frequency cut on the track. Be aware that Vegas Pro software cannot impart the pre-emphasis boost on a track; it can only set the emphasis flag.

Endian (Little and Big) Little and Big Endian describe the ordering of multi-byte data that is used by a computer’s microprocessor. Little Endian specifies that data is stored in a low to high-byte format; this ordering is used by the Intel® microprocessors. Big Endian specifies that data is stored in a high to low-byte format; this ordering is used by the Motorola® microprocessors.

Envelopes (Audio and Video) Envelopes, as used by Vegas Pro software, are a way of automating the change of a certain parameter over time. In the case of volume, you can create a fade out (which requires a change over time) by adding an envelope and creating an extra point to the line that indicates where the fade starts. Next, you pull the end point of the envelope down to -inf. For more information, see Working with track envelopes on page 176.

Equalization (EQ) The process by which certain frequency bands are raised or lowered in level. EQ has various uses. The most common use in Vegas Pro software is to simply adjust the subjective timbrel qualities of a sound.

Event Media files that have been dragged onto the timeline in Vegas Pro software are referred to as events. An event is actually a window into a media file and is a reference, or pointer, to the file. It can display all or part of a media file and can be edited without altering the source media (nondestructive).

Field Order Video that is displayed on a television is interlaced. This means that every frame of video is actually composed of two fields, each of which is made up of half of the lines that make the final frame. These two fields are woven together in alternate lines, but which of the two fields is displayed first (the field order) can be important. You can set the field order for video in the Project Properties dialog or, when rendering a project, in the Custom Template dialog.

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File Format A file format specifies the way in which data is stored on your floppy disks or hard drive. In Windows for example, the most common audio file format is the Microsoft WAV format. However, Vegas Pro software can read and write to many other file formats so you can maintain compatibility with other software and hardware configurations.

Frame Rate (Audio) Audio uses frame rates only for the purposes of synching to video or other audio.

Frame Rate (Video) The speed at which individual images in the video are displayed on the screen. A faster frame rate results in smoother motion in the video. However, more times than not, frame rate is associated with SMPTE standard frame rates for video: 29.97 for NTSC (used in US, North and Central America, parts of South America, and Japan), 25 for PAL (used in many parts of the world, including Europe and much of Asia), or 24 for film.

Frequency Spectrum The frequency spectrum of a signal refers to its range of frequencies. In audio, the frequency range is basically 20 Hz to 20,000 Hz. The frequency spectrum sometimes refers to the distribution of these frequencies. For example, bass-heavy sounds have a large frequency content in the low end (20 Hz - 200 Hz) of the spectrum.

Hertz (Hz) The unit of measurement for frequency or cycles per second (CPS).

Insertion Point The insertion point (also referred to as the cursor position) is analogous to the cursor in a word processor. It is where pasted data is placed or other data is inserted, depending on the operation. The insertion point appears as a vertical flashing black line and can be moved by clicking the left mouse button anywhere in the timeline.

Inverse telecine Telecine is the process of converting 24 fps (cinema) source to 30 fps video (television) by adding pulldown fields. Inverse telecine, then, is the process of converting 30 fps (television) video to 24 fps (cinema) by removing pulldown.

Markers Saved locations in the sound file. Markers can be displayed in the Trimmer window for sound files that contain them, but more often, markers and regions are used at the project level to mark locations or sections in the project.

Media Control Interface (MCI) A standard way for Microsoft Windows programs t o communicate with multimedia devices like sound cards and CD players. If a device has a MCI device driver, it can easily be controlled by most multimedia Microsoft Windows software.

Media File A media file, or multimedia file, is any image, audio or video file on a computer. In Vegas Pro software, you can browse for these files in the Explorer window. You can drag media files to the timeline or insert them into the Project Media window. Media files that have been dragged to the timeline are referred to as events.

MIDI Clock A MIDI device specific timing reference. It is not absolute time like MIDI timecode (MTC); instead, it is a tempo-dependent number of ticks per quarter note. MIDI clock is convenient for synchronizing devices that need to do tempo changes mid-song.
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MIDI Port A MIDI Port is the physical MIDI connection on a piece of MIDI gear. This port can be a MIDI in, out or through. Your computer must have a MIDI port to output MIDI timecode to an external device or to receive MIDI timecode from an external device.

MIDI Timecode (MTC) MTC is an addendum to the MIDI 1.0 Specification and provides a way to specify absolute time for synchronizing MIDI-capable applications. Basically, it is a MIDI representation of SMPTE timecode.

Mix The process of combining multiple audio events and effects into a final output. The analogous process of combining video events together is called compositing.

Musical Instrument Digital Interface (MIDI) A standard language of control messages that provides for communication between any MIDI compliant devices. Anything from synthesizers to lights to stage equipment can be controlled via MIDI. Vegas Pro software utilizes MIDI for synchronization purposes.

Noise-shaping Noise-shaping is a technique that can minimize the audibility of quantization noise by shifting its frequency spectrum. For example, in 44,100 Hz audio, quantization noise is shifted towards the Nyquist Frequency of 22,050 Hz. See also Dithering on page 432.

Nondestructive Editing A type of editing used by Vegas Pro software that involves a pointer-based system of keeping track of edits. When you delete a section of audio in a nondestructive system, the audio on disk is not actually deleted. Instead, a set of pointers is established to tell the program to play the active sections during playback.

Nonlinear Editing (NLE) A method of editing video non-sequentially or in random order. Editing video in Vegas Pro software is nonlinear as opposed to editing video tape, which is linear.

Normalize Refers to raising the volume so that the highest level sample in the file reaches a user-defined level. Use this function to make sure you are fully utilizing the dynamic range available to you.

Nyquist Frequency The Nyquist Frequency (or Nyquist Rate) is one-half of the sample rate and represents the highest frequency that can be recorded using the sample rate without aliasing. For example, the Nyquist Frequency of 44,100 Hz is 22,050 Hz. Any frequencies higher than 22,050 Hz produce aliasing distortion in the sample if an anti-aliasing filter is not used while recording.

OPT Plug-In A plug-in that uses Open Plug-in Technology (OPT) standard from Yamaha™. OPT plug-ins provide tools for working with MIDI such as edit views, effect processors and filters, arpeggiators, and real-time panel automation.

Pan To place a mono or stereo sound source perceptually between two or more speakers.

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Peak File (.sfk) Vegas Pro software displays the waveform of audio files graphically on a computer monitor. This visual information must be generated by Vegas Pro software when the audio file is opened and can take a few seconds. Vegas Pro software then saves this information as a peak file (.sfk). This file stores the information for displaying waveform information so that opening a file is almost instantaneous. The peak file is stored in the directory in which the file resides and has an .sfk extension. If the peak file is not in the same directory as the file, or is deleted, Vegas Pro software regenerates it the next time you open the file.

Pixel Aspect Ratio Computers display pixels as squares: 1.0. Televisions display individual pixels as rectangles: 0.9091 (NTSC DV, D1), 1.0926 (PAL DV, D1), or other rectangular variations. Using the wrong pixel aspect ratio can result in distortions or stretching of the video. You can set the pixel aspect ratio in the Project Properties dialog or, when rendering, in the Custom Template dialog. You should choose the aspect ratio based on the final movie’s destination. Consult your hardware manual if you are in doubt about the appropriate ratio. The pixel aspect ratio is unrelated to the frame’s aspect ratio.

Plug-In An effect that can be added to the product to enhance the feature set. Vegas Pro software supports DirectX compatible plug-ins. The built-in EQ, Compression and Dithering effects are also considered plug-ins because they work in other DirectX-compatible applications.

Plug-In Chain Plug-ins can be strung together into a chain so that the output of one effect feeds into the input of another. This allows for complex effects that couldn’t otherwise be created.

Pre-roll/Post-roll Pre-roll is the amount of time elapsed before an event occurs. Post-roll is the amount of time after the event. The time selection defines the pre- and post-roll when recording into a selected event.

Preset A snapshot of the current settings in a plug-in. Presets are created and named so that you can easily get back to a sound or look that you have previously created. A preset calls up a bulk setting of a function in Vegas Pro software. If you like the way you tweaked that EQ, but do not want to have to spend the time getting it back for later use, save it as a preset. Presets appear in the top of plug-in windows in Vegas Pro software.

Pulldown In telecine conversion, fields are added to convert 24 fps film to 30 fps video. In 2-3 pulldown, for example, the first frame is scanned into two fields, the second frame is scanned into three fields, and so on for the duration of the film. 2-3 pulldown is the standard for NTSC broadcasts of 24p material. Use 2-3 pulldown when printing to tape, but not when you intend to use the rendered video in Vegas Pro software. Removing 2-3 pulldown is inefficient because the pulldown fields that are created for frame 3 span two frames:

24 fps film (top) and resulting NTSC video with 2-3 pulldown fields (bottom)

Use 2-3-3-2 pulldown when you plan to use your rendered video in Vegas Pro software as source media. When removing 2-3-3-2 pulldown, Vegas Pro software simply discards frame three and merges the pulldown fields in the remaining frames:

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24 fps film (top) and resulting NTSC video with 2-3-2-2 pulldown fields (bottom)

Pulse Code Modulation (PCM) PCM is the most common direct binary representation of a level of an uncompressed audio signal. This method of coding yields the highest fidelity possible when using digital storage.

Punch-In Punching-in during recording means automatically starting and stopping recording at user-specified times. In Vegas Pro software, shorter events can be punched into longer ones.

Quadraphonic A mixing implementation that allows for four discrete audio channels. These are usually routed to two front speakers and two back speakers to create immersive audio mixes.

Quantization (Audio) The process by which measurements are rounded to discrete values. Specifically with respect to audio, quantization is a function of the analog-to-digital conversion process. The continuous variation of the voltages of a analog audio signal are quantized to discrete amplitude values represented by digital, binary numbers. The number of bits available to describe these values determines the resolution or accuracy of quantization. For example, if you have 8-bit analog-to-digital converters, the varying analog voltage must be quantized to 1 of 256 discrete values; a 16-bit converter has 65,536 values. Quantization is to level as sampling rate is to time.

Quantization Noise A result of describing an analog signal in discrete digital terms (see Quantization). This noise is most easily heard in low resolution digital sounds that have low bit depths and is similar to a hiss while the audio is playing. It becomes more apparent when the signal is at low levels, such as when doing a fade out. See also Dithering on page 432.

Quantizing (MIDI) The correction of rhythms to align with selected note lengths or beats in a MIDI sequence.

Quantizing (Video) Limiting all editing to frame boundaries. For more information, see Quantizing to frames on page 129.

Red Book specification The Red Book defines the specifications of every audio compact disc in every music store throughout the world. Red Book specifications define not only the information within the disc (digital audio recorded at 44.1 kHz), but also the disc size itself and the way in which the audio is arranged.

Region A subsection of a sound file denoted by a start and end point. You can define any number of regions in a sound file.

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Rendering The process by which Vegas Pro software saves the project to a specific file format like AVI or WMA.

Resample The act of recalculating samples in a sound file at a different rate than the file was originally recorded. If an audio file is resampled at a lower rate, Vegas Pro software decreases sample points. As a result, the file size and the frequency range are reduced. When resampling to a higher sample rate, Vegas Pro software interpolates extra sample points in the sound file. This increases the size of the sound file but does not increase the quality. When down-sampling, one must be aware of aliasing (see Aliasing). Vegas Pro software automatically resamples all audio to the project’s sample rate.

Ripple; Ripple Editing A type of editing where events are moved out of the way to make room for newly inserted events as opposed to simply being overwritten. When a one minute event is ripple inserted into a project, the duration of a project lengthens by one minute. If ripple editing is turned off, the same operation would not affect the overall duration of the project.

Roll Originally, a conventional studio typically had two source decks that were used to play back video to a final destination or output deck. These two source decks were commonly referred to as the A and B rolls. In Vegas Pro software, a video track can be configured to display an A and a B roll, which appear as sub-tracks. The concept is extended further in Vegas Pro software to include a transition roll between the A and B rolls. For more information, see Understanding track layers on page 298.

Ruler The ruler is the area above the tracks that shows the horizontal axis units.

Sample The word sample is used in many different (and often confusing) ways when talking about digital sound. Here are some of the different meanings: • • A discrete point in time which a sound signal is divided into when digitizing. For example, an audio CD-ROM contains 44,100 samples per second. Each sample is really only a number that contains the amplitude value of a waveform measured over time. A sound that has been recorded in a digital format; used by musicians who make short recordings of musical instruments to be used for composition and performance of music or sound effects. These recordings are called samples. In this manual, we try to use sound file instead of sample whenever referring to a digital recording. The act of recording sound digitally (that is, to sample an instrument) means to digitize and store it.

•

Sample Rate The sample rate (also referred to as the sampling rate or sampling frequency) is the number of samples per second used to store a sound. High sample rates, such as 44,100 Hz provide higher fidelity than lower sample rates, such as 11,025 Hz. However, more storage space is required when using higher sample rates. Sampling rate is to time as quantization is to level.

Sample Size See Bit Depth on page 430.

Sample Value The sample value (also referred to as sample amplitude) is the number stored by a single sample. In 16-bit audio, these values range from -32768 to 32767. In 8-bit audio, they range from -128 to 127. The maximum allowed sample value is often referred to as 100% or 0 dB.

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.sfap0 Sony Creative Software Inc. audio proxy file. For more information, see Audio proxy files (.sfap0) on page 426.

.sfk See Peak File (.sfk) on page 435.

Shortcut Menu A context-sensitive menu that appears when you right-click certain areas of the screen. The functions available in the shortcut menu depend on the object being clicked on as well as the state of the program. As with any menu, you can select an item from the shortcut menu to perform an operation. Shortcut menus are used frequently in Vegas Pro software for quick access to many commands. An example of a shortcut menu can be found by right-clicking any event along the timeline.

Signal-to-Noise Ratio The signal-to-noise ratio (SNR) is a measurement of the difference between a recorded signal and noise levels. A high SNR is always the goal. The maximum signal-to-noise ratio of digital audio is determined by the number of bits per sample. In 16-bit audio, the signal to noise ratio is 96 dB, while in 8-bit audio, the ratio is 48 dB. However, in practice, this SNR is never achieved, especially when using low-end electronics.

Small Computer Systems Interface (SCSI) A standard interface protocol for connecting devices to your computer. The SCSI bus can accept up to seven devices at a time including CD-ROM drives, hard drives and samplers.

SMPTE SMPTE is the acronym for the Society of Motion Picture and Television Engineers (SMPTE). SMPTE timecode is used to synchronize time between devices. The timecode is calculated in Hours:Minutes:Seconds:Frames, where Frames are fractions of a second based on the frame rate. Typical frame rates for SMPTE timecode can be 24, 25, 29.97 or 30 frames per second, depending on your local standards.

SMPTE Drop Frame Timecode A method of measuring time in video. Drop frame involves skipping two frame numbers (no frames are actually dropped) every ten minutes to compensate for the difference between NTSC 29.97 fps video and 30 frame counts per second.

Telecine The process of creating 30 fps video (television) from 24 fps film (cinema). See also Inverse telecine on page 433 and Pulldown on page 435.

Tempo Tempo is the rhythmic rate of a musical composition, usually specified in beats per minute (BPM).

Time Format The format in which Vegas Pro software displays the ruler and selection times. These include: time, seconds, frames and all standard SMPTE frame rates.

Time Signature See Beats Per Measure on page 430.

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Timecode For more information, see Timecode on page 427.

Timeline The timeline, or track view, is the space where events appear on tracks.

Track A discrete timeline for audio or video data. Events are placed on tracks and determine when sound or images start and stop. Multiple audio tracks are mixed together to give you a composite sound that you hear. Multiple video tracks are composited on top of each other to create the final video output.

Track List The track list appears at the left side of the Vegas Pro workspace and contains the master controls for each track. From here you can adjust track volume or transparency, add track effects, mute or solo tracks, and reorder tracks.

μ-Law μ-Law (mu-Law) is a companded compression algorithm for voice signals defined by the Geneva Recommendations (G.711). The G.711 recommendation defines μ-Law as a method of encoding 16-bit PCM signals into a nonlinear 8-bit format. The algorithm is commonly used in European and Asian telecommunications. μ-Law is very similar to A-Law, however, each uses a slightly different coder and decoder.

Undo Buffer This is the temporary file created before you do any processing to a project. This undo buffer allows the ability to revert to previous versions of the project if you decide you don’t like changes you’ve made to the project. This undo buffer is erased when the file is closed or when you choose Clear Edit History from the Edit menu.

Undo/Redo These commands allow you to change a project back to a previous state when you don’t like the changes you have made, or reapply the changes after you have undone them. The ability to undo/redo is only limited by the size of your hard drive. See also Undo Buffer on page 439.

Undo/Redo History A list of all of the functions that have been performed to a file that are available to be undone or redone. The undo/redo history gives you the ability to undo or redo multiple functions. To display the history list, click the down-arrow on the Undo ( button. ( ) or Redo )

Video for Windows (AVI) See AVI on page 430.

Virtual MIDI Router (VMR) A software-only router for MIDI data between programs. Vegas Pro software uses the VMR to receive MIDI timecode and send MIDI clock. No MIDI hardware or cables are required for a VMR, so routing can only be performed between programs running on the same PC.

WAV A digital audio file format developed by Microsoft and IBM. One minute of uncompressed audio requires 10 MB of storage.

APPENDIX C | 439

Waveform A waveform is the visual representation of wave-like phenomena, such as sound or light. For example, when the amplitude of sound pressure is graphed over time, pressure variations usually form a smooth waveform.

Waveform Display A section inside of the Trimmer window or on an audio event that shows a graph of the sound data waveform. The vertical axis corresponds to the amplitude of the wave. For 16-bit sounds, the amplitude range is -32,768 to +32,767. For 24-bit sounds, the range is ­ 8,388,607 to +8,388,607. The horizontal axis corresponds to time, with the left-most point being the start of the waveform. In memory, the horizontal axis corresponds to the number of samples from the start of the sound file.

Zero-crossing A zero-crossing is the point where a fluctuating signal crosses the zero amplitude axis. By making edits at zero-crossings with the same slope, the chance of creating glitches is minimized. Vegas Pro software simulates zero crossings by applying short (10 mS default) fades to trimmed audio.

Zipper noise Zipper noise occurs when you apply a changing gain to a signal, such as when fading out. If the gain does not change in small enough increments, zipper noise can become very noticeable. Vegas Pro software fades are accomplished using 64-bit arithmetic, thereby creating no zipper noise.

440 | APPENDIX C

Index

Numerics
5.1 Surround Plug-In Pack, 248
5.1 Surround. See Surround Auto-crossfades, converting to transitions, 296
Automating
Mixer controls, 200
Surround panning, 244–247
Automation
Assignable effects automation, 171
Bus automation, 172
Composite level automation, 174
Editing envelopes, 176
Fade-to-color automation, 174
Hiding envelopes, 179
Latch mode, 181
Modes, 180
Motion blur automation, 175
Mute automation, 169
Recording, 181
Removing envelopes, 179
Showing or hiding controls, 169
Supersampling automation, 176
Touch mode, 181
Track automation, 169
Track effect automation, 173
Volume and panning automation, 170
Automation overview, 169
Autosaving projects, 334
AVCHD video, using in Vegas, 59
AVI
Creating a movie, 78
Rendering, 337


A
A/B roll. See Tracks; Track layers
AAF, importing and exporting, 55
Add channels panning model, 162, 242
Adding
Empty tracks, 159
Media to bins, 53
Media to projects, 50
Adjust source media to better match project or render settings, 265
Advanced Audio Configuration dialog. See Preferences
Advanced Sync Preferences dialog. See Preferences
AJA card, printing to tape deck with, 351
Alignment, fixing audio/video, 112
Alpha channel
In images, 253, 255
In masks, 291
Selecting type for media file, 253
Animation, 274
Arming tracks to record, 73, 229
ASR. See Envelopes
Assignable effects
Assigning tracks to, 163, 200
Automation, 171
Overview, 199, 219
Routing to busses, 200
Volume adjustment, 163, 200
Volume envelope, 176
Attributes, copying from one event to another, 186
Audio CD tab. See Project properties
Audio channels, 186
Audio Device tab. See Preferences
Audio editor program
Opening, 125
Opening from Trimmer, 139
Setting up, 125
Audio effects
Adding via Plug-in Chooser dialog, 220
Adding via Plug-Ins window, 221
Assignable effects, 199–200
Automation, 173
Bypassing plug-ins, 223
Creating plug-in chains, 220
Plug-In Manager, 28
Rearranging chain order, 222
Removing plug-ins from chain, 223
Audio proxy files, 426
Audio tab. See Preferences; Project properties
Audio/video alignment problems, 112


B
Balance panning model, 162, 243
Bézier masks, 251, 288
Bins. See Media bins
Blue screening, 292
Blur, motion, 265
Blu-ray discs, burning, 391
Broadcast wave files, importing, 57
Burning 5.1-channel audio to DVD, 248
Burning audio CDs
Adding pauses between tracks, 383
Creating a CD layout, 382
Disc-at-once burning, 381, 387
Exporting a track list, 386
Importing CD Architect files, 382
Marking tracks and indices, 384
Settings and preferences, 381
Track-at-once burning, 381, 386
Burning Blu-ray discs, 391
Burning video CDs, 388
Bus automation, 172–173
Bus tracks, 200


INDEX | i


Busses
Adding to project, 196
Adjusting for clipping, 198
Adjusting volume, 197
Assigning plug-ins to, 219
Assigning tracks to, 73, 163, 198
Automating parameters, 172–173
Automation, 172
Bus send volume envelopes, 176
Controls, 195
Deleting from project, 196
Meter resolution, 197
Muting, 198
Naming/renaming, 198
Panning, 240
Routing to hardware, 197
Soloing, 198
Bypassing
Audio plug-ins, 223
Plug-in chains, 220
Video plug-ins, 272


C
Capturing HDV clips, 261
Capturing images
From a scanner, 52
From the Video Preview window, 254
Capturing multicamera video, 143
Capturing video
HDV, 261
Overview, 63
Recapturing offline clips, 64
SDI card, 64
CD Architect files, 382
CD layout bar, 23
CD Settings tab. See Preferences
CDs
Burning audio CDs, 381
Multimedia, 389
Video, 388
Channel strips
Adding/editing track effects, 205
Adjusting bus/assignable effects send levels, 206
Changing track names, 205
FX Send (Assignable Effects), 213
Channels, audio, 186
Checkerboard, 275
Child tracks (compositing), 277, 286
Chromakeying
Multiple keys, 293
Procedure, 292
Chrominance, monitoring, 322
Cinescore
Adding generated music to Vegas projects, 60
Editing generated music in Vegas projects, 60
Using with Vegas, 60
ii | INDEX

Cleaning up prerendered video, 319
Clearing the edit history, 117
Closed captioning
Adding from a script, 256–257
Adding line-by-line, 256
Displaying, 258
Color
Time Display window, 359
Track, 160
Color channels, 322
Color gradient event, 275
Color key, 292
Color levels, monitoring, 325
Color scheme, 357
Command markers
Closed captioning, 256–258
Command bar, 23
Editing, 123
Inserting, 123
Overview, 121
Scott Studios, 123
Command-line options, 395
Composite level automation, 174
Composite level envelope, 176
Composite level slider, 72, 164, 174, 280
Composite mode, setting default, 166
Compositing
Compositing modes, 72, 278–280 Parent/child tracks, 277, 286
Compositing gamma, 265
Constant power panning model, 163, 243
Contrast, monitoring, 325
Control surface
Setting up, 379
Using a Mackie Control Universal with Vegas, 398
Converting format. See Rendering
Copying
Event attributes, 186
Events, 102
Rendering templates between computers or user
accounts, 343
Time selections, 102
Time selections and events, 103
Creating
DVDs with DVD Architect Pro, 248
Media bins, 53
Movies, 78, 335
Multimedia CDs, 389
Scripts, 394
Credit roll event, 275
Credits, 255


Cropping video
Copying and pasting cropping settings, 186
Overview, 249–250
Plug-in processing order, 273
Procedure, 251
Crossfades
Automatic, 115
Curve types, 116
Manually setting, 115
Overlapping files added to timeline, 254
Sliding, 116
Video, 295
Cue mixes, creating, 216
Cursor indications, 43
Custom rendering settings, saving as templates, 342
Custom rendering templates, deleting, 343
Customizing keyboard shortcuts, 365
Customizing Vegas
Color scheme, 357
Frame number display, 357
Grid spacing, 359
Preferences, 366–379
Project properties, 360
Rendering settings, 342
Ruler, 358
Time Display window, 359–360
Toolbar, 22, 362
Video Preview window, 317
Cuts
Converting to transitions, 299
Overview, 295
Cutting
See also Ripple editing: Cutting
Events, 103
Time selections, 104
Time selections and events, 104


Disc-at-once CD burning, 381, 387
Display frames in Video Preview window, 372
Display tab. See Preferences
Duplicating
Events, 106
Generated media events, 276
Keyframes, 303
Tracks, 159
DV capture cards, 428
DV format
Out-of-range colors, 260
Overview, 260
Selecting source media for, 260
Setting project properties for, 260
Templates for, 260
DV tape, printing to, 350
DVD Architect Pro, 248
DVD camcorder, importing from, 58
DVDs
Burning 5.1-channel audio, 248
Creating with DVD Architect Pro, 248
Dynamic RAM video previews, 320


E
Edge trimming, 107
Edit Decision Lists (EDL), 259
Edit Details window
Audio CD track list category, 140
Closed captioning, 256–257
Commands category, 140
Customizing, 142
Displaying, 140
Edit functions, 140
Editing a CD layout, 385
Events category, 141
Markers category, 141
Overview, 27, 140
Regions category, 142
Selected events category, 142
Edit history, clearing, 117
Edit lists, 151
Editing
Audio in external editor, 125
Events, 102
HDV video, 262
Multicamera video, 145
Scripts, 394
Source projects, 62
Editing tab. See Preferences Editing tools
Envelope, 190
Selection, 98
Zoom, 71
Effects. See Plug-Ins
Empty events, 106
Envelope Edit Tool, 179, 190

INDEX | iii


D
Deleting
Busses, 196
CD layout bar markers, 385
Command markers, 124
Custom rendering templates, 343
Envelope points, 177
Events, 113
Keyframes, 303
Markers, 119
Media from bins, 54
Regions, 121
Takes, 133
Tracks, 159
Device Explorer, 31, 68
See also Explorer window; XDCAM Explorer
Digital multitrack setup, 228
DirectX plug-ins, 219, 269
Disable resample, 185


Envelopes
Adding points, 177
ASR, 187
Changing fade curves, 178
Deleting from tracks, 179
Deleting points, 177
Event envelopes, 187–190
Fade in and out, 187, 189
Fade types, 188, 189
Hiding on tracks, 179
Mixer controls, 200
Moving points, 178
Opacity, 188
Ripple editing, 113, 114
Time selection fades, 178
Track envelopes, 176–180
Velocity, 189
Video, 188
Volume (event), 187
Volume (track), 176
Equipment setup for recording
Basic, 227
Mixer, 227
With digital multitrack, 228
With MIDI option, 228
Eraser mode. See Splitting: Trimming and
Event editing, 102
Event properties
Copying and pasting, 186
Displaying names, 133
Name, changing, 133
Pitch shifting, 130
Event switches
Copying and pasting, 186
Invert phase, 184
Lock, 183
Loop, 183
Maintain aspect ratio, 185
Mute, 183
Normalize, 184
Reduce interlace flicker, 185
Resample, 185
Setting, 183
Event takes
Adding files as, 132
Changing active, 133
Deleting, 133
Displaying names of, 133
Overview, 132
Previewing, 133
Recording audio as new, 230
Renaming, 133
Selecting, 133
Event vs. file, 69


Events Adding transitions, 297
Adjusting length, 107
Channels, 186
Copying, 102
Copying and pasting attributes, 186
Crossfading, 115–116, 254, 295
Cutting, 103
Defined, 69
Deleting, 113
Duplicating, 106
Edge trimming with keyboard, 108
Editing, 102
Empty, 106
Envelopes, 187–190 Fade in and out, 187
Grouping, 190–191 J-cut, 107
L-cut, 107
Moving by small increments, 70
Moving in time, 70
Moving multiple, 70
Moving single, 70
Name, changing, 133
Pasting, 104–105 Pitch shifting, 130
Placing, 61, 62
Playback rate, 185
Recording into, 231
Repairing audio/video alignment, 112
Reversing, 139
Selecting multiple, 98
Selecting with time, 100
Shifting the contents of, 111
Shuffling, 114
Sliding, 111
Slipping, 111
Slip-trimming, 111
Snapping, 127
Splitting, 109–110 Switches, 183–185 Trimming, 107
Undersample rate, 185
Viewing media markers, 138
Expand track keyframes, 72
Explorer window
See also Device Explorer; XDCAM Explorer Overview, 25
Transport bar, 50
Exporting AAF files, 55
Exporting to PSP, 344
Exporting video to XDCAM discs, 156
Extensions, 394
External Control & Automation tab. See Preferences


iv | INDEX

External monitor
Overview, 328
Preferences, 369
Secondary Windows display, 328
TV, 329
Via AJA, 331
Via SDI, 331
Viewing video on broadcast monitor, 329


Grouping events
Adding to groups, 191
Clearing groups, 191
Creating new groups, 191
Moving grouped events, 70
Removing events from a group, 191
Selecting events in groups, 191
Suspending grouping, 191


F
Fade in and out, 187
Fader
Assignable effects, 164
Bus send, 164, 198
Pan, 162
Track, 161
Fade-to-color automation, 174, 176
Field order, 264
File vs. event, 69
Film panning model, 163
Filters. See Video effects
Floating window docks, 24
Focus, 97
Force resample, 185
Frame numbers, 357
Frame rate, 264
Frame-by-frame cursor movement, 97
Freeze frame, 107, 183, 190
Full-resolution rendering quality, 265
Full-screen preview on single monitor, 328


H
Hard disk recording units, importing video from, 58
Hardware
Routing surround to, 237
Setting up for surround, 235
HDV
Capturing clips, 261
Editing on the timeline, 262
Overview, 261
Printing to tape from the timeline, 353
HDV tape
Printing rendered file to, 354
Printing to, 350, 353
Headphone mixes, creating, 216
Hiding/showing
Bus tracks, 200
Toolbar, 362
Histogram, 325
Hold keyframe, 304


I

IEEE-1394 DV capture cards, 260, 330, 428
Ignore event grouping, 191
Image masks, 286
Image sequences. See Still-image sequences
Images
Automatically cropping to match project frame size, 253
Automatically crossfading, 254
Capturing in Vegas, 254, 317
Correcting for DV pixel aspect ratios, 253
Creating for use in Vegas, 253
Creating masks from, 286
Creating titles from, 255
Default length, 254
Working with, 253
Zooming in on, 307
Importing
AAF files, 55
Audio CD tracks, 52
Broadcast wave files, 57
CD Architect files, 382
Edit lists from XDCAM device, 151
From DVD camcorder, 58
From hard disk recording unit, 58
From memory recording unit, 59
Media files, 55
Scanned images, 52

INDEX | v


G
Gain and automation/trim controls, 169
Gain offset, 169
Gaussian blur, 265
General preferences. See Preferences
Generated music
Adding to Vegas project, 60
Editing, 60
Generating music with Cinescore, 60
Generator. See Media Generators
Getting media files, 50
Glossary, 429–440
Glow, 313
Gravis Eliminator Precision Pro joystick, 418
Grid lines
Safe areas, 321
Snapping events to, 128
Spacing, 359


Importing (continued)
Still-image sequences, 53
XDCAM discs, 152
Input monitoring during audio recording, 220
Inserting
Command markers, 123
Empty events, 106
Markers, 118
Media, 61
Regions, 120
Time, 106
Video files with associated audio, 62
Inserting empty tracks, 159
Installation, 19
See also System requirements
Interactive tutorials, 20
Interlace
Deinterlacing, 265
Field order, 264
Reduce interlace flicker, 185
Inverting
Audio event, 184
Audio track, 165
Invert track phase, 73
Isolate channels, 290
Isolating color channels, 322


Keyframe animation
Event panning and cropping, 307
Generated text, 309
Overview, 302
Track motion, 312
Video effects, 308
With plug-ins, 274
Keyframe controller
Navigating, 303
Understanding, 302
Keyframes
Adding, 303
Automated panning, 244–247
Changing relative spacing, 304
Deleting, 303
In timeline, 72, 305–306
Interpolation curves, 304
Modifying, 303
Presets, 304
Ripple editing, 113, 114
Keying, 292


L
Labeling busses. See Naming busses
Labeling tracks. See Naming tracks
L-cut, 107
Level slider. See Composite level slider
LFE channel, 235, 237
Locating media, 50
Locking events
To track envelopes, 180
To track keyframes, 306
With switches, 183
Logitech Wingman joystick, 418
Loop playback, 100
Looping events, 183
Luminance
Mask, 291
Monitoring, 324


J
J-cut, 107
Joysticks, 417


K
Keyboard shortcuts
Cursor placement, 34, 97
Customizing, 365
Event editing, 35
Event selection, 35
General editing, 35
Loop regions, 34
Magnification, 32
Miscellaneous, 41
Mixing Console, 41
Multimedia keyboards, 41
Playback, 36
Preview, 36
Project file, 32
Recording, 36
Red eye reduction, 36
Surround Panner, 39
Time selections, 34, 100
Timeline, 38
Track list, 38
Track Motion window, 39
Trimmer window, 39
View, 32


M
.m2ts files, 59
Mackie Control Extenders, configuring channel mappings
for, 399
Mackie Control Universal
Add New buttons, 406
Arrow buttons, 412
Audio/Video buttons, 408
Configuring Vegas Pro to use, 399
Connecting, 399
Control buttons, 403
Display buttons, 405
Fader Banks buttons, 405
Footswitches, 403
Hardware setup, 399
Jog dial, 413


vi | INDEX

Mackie Control Universal (continued) Markers buttons, 406 Modifiers buttons, 408 Project buttons, 409 Timeline buttons, 410 Transport buttons, 411 Using with Vegas, 398 View buttons, 407 Windows buttons, 407 Main window, 21 Make compositing child, 72, 277, 286, 287 Marker bar, 22 Markers Adding to media files, 138 CD layout markers, 124 Command markers, 121 Deleting, 119 Inserting, 118 Moving, 119 Navigating, 119 Renaming, 119 Ripple editing, 113, 114 Snapping, 128 Viewing in media files, 138 Masks Bézier, 251, 288 Fine tuning, 290 Image, 286 Mask Generator, 291 Overview, 286 Video, 287 Match media settings, 48, 264 Media Adding generated music to projects, 60 Adding to your project, 50 Editing generated music in projects, 60 Generating music with Cinescore, 60 Importing, 55 Locating, 50 Saving with project, 333 Media bins Adding media, 53 Adding recorded files automatically, 54 Creating, 53 Deleting media, 54 Overview, 53 Searching, 53 Media files Adding from Media Manager, 91 Auto preview setting, 50 Inserting, 61 MXF, 147 Previewing, 50 Project references in, 62 Properties, 266

Media files (continued) Resolving offline, 91 Searching, 87 Tagging, 81 Tagging loops and samples, 85 XDCAM, 147 Media Generators Adding, 276 Duplicating, 276 Editing, 276 Overview, 275–276 Window, 28 Media libraries Adding media files, 80 Backing up, 86 Creating, 79 Opening, 79 Removing media files, 81 Tagging files, 81 Media Manager Adding custom columns, 92 Adding media from, 91 Automatically hiding Search pane, 92 Customizing, 92 Media relationships, 90 Moving columns, 92 Moving the Search pane, 92 Options dialog, 94 Resizing columns, 92 Resolving offline media, 91 Search Results Properties pane, 93 Searching for media files, 87 Showing/hiding columns, 92 Thumbnail view, 93 Using with multiple computers, 95 Window, 29 Media markers Adding, 138 Viewing in events, 138 Media properties, 266 Media regions Adding, 138 Viewing in events, 138 Media relationships, 90 Memory recording unit, importing video from, 59 Metronome, 230, 372 Microsoft SideWinder Force Feedback 2 joystick, 418 MIDI clock output, 379 MIDI tab. See Preferences MIDI timecode Input devices, 378 Output devices, 379 Time Display window, 360 Triggering from, 232 MIDI, using the Mackie Control Universal with Vegas, 398
INDEX | vii

Mixer
Automating controls, 200
Busses, 163–164, 195–198
Preview fader, 194
Routing surround through, 237
Toolbar, 193
Viewing/hiding, 193
Window, 26, 193
Mixer setup (external), 227
Mixing
Multiple tracks to a new track, 168
Video tracks, 277–280
Mixing Console
Adding assignable FX, 205
Adding busses, 205
Adding tracks, 205
Adding/editing track effects, 205, 214
Adjusting assignable effects input levels, 214
Adjusting assignable effects panning or volume, 215
Adjusting bus panning/volume, 212
Adjusting bus/assignable effects send levels, 206
Adjusting track panning/volume, 209
Bus channel strips, 210
Changing assignable effect chain names, 213
Changing bus names, 210
Changing bus output devices, 211
Changing effects chain output devices, 214
Changing pre/post routing for busses, 213
Changing track automation modes, 207
Changing track input/output devices, 207
Channel List pane, 203
Channel strips, 204, 205
Creating cue (headphone) mixes, 216
FX Send (Assignable Effects) channel strips, 213
Inverting track phase, 208
Keyboard shortcuts, 41
Monitoring bus levels, 212
Monitoring output levels, 214
Muting or soloing assignable effects chains, 215
Muting or soloing busses, 212
Muting or soloing tracks, 208
Toolbar, 202
View pane, 203
Window, 30, 201
Monitoring
Chrominance, 322
Color content, 322
Color levels and contrast, 325
Luminance, 324
RGB components, 326
Monitoring video with scopes, 322
Motion blur automation, 175
Motion blur type, 265
Mouse scroll-wheel shortcuts, 42, 71, 97
Movies, exporting to PSP, 344
viii | INDEX

MPEG rendering, 339
MTC. See MIDI timecode
Multicamera editing mode, 145
Multicamera events, 145
Multicamera video
Adjusting alignment using audio waveforms, 144
Adjusting alignment using video, 144
Capturing, 143
Choosing takes, 146
Creating events, 145
Editing, 145
Enabling multicamera editing mode, 145
Previewing multiple takes, 145
Shooting, 143
Synchronizing, 144
Multichannel audio, rendering, 337
Multimedia CD burning, 389
Multimedia controllers, scrubbing with, 75
Multimedia keyboard shortcuts, 41
Multiple takes
Previewing, 133
Recording, 233
Selecting among, 133
Multipurpose slider
Assignable effects send level, 163, 164, 200
Bus send level, 164, 198
Overview, 73
Panning, 162, 424
Using, 162
Music
Adding generated, 60
Editing generated, 60
Generating with Cinescore, 60
Mute automation, 169
Muting
All audio or video tracks, 165
Busses, 198
Events, 183
Mute button, 72, 73
Tracks, 165
MXF
Rendering, 337
Working with, 147


N
Naming
Busses, 198
CD layout markers, 385
Markers, 119
Regions, 120
Takes, 133
Tracks, 159
Nesting projects, 73
Network rendering
See also Rendering
Distributed, 347–348


Network rendering (continued)
Monitoring progress, 348
Nondistributed, 347
Overview, 345
Setting file mappings, 348
Setting render service options, 349
Setting up, 345–346
Troubleshooting, 346–347
Noise texture, 275
Non-in-place plug-ins, 220
Non-real-time event effects, 225
Normalize audio event, 184


O
Offsetting gain, 169
OHCI 1394-IEEE cards, 260, 328, 428
Online help, 20
Optimizing previews, 318, 328
Ordering of effects, 222, 272
Organizing tracks, 160–161
Output, 264
Output rotation, 264
Overlays
Animating, 315
Compositing modes, 278–280
Masks, 286–293
Position, 312
Safe areas, 321
Shadow, 312
Transparency, 292


P
Palettes
Assigning buttons, 84
Clearing buttons, 84
Creating, 84
Viewing, 84
Pan type, setting track default, 166
Panning
Pan types, 242
Surround, 239
Panning automation, 170
Panning, audio
Envelope, 176
Multipurpose slider, 162
Panning models, 162
Panning, video
Keyframe animation, 307
Pan-and-scan effect, 308
Plug-in processing order, 273
Parent media for subclips, 139
Parent/child tracks, 277, 286
Pasting
Event attributes, 186
Paste insert, 105
Paste repeat, 105


Pasting events, 104–105
PDZ edit lists, 151
Phase inverting
Events, 184
Tracks, 165
Picture-in-picture effect, 314
Pitch shifting
Audio events, 130
Copying and pasting between events, 186
Pixel aspect ratio
Custom stream properties, 268
Defined, 435
Project video properties, 264
Still images, 253
Pixel format, 265
Placing media
As takes, 61
Dragging/dropping, 61
Multiple files, 61
Same track, 61
Playback
Buffer control, 374
Displaying frames in Video Preview and secondary monitor simultaneously, 372
Event playback rate, 185
Interpolate cursor position control, 374
Keyboard shortcuts, 36
Position bias control, 374
Pre-roll buffer control, 374
Scrubbing, 75
Transport bar controls, 24
Plug-in chains
Audio hierarchy, 44
Changing order of plug-ins, 222, 223, 271, 272
Creating, 220, 270
Editing saved packages, 224
Saving as packages, 223
Saving presets, 222, 274
Plug-ins
Animating, 274
Audio, 219
Bypassing, 220, 223, 272
Copying and pasting event plug-ins, 186
Events with panning/cropping, 273
Fine-tuning with split-screen previews, 320
Generators, 275–276 Keyframes, 274
Masks, 286–293 Media generators, 275–276 Modifying, 274
Non-in-place, 220
Ordering, 222, 271
Organizing, 224
Removing, 223, 273
Transitioning into, 308

INDEX | ix


Plug-ins (continued)
Transitions, 296
Video, 269
Window, 28
Post-edit rippling, 113, 114
Post-roll, 232
PQ list. See Track list
Preferences
Advanced Audio Configuration dialog, 374
Advanced Sync Preferences dialog, 378
Audio Device tab, 373
Audio tab, 372
CD Settings tab, 378
Display tab, 377
Editing tab, 376
External Control & Automation tab, 379
General tab, 366
MIDI tab, 375
Preview Device tab, 369
Sync tab, 378
Video tab, 368
VST Effects tab, 376
Preparing video for television
DV format guidelines, 260
Identifying safe areas, 321
Prerendering video
Prerendered files folder, 265
Procedure, 319
Pre-roll, 232
Preset chains. See Plug-in chains
Presets
Keyframe, 304
Saving, 222, 274, 301
Preview Device tab. See Preferences
Preview fader
Adjusting for clipping, 198
Adjusting volume, 194
Hiding/viewing, 194
Meter resolution, 194
Preview files. See Prerendering video Previewing
Keyboard shortcuts, 36
Playback in Video Preview and secondary monitor, 372
Secondary Windows display, 328
Split-screen view, 320
Previews
Full-quality, 319
In media players, 78
Optimizing, 318
Prerendering, 319
Resolution, 318
Transitions, 300
Printing
Rendered file to HDV tape, 354
Timeline to DV tape, 350
x | INDEX

Printing (continued)
Timeline to HDV tape, 353
Timeline to tape deck with AJA SDI card, 351
To tape using Video Capture, 355
Project Media window
Adding media, 51
Adding still-image sequences, 53
Capturing video, 63
Extracting CD audio, 52
Getting images, 52
Overview, 27, 51
Replacing media in events, 51
Project playback
Entire, 74
Media player, 78
Time selection, 75
Project properties
Audio CD tab, 361
Audio tab, 360
Matching video settings of existing file, 48, 264
Ruler tab, 361
Summary tab, 361
Video tab, 264, 360
Project references in media files, 62
Projects
Adding generated music, 60
Creating, 47
Default settings, 266
Editing generated music, 60
Nesting, 73
Publishing to Web, 78
Renaming, 49
Rendering, 78, 335
Rotating, 48
Saving, 49, 333–334
Saving as EDLs, 259
Properties. See Event properties; Media properties; Project properties; Tracks: Default properties
ProType Titler, 275
Proxy files, audio, 426
PSP, exporting movies to, 344
Publishing projects to Web, 78
Pulldown removal, 50, 54, 367
Punch-in, 106, 232


Q
Quantizing to frames, 129


R
.r3d files, 263
RAM cache for previews, 320
Razor blade. See Splitting
RealMedia (.rm) commands, 122
Recapturing offline video clips, 64


Recording
Arming tracks, 229
Into a time selection, 231
Into an event, 231
Into an event with time selection, 232
Keyboard shortcuts, 36
Multiple takes, 233
Previewing takes, 133
Selecting track input devices, 229
Specifying storage folder, 233
Starting and stopping, 230
Stereo, left, right channel options, 230
With input monitoring on, 220
Red Book CD burning, 381, 387
Red eye reduction
In still images, 139
Keyboard shortcuts, 36
RED ONE camera files, 263
Redo
See also Undo
Clearing edit history, 117
Last undo performed, 117
Series of edits, 117
Reference libraries
Opening, 86
Sound Series Loops and Samples, 87
Regions
Adding as takes, 138
Adding to media files, 138
Deleting, 121
Inserting, 120
Moving, 120
Naming, 120
Navigating to, 121
Overview, 119
Ripple editing, 113, 114
Selecting, 120
Snapping, 128
Viewing in media files, 138
Removing
Events from a group, 191
Plug-ins from chains, 223, 273
Track envelopes, 179
Velocity envelopes, 190
Renaming
Busses, 198
CD layout markers, 385
Markers, 119
Projects, 49, 333
Tracks, 159
Rendering
See also Network rendering
Copying rendering templates between computers or user
accounts, 343
Custom templates, 342


Rendering (continued)
Deleting custom templates, 343
MPEG format, 339
Overview, 335
Procedure, 335
Quality, 265
Saving custom settings as template, 342
Still-image sequences, 337
Surround projects, 247
To a new track, 168
With multiple audio channels, 337
With networked computers, 345–349
Reordering tracks, 160
Resampling
Events, 185, 190, 258
Projects at final render, 258
Reversing events, 139
RGB components, 326
Ripple editing
Automatically, 114
Cutting, 103
Deleting, 113
Manually, 113
Pasting, 104
Post-edit rippling, 113, 114
Shuffling events, 114
Rotating projects, 48
Ruler
Offset, setting, 358
Overview, 22
Project property settings, 361
Time formats, 358, 428
Ruler tab. See Project properties

S
Safe areas, 321
Saving media with project, 333
Saving projects
Autosaving, 334
Procedure, 49, 333–334
Using Save As, 49, 333
Scopes
Histogram, 325
RGB parade, 326
Vectorscope, 322
Video, 322
Waveform monitor, 324
Scott Studios data commands, 123
Scribble strip, 72, 73, 159
Scripts
Adding to Scripting menu, 393
Command-line options, 395
Creating, 394
Creating custom button images for, 395
Editing, 394
Extensions, 394

INDEX | xi


Scripts (continued)
Overview, 393
Running, 393
Scrolling, 71
Scrubbing
On the timeline, 76
Overview, 75
Scrub control, 24
With multimedia controllers, 75
With the keyboard, 76
With the playhead, 76
With the scrub control slider, 76
SDI card, printing to tape deck with, 351
Searching for media files
By keyword, 87
Overview, 87
Using tags, 88
Searching media bins, 53
Secondary monitor, simultaneous playback with Video
Preview, 372
Selecting
All events in a group, 191
Audio CD tracks, 385
Envelope points, 179
Events and a time range, 100
Events to the end of the track, 99
Grouped events, 191
Multiple events, 98
Range of events, 98
Regions, 120
Takes, 133
Time ranges, 99
Tracks, 100
.sfap files, 426
Shadow, 312
Shooting multicamera video, 143
Shortcuts. See Keyboard shortcuts
Shuffling events, 114
Signal flow, 44–45
Single session CD burning, 381
Slide show, creating, 254
Slider. See Multipurpose slider
Sliding
Crossfades, 116
Events, 111
Slip All Takes command, 111, 132
Slipping events, 111
Slip-trimming events, 111
Smart resample, 185
SMPTE timecode
Changing, 358
Described, 427
Snap offset, 129


Snapping events, 127
Quantizing to frames, 129
Snap offset, 129
To grid lines, 128
To marker lines, 128
Solid color event, 275
Soloing
Assignable effects chains, 199
Busses, 198
Solo button, 72, 73
Tracks, 166
Sorting media with bins, 53
Split-screen previews, 320
Splitting
All events at cursor, 109
Overview, 109
Selected events, 110
Time selection, 110
Time selection across events, 110
Trimming and, 111
Start all new projects with these settings, 266
Static control. See Surround: Panning
Static controls vs. automation controls, 169
Status bar, 24, 168
Still-image sequences
Importing, 53
Rendering, 337
Streaming media commands
RealPlayer, 122
Windows Media, 122, 256
Stretching events, 131
Subclips, 139
Subtags, 83
Summary tab. See Project properties
Supersampling automation, 176
Surround
Automating panning, 244–247
Hardware setup, 235
Keyframes, 244–247
LFE channel, 235, 237
Panning, 239
Rendering, 247
Surround Panner
Keyboard shortcuts, 39, 242
Pan types, 242
Window, 29, 241
Switches
Invert phase, 184
Lock, 183
Loop, 183
Maintain aspect ratio, 185
Mute, 183
Normalize, 184
Reduce interlace flicker, 185
Resample, 185


xii | INDEX

Sync tab. See Preferences
Synchronization, fixing audio/video alignment problems, 112
Synchronizing MIDI timecode, 228, 232
Synchronizing multicamera clips, 144
System requirements, 19


T
Tags
Applying to media file, 82
Arranging in the tag tree, 83
Creating, 81
Creating palettes, 84
Deleting from library, 83
Editing names or images, 83
For loop developers, 85
Merging subtags, 83
Removing from library, 83
Removing from media file, 83
Saving to media files, 85
Viewing palettes, 84
Takes
Adding files as, 132
Choosing in multicamera video, 146
Deleting, 133
Displaying names of, 133
Overview, 132
Placing media as, 61
Previewing, 133
Recording audio as new, 230
Renaming, 133
Selecting, 133
Slipping all, 111, 132
Tape deck, printing to, 351
Technical support, 19
Test pattern events, 275
Text
Credit roll event, 275
Keyframing, 309
Media Generators window, 28
Text event, 275
Titles, 255
Thumbnails, 93
Time compressing events, 131
Time Display window
Changing color, 359
Changing time format, 359
MIDI timecode settings, 360
Overview, 22
Time selection
Copying, 102
Creating, 99
Cutting, 104
Recording into, 231
With events, 100


Timecode
MIDI, 228, 232, 378–379
Video, 427
Timeline
Adding media to, 61
Keyboard shortcuts, 38
Moving events along, 70
Overview, 23
Playback on external monitor, 328
Printing to DV tape, 350
Printing to HDV tape, 353
Titles
Creating, 255
Fading, 256
Safe areas, 321
Text generator, 275–276
Toolbar
Adding buttons, 362
Customizing, 362
Hiding/showing, 362
Overview, 22
Removing buttons, 362
Reordering buttons, 362
Track automation, 169–172
Track automation envelopes, 176
Track effects, setting default, 166
Track envelopes
Adding points, 177
Changing fade curves, 178
Colors, 176
Deleting points, 177
Envelope Edit Tool, 179
Hiding on tracks, 179
Locking to events, 180
Moving points, 178
Removing from tracks, 179
Types, 176
Track FX button, 72, 73
Track list
Keyboard shortcuts, 38
Overview, 23
Using, 72–73
Track list (audio CD)
Creating from events, 384
Editing in Edit Details window, 385
Exporting, 386
Track motion
Button, 72
Glow, 313
Keyboard shortcuts, 39
Keyframes, 312
Picture-in-picture effect, 314
Position, 312
Shadow, 312
Shortcut menu, 311

INDEX | xiii


Track name
Changing, 159
In audio track header, 73
In video track header, 72
Track view. See Timeline
Track-at-once CD burning, 381, 386
Tracks
Adding empty, 159
Arming for recording, 73
Assigning plug-ins to, 219, 270
Assigning to a bus, 73, 163, 198
Automating parameters, 169–172
Color, changing, 160
Compositing modes, 72, 278–280
Default properties, 166
Deleting, 159
Duplicating, 159
Height, changing, 160
Height, setting default, 166
Inserting empty, 159
Making compositing child, 72, 286
Mixing to a single track, 168
Multipurpose slider, 73
Muting, 72, 73, 165
Naming/renaming, 159
Number, 72, 73
Organizing, 160–161
Panning, 239
Phase inverting, 73, 165
Reordering, 160
Resizing, 161
Scribble strip, 72, 73, 159
Selecting, 100
Soloing, 72, 73, 166
Track effects, 72, 219–225, 269–274
Track FX button, 73
Track keyframes, 72, 305–306
Track motion, 72, 310–315
View buttons, 72, 73
View options, 160
Volume fader, 73, 161
Transitions
Adding, 296
Animating, 302
From auto-crossfades, 296
From cuts, 299
Modifying, 300
Overview, 295
Using, 296
Window, 27
Transitions, adding to all selected events, 297
Transparency and overlays, 292
Transparency. See Envelopes: Opacity


Transport bar
Keyboard shortcuts, 36, 75
Overview, 24, 74
Triggering recording from MIDI timecode, 232
Trim control. See Surround: Panning
Trim controls vs. automation controls, 169
Trimmer window
Audio editor, opening from, 139
Events, placing on track, 136
Four-point editing, 137
History list, 137
Keyboard shortcuts, 39
Opening a file in, 134
Overview, 26, 134
Preview options, 135
Regions and markers, adding, 138
Subclips, 139
Three-point editing, 137
Use all streams and channels, 136
Working with, 136
Trimming
Adjacent events, 107
Beyond event edges, 107
Events with keyboard, 108
Selected events, 107
Splitting and, 111
Time and event selection, 108
Time selection, 108
Troubleshooting
Audio, 423–424
Network rendering, 346–347
Video, 423–428
Tutorials, 20


U
Undersample rate, 185
Undo
Clearing edit history, 117
Last edit performed, 116
Series of edits, 117


V

Vectorscope, 322
Vegas Pro
Installing, 19
Overview, 21–43
Velocity envelope, 189
Video
Importing from hard disk recording unit, 58
Importing from memory recording unit, 59
Monitoring with scopes, 322
Previewing on secondary Windows display, 328
Printing to tape, 350
Printing to tape using Video Capture, 355
viewing on broadcast monitor, 329
Viewing on external monitor via AJA, 331


xiv | INDEX

Video (continued)
Viewing on external monitor via SDI, 331
Video Capture
Capturing video with, 63
Multicamera, 143
Recapturing offline clips with, 64
Using to print to tape, 355
Video CDs, burning, 388
Video effects
Animating, 274
Keyframes, 274
Modifying, 274
Ordering, 271
Removing, 273
Window, 28
Video masks, 287
Video motion. See Track motion
Video previews
Capturing images from, 254, 317
Displaying frames simultaneously with secondary
monitor, 372
Dynamic RAM previews, 320
External monitor, 328
Optimizing, 318, 328
Prerendering, 319
Previewing in a player, 328
Resolution, 318
Shortcut menu, 318
Single-monitor full-screen, 328
Split-screen, 320
Window, 26
Video scopes
Histogram, 325
Overview, 322
RGB parade, 326
Vectorscope, 322
Waveform monitor, 324
Window, 29
Video tab. See Preferences; Project properties
View buttons, 72, 73
Viewing
Media markers, 138
Media regions, 138
Volume
Assignable effects fader, 163, 200
Bus send fader, 198
Event envelopes, 187
Setting track default, 166
Track envelopes, 176
Track fader, 73, 161
Volume automation, 170
VST Effects tab. See Preferences
VST plug-ins, 219


Web site
Accessing help, 20
Technical support, 19
Troubleshooting resources, 423, 428
Window docking area, 24
See also Window layouts
Window layouts
Adding to View menu, 364
Deleting, 364
Loading default layouts, 363
Loading saved layouts, 364
Removing from View menu, 364
Saving, 363
Windows Media streaming commands, 122
Workspace. See Window layouts


X

XDCAM
Edit lists, 151
Editing clips on the timeline, 153
Setting up, 149
Workflow, 148
XDCAM discs
Exporting video to, 156
Importing from, 152
XDCAM EX workflow, 147
XDCAM Explorer, 30, 150
See also Explorer window; Device Explorer
XDCAM HD workflow, 148


Z
Zoom Edit Tool, 71
Zooming, 71


W
WAV/WAV64, rendering, 337

INDEX | xv


xvi | INDEX