Troubleshooting. Sony 6, Vegas 6.0
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Sony Vegas 6.0 is a powerful video editing software that provides users with a wide range of features to create professional-quality videos. With its intuitive interface and powerful tools, Vegas 6.0 makes it easy to edit, composite, and produce videos for a variety of purposes.
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APPENDIX
Troubleshooting
367
Troubleshooting resources
Visit the Sony Media Software Web site to access product updates, look for answers in the knowledge base, contact customer support, or participate in an online forum: http://www.sonymediasoftware.com
Common questions
Why are some of my DirectX plug-ins not working correctly?
Vegas® software is a nondestructive time-based editor. As a result, there are certain types of DirectX® plugins that perform poorly in Vegas 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 Sony Media Software Acoustic Mirror™ when using long impulse files) may also perform poorly.
Also, make certain that the plug-ins you use in Vegas 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 software updates have been posted on the Sony Media Software and Services Web site: http://www.sonymediasoftware.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.
The following are some things you can check and do to make sure your system is optimized to prevent gapping.
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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
Adjusting the playback buffering slider on page 344 .
• Mute/solo some of the events or tracks in the mix.
• Add more RAM to your computer.
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 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 software utilizes the central processing unit (CPU). Try the following to optimize CPU usage:
• Zoom out (
Ctrl +
) fully on the track view while playing so that the screen does not have to scroll to keep the cursor on it.
• Run fewer DirectX 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 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 145 .
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 358 .
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Why can’t I work with footage captured using an MJPEG card?
Vegas 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.
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 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).
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Hard disk
The second most common problem is slow hard disks. Until recently, fast, expensive SCSI AV hard disks were required to properly capture and play back video on a PC. Slow hard disk problems also manifest themselves with jerky video playback, although the stutters are less frequent and of longer duration than if the video subsystem is the problem. Slower hard disks (e.g., 5400 RPM IDE) can cause an occasional dropped frame. 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.
• 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 thirty-minute movie could easily take six or more hours to render, depending on the format and effects used.
CPU speed is also important for more advanced compression codecs, such as MPEG and newer streaming formats.
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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 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 software therefore takes the audio stream from these files (e.g., 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 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 software saves audio proxy files to the same folder as the source media. If the source media folder is readonly (e.g., CD-ROM), the files are saved to a temporary directory.
Interlacing and field order
Field order in interlaced video is an important parameter that can severely impact the quality of video on a television monitor. While the concept is easy enough to understand, the lack of standards in both technology and terminology clouds the issue.
The path of the electron gun across the screen is fundamentally different between television monitors and computer monitors. Computer monitors scan every line in order, from left to right and top to bottom. This is known as progressive scanning. On a standard television monitor, the electron gun scans every other line from top to bottom, twice for every picture or frame. For example, the first scan from top to bottom might scan all of the odd numbered lines first, then jump back to the top of the screen and, in the second scan, draw all of the remaining even numbered lines, completing the frame. The two fields are said to be interlaced together to form a single frame.
The illustration that follows shows how two frames in a video are actually composed of two fields each, for a total of four fields. These fields can be referred to as field one (F1) and field two (F2). Obviously, it is critical that these two fields are paired together to create a whole frame. What may not be so obvious is that the actual order of these two fields is not particularly important. In other words, F1 could be scanned first and then F2, or F2 could be scanned first and then F1. Both situations would create a perfectly valid, error-free frame of video. While that may sound like good news, in reality this is the source of all of the problems associated with field order. Since both methods are technically correct, both methods have been used. It is important to use the correct order when rendering video files for your particular hardware (capture card).
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The next illustration shows the effects of incorrectly interlacing a frame of video. In this case, F2 from frame one is combined with F1 from frame two. Remember that there is nothing inherently right or wrong with a field order of F2/F1; it just happens to be wrong in this case. At a minimum, this can create slightly blurry or hazy video. In most situations, the video is jumpy or jittery and is unwatchable. Interlacing problems can be especially noticeable when two adjacent frames are significantly different; for example, at a cut or in video with fast moving action. It can also manifest itself in certain computer-generated special effects; for example, in slow-motion sequences.
F2 F1 frame 1 frame 2 frame on television
The basic problem is that there is no standard correct field order. Some capture cards use F1/F2 and some use
F2/F1. If this were the extent of our troubles, we could check out our hardware manual, look up the correct field order and that would be that. Unfortunately (if this information is even available) the terminology used can be equally baffling. F1 may be called the odd, upper, or A field, or (more rarely) it may be called the even, lower, or B field. Add into the mix the fact that the first scan line might be numbered 0 or 1 (which changes whether the field is considered odd or even), and that cropping may change which line is ultimately scanned first, and you can see that this is not a very clear-cut problem. The remainder of this section deals with how to sort this out in Vegas software. Fortunately, you only have to determine the correct settings once for any particular hardware setup.
Identifying problems
Vegas software refers to the two fields as upper field first and lower field first. These are probably the most common terms used to distinguish the two fields, and you may find a page in your hardware's manual that says something like “Use a field order of lower first.” In many cases (but not all or even most),
Upper=Odd=A and Lower=Even=B.
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In the application, you can select the field order of a project by choosing Properties from the File menu and clicking the Video tab. The pre-configured templates should work for almost everyone (e.g., if you are editing and outputting DV video in the US, select the NTSC DV template). If you have problems, you can manually select a different field order on the Video tab. You can also override the project settings and set the field order when you render a video file. From the File menu, choose Render As . Then, click the Custom button and choose an option from the Field order drop-down list on the Video tab. You can also set field order at the level of the media file or event. Right-click a media file in the Project Media window or an event on the timeline and choose Properties . The Field order drop-down list appears on the Media tab.
Interlacing problems only manifest themselves on television monitors. Video that is going to be played back on a computer does not need to be interlaced, and you can select None (progressive scan) for the field order.
Rendered video must be displayed on a television monitor to identify any problems. The only way to see interlacing problems is to record (print) a rendered video file out to tape and play back the tape on a television. Problems are most apparent in video that has a lot of motion or that has been modified in some way; for example, a slow-motion effect. (Some codecs force the correct field order during a render, making it difficult or impossible to create video with the wrong field order.)
Solving interlacing problems in Vegas software
If your hardware’s documentation does not contain any information about the proper field order, you must determine this information for yourself. It is not a difficult process, and involves rendering one video file with an upper first field order and another with a lower first field order. Source material that dramatically and clearly demonstrates the improperly interlaced video is important: use a media file with a lot of motion in it and then slow the event down with a velocity envelope or by time-stretching the event.
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 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 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.
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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 software
Video timecode crops up fairly frequently in Vegas 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).
Ruler format and timecode
The ruler in Vegas 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
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.
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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 software
Troubleshooting DV hardware issues
Vegas 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 Media Software Web site that may be able to assist you.
More detailed information is available at: http://www.sonymediasoftware.com/Support/Productinfo/OHCI.asp
You can also visit the Vegas Updates Web page to access a troubleshooting document for OHCI-compliant devices. From the Sony Media Software home page, go to the Download page and click Updates . Click the
Vegas Update link to access the update page.
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TROUBLESHOOTING APPENDIX A
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Key Features
- Real-time video preview
- Advanced audio editing capabilities
- Multi-camera editing
- Motion tracking
- Color correction and grading
- DVD and Blu-ray authoring
- Support for a wide range of file formats
Related manuals
Frequently Answers and Questions
How do I register my product?
What is the End User License Agreement?
How do I get technical support?
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Table of contents
- 21 Introduction
- 21 Welcome
- 21 System requirements
- 21 Technical support
- 22 Installing Vegas software
- 22 Using this manual
- 23 Using online help
- 24 Show Me How tutorials
- 25 Overview
- 25 Main window
- 25 Toolbar
- 26 Time display
- 26 Ruler
- 26 Marker bar
- 26 Command bar
- 27 CD layout bar
- 27 Track list
- 27 Timeline
- 27 Transport bar controls
- 28 Status bar
- 28 Scrub control
- 28 Window docking area and floating window docks
- 34 Saving and recalling window layouts - Ctrl+Alt+D or Ctrl+D
- 35 Keyboard command reference
- 42 Cursor indications
- 42 Using a control surface
- 43 Audio signal flow
- 44 Video signal flow
- 45 About your rights in Vegas software
- 45 About Your Privacy
- 45 Proper Use of Software
- 47 Getting Started
- 47 Creating projects
- 47 Using the New Project wizard
- 47 Starting a new project
- 48 Setting video properties based on a media file
- 49 Saving a project
- 49 Renaming a project (using Save As)
- 49 Getting media files
- 50 Selecting media
- 51 Previewing a media file
- 51 Using the Project Media window
- 57 Importing media
- 60 Adding media to the timeline
- 62 Project references in rendered media files
- 64 Working with events
- 64 Understanding files and events
- 64 Moving events along the timeline
- 66 Working with tracks
- 66 Using the track view
- 68 Using the track list
- 70 Nesting projects
- 70 Adding a project to the Vegas timeline
- 71 Playing back and previewing
- 71 Playing your project
- 72 Scrubbing
- 74 Previewing to media player
- 74 Prerendering video previews
- 74 Rendering a project
- 75 Creating a movie
- 75 Publishing a project
- 77 Using the Media Manager
- 77 Creating a new media library
- 78 Opening a media library
- 79 Adding media files to a library
- 81 Removing media files from a library
- 81 Tagging media files
- 81 Creating a tag
- 82 Applying a tag to a media file
- 83 Removing a tag from a media file
- 83 Deleting a tag from a library
- 84 Merging subtags
- 84 Arranging tags in the tag tree
- 84 Editing tag names or images
- 84 Viewing or creating palettes
- 85 Saving tags and properties to media files
- 85 Tagging for loop developers
- 87 Backing up your media libraries
- 87 Opening a Reference Library
- 88 Using the Sony Sound Series Loops & Samples reference library
- 88 Searching for media files
- 88 Searching using a keyword
- 89 Searching using tags
- 90 Sorting search results
- 90 Viewing previous searches
- 90 Using advanced search options
- 91 Previewing media
- 92 Media relationships
- 93 Adding media to your project
- 93 Resolving offline media files
- 94 Customizing the Media Manager window
- 94 Automatically hiding the Search pane
- 94 Docking and undocking the Search pane
- 94 Resizing columns
- 94 Moving columns
- 94 Showing or hiding columns
- 95 Adding custom columns
- 95 Editing a column’s contents
- 95 Showing thumbnails
- 96 Using the Properties pane
- 97 Setting Media Manager options
- 97 General tab
- 97 Media Library tab
- 98 Thumbnails tab
- 98 About tab
- 98 Using the Media Manager with multiple computers
- 99 Basic Editing Techniques
- 99 Getting around
- 99 Moving the cursor
- 99 Changing focus
- 100 Making selections
- 100 Selecting multiple events
- 101 Selecting a time range
- 102 Looping playback
- 102 Selecting events and a time range
- 102 Selecting tracks
- 103 Selecting groups of composited tracks
- 103 Editing events
- 103 Copying events
- 104 Cutting events
- 105 Pasting events
- 107 Duplicating events
- 107 Inserting empty events and time
- 107 Trimming events
- 109 Splitting events
- 111 Slipping and sliding events
- 113 Detecting and repairing audio and video synchronization problems
- 113 Deleting events
- 114 Applying post-edit ripples
- 115 Applying a post-edit ripple manually
- 115 Applying a post-edit ripple automatically
- 116 Shuffling events
- 116 Crossfading events
- 116 Using automatic crossfades
- 117 Manually setting a crossfade
- 117 Changing crossfade curves
- 117 Sliding a crossfade
- 118 Using undo and redo
- 118 Using undo
- 119 Using redo
- 119 Clearing the edit history
- 119 Adding project markers and regions
- 120 Working with markers
- 121 Working with regions
- 123 Working with command markers
- 126 Working with CD layout markers
- 126 Working with the marker tool
- 126 Using an external audio editing program
- 127 Setting up an audio editing program
- 127 Opening an audio editor from Vegas software
- 129 Advanced Editing Techniques
- 129 Snapping events
- 129 Turning snapping on and off
- 129 Quantizing to frames
- 130 Using the event snap offset
- 130 Snapping to the cursor or a selection
- 131 Pitch shifting audio events
- 131 Editing from the timeline
- 132 Editing in the Event Properties dialog
- 133 Time compressing/stretching events
- 133 Time compressing/stretching video
- 134 Working with takes
- 134 Adding takes
- 134 Selecting takes
- 135 Previewing and selecting takes
- 135 Deleting takes
- 135 Working with take names
- 136 Using the Trimmer window
- 136 Opening a file in the Trimmer
- 137 Moving frame-by-frame in the Trimmer window
- 137 Making selections in the Trimmer
- 137 Adding selections to the timeline
- 139 Adding and saving regions and markers to a media file
- 140 Opening a file in an external audio editor from the Trimmer
- 140 Creating a subclip
- 141 Selecting a subclip in its parent media
- 141 Removing red eye from stills
- 142 Using the Edit Details window
- 142 Viewing the Edit Details window
- 144 Customizing the Edit Details window
- 145 Working with Tracks
- 145 Managing tracks
- 145 Inserting an empty track
- 145 Duplicating a track
- 146 Deleting a track
- 146 Naming or renaming a track
- 146 Organizing tracks
- 146 Reordering tracks
- 147 Changing track color
- 147 Changing track height
- 148 Using the track list
- 148 Using the volume fader (audio only)
- 149 Using the multipurpose slider (audio only)
- 150 Assigning audio tracks to assignable effects chains
- 151 Assigning audio tracks to busses
- 152 Adjusting the composite level (video only)
- 152 Selecting the compositing mode
- 152 Bypassing motion blur envelopes (video only)
- 152 Using track motion (video only)
- 152 Phase inverting a track (audio only)
- 153 Muting a track
- 153 Muting all audio or video tracks
- 154 Soloing a track
- 154 Setting default track properties
- 154 Track automation envelopes
- 155 Using audio bus tracks
- 155 Adding envelopes to an audio bus track
- 155 Adding effects to audio bus tracks
- 155 Muting or soloing an audio bus track
- 155 Resizing audio bus tracks
- 156 Using video bus tracks
- 156 Adding keyframes to the video bus track
- 156 Adding envelopes to the video bus track
- 156 Adding effects to video bus tracks
- 156 Muting the video output
- 156 Bypassing video effects and envelopes
- 156 Resizing video bus tracks
- 157 Rendering to a new track
- 159 Using Automation
- 159 Showing or hiding automation controls
- 159 Track automation
- 160 Mute automation (audio and video)
- 160 Volume or pan automation (audio only)
- 161 Assignable effects automation (audio only)
- 162 Bus automation (audio only)
- 163 Adding or removing track effect automation
- 165 Composite level automation (video only)
- 166 Adding a motion blur envelope
- 166 Adding a video supersampling envelope
- 167 Working with track envelopes
- 169 Hiding track envelopes
- 169 Removing track envelopes
- 169 Using the Envelope Edit tool
- 170 Locking envelopes to events
- 171 Automating 5.1 surround projects
- 171 Automation recording modes
- 171 Recording automation settings
- 172 Editing sections of your recorded settings in Touch mode
- 172 Overwriting recorded settings in Latch mode
- 173 Editing individual envelope points or keyframes
- 173 Setting the automation recording mode for a track
- 175 Working with Events
- 175 Setting event switches
- 175 Mute
- 175 Lock
- 175 Loop
- 176 Invert phase (audio only)
- 176 Normalize (audio only)
- 177 Maintain aspect ratio (video only)
- 177 Reduce interlace flicker (video only)
- 177 Resample (video only)
- 178 Accessing event properties
- 178 Adjusting audio channels
- 179 Copying and pasting event attributes
- 179 Using audio event envelopes (ASR)
- 180 Setting an audio event’s volume
- 180 Setting an event’s fade in and out
- 181 Using video event envelopes
- 181 Using opacity envelopes
- 182 Using velocity envelopes
- 183 Grouping events
- 183 Creating a new group
- 184 Adding an event to an existing group
- 184 Removing events from a group
- 184 Clearing a group
- 184 Selecting all members of a group
- 184 Suspending grouping temporarily
- 184 Cutting, copying, or deleting grouped events
- 185 Using the Mixer
- 185 Using the Mixer window
- 185 Viewing the Mixer window
- 186 Using the Mixer toolbar
- 186 Using the Mixer Preview fader
- 187 Using busses
- 187 Adding busses to a project
- 188 Deleting busses from a project
- 188 Routing a bus to another bus
- 188 Routing busses to hardware
- 189 Working with busses
- 190 Assigning audio tracks to busses
- 191 Using assignable effects chains
- 192 Assigning audio tracks to assignable effects chains
- 192 Routing assignable effects chains to busses
- 192 Automating busses and assignable effects
- 192 Viewing bus tracks
- 192 Adding track envelopes
- 192 Modifying track envelopes
- 193 Adding Audio Effects
- 193 Using audio effects
- 194 Using plug-in chains
- 194 Creating a plug-in chain
- 195 Adding plug-ins to a plug-in chain
- 196 Saving customized plug-in presets
- 197 Arranging the order of plug-ins
- 198 Bypassing plug-ins on the chain
- 198 Removing plug-ins from a chain
- 198 Saving plug-in chains
- 199 Editing saved plug-in chains
- 199 Organizing your plug-ins
- 200 Automating effects parameters
- 200 Applying non-real-time event effects
- 200 Bypassing all audio effects
- 203 Recording Audio
- 203 Setting up your equipment
- 203 Basic setup
- 204 Setup with mixer
- 204 Setup with digital multitrack
- 205 Preparing to record
- 205 Arming the track for recording
- 206 Selecting recording settings
- 207 Using the metronome
- 207 Recording
- 207 Recording into an empty track
- 208 Recording into a time selection
- 208 Recording into an event
- 209 Recording into an event with a time selection
- 210 Triggering from MIDI timecode
- 210 Working with multiple recorded takes
- 210 Specifying where recordings are stored
- 210 Changing where recorded files are stored when arming a track
- 211 Changing where recorded files are stored when starting to record
- 211 Changing where recorded files are stored in the Project Properties dialog
- 211 Monitoring audio levels
- 211 Using record input monitoring
- 213 Working with 5.1 Surround
- 213 What is 5.1 surround?
- 214 Setting up surround hardware
- 214 Setting up surround projects
- 215 Routing to hardware in the mixer
- 216 Assigning audio to the LFE channel
- 216 Adjusting volume
- 216 Adjusting track volume
- 217 Adjusting assignable effects send or bus send levels
- 217 Adjusting channel levels
- 218 Panning audio
- 218 Panning tracks
- 219 Panning mixer controls
- 220 Using the Surround Panner window
- 222 Automating panning
- 222 Turning on panning keyframes
- 222 Adding panning keyframes
- 223 Working with keyframes
- 225 Rendering surround projects
- 226 Creating a DVD with DVD Architect Software
- 227 Using Advanced Video Features
- 227 Cropping video
- 228 Cropping
- 229 Bézier masks
- 229 Rotating
- 229 Adding animation
- 230 Working with still images
- 230 Creating still images for use in Vegas software
- 231 Capturing a timeline snapshot
- 231 Creating a slide show
- 232 Creating titles
- 232 Creating titles from images
- 233 Fading titles
- 233 Adding closed captioning to Windows Media Video (WMV) files
- 234 Adding closed captioning line-by-line
- 234 Adding closed captioning from a script
- 236 Displaying closed captioning
- 236 Resampling video
- 237 Using Edit Decision Lists (EDL)
- 237 Creating an EDL
- 237 Opening an EDL
- 238 Working in DV format
- 238 Selecting source media
- 238 Setting project properties
- 238 Selecting templates
- 239 Eliminating out-of-range colors
- 240 Working in HDV format
- 240 Choosing a capture format
- 240 Creating intermediate files
- 241 Replacing intermediate files with HDV source for HD delivery
- 242 Modifying video properties
- 242 Modifying project video properties
- 243 Modifying media file properties
- 244 Modifying output properties
- 245 Using Video FX, Compositing, and Masks
- 245 Using video effects
- 246 Adding a video effects plug-in
- 248 Working with video effects plug-in chains
- 250 Modifying a video effects plug-in
- 250 Saving custom plug-in settings as a preset
- 250 Using keyframe animation with plug-ins
- 251 Using generated media
- 251 Adding a generated media event
- 252 Duplicating a generated media event
- 252 Compositing
- 252 Understanding the parent/child track relationship
- 253 Selecting compositing modes
- 256 Using a 2-to-1 transform plug-in to customize compositing
- 256 3D Compositing
- 257 Single-track 3D motion
- 259 Composited group 3D motion
- 260 Changing editing options
- 260 Examples of various 3D compositing scenarios
- 261 Creating masks
- 262 Creating image masks
- 263 Creating video masks
- 264 Bézier masks
- 266 Fine-tuning masks
- 267 Using the Mask Generator
- 268 Chroma keying
- 271 Adding Video Transitions and Motion
- 271 Understanding basic transitions
- 271 Cuts
- 271 Crossfades
- 272 Using transition effects
- 272 Adding a transition
- 273 Adding a transition to the end of an event
- 273 Adding a transition to all selected events
- 274 Adding a transition progress envelope
- 274 Understanding track layers
- 275 Converting a cut to a transition
- 275 Converting a crossfade or transition to a cut
- 276 Previewing a transition
- 276 Modifying a transition
- 276 Saving custom settings as a preset
- 277 Using keyframe animation
- 277 Understanding the keyframe controller
- 278 Adding keyframes
- 278 Deleting keyframes
- 278 Navigating in the keyframe controller
- 278 Modifying keyframes
- 279 Creating keyframe presets
- 280 Working with keyframes in track view
- 281 Sample uses for keyframe animation
- 281 Animating event panning and cropping
- 283 Animating video effects plug-ins
- 284 Animating generated text
- 285 Adding track motion
- 285 Controlling track motion
- 286 Using the track motion shortcut menu
- 286 Changing editing options
- 287 Using keyframes in track motion
- 289 Creating a picture-in-picture effect
- 290 Animating the overlay
- 291 Previewing and Analyzing Video
- 291 Understanding the Video Preview window
- 292 Using the Video Preview window shortcut menu
- 293 Optimizing the Video Preview window
- 293 Reducing preview quality
- 293 Prerendering video
- 295 Building dynamic RAM previews
- 296 Using split-screen previewing
- 296 Previewing affected and unprocessed video
- 297 Showing the video at the cursor position and the contents of the clipboard
- 297 Changing the selection for displaying split-screen views
- 297 Identifying safe areas
- 298 Viewing the grid
- 298 Isolating color channels
- 298 Monitoring video with scopes
- 299 Displaying chrominance using the vectorscope monitor
- 300 Displaying luminance using the waveform monitor
- 301 Displaying color levels and contrast using the histogram monitor
- 302 Displaying RGB components with RGB parade monitor
- 303 Adjusting video scope settings
- 304 Previewing in a player
- 304 Using an external monitor
- 304 Configuring an external monitor
- 305 Previewing video on a secondary Windows display
- 305 Viewing on a broadcast monitor via IEEE-1394 (FireWire)
- 307 Viewing on an external monitor via DeckLink
- 309 Saving, Rendering, and Printing Projects
- 309 Saving a project
- 310 Creating a copy of a project (using Save As...)
- 310 Saving a project with media
- 311 Autosaving a project
- 311 Using the Make Movie wizard
- 311 Rendering a project
- 313 Selecting a file format
- 313 More about the MPEG format
- 314 More about the Wave64 and Perfect Clarity Audio formats
- 314 More about video formats
- 315 Customizing the rendering process
- 315 Customizing the Render As settings
- 316 Saving custom settings as a template
- 316 Creating custom rendering settings for AVI files
- 316 Project tab
- 316 Video tab
- 318 Audio tab
- 318 Exporting a movie to a PSP
- 320 Rendering with networked computers
- 320 Setting up your computers for network rendering
- 322 Troubleshooting initiation problems
- 323 Using nondistributed network rendering
- 324 Using distributed network rendering
- 325 Monitoring rendering progress
- 325 Setting file mappings
- 326 Setting render service options
- 327 Printing video to tape
- 327 Printing to DV tape from the timeline
- 330 Printing to HDV tape from the timeline
- 331 Printing a rendered file to HDV tape
- 332 Printing to tape using Video Capture
- 333 Customizing Vegas software
- 333 Displaying frame numbers
- 333 Changing the ruler format
- 334 Editing the ruler offset
- 335 Changing grid spacing
- 335 Using the Time Display window
- 335 Changing the time display settings
- 336 Changing the time display colors
- 336 Setting the time display to monitor MIDI timecode
- 337 Working with project properties
- 337 Video tab
- 337 Audio tab
- 338 Ruler tab
- 338 Summary tab
- 338 Audio CD tab
- 338 Using the toolbar
- 338 Hiding and displaying the toolbar
- 339 Reordering toolbar buttons
- 339 Adding buttons to the toolbar
- 339 Removing buttons from the toolbar
- 340 Setting preferences
- 340 General tab
- 342 Video tab
- 343 Preview device tab
- 346 Print device tab
- 346 Audio tab
- 347 Audio Device tab
- 348 Sync tab
- 349 Keyboard tab
- 350 External Control & Automation tab
- 352 MIDI tab
- 352 VST Effects tab
- 353 Editing tab
- 353 Display tab
- 354 CD Settings tab
- 355 Burning CDs
- 355 Understanding track-at-once and disc-at-once
- 355 Track-at-once
- 355 Disc-at-once (Single Session or Red Book)
- 355 Understanding tracks and indices
- 356 Setting up to burn audio CDs
- 356 Viewing the ruler and time display
- 356 Setting project properties
- 356 Setting preferences
- 356 Importing CD Architect files
- 357 Creating audio CD layout projects
- 357 Adding media as CD tracks to a new project
- 358 Marking tracks in an existing project
- 359 Working with tracks and indices
- 359 Navigating to and selecting tracks and indices
- 359 Moving track and index markers
- 359 Renaming track and index markers
- 359 Deleting track and index markers
- 360 Editing markers using the Edit Details window
- 360 Copying a track list from the Edit Details window
- 361 Burning audio CDs
- 361 Burning single tracks (track-at-once)
- 362 Burning a disc (disc-at-once)
- 363 Burning video CDs
- 364 Creating a multimedia CD
- 367 Using Scripting
- 367 Running a script
- 368 Adding scripts to the Scripting menu
- 368 Creating a script
- 368 Editing an existing script
- 371 Troubleshooting
- 371 Troubleshooting resources
- 371 Common questions
- 371 Why are some of my DirectX plug-ins not working correctly?
- 371 Why do I hear gaps in my audio playback?
- 372 Why do mono events increase 6 dB when panning a track hard?
- 372 Why do buffer underruns occur during a test or real write to a CD?
- 373 Why can’t I work with footage captured using an MJPEG card?
- 373 Trouble-free video: software solutions
- 373 Trouble-free video: hardware solutions
- 373 Video subsystem
- 374 Hard disk
- 374 CPU and RAM (memory)
- 375 Audio proxy files (.sfap0)
- 375 Interlacing and field order
- 377 Timecode
- 377 SMPTE timecode types
- 378 Timecode in Vegas software
- 379 Troubleshooting DV hardware issues
- 381 Glossary
- 393 Index