Pinnacle Studio 9
Including Studio SE, Studio QuickStart, Studio Standard and Studio Plus
Easy, MORE Powerful, MORE Creative Video Editing
Special thanks to Mike Iampietro, William Chien, Richard Edgley, Ivan Maltz, Jon McGowan, Keith Thomson, Jrg Weselmann, and Chris Zamara. Documentation: Nick Sullivan Copyright 1996-2004 Pinnacle Systems, Inc. and its licensors. All rights reserved. You agree not to remove any product identification or notices of the property restrictions from Pinnacle Systems products or manuals. Pinnacle Systems, Pinnacle Studio Plus, TitleDeko, RTFx and VST are registered trademarks and/or trademarks of Pinnacle Systems, Inc. and its subsidiaries in the United States and other countries. Manufactured under license from Dolby Laboratories. 1992-2003 Dolby Laboratories. All rights reserved. Dolby is a trademark of Dolby Laboratories. mpegable DS 2.Dicas Digital Image Coding GmbH. Pentium, Centrino, the Intel Centrino logo and the Intel Inside logo are trademarks or registered trademarks of Intel Corporation or its subsidiaries in the United States and other countries. QDesign MPEG-1 Layer 2 Fast Encoder/Decoder 19962002 by QDesign Corporation. QuickTime and the QuickTime logo are trademarks used under license. The QuickTime logo is registered in the U.S. and other countries. The RealProducer is included under license from RealNetworks, Inc. Real Producer version 8.0. copyright 1995-2002, RealNetworks, Inc. RealProducer", RealVideo, RealServer, and Real logo are trademarks or registered trademarks of RealNetworks, Inc. All rights reserved. SmartSound is a registered trademark of SmartSound Inc. Windows Media is a trademark of Microsoft Corporation. All other trademarks are the property of their respective owners. No part of this manual may be copied or distributed, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form by any means, electronic, mechanical, magnetic, manual, or otherwise, without the express written permission of Pinnacle Systems, Inc. Pinnacle Systems, Inc. 280 North Bernardo Avenue Mountain View, CA 94943 Printed in the USA.

ii Pinnacle Studio 9

Table of contents

BEFORE YOU START..XI

Equipment requirements...xi Abbreviations and conventions...xiv On-line help... xv
CHAPTER 1: USING STUDIO.. 1
Undo, Redo, Help and Unlock... 2 Setting options.... 3 Edit mode.... 5 The Player... 6 Playback controls... 8 Further editing topics.... 11 Expanding Studio.... 11
CHAPTER 2: CAPTURING VIDEO.. 15
The Capture mode interface... 17 The Diskometer... 19 The Camcorder Controller... 20 The capture process.... 21 Capture hardware... 21 Capture step-by-step... 23 Scene detection... 25

Table of contents iii

Digital capture... 26 SmartCapture: Preview-quality capture.. 27 Full-quality capture... 29 Audio and video levels digital.. 31 Analog capture... 32 Capture quality options... 32 Audio and video levels analog.. 33
CHAPTER 3: THE ALBUM.. 35
The Video Scenes section... 38 Opening a captured video file... 40 Viewing captured video... 43 Selecting scenes and files... 44 Displaying scene and file information... 45 Comment view.... 46 Combining and subdividing scenes.. 47 Redetecting scenes... 49 The Transitions section... 50 The Titles section... 52 The Still Images section... 53 The Sound Effects section.. 54 The Disc Menus section... 56
CHAPTER 4: THE MOVIE WINDOW.. 59
Movie Window views... 62 Storyboard view... 62 Timeline view... 63 Text view.... 67 The toolboxes.... 67 The Video toolbox... 69 The Audio toolbox... 71

With the Help

Purchase activation keys menu command (or the unlock shortcut button at the top right of the Studio screen). This opens a special browser window in which you can access a catalog page for any type of premium content that interests you. With the Album commands More transitions, More sound effects and More menus. These commands are found on the dropdown lists in the corresponding sections of the Album. They will enable you to download, try out and purchase additional premium content that was not included with the program installation. By clicking the unlock theme pack buttons found in some parts of Studio.
These buttons can be found whenever premium content is on display within Studio. The one above,

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when seen in the Audio effects tool and the Video effects tool, would let you unlock a pack of audio or video filters.
Here, the Bravo Studio Pack 2 page is open in the Video Effects tool. The Unlock Effect Pack button could now be used to unlock the effects in this set. Similar buttons in the Album let you purchase all the media on a particular Album page as a theme pack.
The Transitions section of the Album, open to the HFX Family Fun 1 theme pack of Hollywood FX transitions. Click anywhere in the unlock panel on the right-hand page to unlock this set of transitions. How unlocking works Unlocking premium content for Studio means to obtain a license allowing you unrestricted use of the content on the single machine where Studio is installed.
Chapter 1: Using Studio 13
The licensing mechanism employs two distinct but mutually related codes:
An activation key for each premium content item
you purchase Your Passport, which is a number generated the first time you install Studio on your computer. You can view your Passport by selecting the Help My Passport menu command. Because the Passport is specific to one computer, you will need to obtain new activation keys if you install Studio on a different machine. These will be provided at no charge, but your user licenses for both Studio and any premium content you have obtained then apply to the new machine only.
Note: Although your Passport is specific to an individual computer, it is not affected by ordinary hardware modifications such as adding or removing expansion cards, drives or memory.
If you dont have an Internet connection. You can purchase and apply premium content activation keys even if you dont have an Internet connection on the computer where Studio is installed. When you click one of the unlock links within Studio, a dialog will be displayed showing information needed for ordering the specific content you want, including:

Opening a captured video file Viewing captured video Selecting scenes and files Displaying scene and file information Comment view Combining and subdividing scenes Redetecting scenes

Chapter 3: The Album

Opening a captured video file
The default locations for your video files are the Windows default capture folder and the My videos folder. When you are viewing the folder contents page of the Video Scenes section, both of these locations always appear on the dropdown list at the top of the Album. You can also choose other hard drive folders to access stored video files. Both the current and previous folders are also listed, if they are different from the two standard locations, making four different folders that may appear in the list at any one time. Under Windows XP, the system capture folder is located in the Windows all users documents folder. The capture folders real name is My videos, but Windows Explorer and Studio customarily call it by an alias, Shared videos. This distinguishes it from My videos in the users personal documents folder. Under versions of Windows with no special shared video folder, the default capture folder is called:
C:\My Documents\Pinnacle Studio\Captured Video
Under Windows 98, the full pathname of the My Videos folder is:
C:\My Documents\My Videos
Opening a folder The folder contents page is displayed whenever you choose a new folder. It lists both the subfolders and the digital video files within the folder you chose:
Three ways to open a folder:
Select the folder name on the dropdown list on the
folder contents page. Select a folder listed on the folder contents page. Click the parent folder button. Opening a file When you open a video file, the file contents page is displayed, showing icons that represent the scenes in the file:
Three ways to open a digital video file:
Select the file name on the dropdown list on the file
contents page. Double-click a file listed on the folder contents page. Click the browse for file button and use the Open dialog to locate an avi, mpg or mp2 file on your hard drive.

Chapter 3: The Album 41

Scene detection and thumbnails The Album now fills with the detected scenes from your captured video (see Scene detection on page 25). Each scene is denoted by a thumbnail frame an icon of the scenes first frame. It may be that the first frame doesnt make a good icon for the scene, so Studio lets you pick a different one if desired. To change thumbnails in the Album:

1. 2. 3.

Select the scene to be changed. Use the Player to find the frame you want used for the thumbnail. Click the Album Set Thumbnail menu command.
Video aspect ratios Most digital video files provide format information that allows Studio to detect the frame aspect ratio of 4:3 or 16:9 automatically. If the file does not provide aspect ratio information, Studio defaults to the standard 4:3 format. The Aspect Ratio 4:3 and Aspect Ratio 16:9 commands on the Album menu let you manually set whichever ratio you need. These commands also appear on the right-button context menu for video scenes in the Album. Studio does not allow you to mix footage of different aspect ratios in the same movie. If you want to add 16:9 footage to a 4:3 movie, or 4:3 footage to a 16:9 movie, you must first use whichever Aspect Ratio command is needed to bring the Album scenes into conformity with the movie. The new clips will be squeezed or stretched as needed to match the movie.

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Viewing captured video
Individual or multiple scenes in the open captured video file can be viewed at any time. To view captured video starting at a selected scene: Click on the scenes icon in the Album. The Player displays the first frame of the selected scene. 2. Click the Play button in the Player. The Player now plays the selected scenes and any subsequent ones. Progress is indicated in three ways. The scenes highlight successively as they are played. The Player scrubber shows the current point of play relative to the entire movie. Scene thumbnails display a progress bar during preview. As you continue to view your captured video, the progress bar moves from one thumbnail to the next.
Previewing digital video files When a folder is open in the Album and the name of a digital video file is selected, you can use the Player to

Chapter 5: Video clips 73

VIDEO CLIP BASICS

The first step in creating a movie is to introduce some video scenes from the Album into the Movie Window, where they become editable clips. At some point you will probably also add some transitions, titles, audio and other extras, but a set of video scenes is the starting point for just about any project. This section explains how to add scenes to your movie, and how to work with scenes from multiple capture files. It also covers some interface features that provide useful feedback as you work.
Adding video clips to your movie
There are two ways to add a video clip to your movie: Drag and drop: Drag a scene from the Video Scenes section of the Album and drop it into the Movie Window. This is normally the easiest and quickest way to put together a rough cut of your movie. You can drag multiple scenes simultaneously if you wish. The clipboard: The standard clipboard operations (Cut, Copy and Paste) can be used with video clips in the Movie Window. The Copy operation works on Album scenes also. When a scene or clip is pasted into the Movie Window, it is inserted at the first clip boundary starting at the edit line position. You can use the standard keyboard shortcuts for clipboard operations (Ctrl+X for cut,

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Ctrl+C for copy, Ctrl+V for paste), or select the desired operation from the right-button menu. When the Movie Window is in Timeline view, you can drop a video scene or clip onto any of the following:
The main video track. If the clip has associated audio,
it is added to the original audio track. This video will serve as the background for any overlay video or titles that on the lower Timeline tracks. The overlay track. Video on this track is superimposed on the contents of the video track. The picture-in-picture and chroma key effects are used to make a portion of the overlay frame transparent so that some of the main video can be seen. Except in Studio Plus, any clips on the overlay track are displayed with a watermark graphic. If you decide to use the overlay track in your movies, you can upgrade to Studio Plus at any time. The title track. In Studio Plus, if the overlay track is hidden, dropping a video clip on the title track cause the overlay track to open and the clip to be placed upon it. In other versions of Studio, or when the overlay track is already displayed, the title does not accept video clips. The sound effects track or the background music track. Attempting to drop a video clip on either of these tracks actually drops the clips original audio.
Working with multiple capture files
For some projects you may want to incorporate scenes from multiple source tapes, or from different capture files made from one tape. To achieve this, load in each
Chapter 5: Video clips 75

Warning: Studios plug-in video effects are computer programs. They are theoretically capable of actions with the potential to damage or disrupt your system, such as modifying or deleting files and editing the system registry. Pinnacle advises against installing third-party plug-ins except those from trusted vendors.

CLEANING EFFECTS

Cleaning effects help correct defects in the source video, such as noise and camera shake.
Note: Studios video cleaning effects are generalpurpose filters designed to reduce the most common problems found on a wide range of material. They are not a panacea. Your results will vary depending on the original material and the severity and nature of the problems.

Auto color correct

This effect compensates for incorrect color balance in your video. The idea is similar to the white balance setting on a camcorder. Brightness: Color correction may affect the brightness of the image. You can apply a manual correction, if needed, with this slider. (Technically, the control modifies the contrast gamma of the image rather than its actual brightness.)
Note: The Auto color correct effect may introduce video noise into the clip as a side-effect of processing. If this happens to a troublesome degree, add on the Noise reduction effect described below.

Noise reduction

This plug-in applies a noise-reduction algorithm that may improve the appearance of noisy video. In order to minimize artifacts (image defects caused as a sideeffect of image processing), noise reduction is only performed in areas of the frame where the amount of motion falls beneath a certain threshold value. Motion threshold: This slider governs the threshold value. Moving the slider rightwards increases the amount of motion the effect will tolerate, thus tending to increase the proportion of the image that will be affected. At the same time, the danger of introducing unacceptable artifacts into the video is also increased.

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The PIP effect interface If you prefer to enter your PIP parameter settings numerically rather than graphically, you can turn to an alternative interface provided by the Video effects tool. You can also combine the two methods, using the PIP tools graphical interface to specify the initial settings, then fine tuning them with the numerical effect parameters. The Picture-in-picture effect is found in the Overlay Effects group. The available parameter settings are almost identical to those offered by the PIP tool:
Parameter settings for the Picture-in-picture effect. Position: The Horizontal and Vertical sliders set the offset of the center of the PIP frame from the center of the background frame. Size: The Width and Height sliders set the size of the PIP frame as a percentage of its original dimensions. Cropping, if used, can further reduce the final size of the PIP frame on the screen. Cropping: The four sliders in this group trim away a percentage of the original PIP video frame, allowing you to remove unnecessary portions of the image and focus on the main subject.
Chapter 6: Two-track editing with Studio Plus 127
Video: The Transparency slider lets the main video show through the PIP overlay to any desired degree. Border: The parameters in this group are equivalent to the Border settings on the PIP tool, allowing you to set the overlay borders color, thickness, transparency and edge softness, and to select the rounded corners option if desired. One bonus of the effect interface is that there are separate Width and Height controls to control the border thickness, rather than the single setting provided by the tool. Shadow: As with the Border group, these parameters are essentially the same as those on the PIP tool, except that the Horizontal offset and Vertical offset parameters afford slightly more flexibility in positioning the shadow than the tools Distance and Angle settings.

The Chroma key tool

Chroma key is a widely-used technique that allows foreground objects to appear in a video scene even though they were not present and often could not have been present when the scene was shot. When an action star tumbles into a volcano, or battles a giant cockroach, or saves the crew with a daring space-walk, the chances are that chroma key or a related technology was involved in the scene. Chroma key effects are often called blue-screen or green-screen effects because the foreground action is shot in front of a uniform blue or green background. The background is then electronically removed, leaving only the foreground action to be superimposed on the actual background of the final scene, which has been separately prepared.

a selection rectangle (a marquee) that encloses all the objects you want to group; or,
By clicking the first object you want to group, then
Ctrl-clicking each of the others. Temporary groups Any selection of multiple objects functions as a temporary group, and can be moved, aligned, rotated, colored etc. as a unit. The temporary grouping loses its identity as soon as you click elsewhere in the Edit Window, however, whereas a group created with the group button persists until explicitly ungrouped.

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Clipboard and delete buttons
The buttons in this cluster provide the familiar editing operations Cut, Copy, Paste and Delete, all of which operate on groups, individual objects, or on selected text within a Title Editor text object. The first three work with the Windows Clipboard, while the fourth simply deletes the chosen material without affecting the Clipboard.

Text-styling controls

The controls in this cluster at the top right of the Title Editors Edit Window should look familiar to anyone who has used word-processing software. The controls apply both to currently-selected text and to any new text that may be entered until the settings are changed again. At the left are three font style buttons, which select the bold, italic or underlined styles respectively. Perhaps surprisingly, the underlined style button alone among these controls can be applied to any type of object, not just text (try it!). This makes it possible to use the underlined highlighting style with buttons created from graphic objects: rectangles, ellipses and pictures. The fourth button opens a pop-out menu of text-formatting options. Unlike the other
Chapter 10: The Title Editor 187
controls in the cluster, which govern the appearance of individual characters, the options on this menu apply to all the text in a given text box. The three justification options Left, Center and Right affect the placement of the text within its box (and not the placement of the box itself within the Edit Window, which is the function of the object justification menu ). Shrink to fit, Scale to fit, Word wrap on and Word wrap off are options that determine how your text is treated when you resize a text box. With Word wrap on, which is the default for a new text box, resizing the box results in the text being reformatted word-wrapped to the new box width (while the resulting new height of the text in turn governs the height of the box). Word wrap off removes all soft line breaks (line breaks added for word wrapping), then makes the box as wide as necessary to contain the text. Word wrap mode is automatically turned on again if you type further characters into the text box. With Scale to fit, the text is stretched during resizing to follow both box dimensions. With Shrink to fit, the text remains its original size unless the box is made smaller, in which case the text is resized as in Scale to fit. Neither to fit command changes the line divisions of the text. The font dropdown list and the font-size selector complete the text-styling controls group.

The color and gradient options in the Backgrounds section of the Title Editor work in just the same way as
Chapter 10: The Title Editor 191
those described above for the Looks Browser (page 189), except that the color or gradient you select is instantly applied to the background of the title you are editing. If you are working on an overlay title, you may find interesting ways to use the Opacity setting on the colorpicker dialogs for these buttons, especially when the overlay is coupled with transitions. Normally, though, youll use a transparent background for titles, and transparency is the default background selection for a new title or menu. The final option for backgrounds is picture an image file in any standard format. As with many of the sections of Studios main Album, the backgrounds are drawn from a source folder that may be changed using the folder button. The image file you select with the folder button becomes the new background, and the image files in the folder are displayed as thumbnails on the Album panel. If necessary, the Title Editor stretches the background image until it fills the width or height of screen but does not change its proportions.

The Pictures section

As with the background pictures just discussed, the images in the Pictures section of the Title Editor Album can be of any standard type. Instead of being stretched to fill the Edit Window, however, these pictures are added to the title as picture objects and displayed at normal size with eight control points that allow them to be repositioned and resized (though not rotated or skewed).

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Picture objects behave just like text objects and the two types of graphic object with respect to grouping, alignment and similar controls.

The Buttons section

Since buttons are the magic ingredient that turns titles into interactive menus, this section of the Title Editor Album is mainly of interest for DVD, VCD and S-VCD authoring. Broadly speaking, a button is an area of the screen with which the user can interact in some way. Buttons are classified according to the action they produce when the user activates them, and not by their appearance, which generally should be chosen to give a strong clue to their behavior, but is not required to. The four types of button are:
Normal: Clicking the button causes playback to
jump to a chapter (that is, ordinary video) or another menu. The link between the button and its target is created in the Clip properties tool, not in the Title Editor. Thumbnail: This special form of the normal button type displays a thumbnail frame (or a moving thumbnail preview) from the part of the movie to which it links. Previous: This button appears on the second and later pages of multi-page menus (menus with more links from normal or thumbnail buttons than will fit on one page). It links to the previous menu page. Next: This button appears on all but the last page of multi-page menus; it links to the following page.

Note: The Noise reduction filter will help with a wide range of material, but it is not a panacea. Your results will vary depending on the original material and the severity and nature of the problems.

Equalizer

This effect is similar in concept to the treble and bass tone controls on audio equipment, but provides a much finer degree of adjustment. It divides the audio spectrum into ten bands, each centered on a different sound frequency.
Note: In musical terms, each equalization band covers one octave, and the center frequency is close in pitch to the note B.
The sliders let you increase or decrease the contribution of each bands frequencies to the total sound over a range of 48 dB (-24 to +24). The adjustment to a band is applied full strength at the center frequency, and tapers to zero in either direction. The display above the slider shows the activity across the audio spectrum as your project is played back.

Grungelizer

The Grungelizer adds noise and static to your recordings. It can make your clips sound as though you were hearing them on a radio with bad reception or a worn and scratched vinyl record.
Crackle: This dial adds crackle to create that old vinyl record sound. The farther to the right you turn the dial, the more crackle is added. RPM switch: When emulating the sound of a vinyl record, this switch lets you set the turntable speed in revolutions per minute (33, 45 or 78 RPM). Noise: This dial regulates the amount of static noise added. Distort: Use this dial to add distortion. EQ: Turn this dial to the right to cut off the low frequencies, and create a more hollow, lo-fi sound.

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AC: This emulates the constant, low hum of AC current. Frequency switch: This sets the frequency of the AC current (50 or 60 Hz), and thus the pitch of the AC hum. Timeline: This dial regulates the amount of overall effect. The farther to the right (1900) you turn this dial, the more noticeable the effect.

Karaoke

Apply this effect to clips such as mp3 songs or audio CD tracks to remove the main vocal from the performance. What remains the accompaniment can be used as background music, or as the backing for your own vocal in a voice-over or video clip. The Karaoke effect depends on the fact that the main vocal part in a recording is usually divided about equally between the two stereo channels. The plug-in digitally compares the channels and removes the common part from both. Not all recordings are well suited for karaoke use.

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section. If you have followed the naming convention suggested on page 28, Studio will proceed to the next section of tape and repeat the process until all required clips from that source tape have been recaptured. Not following the naming convention results in changing source tapes much more often. When Studio recaptures your clips, it will capture about a second of extra footage at the start and end of your clip. Studio automatically trims each clip to match the exact start and end points you chose for your movie, but this extra captured footage allows you to adjust start and end points of each clip if you happen to change your mind after recapturing. You can do this either on the Timeline or with the Clip properties tool. Starting with continuous timecode To avoid the multiple captures problem altogether, we recommend striping your tapes with timecode before you begin to shoot, if possible (see Continuous timecode on page 28).
Appendix B: Tips and tricks

APPENDIX C:

Troubleshooting
Before you begin troubleshooting, take some time to check your hardware and software installation. Update your software: We recommend installing the latest operating system updates for Windows 98, ME, 2000 or XP. You can download these updates from:
windowsupdate.microsoft.com/default.htm
Make sure you have the latest version of the Studio software installed by clicking the Help Software Updates menu from within the program. Studio will use the Internet to check for possible updates. Check your hardware: Ensure that all installed hardware is functioning normally with the latest drivers, and is not flagged as having a problem in the Windows Device Manager (see below). If any devices are flagged you should resolve the issue before starting installation. Get the latest drivers: We also highly recommend installing the latest drivers for your sound card and graphics card. During the Studio software launch process we do verify that your sound card and video card support DirectX. Go to the manufacturers web-sites to get the latest drivers for your sound and graphics cards. Many users

www.microsoft.com/windows/directx
Open up space on your boot drive: Make sure you have 10 GB or more free space on your boot drive for paging.
Appendix C: Troubleshooting 291
Uninstall, reinstall and update Studio: In case your Studio installation has become corrupted, try this procedure: Uninstall Studio: Click on Start Programs Studio 9 Uninstall Studio 9, then follow any onscreen instructions until the process is complete. If the uninstaller asks whether you want to delete a shared files, click Yes to all. Disconnect the camera and cable from your DV board, if you have one. 2. Reinstall Studio: Insert your Studio CD and reinstall the software. Make sure you are logged in as the Administrator (or as a user with Admin privileges) when installing Studio. It is strongly recommended that Studio be installed in its default directory on the main OS drive. 3. Download and install the latest version of Studio: Click the Help Software Updates menu command to check for updates. If a new version of Studio is detected on our web-site, you will be asked to download it. Download this patch file to a location where you can find it easily (such as the Desktop), then exit Studio. Finally, double-click the downloaded file to update Studio.
Rebuild corrupt project: Try rebuilding the first few minutes of your project. If no problems occur, gradually add to the project, checking periodically to ensure that system stability is maintained. Fix corrupt video or audio: Sometimes the instability may occur only when you manipulate certain audio or video clips. In such cases, you should recapture the audio or video. If the audio or video was created by another application, recapture it with Studio if possible. While Studio supports many video formats, the particular clip you have may be corrupt or in an

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uncommon format. If you have a wav or mp3 file that seems to be problematic, convert the file to the other format before importing the file. Many wav and mp3 files on the Internet are corrupt or non-standard. Reinstall Windows: This is quite a drastic step, but if the previous steps have not helped, Windows itself may be corrupt. Even though your other applications may appear to be running properly, the size of the video files used in Studio may well tax your system to the point that a latent instability is revealed. Case 2: Clicking a tab or button crashes Studio Please start by trying the steps given above for Case 1. This kind of problem often means that Studio was not installed properly or has become corrupt. Uninstalling Studio, reinstalling it, and patching to the latest version will generally solve the difficulty. Otherwise, try creating a new project called test01.stu to try to determine if the failure is specific to a particular project. Open the demo video file and drag the first few scenes onto the Timeline. Now click on the tab or button that seems to cause the failure. If this test project does not crash, it may be that the problem is with the project you are working on rather than with Studio or your system. If the test project does fail, please contact our support staff and provide us with the details on the exact failure mode. We will try to recreate and solve the problem. Case 3: Performing certain steps crashes Studio This is just a more complicated version of Case 2, and the same troubleshooting steps apply. Since it may be quite difficult to determine the exact sequence of steps that produces the failure, you will need to be

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After ScanDisk is done, click on Start Programs Accessories System Tools Disk Defragmenter (this may take a while). Turn off energy-saving features (right-click on your Desktop and select Properties Screensaver (under Energy Settings). Make sure everything under Settings for power schemes is set to Never. Go to Start Settings Control Panel System. Click on the Performance tab, then File System, then the Troubleshooting tab. Click to the left of the Disable write-behind caching for all drives option to select it and click OK. Under the hard-disk tab, set the Read-ahead optimization option to None. In general, this will result in an increase in the data transfer rate. Caution: In some hard drives, it can result in a decrease in the write rate!
There is no video in the Player preview. Solution 1: Change video resolution and/or color depth on the Display Properties dialog:
Right-click your Desktop and select Properties, then click the Settings tab on the dialog. Under Colors, try each of 16-bit, 24-bit and 32-bit. Under Screen resolution, again try each available setting from 800x600 upwards.
Solution 2: You may be using either a generic Windows graphics card driver or an older version of your graphics card. Your graphics card driver may also be corrupt. Please contact your graphics card vendor to ensure you have properly installed the most current driver. Reinstall your graphics driver with the help of your video card manufacturers technical support, or download and install the latest driver from the manufacturers web-site. Solution 3: You may not have DirectX installed properly. Go to Start Programs Studio Help DirectX Diagnostic Tool. On the Display tab, click the Test button next to Direct Draw. After running that test, run the Direct 3D test. If your card fails either of these tests, please contact your graphics card vendor for support.
Note: Please visit our web-site for additional help with troubleshooting DirectX issues, include specific solutions for particular capture hardware.
The playback to the computer monitor is jerky audio or video frames are dropped. Solution: If you are using preview quality, remember that it has no effect on the quality of the final tape. When you make tape, Studio will go back to the DV source and record full-quality video from it. My DV device control is unavailable or unreliable under Windows 98. Possible cause: You are not using Windows 98 Second Edition as an operating system, and the Second Edition device drivers are more robust.

Studio Plus

Pinnacle Studio 9 Plus is a new Studio release with several enhancements, and this chapter describes the three that are most important. Note that these features are not available on all versions of Studio, just the new Studio 9 Plus release. Two of the new features relate to the addition of a second audio/video track, called an Overlay track, which appears beneath Studios original Video track. One is called picture-in-picture, or P-I-P, where the video from the Overlay track displays in a small window within the video from the Video track. Alternatively, using a feature called Chroma key, you can superimpose segments of the video in the Overlay track over the video in the Video track. Studio Plus now allows you to add motion to still images in your project. Specifically, you can pan around within your image, or zoom into or away from your image. These features are typically called pan and zoom effects, or Ken Burns effects, after the director who popularized their use in documentaries like The Civil War and Baseball. These three features add a wealth of creative possibilities to your Studio Plus productions. This chapter details when and how to use them, with references back to the Pinnacle Studio 9 for Windows: Visual QuickStart Guide.

About the Overlay Track

Lets discuss the Overlay track, shown in Figure P.1. As you can see, the Overlay track includes both a video and an audio track and sits directly below the original Video and Audio tracks.
Note that the Overlay track doesnt appear until you drop a video file into it, described below. This makes it hard to distinguish Studio Plus from the regular Studio program that doesnt offer this feature. If youre not sure which one you have, check the version name in the bar above the program. As shown in Figure P.1, this version is Pinnacle Studio 9 Plus. If your version says only Pinnacle Studio 9, you cant access the Overlay track.

Version Player

Video track Audio track Overlay track Audio track Title track Sound Effect track Music track Figure P.1 The most significant change in Studio Plus is the addition of a separate Overlay track for audio and video.
In Figure P.1, the Video track contains a video of my mother, pregnant with my older brother sometime last century. The Overlay track contains a much more contemporary video of my father. However, only the video of my father shows in the Player. This reflects how Overlay tracks function in video editing programs. Specifically, though an Overlay track may sit below the Video track on the timeline, video from that track always sits above the video in the main Video track when the video is produced.

Video track

Audio track Overlay track
Unless you use a technique like Picture-inPicture or Chroma key to merge the two streams, only the video in the Overlay track will show in the final production. Accordingly, when discussing the two tracks, Ill refer to the video in the Video track as the Background video, and the video in the Overlay track as the Overlay video. Note that once you import an Overlay video, youll probably have to adjust the volume of one or both Audio tracks to produce the desired effect. See Using the Volume Tool in Chapter 11, to learn about Studios options for adjusting volume.
Figure P.2 To open the Overlay track for the new video file, drag a video file onto the Overlay track.
To open the Overlay track:
1. Insert a video into the Video track. 2. On the Video Scenes tab, hold down the mouse button and select one or more contiguous or noncontiguous scenes (Figure P.2). The borders turn from white to blue, and a small hand appears over the scenes. continues on next page
3. Drag the scenes to the target position on the Overlay track. A small plus sign appears below the pointer and a green vertical line marks the position of the video on the Overlay track. 4. Release the mouse button. Studio Plus inserts the scenes into the Overlay track and creates a new Title track (Figure P.3).

You can edit videos in the Overlay track exactly like those in the Video track, including trimming and applying special effects. Unlike videos on the Video track, which always snap to the left to close any gaps in the timeline, you can place a video on the Overlay track at any location.

Overlay track

Audio track

Title track

Sound Effect track
Music track Figure P.3 Here are the new audio and video Overlay tracks.
Applying Picture-inPicture Effects
Picture-in-picture (P-I-P) effects add a great visual element to your projects. Here, Im producing a video of my fathers life, primarily using videos from an interview I recently shot. While editing the video, Im weaving in older videos converted from 8 mm film shot back in the day. In this example, he talks about my mother being pregnant with their first child, my older brother, and Im using the P-I-P effect so viewers can see both him and the older, background video simultaneously. You need to make four basic decisions about inserting a P-I-P:
Applying Picture-in-Picture Effects
1. The size and position of the P-I-P window. 2. The size and appearance of the border around the P-I-P, which helps visually distinguish the P-I-P from the Background video. 3. The size and appearance of the P-I-P shadowanother alternative for setting the P-I-P off from the Background video. 4. Whether to customize the transparency of the P-I-P video.

To apply a P-I-P effect:

1. Select the Overlay video. 2. At the upper left of the Movie window, click the Open/Close Video Toolbox icon (Figure P.4). The Video Toolbox opens. 3. On the left side of the toolbox, click the Edit the Video Overlay Using Picturein-Picture or Chroma Keying icon (Figure P.5). Studio Plus opens the Video Toolbox with the Picture-in-Picture controls tab showing. At this point, as long as the Enable Picture-in-Picture checkbox is enabled (the default option), Studio Plus applies the P-I-P effect.
Figure P.4 Click here to open the Video Toolbox.
Note the P-I-P effect in the Player on the right in Figure P.5. This is where youll preview all of your edits to the P-I-P window as well as the border and shadow attributes. To apply the selected P-I-P values to all clips subsequently placed on the Overlay track, click the Apply to New Clips checkbox in Figure P.5.
Figure P.5 Click this tab to open the P-I-P and Chroma key controls.

To customize P-I-P size and location:
To customize the size and the location of the P-I-P, do one or more of the following:
In the Presets drop-down list, select a preset (Figure P.6). Position the cursor above the P-I-P and drag it to the target location (Figure P.7). Position the cursor over any control point in the bounding box and drag the P-I-P to the target size (Figure P.8).
Figure P.6 You can choose a preset, go completely custom using the individual P-I-P adjustment controls, or customize a preset.
When selecting the size and position of your P-I-P, use the Timeline scrubber to move through the Background video to ensure that you dont obscure any critical regions in the video. I typically use the same exact positioning (and other parameters) throughout my productions. When positioning your P-I-P, remember that the extreme edges of the video dont show when displayed on a television set. If youre writing your project back to DV tape, or producing a DVD, you should beware of the Title-safe zones shown in Figure 10.12 (page 262) and explained on page 263.
Figure P.7 Move the image around with this fourheaded pointer.
Figure P.8 Grab any point to make the image larger or smaller.
To customize the P-I-P border:
1. To choose border color, click the solidcolored box beneath the Color text label (Figure P.9). Studio Pluss Color selection dialog box opens (Figure P.10). 2. Choose the desired color by selecting it from the Basic colors or Custom colors palette or by clicking a color on the spectrum. 3. If you want, save your custom color by clicking the Add to Custom Colors button (Ctrl+A). Saving your custom color helps you maintain uniformity as you work. 4. Click OK to close the dialog box.
Figure P.9 Click here to choose your border color.
5. Use the control sliders in the Border box to adjust border width, transparency, and softness. 6. Click the Rounded Corners checkbox to round the corners of the border.
In addition to choosing the border color via the Color dialog, you can also click the eyedropper beneath the Color text label and then click the desired color in the video showing in the Player (Figure P.11). While there are no hard and fast rules regarding P-I-P border width, I typically keep them very slender, just enough to set the P-I-P video off from the Background video. When selecting P-I-P color, I try to match the occasion and mood of the video. For a childs birthday video, orange or yellow is fine; here, for a more serious video, Ive selected a very dark blue.

Figure P.10 Select an existing basic color or choose your own custom color.
I almost always soften the edges of my P-I-Ps with both softness and transparency controls. Otherwise, the edges of the P-I-P just look too harsh. Figure P.12 shows the P-I-P positioning and configuration options that I ultimately selected for this project.
When applying a P-I-P effect, I usually transition into and out of the effect using a dissolve transition. To learn how to apply transitions to the Overlay track, see To Fade Into or Out of a Title or Other Element on the Title track in Chapter 8 (page 205).

Eyedropper

Player
Figure P.11 You can also choose your border color by clicking the eyedropper and choosing a color in the Player.
Figure P.12 Heres my final P-I-P, Dad on Dad, then and now.
To customize the P-I-P Shadow:
1. To choose shadow color, click the solidcolored box beneath the Color text label (Figure P.13). Studio Pluss Color selection dialog box opens (Figure P.10). 2. Choose the desired color by selecting it from the Basic colors or Custom colors palette or by clicking a color on the spectrum. 3. If you want, save your custom color by clicking the Add to Custom Colors button (Ctrl+A). Saving your custom color helps you maintain uniformity as you work. 4. Click OK to close the dialog box.
Figure P.13 Click this icon to choose a color for your shadow.
5. Use the control sliders in the Shadow box to adjust the shadows distance from the P-I-P video and its transparency. 6. On the upper right of the Shadow box, click a radio button to move the shadow to a different location around the P-I-P video.
In addition to choosing the shadow color via the Color dialog, you can also click the eyedropper beneath the Color text label and then click the desired color in the video showing in the Player. Shadows, like borders, are generally used to distinguish the P-I-P from the Background video. For this reason, I recommend using either borders or shadows, but not both, since the double dose can make the P-I-P look a bit garish.
To customize P-I-P transparency:
Figure P.14 Drag this slider to the right to make the P-I-P more transparent.
The P-I-P slider starts out on the extreme left, which is zero transparency. To customize the transparency of the P-I-P, adjust the Transparency slider to the right, which makes the P-I-P less visible against the Background video (Figure P.14).
To delete the P-I-P effect:
To delete the P-I-P Effect, do one or more of the following:

Uncheck the Enable picture-in-picture checkbox (Figure P.5). Studio Plus deletes the effect and only the Overlay video shows in the Player window.
Delete the Overlay video. Studio Plus deletes the Overlay video and the Background video shows in the Player window.
Accessing Advanced P-I-P Controls
To a degree, Studio Pluss new P-I-P and Chroma key controls are simply accessible front ends to more advanced controls accessible via the normal special effects interface (see the section Learning the Special Effects Interface, Chapter 9, page 229). In the case of P-I-P controls, the advanced interface offers controls that extend your creative opportunities beyond simple P-I-P.
For example, in a recent PC Magazine article, I tested different methods for digitizing 8 mm film. As with many technology comparisons, seeing the footage side by side often makes it easy to identify the pros and cons of each product offering. As shown in Figure P.15, using the advanced Picture-in-Picture controls, which you can apply to both the Video and Overlay tracks, you can crop, resize, and position both tracks in a highly customizable, side-by-side display. This is just one example of the effects enabled with the advanced P-I-P controls.
Figure P.15 The advanced P-I-P controls enable advanced effects like placing videos side by side. Thats some snazzy sweater, eh?
To access the advanced P-I-P controls:
With Studio Plus open to the Picture-inPicture controls, click the Add an Effect to a Video Clip icon (Figure P.16). Studio Plus opens the controls shown in Figure P.15.
Figure P.16 Click here to access the advanced controls.

About Chroma Key

The most common application of Chroma keying is on the evening news, when you see the weatherperson standing in front of a weather map. Actually, he or she is videotaped standing in front of a green wall while the weather map is contained in a separate video feed. To combine the two, the video editing program at the TV station eliminates the green background and superimposes the weatherperson over the video containing the weather. Studio Plus works the same way. After getting the two videos properly placed in the timeline, you tell Studio Plus which color to eliminate from the Overlay video, usually either green or blue. Then Studio Plus superimposes the video that wasnt eliminated into the Background video.

Software aside, to produce a high-quality Chroma key, you need to shoot your video correctly. For tips on how to do this, see the sidebar, Shooting For Chroma Key later in the chapter.
About Chroma Key Controls
Figure P.17 contains Studio Pluss Chroma key controls. Since theyre unique to the Chroma key operation, Ill define them before getting started.
Saturation Minimum. This control increases and decreases the saturation value eliminated by the Chroma key. During my tests, I consistently produced the best result with this slider set all the way to the left. Softness. According to the Studio Plus help file, this slider controls the density of the underlying video. During my tests, I consistently produced the best result with this slider set all the way to the left. Spill Suppression. In most Chroma key projects, some of the background color from the Overlay video spills onto the Background video, almost always at the edges between the two videos (e.g., some fringes of the green wall behind the weatherperson spill onto the weather map in the background). Spill suppression turns this spillover to gray, making it much less noticeable. During my tests, I consistently produced the best result with this slider set all the way to the right. continues on next page
Key Color. The key color is the color youre eliminating from the Overlay video before superimposing the remaining segments into the Background video (e.g., the green wall against which the weatherperson is videotaped). As youll see, youll choose the key color by clicking the eyedropper beneath the Key Color text label, and then clicking the background in the Overlay video. Color Tolerance. When shooting video for Chroma key, you shoot against a solid background, usually either cloth or a painted wall. Though you do your best to minimize them, there are always slight differences in the background color due to shadows or minor irregularities, like small wrinkles or folds in background cloth or dirt or paint strokes on painted walls. Increasing the color tolerance tells Studio Plus to eliminate a broader range of colors, which helps eliminate these irregularities.
Figure P.17 Here are Studio Pluss new Chroma key controls.
Transparency. This control affects the transparency of the image in the Overlay track. Drag it to the right to make the image more transparent, la Patrick Swayze in Ghost. Enable Chroma keying. This checkbox enables and disables Chroma keying. Apply to new clips. Checking this checkbox applies the same Chroma key values to all subsequent clips dragged into the Overlay track. Key channel. This provides another view of the effectiveness of the Chroma key controls. When the background is completely black and the edges clean, and the foreground clear of black specs, the controls are set to their optimum positions.
To apply a Chroma key effect:

1. Drag the background video clip to the Video track. 2. Drag the clip shot against the Chroma key background to the Overlay track. 3. At the upper left of the Movie window, click the Open/Close Video Toolbox icon (Figure P.4). The Video Toolbox opens. 4. On the left side of the toolbox, click the Edit the Video Overlay Using Picture-in-Picture or Chroma Keying icon (Figure P.5). 5. Click the Chroma key tab above the Key channel window. Studio Plus opens the Chroma key control window (Figure P.18).

Click the eyedropper.

Select a color.
Figure P.18 Now youre ready to Chroma key out the background.
6. If the Enable Chroma Keying checkbox isnt enabled, click the checkbox. 7. Click the eyedropper beneath the Key Color text label and click the background color in the Overlay video in the Player. You should see an immediate elimination of most of the background (Figure P.19). 8. Adjust the Color Tolerance slider to the right to eliminate the remaining background color from the combined videos. To find the optimum value, do one or more of the following:
Figure P.19. That got most of it; now lets work on the fringe around the edges. Color Tolerance set too high (black spots in white area).
Use the slider bar beneath the Player window to scan through the entire Chroma key. Watch for black spots in the white portion of the Key channel as shown on the top in Figure P.20. This indicates that the Color Tolerance value is too high. Adjust the value to the left until the black spots are gone. continues on next page
Color Tolerance value good (black spots gone).
Figure P.20 Note the black spots in the image on the top image. This means that the Color Tolerance value is too high and is eating into the subject. Better back off by dragging the slider back to the left.
9. Adjust the Saturation Minimum and Softness values all the way to the left. 10. Adjust Spill Suppression all the way to the right. 11. If desired, adjust the Transparency value to the desired levels. 12. If desired, click the Apply to New Clips checkbox to apply the selected values to other clips dragged to the Overlay track.

Though Studio Plus has two Chroma key presetsone for a blue screen, one for a green screenI recommend ignoring the presets and starting from scratch, since even small differences in color values between the presets and your actual footage can produce dramatically different results. You can apply the P-I-P and Chroma key effects to the same video simultaneously. You can access Studio Pluss advanced Chroma key controls by clicking the Add an Effect to a Video Clip icon (Figure P.21), but the results are nowhere near as exciting as they were for P-I-P. The only additional control is an Invert Key checkbox, which simply reverses the Chroma key, superimposing the region containing the background video color over the background video.
Most Chroma key sets are slightly lighter at the top because this region of the frame is closer to the lights. You can see this in Figure P.18, where the background is lighter at the top than on the bottom. For this reason, I choose a color in the middle of the screen, which provides an average value between the brightest and darkest regions. This maximizes my chances for a high-quality Chroma key.
Figure P.21 The only option offered by the advanced Chroma key controls is the Invert key, shown here.

Shooting For Chroma Key

Shooting effective Chroma key video is easier than you think, if you follow a few simple rules. 1. The most important rule is to shoot against a high-quality background in either Chroma key green or blue. You dont have to spend a lot of money; in fact, the background cloth I used for the shots in this chapter cost around $20 from www.markertek.com. However, it does have to be fabric (or paint) designed specifically for Chroma key effects. A blue or green sheet from Wal-Mart just wont be as effective. 2. When lighting the background wall, do your best to minimize shadows and make the light as even as possible from top to bottom. Fluorescent bulbs tend to work the best. 3. Use separate lighting on the subject of the Chroma key video, and make sure shadows from those lights dont appear in the camera. 4. Make sure both the subject and background are very well lit, since shooting with insufficient light produces noise in the video, which degrades Chroma key quality. 5. If you can, hang a light from the top of the back wall that shines down on the subjects head and shoulders (called a back light). This helps create a good contrast between the subject and the back wall, which improves the quality of the Chroma key.

6. Obviously, the subject shouldnt wear any colors that are close to the Chroma key color. In addition, remove any shiny jewelry that could reflect the background color. 7. Images with lots of detail are hard to Chroma key effectively. For example, curly hair is almost always a problem. If possible, have your subjects slick back their hair and/or place it in a ponytail to minimize this detail. 8. Shoot using manual exposure controls. When you use automatic exposure, the camera adjusts exposure for small changes in lighting conditions. For example, a subject waving her arm or looking down can produce a change in exposure setting, which of course changes the background color slightly, thus introducing irregularities that degrade the Chroma key. 9. The better the camera, the better the Chroma key. This is one area where having higherquality equipment can really be beneficial.
Working with Still Images
I like incorporating pictures I shot with my digital camera into my movies. Though possible with Studio, the new tools in Studio Plus offer much greater functionality. Topping the list, of course, is pan and zoom functionality. However, Pinnacle also added red-eye reduction and image rotation, which when combined with color correction tools already in the program, eliminate the need to edit your photo in an image editor before including it in your video productions. If you havent worked with still images before with Studio, review Working with Still Images in Chapter 7 (page 190) before getting started.

Perfecting Your Images

When inserting digital pictures into a project, first make sure that they are rightside up and remove any red eye. So lets start there.

To rotate your image:

1. Start with the Movie window in Timeline view and the Album window open to the Still Images tab. 2. Drag the image into the Timeline. 3. Double-click the image. Studio Plus opens the Clip Properties tool (Figure P.22). This is my normally staid father-in-law feigning intoxication at a recent family wedding. continues on next page
Figure P.22 This image needs to be rotated to the left.
4. Click the Rotate icons as required to rotate the photo into the desired position (Figure P.23). Studio Plus rotates the image to the desired position (Figure P.24).
Figure P.23 Rotate the image by clicking these controls.
To understand why there are black bars around the image in Figure P.24, see Editing Still Images in Chapter 5 (page 115). To remove the black bars, zoom into the image until they disappear, as described in To insert a pan and zoom effect, later in this chapter.

Figure P.24 The corrected image.
To remove red eye in an image:
1. Start with the Movie window in Timeline view and the Album window open to the Still Images tab. 2. Drag the image into the Timeline. 3. Double-click the image. Studio Plus opens the Clip Properties tool (Figure P.22). 4. Do one or both of the following to zoom into the region of the image containing the red eye:
Use the zoom slider to zoom into the image (Figure P.25). Click and drag the image to the desired position. continues on next page

Pointer

Zoom control
Figure P.25 Use the Zoom slider to zoom into the image and grab the image directly to move it around the frame.
5. Click the Red Eye icon (Figure P.26). 6. Click and drag a rectangle around the eye or eyes containing the red eye (Figure P.27). Studio Plus removes the red eye (Figure P.28).
Figure P.26 Click here to remove red eye.
Studio Plus worked best for me when I eliminated the red eye from both eyes at once. If two or more subjects in the picture have red eye, fix them sequentially, using the pan cursor to move around the image as necessary.
Figure P.27 Then drag the rectangle around both eyes.
Figure P.28 Works like Visine (though its not apparent here in the grayscale image).
Inserting Pan and Zoom Effects
At a high level, Studio Pluss workflow for panning and zooming within an image has two simple steps. First you pick a starting position for the pan and zoom effect, then you choose the end position. When rendering the effect, Studio Plus builds a movie from the starting point of the image to the ending point. This start-to-finish approach works well with some pictures, but sometimes youll want to make more complicated passes through an image. For example, in the image shown in Figure P.29, shot outside of historic Dollywood, I want to move to three different locations within the image, from daughter to mother to daughter.
To facilitate this, Studio Plus added a button called Match Previous Clip to simplify multipoint panning within an image. This section demonstrates both single-point and multiplepoint pan and zoom effects.

To insert a pan and zoom effect:
1. Start with the Movie window in Timeline view and the Album window open to the Still Images tab. 2. Drag the image into the Timeline. 3. Double-click the image. Studio Plus opens the Clip Properties tool (Figure P.29). 4. Click the Animate from Start to End checkbox. The Set Start button is automatically selected. continues on next page
Figure P.29 Now lets pan and zoom around this image; daughter to mother to daughter.
5. Do one or both of the following to set the start position:
7. Do one or both of the following to set the end position:
Use the Zoom slider to zoom into or away from the image. Click and drag the image to the desired position (Figure P.30).
Use the Zoom slider to zoom into or away from the image. Click and drag the image to the desired position.
6. Click the Set End checkbox (Figure P.31). Studio Plus resets the image to its original position.
At this point, if you exit the Clip Properties window by clicking X in the upper-right corner or closing the Video Toolbox, the pan and zoom effect is set. But Ive only zoomed into two of the three faces in the picture. To seamlessly zoom into the third image, see below.
Figure P.30 The zoom slider sets magnification levels, and you grab the image in the window to move it to the desired position.

Set end radio button

Figure P.31 Select the Set end radio button, then use the pan and zoom controls to move to the end position.
To insert multi-point pan and zoom effects:
1. After inserting the first point of the multi-point pan and zoom effect, click the Open/Close Video Toolbox icon (Figure P.4) to close the Video Toolbox.
Figure P.32 To get to the second daughter, you have to drag the same video to the Timeline.
Studio Plus returns to the Album window open to the Still Images tab. 2. Drag the same image to the Timeline (Figure P.32). 3. Double-click the image. Studio Plus opens the Clip Properties tool (Figure P.33). 4. Click the Animate from Start to End checkbox. The Set Start button is automatically selected. continues on next page
Figure P.33 Click the Match Previous Clip button and Studio Plus aligns the starting point of the second clip to the ending point of the first clip.

5. Click the Match Previous Clip button. Studio Plus matches the Set Start pan and zoom location to the end point of the previous image. 6. Click the Set End checkbox. 7. Do one or both of the following to set the end position:
Use the Zoom slider to zoom into or away from the image. Click and drag the image to the desired position (Figure P.34).
At this point, if you exit the Clip Properties window by clicking X in the upper right corner or closing the Video Toolbox, the pan and zoom effect is set.
Figure P.34 Then pan and zoom over to the second daughter.