| Foreword |
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xi | |
| Editor's Note |
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xiii | |
| Acknowledgments |
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xiv | |
| Introduction |
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xvi | |
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Getting Started with Vegas |
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1 | (72) |
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1 | (2) |
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3 | (16) |
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4 | (2) |
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6 | (3) |
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9 | (1) |
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10 | (1) |
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Expanding the View of Docking Window and Undocking Windows |
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10 | (9) |
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19 | (1) |
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Saving Templates and Layouts in Vegas |
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20 | (2) |
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22 | (3) |
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Setting Up Project Properties |
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25 | (3) |
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28 | (5) |
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33 | (3) |
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36 | (6) |
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42 | (19) |
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61 | (6) |
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67 | (2) |
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69 | (1) |
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69 | (1) |
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70 | (3) |
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73 | (40) |
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Getting Media from the Camera to the Hard Drive |
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73 | (1) |
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73 | (8) |
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81 | (1) |
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81 | (2) |
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Capturing Stills with Video Capture |
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83 | (3) |
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The Future of Video Capture |
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86 | (2) |
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Capturing/Transferring HDV |
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88 | (3) |
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Importing Media from a DVD Drive |
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91 | (2) |
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Importing Media from a Hard Disk Drive Recorder |
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93 | (1) |
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94 | (2) |
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Device Explorer in Vegas Pro |
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96 | (2) |
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XDCAM and Sony Vegas Pro 9 Software |
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98 | (3) |
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Importing XDCAM Media into a Vegas Project |
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101 | (1) |
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Enabling the XDCAM Explorer |
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101 | (2) |
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Enabling Multichannel Audio Import |
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103 | (3) |
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Sony XDCAM EX and Sony Vegas Pro 9 |
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106 | (2) |
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Hardware Cards and Vegas Pro 9 |
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108 | (5) |
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Editing Tools, Transitions, Filters, and Other Basic Video Tools |
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113 | (74) |
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Importing Media to the Timeline |
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113 | (6) |
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119 | (2) |
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Placing Media on the Timeline |
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121 | (1) |
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122 | (2) |
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124 | (5) |
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Placing Still Images or Graphics on the Timeline |
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129 | (2) |
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Editing Events on the Timeline |
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131 | (11) |
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Gradient Transition Tutorial |
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141 | (1) |
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And the Envelope, Please ... ? Transitional Envelopes |
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142 | (2) |
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144 | (7) |
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151 | (4) |
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How Filters/Plug-ins Function |
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155 | (8) |
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Editing and Converting for a Film Look |
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163 | (3) |
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163 | (1) |
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164 | (1) |
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164 | (2) |
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166 | (1) |
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167 | (1) |
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167 | (5) |
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172 | (2) |
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174 | (6) |
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180 | (2) |
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Editing the VEG Files from a Nested Timeline |
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182 | (1) |
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183 | (1) |
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184 | (3) |
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Multicam Functions in Vegas Pro 9 |
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187 | (14) |
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187 | (1) |
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Getting Media to the Timeline |
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188 | (1) |
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If Timecode Is Closely Matched |
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189 | (3) |
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Other Multicamera Workflows |
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192 | (2) |
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Making Multicam Selections |
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194 | (1) |
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Creating Cross-Fades Between Active Cameras |
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194 | (1) |
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195 | (2) |
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Editing Audio with Multicamera |
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197 | (1) |
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198 | (1) |
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198 | (1) |
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199 | (2) |
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201 | (24) |
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Working with Plug-ins in Vegas |
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201 | (1) |
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Vegas Pro Production Assistant |
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201 | (1) |
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202 | (10) |
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212 | (5) |
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217 | (1) |
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218 | (3) |
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221 | (1) |
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222 | (1) |
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223 | (2) |
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Color Correction and Manipulation |
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225 | (22) |
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Understanding the Color-Correction Tools in Vegas |
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225 | (3) |
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228 | (12) |
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Color Correction Tutorial #1 |
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235 | (4) |
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Color Correction Tutorial #2 |
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239 | (1) |
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Color Correction Tutorial #3 |
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239 | (1) |
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Using Color Correction as FX |
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240 | (2) |
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Color Correction Tutorial #4 |
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241 | (1) |
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Making Digital Video Look Filmlike |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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Shooting Video for the Large Screen |
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243 | (1) |
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243 | (2) |
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245 | (2) |
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247 | (90) |
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247 | (1) |
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248 | (3) |
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Recording Multiple Tracks |
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251 | (1) |
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Advanced Recording Techniques and Tools |
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252 | (1) |
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253 | (3) |
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How About a Flyin' Smooth Punch? |
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256 | (1) |
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257 | (2) |
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Using Busses for Routing Effects |
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259 | (2) |
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261 | (1) |
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262 | (1) |
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263 | (1) |
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Inserting Effects without Using a Buss |
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264 | (1) |
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264 | (1) |
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265 | (1) |
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266 | (2) |
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Recording Multiple Tracks |
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268 | (1) |
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Synchronizing Vegas to External Devices |
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269 | (3) |
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272 | (1) |
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Placing Audio on the Timeline |
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272 | (1) |
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Extracting Audio from CDs |
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273 | (8) |
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281 | (2) |
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283 | (1) |
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284 | (3) |
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287 | (1) |
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Variable-Speed Audio in Vegas |
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288 | (1) |
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288 | (1) |
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289 | (1) |
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Trimming Events on the Timeline |
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289 | (2) |
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Deleting Events from the Timeline |
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291 | (1) |
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291 | (1) |
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292 | (1) |
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Working with Audio Plug-ins |
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292 | (3) |
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295 | (2) |
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Working with Other Types of Plug-ins |
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297 | (3) |
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297 | (3) |
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Fingertip Mixing: Using the Mackie Control (and Other Control Devices in Vegas) |
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300 | (3) |
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Other Controlling Devices |
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303 | (1) |
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304 | (1) |
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304 | (1) |
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Every Breath You Take, Every Move You Make! |
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305 | (2) |
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307 | (1) |
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308 | (1) |
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308 | (2) |
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309 | (1) |
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310 | (4) |
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314 | (1) |
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315 | (2) |
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317 | (2) |
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319 | (9) |
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Surrounded by FX: Surround Plug-ins |
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328 | (2) |
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Mixing Surround or DVD Audio |
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330 | (1) |
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I'm All Mixed ... Down! Downmixing in Vegas |
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331 | (1) |
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332 | (2) |
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334 | (1) |
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334 | (1) |
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How Come the Audio Cats Get All the Cool Stuff? |
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335 | (2) |
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Creating Titles in Vegas Pro 9 |
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337 | (28) |
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337 | (10) |
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347 | (1) |
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348 | (2) |
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350 | (1) |
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351 | (1) |
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352 | (3) |
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355 | (4) |
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359 | (3) |
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362 | (2) |
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Importing Static Graphics |
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364 | (1) |
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Pan/Crop, Track Motion, and Basic Compositing in Vegas |
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365 | (70) |
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365 | (1) |
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365 | (4) |
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Explanation of Pan/Crop Icons |
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369 | (1) |
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Masking with the Pan/Crop Tool |
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369 | (3) |
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372 | (2) |
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Using Track Motion in Vegas |
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374 | (2) |
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Explanation of Track Motion Icons |
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376 | (6) |
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The Next Dimension: 3D Track Motion Tools |
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382 | (3) |
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385 | (1) |
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Parental Guidance/Shadows and Glow |
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386 | (1) |
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Ten-Bit Color and 32-Bit (Floating) Processing |
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387 | (3) |
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Rotated Display Functions |
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390 | (1) |
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391 | (2) |
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393 | (4) |
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394 | (3) |
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397 | (3) |
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Creating/Using Masks in Vegas |
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400 | (12) |
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402 | (1) |
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403 | (3) |
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406 | (3) |
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409 | (3) |
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Compositing Modes in Vegas |
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412 | (10) |
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Displacement Map Tutorial |
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415 | (3) |
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418 | (2) |
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420 | (2) |
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Using Chroma-Key Tools in Vegas |
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422 | (3) |
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Creating a Garbage Matte in Vegas |
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425 | (3) |
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Create a Holograph in Vegas! |
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428 | (3) |
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431 | (1) |
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432 | (3) |
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435 | (16) |
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435 | (1) |
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435 | (2) |
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437 | (1) |
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437 | (1) |
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438 | (1) |
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Adding Media to the Media Manager |
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439 | (4) |
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Organizing Your Media with Tags |
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443 | (3) |
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446 | (1) |
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Quick Text or Keyword Search |
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447 | (1) |
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447 | (2) |
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449 | (2) |
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451 | (42) |
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451 | (1) |
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451 | (1) |
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452 | (5) |
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457 | (1) |
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458 | (1) |
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Mastering Audio for Video |
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458 | (1) |
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Using Compression in Vegas for Video |
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458 | (2) |
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460 | (1) |
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460 | (1) |
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Rendering Options in Vegas |
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461 | (3) |
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462 | (2) |
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Exporting Projects to Third-Party Applications |
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464 | (2) |
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466 | (1) |
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467 | (2) |
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Outputting Other Than AVI Files |
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469 | (2) |
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Outputting an AC-3 Format File |
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471 | (1) |
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472 | (2) |
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Additional Rendering Options |
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474 | (1) |
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475 | (4) |
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Setting Up the Rendering Network (Render Farming) |
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476 | (1) |
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477 | (2) |
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Monitoring the Rendering Progress |
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479 | (2) |
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480 | (1) |
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Additional Functions of the Network Rendering Application |
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481 | (1) |
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482 | (3) |
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485 | (1) |
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486 | (1) |
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487 | (3) |
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Using Vegas with DVD Architect |
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490 | (3) |
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493 | (16) |
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Creating High-Quality Portable Media |
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493 | (1) |
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Shooting, Editing, and Delivering |
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493 | (2) |
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495 | (1) |
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496 | (3) |
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Audio for Internet Delivery |
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499 | (1) |
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How Is Audio Preprocessed for the Web? |
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500 | (2) |
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502 | (2) |
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504 | (3) |
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Rendering for YouTube and Other UGC Sites |
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507 | (1) |
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Rendering for iPod/Podcasts |
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507 | (1) |
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508 | (1) |
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24p HDCAM/DVCAM Workflow for the Independent Filmmaker |
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509 | (10) |
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509 | (1) |
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510 | (1) |
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Setting Up a 24p Vegas Project |
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510 | (2) |
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512 | (1) |
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Remove 2-3 Pulldown from the Downconverted 60i DV Clips |
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513 | (1) |
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Editing with 24p DV Video Files |
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513 | (1) |
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514 | (1) |
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Create Finished Audio Tracks in a 24p Vegas Timeline |
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515 | (1) |
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Create Finished Composites and Video FX, and Export as 24p HD Uncompressed AVI Files |
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516 | (1) |
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517 | (1) |
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518 | (1) |
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Exporting the Project to DV |
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518 | (1) |
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4K Resolutions and Sony Vegas Pro 9 |
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519 | (6) |
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Accessing RED Decode/Raw Data |
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521 | (1) |
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522 | (1) |
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523 | (1) |
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Other Benefits of 4K Resolution Support in Vegas Pro 9 |
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523 | (2) |
| Index |
|
525 | (9) |
| What's on the DVD |
|
534 | |