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Hybride's film work will continue, and plans are afoot to use Hybride on movies based on Ubisoft properties.
I got several comments on yesterday’s post asking how I was able to create the background color and lighting effects in my otherwise boring head shot. I copied the mask from the Mono Tint layer to the Relight filter layer by dragging and dropping the mask icon between layers. As you can see, it’s fairly easy to recreate traditional lighting effects for studio shots using Dfx 3. George, I still use CNX2, but I have been using LR as well so that I can better understand it for my workshops.
Includes Photoshop Actions for creating 25 luminosity masks and step by step instructions on how to use them.
Jason's photography has been featured by Nik Software, Tiffen, Studio Photography Magazine, Wildlife Photographic Magazine, Singh- Ray Filters, and Digital Silver Imaging. In 2011 or thereabouts, Avid, primarily a maker of high-end video software and hardware, bought up Pinnacle Systems, and created Avid Studio as a prosumer product -- incorporating many of the features of Pinnacle Studio software. This review is mostly about Pinnacle Studio Ultimate 16 -- which I'm using as I write this. Pinnacle Studio Ultimate 16 offers an unlimited number of tracks (lesser versions, fewer), and makes good use of 64-bit processing -- also, it takes advantage of an Nvidia graphics card's CUDA processing power -- though this advantage is not available with other brands of cards. The upgrade from version 15 is inexpensive; version 16 can read files created in earlier versions, a major advantage when upgrading.
All versions can render video during editing of a project, so composited segments (picture in picture, pan and zoom, transitions, etc.) will play smoothly as editing continues. The Library feature in Pinnacle version 16 makes it easier to access resources stored on the computer, so you don't have to make your way among irrelevant files and folders in the computer's directory structure.
Version 15 does not allow clips to be inserted after empty time at the end of the last clip in a project, so it is necessary to extend the last clip or insert a dummy clip. Some of the following comments are as of May 2013, and changes may have occurred since then. Avid Studio and Pinnacle Studio 16 claim to need a screen at least 1200 x 768 but it will run on a smaller screen. When you have used an optional effects plugin such as Red Giant in a project, be sure to install the plugin if you are reinstalling Pinnacle or installing it on a different system.
Pinnacle Studio 16 manual and help are clearly written for what they do cover, but it's often hard to find what you need in them, due to commands which are accessed with wordless icons, and the lack of synonyms in the manual and help index. Help index entries for several common words describing each function would be nice, but why should I have to look up common functions in the Help at all?
There are tooltips -- text which appears when you hover the mouse pointer over an icon, and that can help if the tooltip is descriptive, but on the other hand it is often necessary to look up a function in Naylor's book to identify and locate the icon. The Effects Editor uses its own image display, in an applet which overlays the main display screen. I have published another article with a table comparing the features of the picture-in-picture effects. The Effects Editor offers a well-integrated set of parameters for each effect (the list next to the top right corner of the image display, above), and these are easier to access than in version.15, where the dialog box for some effects, in particular Color Correction, requires scrolling to reach all of the adjustments. In version Studio 16, there is a way though to save parameters from one clip to apply to another, but it isn't very intuitive.
A still image may also be created by dragging the beginning or end of a clip past the start or finish of the original video take. The snapshot from the camera icon saves automatically in Pinnacle Studio 16 and copies the exact image which appears at the playback head. Optionally adjust pan and zoom of the image; you may use keyframes in the mini-timeline at the bottom and audio adjustments at the left -- but see warnings about this pan-and-zoom function, below. Click on Apply -- the unexpected step -- out of line with the other clickable items and easy to miss. The snapshot functions in the Effects Editor have their own Pan and Zoom commands, but I avoid these because they do not integrate with the ones used for video clips and in the timeline. Once I have inserted a still image into the timeline, then I can used the integrated pan and zoom command, making it possible, for example, to match a freeze-frame to the video clip from which it was taken. Pinnacle version.15 crashes when some combinations of effects are too much for it to handle. There are some odd, obsolete or off-topic items in the manual's glossary in Avid, and in Pinnacle v. I record voice-over narration while editing, usually one sentence at a time, and I often have to re-record a sentence several times before I get it right. In all versions, recording is delayed, resulting in silence at the start of a clip which must often be deleted in order to avoid unnaturally long gaps between clips. This is an important reason to upgrade from Avid -- whose overwrite mode doesn't work for voice-overs. So, audio keyframing is accessed differently from video keyframing, and maybe that's necessary but it is unnecessarily confusing.
In all versions, resizing or splitting a clip makes the positions of keyframe proportional to the new length of the clip.
Any video application is pushing the envelope of performance on today's home computers, and even more so with high-definition video. The application loads faster from a solid-state drive, and putting render files there speeds rendering somewhat -- though rendering actually works the CPU much harder than storage. Warning: While snapshots are named with reference to the project in which they are created, voice-over files in Pinnacle v. Change al lthe settings for each project you work on, so the files are stored in that project's folder. Edit only one project at a time, and when you are done with it, gather the files from their various locations and place them in the same folder with the project file. The Library imports input files either by copying them -- which is very wasteful of disk space as already mentioned, and puts them all in the same folder -- or by linking to them. Both projects need to be in the same file format, and the source files must be where the destination project can find them.
In this way, you can copy and paste multiple clips at once, along with the the formatting instructions from the source project.
One you have exported a video, you can use it, or part of it, as a clip in another project, but you can't change the edits in it. If the frame for a title extends off the screen, a multi-line title may show entirely on the screen when editing, but extend off the screen instead when exporting the project. In both Pinnacle 15 and Pinnacle 16, sometimes there is a gaps in the audio when audio is detached from video and butting one part of an audio clip up against another. If you display a video source clip on the second monitor, and you have also put the timeline display on that monitor, your icon in the upper right of the small display only switches between these two displays on the second monitor. Just select the necessary effect and enjoy the perfect result in a couple of seconds.The program allows you to add fantastic glows and fog, generate the effects of rain, snow, lightning and a starry night. After all, I only used a single light for the image and the background was a blank wall about five feet behind me. Side note: when using Dfx3 from Lightroom, choose Adobe RGB 1998 as your color space, as ProPhoto RGB may, in rare circumstances, cause color banding within the Dfx3 environment.
The problem here is that the effect is applied globally, and I only want it to affect the background.
Avid more recently sold the product to Corel, which did some additional work on it and renamed it Pinnacle Studio 16. I found Pinnacle Studio Ultimate 15 (and earlier versions) to have the features I needed for my purposes.

It is also easy to notice features that are missing, or more difficult in the new application, so, even while the new version may work much better all in all, it may seem worse at first. I have come to like and appreciate many things about it, but I am still having growing pains.
It can export a 1920 x 1080 HD video to an MP4 on my Intel i5 machine at nearly real-time speed. Still, scrolling in the timeline, rendering, and other processor-intensive tasks run much, much faster and more smoothly than in version 15. The ability to apply effects to clips in the Library avoids having to do it over and over again in each new project.
Access to support registration is only by clicking on the "to submit a technical question" line in the registration e-mail.
My primary (work) screen is 1024 x 768 and I have a second, viewing screen which is 1920 x 1080. Following installation, Pinnacle 16 may copy all of your video files onto your computer's C: drive. These files all appeared with a lock icon and a play arrow, and I didn't see how to get the key to unlock the files until I clicked on the icon to play one of the the files which wouldn't play. To understand Pinnacle Studio 16, you will have to review the tutorials online, or Jeff Naylor's book -- or else you will become frustrated hunting around to find functions.
Menus or labeled buttons would give me words that are either self-evident, or that I could look up in the Help or the manual. After quite a bit of searching, I found Pan and Zoom in the Camera Effects list of the Effects Editor. The display occupies much of the screen space in the Effects Editor, even when you are only selecting an effect.
In version 16, though, numerical display and entry of parameters is in a very small typeface; and most annoyingly, the Effects Editor won't let you scroll from one clip to the next. It involves clicking on the pink line which appears at the top of a clip which uses an effect.
16 puts Snapshot in the control bar above the timeline too, with a camera icon -- a significant usability improvement.
If you are still using Avid Studio or if you want to make use of special effects, follow the steps listed below and indicated in the image following the list. Between keyframes or start and end locations, the Pan and Zoom function in the Snapshot dialog box in Avid Studio generates curves which reveal areas outside area of the start and end frames or keyframe locations. I was able to make progress even when this happened, because of the priceless feature of resuming editing after a crash. 15, the icons at the left side of the screen (already mentioned) select among video clips, transitions, still images, audio and pre-designed titles. 16 -- listings for Extended Parallel Port (most PCs don't have a parallel port at all any more); IRQ, which is something that PC users don't have to think about any more.
If this location had to be precise, you will have to have set a marker before you started recording. Probably because, as with the Effects Editor, the recording function is an applet in its own dialog box rather than working directly in the timeline. You must also wait a moment to stop recording after you have finished talking, or else the end of your voice-over will be clipped off.
15, if you have two clips from the same source file lined up so the transition matches, you can recombine them back into a single clip. Even with the best data compression, an hour of HD video will be several gigabytes in size.
16, is formatted as a list of program instructions, much of it readable in a text editor, but with a binary segment at the end. It is, however, possible to copy and paste material between projects by opening the source project, copying, then closing that project, opening the destination project, and pasting. This section reads like a specification written for programmers assigned the task of creating a graphic user interface, when the interface does not yet exist. You must click on the Exit Trim Mode icon above the timeline -- or click on the loop icon a second time: it is a toggle. 16 places markers in the timeline rather than inside clips, making it useless to adjust timing of one clip relative to another. You must complete or abort the export and return to movie mode to clear the second monitor.
The trick I used was Tiffen’s Dfx 3 software, which I think is an indispensable tool for home studio photographers. At this point, the basic image looks fine and it was time to get creative with the background effects.
However, these versions are rather slow, even on my Intel i5 computer, very crash-prone and allow only 3 video tracks.
You must import files into a Library in order for them to be usable in Pinnacle Studio 16.. In version 16, it is even possible to drag the start of the first clip to the left, off the timeline, to extend it, effectively moving all others later in time. Some have been fixed, though many remain in Pinnacle Studio 16, and a few new ones have cropped up. Clicking on Online Support > Technical Support from Help in Pinnacle 16 doesn't go to that same place.
Clicking on the Transitions icon (in orange in the mercifully short column near the upper left of the screen shot below) displays transitions in the two-dimensional table shown. Learning the meaning of the icons is like learning to read Chinese, and there are many of these in Pinnacle Studio 16. As a result, there is only a single line of icons for effects -- unlike the two-dimensional table of Transitions in Pinnacle Studio.
I suspect that the redundancy results from the need to achieve compatibility with more than one legacy application. The Red Giant effect 3D Stroke, for example, lets you draw a circle or ellipse to draw attention to a part of the image.
Once I knew what to call this function, I found information in the Help and the manual about grabbing a snapshot from a source clip.
This is an improvement, because it avoids the need to readjust parameters if those of the previous keyframe have been changed. The audio mixer button is the one with a little bar graph, above the left end of the timeline. You have precisely located your keyframes, for example, to pan and zoom a clip, and if you shorten or lengthen a clip, the changes move to different times. It is important to know how to manage these when saving, archiving or deleting files, and to avoid losing a project due to a crash or other problem.
By default, all Pinnacle and Avid versions store your work on the C: drive, which they must share with the operating system or other applications -- also slowing performance.
In this way, you can delete older versions of a project once it nears completion, in order to free up disk space. The package will, however, include the contents of all of the input files and can be very large. Each function of the Video Editor preview is described in detail in words, but there is no image to illustrate most of them. However, if you place a market in a clip in the Effects Editor, that marker will stay in the same place in the clip, and even if you adjust the start or end time, and also will be visible in the timeline. They could both be at one side or at the top and then the entire remainder of the screen could be filled with content. 16, they stay nearly the same yellow color and get a thin, almost invisible orange outline.

You have to look at the keyframe icon to see whether the cursor is aligned directly over the keyframe. I used the green pencil (foreground) to loosely draw the area where I wanted the effect to be applied; in this case, just the background. I copied the mask from the previous filter to the new layer by simply dragging the mask from one layer to the next. Less-expensive Pinnacle products work essentially the same but are missing some features -- mostly, add-on effects; the least expensive does not support keyframing, so you can only have static effects such as pans and zooms.
One of version 15's best features, I would rather not need: it almost always reloads a project intact on restarting after a crash. I still need to look things up in the Help and the Manual, and so I am in a good position to comment on their quality.
There are very good piano, electric guitar, Hammond organ, pizzicato string and drum kit sounds. This feature makes it easier, for example, to insert a title at the beginning of a project. I'll grant that the user interface is better than that of Final Cut Pro 7 on the Mac, which can best be described as a quagmire. Example: "To create a new Collection, click the icon in the header line of the Collections branch" Where is the Collections branch? The blue and orange display at the upper right is animated and cycles repeatedly between A in blue and B in orange to show how each transition works.
The effects are in 6 categories, each of which displays separately: 2D-3D, Camera, Color, Keyers, Artistic and Add-ons. Studio PiP is the worst of these effects, the only one which requires you to set the height and width of the embedded image separately. Worse than that, the same parameters do not give you the same results for two consecutive keyframes.
Many of the help screens have no graphics to show the icons, or to indicate where to click.
16, dissolves and fades are accessed by dragging on the upper right or upper left of a clip in the timeline, something that you aren't going to figure out until you look it up in the manual. I split clips ahead of time, either side of the place where I will be using keyframes, so as to confine the damage. 16, you split clips using an icon of a razor blade, an antiqued convention from the days of movie film and reel-to-reel audio tape.
I place the source files, project files and render files each on a different physical drive, so a drive doesn't have to shuttle back and forth among bits of different files.
Editing instructions, as well as items generated or processed during editing, are stored in a subfolder of the folder where the project file resides.
Avid doesn't direct you to the backup if the project file won't open -- you have to go to the folder with the backup, and rename it with the appropriate .axp filename extension before Avid Studio will recognize it. If you transfer your Pinnacle installation to another computer, you need to keep all of the file locations the same, or you will have to re-link them.
This is covered somewhere in Naylor's book, but it it not intuitive and not covered in the Help -- or in Naylor's index. There can be hundreds of photos or clips in a folder, and it doesn't make any sense to waste screen space. It is easy to make mistakes when cutting or deleting clips, and have to hit the Undo button and try again.
They will add a final touch to your composition.A lot of effects, the possibility of their combination and also the comfortable interface of the program offer you limitless freedom for creative work! I then used the red (background) pencil to draw on areas where I wanted the effect to be removed (my head and body). He has authored 13 comprehensive photography guides, including guides to Nikon's Capture NX, Adobe Photoshop Lightroom and Nik Plug-ins. Wind and bowed string instruments don't sound as realistic -- so, all in all, if you choose a selection which uses rock band instrumentation, it will sound realistic.
Recording will overwrite and delete the start of the next clip, but you can drag the start of that clip to recover it. But if you forget to do one of these workarounds, every clip later in your voice-over track will have moved.
Another workaround is to leave the clip the same length and overlay it on a different track, rather than to split it.
You must be careful not to edit or delete either or you will be unable to open your project.
All of the titles, menus and voice-overs from different projects are stored in the same folders, unless you change the folder setting for each project. For this reason, it is very important to move the voice-overs from a project to a location where Pinnacle will not overwrite them. Both the project file and the backup file get overwritten with each save, and so, in Avid as well as Pinnacle, it is useful to store a project under a new filename every once in a while during editing. I find that this happens when a Scorefitter track extends past the last video in a project. The cool thing about EZ mask is that it works really well and you can also refine it as needed without having to start over from scratch. If the data is already stored on a hard drive on your computer, you usually will not want to copy it. This is not exactly an example of the best user interface management, but oh well, OK, it worked. Icons, and functions accessed only by clicking here or there onscreen, can require hunting expeditions if you don't also have a way to access the same function through a menu. In the lower half of the screen, you can see the icons for a number of dissolves which have been inserted between clips.
Well, it is one that a camera might create, even though it is being created here in software. I was unable to do this by using the same settings for the second-to-last and last keyframes. The locations for audio and snapshots are under the Import heading in setup, though these also are storage locations!
If you use the same input files in multiple projects, you will be copying them over and over. Placing a blank title at the end, extending past the end of the audio, has solved thsi problem for me. You can see the mask applied to the image and how it pretty much nailed my head, including what’s left of my hair.
Rendering of music selections to fit different lengths can be painfully slow in version 15; it is much faster in Avid Studio and version 16.
Actually, clicking first is better -- it avoids creating unwanted volume handles, but still, this example shows how minor changes in the interface can lead to annoyance. The option on where to store voice-overs is not in Setup at all, it is in the voice-over dialog box.
There's a big difference, both in performance and in the user interface, between releases up through v. The image below highlights Pan and Zoom (second from the right in the line near the top), but it is off the screen at first, and to get to it you must first know that it is categorized as a Camera effect, then scroll past 12 effects including bread-and butter ones like Earthquake, Old Film and Noise. This saves disk space., but you only create a full backup if you save the folders holding these, or create a package file.

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