Editor s toolkit pro U s e r s G u i d e

Transcription

1 Editor s toolkit pro U s e r s G u i d e

2 Editor s toolkit pro U s e r s G u i d e Editor s Toolkit Pro Sets 2 Installing a product 4 Uninstall a product4 Media Processing5 Physical Format5 File Format5 Encoding Format5 Browser Panel6 Batch Panel6 Settings Panel7 Canvas7 Layer8 Output11 Transparency and Alpha Channels11 Working with audio files in Juicer14 Preview Panel15 Rendering15 Working with ETK Pro Files16 1

3 Editor s toolkit Pro Sets Digital Juice Editor s Toolkit Pros are complete packages of graphics for anyone looking to add a professional polish to a production These Toolkits are crafted to include the graphics building blocks editors need to create a customized and coordinated look for any program What makes these products work is the intelligent way we ve designed, collected and grouped the graphics together into what we call Pro Sets The various types of graphics and animations that define these sets make them the ideal foundations for designers creating a look for a production This manual is about maximizing your creative options with your Editor s Toolkit Pro We ll cover a lot of technical ground here and define all of the various graphical elements that these Toolkits contain and give you some ideas about how to coordinate these into a unified look Editor s Toolkit Pro Sets Editor s Toolkit Pro Sets are coordinated sets of different types of graphical elements and audio that have been explicitly designed to work together Each Editor s Toolkit Pro Set contains one or more of the following elements (Figure 1 A-H) (Figure 1 A-H) The various items in ETK Pro Set #50 from Mega Library 8 Background Backgrounds are full screen animations suitable as backgrounds for program titles, DVD menus and other graphic applications (Figure 1A) (Figure 1A) Background Overlay Overlays are graphics with an alpha channel that frame the video or appear as sidebars under text and titles (Figure 1B) (Figure 1C) Lower third Lower third A lower third is a strip of animated graphic with alpha channel that usually appears in the lower part of the screen that helps text stand out against busy video The text that appears on a lower third typically identifies something about the corresponding video, such as the name of the onscreen talking head or information about the video (Figure 1C) (Figure 1B) Overlay (Figure 1D) Swipes! Swipes! These full screen wipes with matching sound effects are graphics that help make the switch from one scene to another more interesting The Swipes! are matched to the Pro Set, and further coordinate the look of your production (Figure 1D) Motion Design Elements Motion Design Elements are animated graphics with alpha channels These elements can be used as revealers, or to just add a little flair to your video These elements are large enough to be positioned and scaled anywhere on the canvas You can find them in the HD sub-category of your Pro Sets (Figure 1E) (Figure 1E) Motion Design Elements 2

4 Editor s toolkit Pro Sets Juice Drops Juice Drops are layered Photoshop files that give you the flexibility to tie your print work with your video These large, print resolution, layered images can be customized in Photoshop to handle any printing needs you may have, such as coordinating packaging for your video project (Figure 1F) Mattes These grayscale mattes provided with each Pro Set allow you to further customize the look of each set Using your editor and the matte key or track matte effect, you can create overlays, lower thirds and wipes from your own image sources (Figure 1G) (Figure 1G) Mattes Sound FX These are included for use with the Swipes!, but you may find additional uses You could, for example, use one of these Sound FX files with a Motion Design Element to add emphasis to a text reveal (Figure 1H) Besides actually having a similar look and a coordinated feel (which you can see in the clip thumbnails and previews), you can identify ETK Pro Sets by the clip numbering scheme and their names For example, clips 050_HD_Background1, 050_HD_Overlay1, 050_HD_LowerThird1, etc are all a part of the Electric Tunnel Set, as pictured in Figure 2 While ETK Pro Sets are intentionally and deliberately designed to be used in a coordinated manner to create a complete graphics package and a unified feel for a program, you shouldn t feel at all bound by a set Taking an element from Set 1 and combining it with a different element from Set 50 is a great idea You shouldn t restrict yourself based on color coordination either (Figure 1F) Juice Drops (Figure 1H) Sound FX Let the Juicer take care of colorizing and coordinating your unique Set mix-andmatch experiments (Figure 2) ETK Pro Set 50 is easily identified in the Batch Panel at a glance 3

5 Editor s toolkit Pro Sets Installing a Product The Juicer is the free software utility from Digital Juice that lets you browse for and preview your media and then convert it into a format that is compatible with your editing software Each product volume from Digital Juice has small preview files that make this process possible To install a Product: 1 Start the Juicer application 2 Insert the first disc or Index disc into your DVD-ROM drive 3 From the File menu, select Install Products 4 At this point, the Juicer will ask if you would like to Install Previews Locally (Figure 3) This option will copy small video previews to your hard drive, and will give you instant video previews of your animations without having to insert a source disc If hard disk space is tight and you have broadband internet access, however, you can select the Preview from the Web option and preview directly from the internet You may also change the location where the video previews are stored on your hard drive(s) 5 Click the INSTALL button in the dialog to begin installation To uninstall a product: 1 Start the Juicer 3 application 2 From the File menu, select Catalog Manager 3 Select the product you would like to uninstall from the right side of the panel, and click Remove (Figure 4) 4 Follow the prompts to confirm you would like to remove the product, and the locally stored preview files (Figure 3) Installing previews locally (movies) will give you fast and more convenient previews, but will take up more space on your hard drive (Figure 4) The Catalog Manager will allow you to add and remove products from the Juicer 3 4

6 media processing Media Processing Besides helping you find the media you need, the Juicer also processes raw media files into formats that are compatible with your application, whether that means a software editing environment or a live presentation tool This allows us to distribute our media at the highest possible digital quality while at the same time making sure these files are compatible with your editing needs Physical Format When we talk about the physical format of a digital media file, we refer to its size, frame rate and duration The playback device ultimately determines the physical format For example, a film projector in a theater displays 35mm film at a frame rate of 24 frames per second (fps) For NTSC television in the United States, the broadcast format is a 4:3 aspect ratio frame composed of 525 interlaced horizontal lines at a frame rate of 2997fps On your computer, you might say that the frame is 720 pixels wide by 486 pixels tall The DV format is slightly different at 720x480 pixels Interlacing means that instead of scanning every line in order, every other line is scanned For example, all oddnumbered lines are scanned first and then every even numbered line is scanned On a computer monitor, the lines are scanned in order, one after the other, which is called progressive scanning File Format After you have configured the Settings tab to convert the Digital Juice raw media into the physical format you need (frame size and rate), you ll also need to select a data file format for the file that the Juicer will generate The format that you select will depend on whether you are using a Windows PC or a Mac (or another system) and on your editing software s preferences, but the file format can also influence the quality of the rendered media For example, an NTSC DV video file might use a Windows AVI file format wrapper or an Apple QuickTime (MOV) file format wrapper You ll determine the data format on the Output tab Encoding Format The file format and the encoder are two separate concepts For example, you can render a QuickTime file (MOV file format) using PNG compression, the Sorenson codec or with no compression at all Sometimes the file format and the encoder are linked, for example, the Windows WMV file format only uses Microsoft-tuned MPEG-4 5

7 browser panel batch panel encoding and nothing else Other encoding formats might be closely tied to multiple related file formats, such as how DVD video standardized MPEG-2 video might be encoded to MPG, MPEG or M2V file formats, but will ultimately end up being wrapped up in DVDvideo-standard VOB files on the actual DVD disc at the end of the day No matter the file format for DVD destined video, the encoded video inside of the file is still MPEG-2 Browser Panel The Browser Panel (Figure 5) shows all the categories of the selected volume You can see the individual clips by double clicking one of the folders Click the button in the upper-left (folder with the Up Arrow) to return to the folders view Now you can click on any of the individual animations to watch them play back in the Browser Panel You can turn off Categorize Content in the upper right corner to show all the clips from this volume You can also search for clips based on keywords using the search box There is a right arrow button (>) in the top right corner that will allow you to select from different views like Detailed View or Thumbnail View Batch Panel The Batch Panel (Figure 6) is where you will place the media you wish to prepare for output You can drag as many clips as you like to the Batch Panel for processing even from different volumes or products You can click the right arrow (>) at the top of the Batch Panel to clear the batch list, or change the views Once you have added an item to the Batch Panel, click the Settings button at the top of the Batch Panel (Figure 6) Click and drag an item from the Browser Panel to the Batch Panel to add it to the list of files to be processed (Figure 5) The Browser Panel showing all the content for this volume of ETK Pro grouped in categories NOTE: You can add all of the files in a Pro Set to the Batch Panel by holding the Shift key, clicking on the first and last clip or folder in the set and then drag them to the Batch Panel 6

8 settings panel Settings Panel The Settings Panel determines the physical format (size, frame rate, speed) of the Juicer s output The Settings Panel options change, depending on the type of media you are processing, so not all of these options will be visible for any particular clip All of these variables are set on the Settings Panel to the left of the Preview Panel The settings shown here are typical for a background from ETK Pro The right arrow (>) at the the top of the Settings Panel will allow you to save your settings as a default, or apply your settings to all the clips in your batch list Canvas The canvas refers to the actual size, frame rate, and duration of the video clip that will be output during the render process (Figure 7) You can use presets to quickly set up the canvas for most common editing environments There are presets for HD, NTSC, PAL and DV The canvas can also be manually set up by entering values into the appropriate fields n Canvas Size This is the size of the frame of the rendered video, in terms of pixels, horizontal x vertical You can type values into the boxes It is possible to enter resolutions that are invalid for a particular output format n Pixel Aspect Ratio Is the ratio of the width to height of a single pixel in a video frame Some video formats like HD and video for web will need to be rendered in square pixels (10 Square), where other formats like NTSC and PAL will require non-square pixels (9 and 1067, respectavely) n Frame Rate Or FPS (frames per second) This sets the frame rate of the movie file NTSC television in the United States is 2997fps Besides selecting a particular standard frame rate, you can manually enter your own custom frame rate, such as 15fps, which is ideal for projects that you are going to distribute on the Internet n Start Enter values in MM:SS:FF (Minutes, Seconds, Frames) to determine the starting time of the clip n Duration Enter values in MM:SS:FF (Minutes, Seconds, Frames) to determine the length of the clip n Cross Dissolve Use this function to make the loop point of an animation transition smoother when the Start or Duration fields have been modified (Figure 7) The Canvas settings at the top of the Settings Panel is where you will determine the size, frame rate and adjust the start time, duration and speed of the clip 7

9 settings panel n Speed Given a particular frame rate, the speed of an animation affects its length The Speed list has five discrete settings from Very Slow to Very Fast Slower speed settings will also cause the Frame Blending option to be selected in order to produce a smoother animation n Frame Blending This toggle is useful when changing the Speed setting to Slow or Very Slow When on, the Juicer will generate adjacent frames to create a smoother motion Layer The layer settings allow you to re-size, move, rotate, adjust transparency, Flip the image, add masks and effects (Figure 8) Many of these effects can be done in your editing software, however, it is quite easy to apply them from within the Juicer as well Transformation Contains presets that allow you to scale the clip to the canvas in several ways Click the right arrow (>) to save your own preset n Scale Adjust the size or the original image in percentage (Width x Height) You can enter values to adjust the image size, or you can click and drag the control points in the Preview Panel There is a constrain proportions toggle button between each value, turning this off will allow you to enter different values in each field n Position This is the current pixel position of the center of the clip Again, you can manually enter values, or click and drag the clip around the screen to position it n Rotation Amount in degrees clock-wise to rotate the image You can also hold the control key down while clicking and dragging the control points in the Preview Panel to rotate the clip n Opacity This is the amount of transparency applied to the clip Values below 100 allow the clip to become transparent for later compositing n Flip Use this to flip the image Right to Left, Top to Bottom or Both Mask Mode Allows you to add a mask to a clip to create areas of transparency n On/Off Click the check box to turn Mask Mode On/Off n Add Mask When Mask Mode is turned On you can click the Add Mask button You will notice that the Mask Mode becomes active in the Preview Panel You can add multiple masks to customize the transparency of a clip (Figure 8) The Layer settings in the middle of the Settings Panel 8

10 settings panel n Invert Change the function of the Mask from showing the masked area, to hiding the masked area n Mask Type None will turn off the mask, Add will show you only the masked region, Subtract will make the masked area transparent and Intersect will show only the intersecting areas when using multiple masks n Feather Add a soft edge to the mask in either the Vertical edge, or the Horizontal edge or both There is a constrain proportions toggle button between each set of values; turning this off will allow you to enter different values in each field n Scale Adjust the size or the mask in percentage (Width x Height) You can enter values to adjust the size, or you can click and drag the control points in the Preview Panel There is a constrain proportions toggle button between each set of values; turning this off will allow you to enter different values in each field n Position This is the current pixel position of the center of the mask Again, you can manually enter values, or click and drag the mask around the screen to position it n Rotation Amount in degrees clockwise to rotate the mask You can hold the control key down while clicking and dragging the control points in the Preview Panel to rotate the mask as well n Opacity This is the amount of transparency applied to the masked clip Values below 100 allow the clip to become transparent for later compositing Effects These settings are used to add effects like Blur and to adjust the color of a clip Click the Add Effects button and select an effect from the drop down menu You can add multiple effects to a clip n Blur Soften the clip with a blur filter n Blurriness Adjust this value to affect the sharpness of the clip n Blur Dimensions Select the direction of the blur: Horizontal, Vertical or both n Repeat Edge Pixels When turned on, the edges of the clip are kept solid by smearing the image to the edge n Blend with Original This slider will let you add the sharp original image back into the image This is useful for creating a soft glow around the image n Brightness/Contrast Use to brighten / darken a clip, or adjust the contrast, n Brightness Adjust this value to affect the brightness of the clip n Contrast Adjust this value to affect the contrast of the clip NOTE: You will notice the Preview Panel will change modes from Element Mode to Mask Mode when you add a mask to the clip When you are finished modifying the mask, click the Element Mode Tab to apply the mask and return to Element Mode 9

11 settings panel n Hue/Saturation Adjust the hue or color of a clip, and the level of the color n Channel Control Select which colors will be affected from the drop down list n Master Hue Click and drag to turn the knob, shifting the hue or tint of the image n Master Saturation Click and drag to adjust the saturation, or how vivid the colors appear n Master Lightness Click and drag to adjust the brightness of the colors n Colorize This option works best when using grayscale images When turned on, these remaining options become available Colorize Hue Click and drag to turn the knob, shifting the hue or tint of the image Colorize Saturation Click and drag to adjust the saturation, or how vivid the colors appear Colorize Lightness Click and drag to adjust the brightness of the colors n Simple Colorize Use this option to simply colorize a clip from a color picker n Colorize with Click the colored box and select a color from the color picker Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Blend with Original You can use this slider to blend between the original and the colorized version n Duo Colorize This two color colorize allows you to assign new colors to the Highlights and Shadows separately n Highlights Click the colored box and select a color from the color picker This color will replace the color in the brighter highlight areas of the image Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Shadows Click the colored box and select a color from the color picker This color will replace the color in the darker shadow areas of the image Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Blend with Original You can use this slider to blend between the original and the colorized version 10

12 settings panel n Tri Colorize Works exactly like the Duo Colorize with the added Midtones color picker n Highlights Click the colored box and select a color from the color picker This color will replace the color in the brighter highlight areas of the image Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Midtones Click the colored box and select a color from the color picker This color will replace the color in the midtone areas of the image Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Shadows Click the colored box and select a color from the color picker This color will replace the color in the darker shadow areas of the image Alternatively, you can type the RGB values in the fields, or select a HTML color code You can also save and load presets for future use n Blend with Original You can use this slider to blend between the original and the colorized version Output The Output settings are important for preparing your footage for import into your editing software Matching your settings with your editing environment is crucial for many systems, and in some cases can give you render-free playback if done correctly These Output settings determine where to save the file, the file format, field order, and alpha type (Figure 9) There are several presets to choose from that cover the most common file formats Transparency and Alpha Channels Transparency is an important part of many of the elements found in the Editor s Toolkits, including the lower thirds, overlays, wipes and motion design elements In short, any animation that is designed to appear on top of or over your video needs to use some kind of transparency Most of these elements have a built-in transparency option known as an Alpha Channel The alpha channel is another color channel in an RGB image: Red, Green, Blue and Alpha This special fourth channel defines the transparency in the image Not all output formats allow for an alpha channel, so be sure to use one that does when rendering items with transparency (Figure 9) The output settings at the bottom of the Settings Panel These settings need to match your editing software as closely as possible to ensure proper import and playback NOTE: Toolkit overlay graphics require some type of layered compositing support in your editing software This often excludes the simplest video applications, such as Apple imovie and Windows MovieMaker, which are really not designed to include tools for compositing tasks 11

13 settings panel n Presets Select from a list of preset file types commonly used, or click the right arrow (>) to save one of your own n Render Alpha Separately For systems that can not handle an embedded alpha channel, you can use this option to render out a matching grayscale animation that can be used as a matte, or track matte n Field Order The Field Order sets up how the Juicer will handle interlacing of two fields to form a frame for television In most cases, Lower (Even) is the right setting If your animation will remain on a computer or be distributed on the Internet, select None (Progressive) If any of your animations have an annoying flicker during playback on an interlaced monitor, try changing the Fields setting from lower to upper (or vice versa) to correct it n Format This is the file type that will be written to your drive You may select from any of the following: n QuickTime movie (mov) This is the most universal file format that most PC s and Mac s can read and import QuickTime has a great selection of codecs (COmpressor/DECompressor), and if your editing system has a QuickTime codec specifically for it, using this codec will typically allow for real time playback of full screen video on the timeline When working with alpha channels in the QuickTime format, it is necessary to use a compressor that will retain an alpha channel in the rendered movie Such codecs include Animation, None (Uncompressed) and PNG, unless your system has a matching codec that will support alpha channels Be sure to set the Color Depth to Millions of Colors+ otherwise the extra alpha channel information will not be retained To configure the codec and other options, click on the button to the right of the pull down that looks like a wrench Select the compression type from the options listed, again try to match this with the editing system s codec The Juicer will only show you a list of codecs that are installed on your computer If you render from a different computer, your selection of codecs may differ Some vendors offer codecs for installing into offline systems to help with 3rd party applications like the Juicer n AVI (avi) Many PC based editing systems work with this file format If you have a PC based editing system, you will most likely have an AVI codec to select from the list To configure the codec and other options, click on the button to the right of the pull down that looks like a wrench Select the compression 12

14 settings panel type from the options listed, again try to match this with the editing system s codec When working with alpha channels in the AVI format, it is necessery to use a compressor that will retain an alpha channel in the rendered movie For most systems this will be Full Frames (Uncompressed), unless your system has a matching codec that will support alpha channels The Juicer will only show you a list of codecs that are installed on your computer If you render from a different computer, your selection of codecs may differ Some vendors offer codecs for installing into offline systems to help with 3rd party applications like the Juicer n AVI (Type 2) (avi) An older AVI format that is required for some software and hardware You may have a different selection of codecs under Type 2, so be sure to check this format for your codec if it does not show under standard AVI n Windows Media (wmv) This PC format was designed for everything from streaming video from the web, to HD-DVD encoding The Windows Media format does not support alpha channels To configure the codec and other options, click on the button to the right of the pull down that looks like a wrench n RTV File format for the Video Toaster The RTV format does support an alpha channel There is nothing to configure with this file format n Image Sequences The Juicer can export a variety of image sequences Instead of getting a single file for import, the Juicer will create a folder full of still frames one for each frame of video You can select from PNG, JPEG, Targa, Tiff, Photoshop (psd) and BMP Alpha channel support is available with PNG, Targa, Tiff and Photoshop formats Not all editing systems can import an image sequence Note: If a suitable compressor is not found in the list, usually an uncompressed file will be compatible with your editing software n Alpha Type This setting determines how alpha channel information is matted n Straight With straight (unmatted) channels, transparency information is stored in the alpha channel only, and not in any of the color channels With straight channels, the effects of transparency aren t visible until the image is displayed in an application that supports straight channels Most applications use this method for handling alpha channels 13

15 settings panel n Pre-multiplied With pre-multiplied (matted) channels, transparency information is stored in the alpha channel and in the RGB channels, which are multiplied with a background color With Pre-multiplied alpha, the image displays correctly in most standalone players such as the QuickTime player n Output Location Select a folder on your hard drive for the Juicer to render the file to You can type in the path, use the browse () button or select from a recent history in the arrow (>) button to the right You can also make this location a default, or apply this save location to all the clips in your batch list You should select a drive in your system that you keep your media on usually a large, fast hard disk drive n File Name Juicer will supply a default file name which is the same as that which appears in the batch list You can modify this file name if necessary Working with audio files in Juicer Settings for a Swipes or Sound FX files have a few more options that can be adjusted in the Settings Panel (Figure 10) You will notice the addition of an Audio option in the Canvas settings There are presets to choose from as well as options for adjusting the Sample Rate, Bit Depth and Stereo or Mono channel selection When using a Swipe, you can select which Sound FX is rendered with the video file, or select None if audio is not needed Also, under output there is an audio option to Embed with Video or Save as Separate Track In most cases, using Embed with Video is the best method and will keep the audio in sync with the Swipe (Figure 10) Additional option avaiable for ETK Pro items that have audio tracks available 14

16 Preview panel rendering Preview Panel You can playback the clip in the Preview Panel to see your changes (Figure 11) Click the Play (>) button at the bottom left of the Preview Panel or drag the slider to watch playback There are also buttons for Undo (CTRL-Z), Redo (CTRL-Y), Scale (ALT-S) and Rotate (ALT-R) You can change the way the background is displayed by clicking on the drop down arrow next to the checkerboard box The Pan (CTRL-H) button which looks like a hand will allow you to drag the Preview Panel viewport around The Preview Panel Zoom can be set from the drop down arrow to the right of the Pan tool Rendering Now you are ready to either render the clip(s) or return to the Batch Panel to add more clips to your list To render the currently selected item, click the Render Selected button at the bottom of the Batch Panel (Figure 12) If you have several items in your list, you can click the Render All button To add more clips for processing click OK at the top of the Batch Panel to return to the Browser Panel The settings you have applied to clips already will be saved You may also click cancel at any time to discard the settings and return to the Browser Panel Once you click the render buttons, Juicer will ask for the appropriate DVD if it is not currently loaded After the rendering is done, Juicer will prompt if you would like to open the output location to view the file(s) In the output location, you should now have a file, in the format you selected This is the file that you will import and use in your editing software (Figure 11) The Preview Panel shows any modifications you have made to the clip Click the play button to watch the animation (Figure 12) You can render just the selected clip, or all the clips in the Batch Panel 15

17 Working with ETK Pro files Working with ETK Pro Files Each type of file that comes with an ETK Pro Set needs to be handled correctly in your editing software to work properly Files with an alpha channel typically require rendering once placed on the timeline in your software Background These full screen animations get treated just like video It is not necessary to render these with an alpha channel, unless you created a mask in Juicer Import the file, place it on the time-line just like any other video If the settings and compression are correct, playback often does not require rendering Overlays Overlays are full screen animations with a transparent area useful for creating a border around video Be sure to render these animations with an alpha channel Import the file, and place the overlay on the time-line, usually on a video track above your video If the transparency does not automatically show the video beneath, you may need to apply an alpha key or select the alpha type from within your editing software Lower Thirds Lower thirds are mostly transparent except for a strip typically at the bottom 1/3 of the screen Be sure to render these animations with an alpha channel Import the file, and place the lower-third on the time-line, usually on a video track above your video If the transparency does not automatically show the video beneath, you may need to apply an alpha key or select the alpha type from within your editing software You can then add a title over the lower-third, like a name or other information related to the clip Swipes! These wipes with matching sounds are placed over an edit to create a transition between two clips Be sure to render these animations with an alpha channel Import the file, and place the swipe on the time-line, usually on a video track directly above and over an edit You will notice that there are several frames in the middle of the transition that are full screen these full screen frames should be directly over your edit on the time-line so that when the animation plays, the cut is completely hidden If the transparency does not automatically show the video beneath, you may need to apply an alpha key or select the alpha type from within your editing software Some of the Swipes! are a brand new type known as a Double Alpha Swipe A Double Alpha Swipe is a full color transition that does not cover the screen fully at any point in the animation, but instead uses an additional animation known as a 16

18 Working with ETK Pro files Traveling Matte to transition the video With a Double Alpha Swipe, at some point Clip A, Clip B, and the Swipe Animation are all seen on the screen at the same time Motion Design Elements MDE s can be used in a variety of ways Be sure to render these animations with an alpha channel You can either position and scale them from within the Juicer, or use your editing software to do the same Import the file, and place the MDE on the time-line, usually on a video track above your video If the transparency does not automatically show the video beneath, you may need to apply an alpha key or select the alpha type from within your editing software Juice Drops These layered Photoshop files can be opened in Photoshop, as well as in some video editing software You can customize the image by adjusting layers then saving a new version to your hard drive If your editing software does not allow for importing a PSD file, you can save these files from Photoshop as a different file format like JPG or TGA with transparency Juice Drops can be used for print work, DVD menus or on your time-line in your edit they are very versatile and large enough to handle most print work Mattes With matching mattes, you can create your own customized look from other backgrounds Apply a matte from one of the elements in ETK Pro to a background from another set, or even another product to create a totally new animation with transparency Mattes do not need an alpha channel, as they are only gray-scale video Applying mattes varies from system to system, so you will need to check your application s instructions on how this works Typically you will need to import the matte, and apply a matte key, luma key or track matte to the clip If done correctly your software will create a graduated transparency from the gray-scale video Sound FX These are the sounds that are rendered with the Swipes!, but they can also be used as audio within your edit Render these out as a WAV or AIFF file, import and place the audio file on an available audio track You could, for example, place one of these audio clips on the time-line anywhere you wish to have the Sound FX play 17