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¨ÓÜJ¨ÜÚ¨b¬ÐvÚ³À ¬åJÓÚ4»¬ÜÜvlÚJv
3AN &RANCISCO #!
0UBLISHED BY #-0 "OOKS AN IMPRINT OF #-0 -EDIA ,,# (ARRISON 3TREET TH &LOOR 3AN &RANCISCO #! 53! 4EL &AX WWWCMPBOOKSCOM EMAIL BOOKS CMPCOM $ESIGNATIONS USED BY COMPANIES TO DISTINGUISH THEIR PRODUCTS ARE OFTEN CLAIMED AS TRADEMARKS )N ALL INSTANCES WHERE #-0 IS AWARE OF A TRADEMARK CLAIM THE PRODUCT NAME APPEARS IN INITIAL CAPITAL LETTERS IN ALL CAPITAL LETTERS OR IN ACCORDANCE WITH THE VENDORS CAPITALIZATION PREFERENCE 2EADERS SHOULD CONTACT THE APPROPRIATE COMPANIES FOR MORE COMPLETE INFORMATION ON TRADEMARKS AND TRADEMARK REGISTRATIONS !LL TRADEMARKS AND REGISTERED TRADEMARKS IN THIS BOOK ARE THE PROPERTY OF THEIR RESPECTIVE HOLDERS #OPYRIGHT #-0 -EDIA ,,# 0UBLISHED BY #-0 "OOKS #-0 -EDIA ,,# !LL RIGHTS RESERVED 0RINTED IN THE 5NITED 3TATES OF !MERICA .O PART OF THIS PUBLICATION MAY BE REPRODUCED OR DISTRIBUTED IN ANY FORM OR BY ANY MEANS OR STORED IN A DATABASE OR RETRIEVAL SYSTEM WITHOUT THE PRIOR WRITTEN PERMISSION OF THE PUBLISHER WITH THE EXCEPTION THAT THE PROGRAM LISTINGS MAY BE ENTERED STORED AND EXECUTED IN A COMPUTER SYSTEM BUT THEY MAY NOT BE REPRODUCED FOR PUBLICATION 4HE PROGRAMS IN THIS BOOK ARE PRESENTED FOR INSTRUCTIONAL VALUE 4HE PROGRAMS HAVE BEEN CAREFULLY TESTED BUT ARE NOT GUARANTEED FOR ANY PARTICULAR PURPOSE 4HE PUBLISHER DOES NOT O«ER ANY WARRANTIES AND DOES NOT GUARANTEE THE ACCURACY ADEQUACY OR COMPLETENESS OF ANY INFORMATION HEREIN AND IS NOT RESPONSIBLE FOR ANY ERRORS OR OMISSIONS 4HE PUBLISHER ASSUMES NO LIABILITY FOR DAMAGES RESULTING FROM THE USE OF THE INFORMATION IN THIS BOOK OR FOR ANY INFRINGEMENT OF THE INTELLECTUAL PROPERTY RIGHTS OF THIRD PARTIES THAT WOULD RESULT FROM THE USE OF THIS INFORMATION $ISTRIBUTED IN #ANADA BY $ISTRIBUTED IN THE 53 BY *AGUAR "OOK 'ROUP 0UBLISHERS 'ROUP 7EST !RMSTRONG !VENUE &OURTH 3TREET 'EORGETOWN /NTARIO -+ % #ANADA "ERKELEY #!
&OR INDIVIDUAL ORDERS AND FOR INFORMATION ON SPECIAL DISCOUNTS FOR QUANTITY ORDERS PLEASE CONTACT #-0 "OOKS $ISTRIBUTION #ENTER 3ILACCI 7AY 'ILROY #! EMAIL CMP RUSHORDERCOM 7EB WWWCMPBOOKSCOM
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/RGANIZE 'RAPHICS -ENUS AND "UTTONS ,IBRARY 0ALETTE -AINTENANCE 5SING 0HOTOSHOP TO #REATE A -ENU #REATE A .EW -ENU )NSIDE %NCORE /PEN A "LANK -ENU 5SE .ON 0HOTOSHOP &ILES AS -ENUS 'IMME 3OME "ACKGROUND 7HATS -Y .AME 7HAT $O ) 3AY (OW $OES )T ,OOK /NLY THE 3HADOW +NOWSx
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5SE THE $ISC 4AB TO .AME A $ISC !DD $6$ 2/- #ONTENT TO A $ISC #HECK ,INKS#HECK 0ROJECT 7HATS IT 'ONNA ,OOK ,IKE 0REVIEW AN %NTIRE $ISC 3ET THE -EDIA 3IZE AND 4YPE 3ET 2EGION #ODES 3PECIFY #OPY 0ROTECTION 7RITE TO THE (ARD $RIVE$6$ &OLDER 0REVIEW A $ISC WITH AN %XTERNAL 3OFTWARE $6$ 0LAYER -AKE A $6$ )MAGE)3/ -AKE A $6$ -ASTER%XPORT TO $,4 "URN TO $ISC #HECK 0LAYER #OMPATIBILITY $6$ 2 VS $6$ 2
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V
7ITH 'RATITUDE %ACH AND EVERY BOOK IS DI«ERENT 4HE WORDS IN THIS BOOK ARE MY RESPONSIBILITY BUT LOTS OF PEOPLE HAVE GONE INTO MAKING IT POSSIBLE THROUGH THEIR HELP KIND WORDS CRITICISMS POINTERS TUTORIALS AND OTHER FORMS OF ENCOURAGEMENT AND COMMITMENT )TS RARE READERS EVER SEE OR HEAR FROM THE PEOPLE THAT REALLY DRIVE THIS VIDEO INDUSTRY ) HOPE TO POINT A SMALL AMOUNT OF RECOGNITION TO THOSE THAT ARE A BIG PART OF THE INDUSTRY AS A WHOLE
3ECOND -ANNIE &RANCES MY PARTNER IN 6!334 WHO
&IRST AND FOREMOST ) NEED TO THANK ,INDA FOR
COMPREHEND 4HANKS A LOT MAN )M LOOKING
ALWAYS BEING THERE MAKING SURE THAT EVERYTHING IS
FORWARD TO OUR BEING ON THE %NCORE ROAD AND
ORGANIZED AND THAT MY LIFE RUNS AS SMOOTHLY AS IT
TRAINING FOLKS ON USING THIS GREAT TOOL
CAN FOR SOMEONE RUNNING ON SEVEN CYLINDERS
KEEPS THE BUSINESS SIDE OF EVERYTHING ORGANIZED -ANNIE THANKS FOR BEING PART OF REALIZING THIS DREAM OF OUR OWN BOOK SERIES 7E lNALLY DID IT PARTNER 4O 7ES (OWELL MY TECH EDITOR FRIEND AND INSPIRATION ON THIS PROJECT 9OUR POINTS ON THIS BOOK WERE RIGHT ON YOUR WORDS WERE MASTERFUL AND WITHOUT YOU THERE IS NO WAY THIS BOOK WOULD HAVE BEEN PUT INTO A FORM THAT READERS COULD
VI 7ITH 'RATITUDE
/F COURSE ULTIMATELY THE BOOK WOULDNT BE IN
#HRIS (URD THANKS FOR YOUR CONSTANT SUPPORT
ANYONES HANDS IF IT WERENT FOR 0AUL 4EMME
%ARL &OOTE *ERRY ,ONN 2UDY 3ARZO *E«REY &ISHER
AND $OROTHY #OX AT #-0 ) CANT EXPRESS MY
2ICHARD (ARRINGTON 2ON $ABBS -ARK $ILEO DAMN
APPRECIATION FOR YOU TWO IN SEEING THE DREAM
WHODA THUNK 6!334 WOULD GROW THIS MUCH IN JUST
AND UNDERSTANDING THE COMPLEX WORLD OF 6!334
A FEW YEARS 4HANKS TO ,OU &RANK AND -ICHAEL FOR
4HANK YOU FOR TAKING THE RISK IN CREATING A NEW
HELPING US STAND TALL ,AWRENCE #INDY THANK YOU
BOOK SERIES 7E KNOW WE WONT LET YOU DOWN 'AIL
FOR ALL THE !SIAN SUPPORT OF 6!334
THANKS FOR MAKING SURE WE SAID OUR WORDS IN THE CORRECT FORMAT
$AVE ( $AVE # #URTIS 0 -ICHAEL " 'ARY 2 #ALEB 0 $ENNIS ! 2ICHARD + YOU GUYS HAVE BEEN AN
4O THE CREW AT !DOBE FOLKS LIKE $AVID 4RESCOT
AMAZING UPLIFTING FORCE IN MY EDUCATION AS A
+RISTIN #HAN -ARC #OATES %RIK ,UNDBLADE +ENDALL
VIDEOGRAPHER !MANDA THANKS FOR TEACHING ME
%CKMAN "RUCE "OWMAN (ART 3CHAFER +ELLY ,YNN
THAT WITH FAITH WE CAN SURVIVE TRAGEDY AND GO ON
*ASON ,EVINE 2ICHARD 4OWNHILL 4INA %CKMAN
TO BE BETTER HUMAN BEINGS
$ANIEL "ROWN AND !DOBE EVANGELISTS LIKE -IKE $OWNEY 4IM +OLB -IKE 'UNTER 'RAHAM 3HANKS AND OF COURSE 7ESTHANKS FOR ALL THE SUPPORT AND ENCOURAGEMENT 4O THE FOLKS AT %CHO #ANOPUS !$3 4ECHNOLOGY #ONTOUR 3HUTTLE 0RO -ATROX 5LEAD !RTBEATS #ANON 3ONY "( -ACKIE - !UDIO 6IDEOGUYS 0IXELAN $-. $6)NFONET $6COM THANKS FOR SUPPORTING WHAT 6!334 IS 4O 2ON WHOSE WORDS OF DISCOURAGEMENT BECAME MY MOTIVATION AND TO -ICHELLE WHOSE POSITIVE CRITIQUES BECAME MY IMPROVEMENT !S THE SONG SAYS h7ERE 3TILL (EREv
4HE 6!334 ATTENDEES OVER THE YEARS HAVE INSPIRED THIS BOOK SERIES WE HOPE WE MEET AND EXCEED THE BENCHMARKS THAT WEVE SET WITH OUR LIVE AND $6$ TRAINING PRODUCTS &INALLY ) HAVE TO THANK THE MUSIC 4HE MUSIC ELEVATED ME TO A LEVEL OF BEING CREATIVE WITH VIDEO 4HANKS TO THE FOLKS AT 7INDHAM (ILL AND LATER 6IRGIN WHO INSPIRED ME TO DO MY OWN MUSIC VIDEOS 4HANKS TO THE FOLKS AT 0"3 "%4 #.. AND OTHER NETWORKS WHO HAVE RUN MY WORK )F IT WERENT FOR THE MUSIC )D NEVER HAVE LEARNED ) HAD A VIDEO SIDE TO MY BRAIN 4HE MUSIC DRIVES ME
0HIL *ULIE 7ANDA "OB AND EVERYONE AT !RTBEATS
BUT THE VIDEO IS A WONDERFUL EXTENSION OF THAT SO
THANK YOU SO MUCH FOR PROVIDING US WITH GREAT
THANK YOU TO ALL MY FANS WHO HAVE HELPED ME KEEP
FOOTAGE TO WORK WITH IN THE 6!334 SERIES BOOKS
MAKING THE MUSIC AND GIVEN ME SUPPORT
VII
4ECH %DITORS .OTES 4HIS BOOK IS ABOUT HELPING PEOPLE GET UP TO SPEED QUICKLY WITH THE %NCORE SMOOTHING THE LEARNING CURVE AND GIVING THE READER THE OPPORTUNITY TO GLEAN KNOWLEDGE AND EXPERIENCE FROM SOMEONE THATS WALKED A MILE IN THEIR SHOES !S MANY OF YOU ALREADY KNOW $OUGLAS 3POTTED %AGLE IS AN ACCOMPLISHED MUSICIAN AUTHOR VIDEOGRAPHER RENOWNED PRESENTER AND ALL AROUND DIGITAL VIDEO GURU 9OUVE PICKED A GREAT BOOK AND MOST IMPRESSIVELY AN EVEN BETTER AUTHOR .OT EVERY %MMY OR 'RAMMY WINNER IS WILLING TO SIT DOWN AND SHARE THEIR KNOWLEDGE WITH OTHERS !S AN AUTHOR MYSELF ) CAN HONESTLY SAY THAT $OUGLAS IS ONE OF THOSE PEOPLE THAT POSSESS AN UNCANNY KNACK FOR EMPOWERING PEOPLE WITH THE RIGHT AMOUNT OF INFORMATION AT THE RIGHT TIME NOT TOO MUCH NOT TOO LITTLE AND NOT TOO TECHNICAL EITHER )TS ALL ABOUT GETTING THE JOB DONE 4HATS THE POINT OF THIS BOOK /NE OF THE BOOKS GREATEST STRENGTHS IS ITS ABILITY TO PROVIDE QUICK ACCESS TO
THE MOST RELEVANT INFORMATION ,EARN WHAT YOU NEED TO KNOW WHEN YOU NEED TO KNOW IT ) ALSO BELIEVE ITS FAIR TO SAY THAT THERE ARE A FEW AREAS OF %NCORE THAT MAY BE CHALLENGING TO LEARN FOR SOME USERS &ORTUNATELY THERE ARENT VERY MANY OF THESE HURDLES TO CLEAR /NCE A FEW KEY POINTS ARE ABSORBED EVERYTHING COMES TOGETHER VERY NICELY 4HAT WAS THE GREATEST CHALLENGE OF EDITING THE TECHNICAL SIDES OF THIS BOOK TRYING TO DETERMINE EXACTLY WHAT THE READER NEEDS TO COMPREHEND WITHOUT INTIMIDATING THE EYE WITH A THICK TOME 'ETTING TO THE POINT WHERE YOU UNDERSTAND %NCORE IS A VERY SATISFYING EXPERIENCE AND ONE YOURE CERTAIN TO APPRECIATE AS YOU READ THROUGH THIS BOOK 7ES (OWELL !SSOCIATE 0RODUCER4RAINER 3UNDANCE -EDIA 'ROUP WWWVASSTCOM
VIII
)NTRODUCTION 7ELCOME TO $6$ AUTHORING WITH %NCORE BROUGHT TO YOU BY !DOBE THE LEADER IN DESKTOP GRAPHICS $6$S HAVE TAKEN OVER THE VIDEO WORLD AS A MEANS OF DISTRIBUTABLE NAVIGABLE AND INTERACTIVE EXPERIENCED VIDEO PRESENTATIONS AND !DOBES %NCORE ALLOWS USERS TO CREATE $6$ PROJECTS THAT RIVAL ANYTHING COMING OUT OF (OLLYWOOD TODAY $6$S ARE PART OF THE REVIVAL OF ALL SORTS OF OLDER MOVIES MUSICAL PROJECTS TELEVISION SERIES AND THE NEW DELIVERY MECHANISM FOR YOUR FAMILY HOME VIDEOS SLIDESHOWS OR hTHIS IS YOUR LIFEv VIDEOS $6$S ALSO ALLOW A ONE MAN SHOW LOOK
LIKE A MAJOR PRODUCTION STUDIO WITH GOOD $6$ AUTHORING TOOLS AND CREATIVE SKILLS %NCORE IS A GREAT $6$ AUTHORING TOOL AND THIS BOOK WILL TEACH YOU HOW TO USE IT 4HROUGH CONSISTENT AND CONSTANT USE OF THE APPLICATION CLOSE OBSERVATION OF $6$S FROM THE BIG NAME STUDIOS AND A LITTLE PERSPIRATION YOU SHOULD BE ABLE TO DEVELOP A CREATIVE SKILLSET IN A SHORT PERIOD OF TIME %NCORE ISNT THE HIGHEST END TOOL AVAILABLE BUT IT IS MANY LEVELS ABOVE THE TYPICAL CONSUMERWARE THATS AVAILABLE 4HIS BOOK ISNT WRITTEN TO IMPRESS YOU WITH LOTS OF FANCY METHODS OF USING %NCORE $6$ )T IS
)NTRODUCTION
WRITTEN WITH SOUND WORKmOWS IN MIND TO TEACH YOU HOW TO USE THE SOFTWARE QUICKLY E£CIENTLY AND CORRECTLY 4HIS BOOK IS ALSO WRITTEN TO GIVE YOU SOME TRICKS TO lNDING FASTER MEANS OF ACCOMPLISHING SEEMINGLY COMPLEX TASKS /NE CAVEAT !DOBES %NCORE IS A POWERFUL STANDALONE APPLICATION BUT ITS STRONGLY RECOMMENDED THAT YOU HAVE !DOBES 0HOTOSHOP ON HAND IF YOU ARE INTERESTED IN CREATING DEEP HIGH END MENUS %NCORE IS TIGHTLY INTEGRATED WITH 0HOTOSHOP AND lLES MAY BE OPENED DIRECTLY IN 0HOTOSHOP FROM THE %NCORE INTERFACE 4HIS BOOK DOES NOT GO DEEPLY INTO THE %NCORE 0HOTOSHOP RELATIONSHIP 4HAT ALONE IS ENTIRELY ANOTHER BOOK 4HE 6!334 PHILOSOPHY IS TO GIVE YOU INFORMATION YOU NEED TO GET STARTED AND THEN PROVIDE MORE INFORMATION TO GET YOU INSPIRED $EVELOPING THE CHOPS THAT MAKE YOU UNIQUE AS AN EDITOR ARE YOUR OWN RESPONSIBILITY 6!334 MERELY OPENS THE DOOR FOR YOU )N ORDER TO USE %NCORE AT ITS BEST YOULL NEED A FAIRLY POWERFUL COMPUTER %NCODING TO -0%' IS ONE OF THE TOUGHEST TASKS YOULL THROW AT YOUR #05 SO THE FASTER THE BETTER 7HILE !DOBE REQUIRES ONLY A 0ENTIUM ))) AND -" OF 2!- ) RECOMMEND YOU LOOK AT A 0ENTIUM WITH AT LEAST '" OF 2!- TO OPTIMALLY USE THE APPLICATION
-AKE SURE YOU HAVE PLENTY OF HARD DRIVE SPACE #HANCES ARE IF YOU ARE ALREADY EDITING VIDEO YOUVE GOT A GOOD AMOUNT OF STORAGE ALREADY BUT ITS A GREAT IDEA TO HAVE AT LEAST TWO DRIVES .EVER STORE VIDEO AUDIO OR GRAPHICS lLES ON THE BOOT DRIVE UNLESS ABSOLUTELY NECESSARY )T SLOWS DOWN THE ENTIRE PROCESS )F YOU ARE AUTHORING $6$S CONTAINING SURROUND HAVE A GOOD SET OF SURROUND SOUND MONITORS AND A DECENT SOUND CARD 7HILE A 3OUNDBLASTER OR SIMILAR 0#) CARD WILL SU£CE IT BARELY WILL PASS MUSTER ! HIGHER QUALITY CARD LIKE AN %CHO - !UDIO OR SIMILAR PRODUCT WILL PROVIDE A MUCH BETTER MONITORING EXPERIENCE ) HIGHLY RECOMMEND DUAL VIDEO MONITORS %NCORE HAS A LOT OF PALETTES AND WORKSPACES AND DUAL MONITORS MAKE IT MUCH EASIER TO WORK WITH WHEN YOU CAN SPREAD THE APPLICATION OUT OVER TWO VIEWS $UAL HEAD VIDEO CARDS ARE AVAILABLE FROM MANY VENDORS (ERE AT 3UNDANCE -EDIA WE USE THE -ATROX 0ARHELIA AND -ATROX -ILLENIUM PRODUCTS /F COURSE YOULL NEED A $6$ BURNER TO BURN YOUR lNAL PROJECT AND IF YOU INTEND ON USING -ACROVISION #33 OR LONG FORM PROJECTS EXCEEDING MINUTES IN LENGTH YOULL NEED A $,4 MACHINE "ECAUSE $,4S ARE VERY EXPENSIVE CONSIDER lNDING A FACILITY THAT CAN TAKE AN )3/ lLE OR AN %NCORE PROJECT FROM A HARD DRIVE AND WRITE IT TO A $,4 FOR YOU
IX
X )NTRODUCTION
!NOTHER GREAT TOOL TO HAVE IN THE ARSENAL IS THE !DOBE !UDITION SOUND EDITING APPLICATION 4HIS PRODUCT COMES WITH AUDIO lLES KNOWN AS hLOOPS v WHICH ALLOW YOU TO CREATE LOOPING AUDIO FOR YOUR MENUS 3EAMLESS LOOPING OF AUDIO IS A WONDERFUL FEATURE OF A $6$ MENU !UDITION 3ONYS !#)$ LIBRARIES OR DOWNLOADED LOOPING lLES MAY ALL BE USED TO ENHANCE MOST ANY $6$ MENU
#HECK OUT WEBSITES LIKE $6COM $6)NFONET AND $-.FORUMSCOM FOR MORE INFORMATION AND ACCESS TO COMMUNITY BASED DISCUSSIONS ON -0%' AUTHORING TIPS AND TRICKS FOR %NCORE AND MENU CREATION TECHNIQUES /N THE 6!334COM SITE YOULL ALSO lND MORE TUTORIALS FROM THE AUTHOR AND OTHER 6!334 TRAINERS FOR %NCORE -0%' AUTHORING AND GENERAL $6 AND -0%' INFORMATION
4HE TECHNICAL STANDARD FOR $6$S SPECIlES THE VIDEO COMPRESSION SCHEME KNOWN AS -0%' 9OULL READ A LOT ABOUT -0%' IN THIS BOOK BUT IT SHOULD BE SAID THAT USING THE TEMPLATES IN YOUR .,% FOR -0%' RENDERING IS USUALLY A GOOD IDEA FOR FOLKS JUST STARTING OUT -0%' IS SOMEWHAT lNICKY AND PLAYING WITH THE RENDER SETTINGS OF AN .,%S ENCODING PROCESS CAN POTENTIALLY MAKE THE $6$ NOT PLAYABLE )F YOU WANT TO KNOW MORE ABOUT -0%' ENCODING SOME REFERENCES ARE AVAILABLE IN THE BACK OF THIS BOOK IN THE BIBLIOGRAPHY 4HE MORE YOU KNOW THE MORE YOUR SKILLS WILL GROW
$ONT FORGET TO CHECK IN TO US AT THE 6!334COM WEBSITE +EEP IN MIND THAT TO USE %NCORE YOU DONT NEED TO HAVE ALL THE TECHNICAL INFORMATION DOWN 9OU JUST NEED YOUR VIDEO CONTENT A LITTLE TIME SOME MOTIVATION AND OF COURSE THIS BOOK !ND NOWx/N WITH THE SHOW /R RATHER %NCORE %NCORE
#HAPTER
7ELCOME TO %NCORE )F YOU HAVENT ALREADY LOADED %NCORE PLEASE DO SO TO ASSURE YOU ARE ABLE TO FOLLOW ALONG WITH THE VARIOUS INSTRUCTIONS FOUND IN THIS BOOK )NSERT THE DISK INTO YOUR #$ OR $6$ DRIVE AND INSTALL THE APPLICATION FOLLOWING ALONG WITH THE SCREEN PROMPTS "E SURE TO REGISTER THE APPLICATION AS !DOBE IS VERY GOOD ABOUT NOTIFYING REGISTERED USERS OF UPGRADES SPECIAL DEALS AND OTHER MATERIALS AVAILABLE AS A BENElT TO REGISTERED USERS "EFORE YOU START AUTHORING ITS GOING TO TAKE A LITTLE WHILE TO GET FAMILIAR WITH THE APPLICATION HOW IT FUNCTIONS AND HOW IT APPEARS )F YOU ALREADY USE OTHER !DOBE PRODUCTS THE INTERFACE WILL LOOK VERY FAMILIAR 'RAB A SODA OR CUP OF CO«EE LAUNCH THE APPLICATION ON YOUR COMPUTER SCREEN AND LETS GET INTO %NCORE
#HAPTER
7vÚ¨ÜvÐJbv !S YOU ASSEMBLE YOUR PROJECT YOU WILL USE SEVERAL WINDOWS TABS AND PALETTES )T IS IMPORTANT TO UNDERSTAND THE FUNCTION OF EACH WINDOW IN THE AP PLICATION IN ORDER TO GET THE MOST OUT OF %NCORE
7vÚ.ЬvbÜÚB¨l¬ì 4HE 0ROJECT WINDOW IS THE MASTER WINDOW PROVIDING INSTANT ACCESS TO ALL PARTS OF A PROJECT )T CONTAINS FOUR MAIN TABS REPRESENTING THE MAJOR AS PECTS OF A PROJECT 4HE 0ROJECT TAB DISPLAYS ALL THE lLES USED IN A PROJECT ASSETS MENUS AND TIMELINES 4HE -ENU TAB SHOWS ALL THE MENUS IN A PROJECT 7HEN A MENU IS SELECTED THE LOWEST PANE SHOWS ALL THE BUTTONS IN THE MENU
7ELCOME TO %NCORE
4HE 4IMELINES TAB DISPLAYS ALL THE TIMELINES IN A PROJECT )F A TIMELINE IS SELECTED ITS CHAPTER POINTS ARE DIS PLAYED IN THE LOWEST PANE 4HE $ISC TAB IS USED IN THE lNAL STAGES OF A PROJECT )T PRESENTS OPTIONS WHEN BUILDING A lNAL PROJECT
#HAPTER
7vÚ.JvÜÜvÚB¨l¬ì 4HE 0ALETTE WINDOW IS A COLLECTION OF THE MOST ESSENTIAL TOOLS IN %NCORE 4HE 0ROPERTIES PALETTE IS THE MOST FREQUENTLY USED PALETTE IN %NCORE )T DISPLAYS THE PROPERTIES OF SELECTED ITEMS 4HE ,IBRARY PALETTE STORES FREQUENTLY USED GRAPHICS BUTTONS MENU BACK GROUNDS AND MENU TEMPLATES
7ELCOME TO %NCORE
4HE ,AYERS PALETTE GIVES A LOOK INTO THE STRUCTURE OF MENUS AND BUTTONS 4HE #HARACTER PALETTE PROVIDES SEVERAL OPTIONS FOR CUSTOMIZING TEXT IN A MENU AND FOR SUBTITLES
#HAPTER
7vÚ"v¨åÚlܬР9OU CAN CREATE MENUS IN THE -ENU %DI TOR 4HIS IS WHERE YOU CAN ADAPT TEM PLATES FOR A PROJECT )F THERE ARE SEVERAL MENUS USERS CAN TOGGLE BETWEEN MENUS USING TABS POSITIONED AT THE TOP OF THE WINDOW
7vÚ7£v¨vÚB¨l¬ì 4HE 4IMELINE WINDOW IS WHERE AUDIO AND VIDEO FOR THE MAIN CONTENT IS ASSMEBLED #HAPTER POINTS SUBTITLE TRACKS AND SLIDESHOWS MAY ALSO BE CREATED USING THIS WINDOW
7ELCOME TO %NCORE
4HE -ONITOR WINDOW PREVIEWS CONTENT IN TIMELINES AND CAN ALSO BE USED TO NAVIGATE BETWEEN AND TO CREATE SUB TITLES
7vÚ7¬¬XJÐ 4HE 4OOLBAR PROVIDES ACCESS TO SELEC TION TEXT AND ZOOM TOOLS 6ERSION ADDS TWO ICONS 4HE lRST IS USED FOR PREVIEWING PROJECTS THE SECOND PROVIDES QUICK ACCESS TO THE %DIT IN 0HOTOSHOP FUNCTION
#HAPTER
7vÚ.ÐvëvìÚB¨l¬ì 4HE 0REVIEW WINDOW BEHAVES LIKE A $6$ PLAYER SIMULATOR )T PROVIDES NAVIGATION CONTROLS THAT EMULATE THE REMOTE CONTROL ON A SET TOP PLAYER 4HIS WINDOW IS TYPICALLY USED TO PRE VIEW PROJECTS DOUBLE CHECK LINKS AND NAVIGATION AND INSURE THAT MENUS ARE WORKING PROPERLY
7vÚB¬ÐÓ»Jbv åШÚJڻЬvbÜiÚî¬åÚìÚåÓvÚ£åÜ»vÚ ì¨l¬ìÓiÚìbÚ£JîÚ»¬ÓÓXîÚbЬìlÚ ÜvÚì¬ÐÚJÐvJÀÚ7¬ÚvÜÚÜvÚ£¬ÓÜÚ¬åÜÚ¬Ú ¨b¬ÐviÚÜÚÓÚ£»¬ÐÜJ¨ÜÚܬڣJ¨ÜJ¨ÚJ¨Ú vvbÜëvÚì¬ÐÓ»JbvÀÚÚbåÜÜvÐvlÚì¬Ð Ó»JbvÚìÚÓ¬ìÚl¬ì¨Úì¬Ð¬ìÚJ¨lÚbÐv JÜvÚ娨vbvÓÓJÐîÚÐåÓÜÐJܬ¨ÀÚ%Úb¬åÐÓviÚ î¬åÚbJ¨ÚJìJîÓÚåÓvÚlåJÚ£¬¨Ü¬ÐÓÚìÜÚ ¨b¬ÐvÚJÓÚìvÀÚ¨ÚJbÜiÚÚîÚÐvb¬£ £v¨lÚÜJÜÚî¬åÚåÓvÚlåJÚ£¬¨Ü¬ÐÓÚå¨vÓÓÚ î¬åÚJÐvÚì¬Ð¨Ú¬¨ÚJÚJ»Ü¬»Ú¬ÐÚÚb¬ÓÜÚ ÓÚJÚJÐvÚXJÐÐvÐÀÚ åJÚ Ú£¬¨Ü¬ÐÓÚJÐvÚ ÅåÜvÚÐvJÓ¬¨JXvÚÜvÓvÚlJîÓÀÚ ÜÍÓÚJÚ¬¬lÚlvJÚܬڣ¨£òvÚì¨l¬ìÓÚ ÜJÜÚJÐvÚ¨¬ÜÚ¨ÚåÓvÀÚ4¬£vÚì¨l¬ìÓÚbJ¨Ú XvÚÐvÓòvlÚXîÚbb¨Ú¬¨ÚÜvÚ¬ìvÐ ÐÜÚb¬Ð¨vÐÓÚJ¨lÚlÐJ¨ÚÜv£ÚܬÚJ¨Ú J»»Ð¬»ÐJÜvÚÓòvÀÚ¨Ú¨b¬ÐvÚ³ÀôÚÓvëvÐJÚ
7ELCOME TO %NCORE
»JvÜÜvÓÚb¬ålÚ¨¬ÜÚXvÚÐvÓòvlÀÚ¨b¬ÐvÚ³ÀÚ JÓÚJÚ£¬ÐvÚvíXvÚì¬ÐÓ»JbvÚJ¬ì ¨Úî¬åÚܬÚÐvÓòvÚ£¬ÓÜÚ¬ÚÜvÚlvÐv¨ÜÚ »JvÜÜvÓÀÚ .JvÜÜvÓÚJ¨lÚÜJXÓÚbJ¨ÚXvÚÐv£¬ëvlÚЬ£Ú ÜvÐÚ»JÐv¨ÜÚì¨l¬ìÓÚXîÚbb¨Ú¬¨ÚÜvÚ å»»vÐÚÜJXÚJ¨lÚlÐJ¨ÚÜv£Ú¬åÜÓlvÚ ÜvÚ»JÐv¨ÜÚì¨l¬ìÀÚ7vîÚbJ¨ÚXvÚÐvb¬£ X¨vlÚ¨ÚÜvÚÓJ£vÚìJîÀÚÚ»JvÜÜvÚ¬ÐÚÜJXÚ bJ¨Ú¬¨îÚXvÚ»JbvlÚ¨ÚÜvÚ»JÐv¨ÜÚì¨ l¬ìÓÚ¨ÚìbÚÜvîÚXv¬¨ÀÚ7vÐv¬ÐviÚ JÚ»JvÜÜvÚbJ¨¨¬ÜÚXvÚ»JbvlÚ¨ÚÜvÚ.ЬvbÜÚ ì¨l¬ìiÚJ¨lÚJÚ£v¨åÚЬ£ÚÜvÚ"v¨åÚ lܬÐÚbJ¨ÍÜÚXvÚ»JbvlÚ¨ÚÜvÚ7£v¨vÓÚ ì¨l¬ìÀÚ
4HE PROPERTIES WINDOW WILL BE USED TO ACCESS AND SET PROPERTIES FOR ALL ASPECTS OF A $6$ PROJECT 0LACE THE PROPERTIES PALETTE IN A VISIBLE PORTION OF THE SCREEN AND MAKE SURE IT DOESNT GET COVERED BY OTHER PALETTES OR WINDOWS
#HAPTER
7vÚ»JvÜÜvÓÚìÚJìJîÓÚÐv£J¨Ú¬¨Úܬ»ÀÚ "¬ëvÚÜv£Ú¬ëvÐÚܬÚÜvÚb¬Ð¨vÐÚ¬ÚÜvÚ ÓbÐvv¨À ¨ÚÜvÚ£J¬ÐÜîÚ¬ÚÜJÓÓiÚÜvÚ.Ь»vÐÜvÓÚ »JvÜÜvÚÓÚåÓvlÀÚ"JvÚÓåÐvÚܬڻJbvÚÜÓÚ »JvÜÜvÚ¨ÚJ¨ÚJbbvÓÓXvÚ»¬Ðܬ¨Ú¬ÚÜvÚ ì¬ÐÓ»JbvÀ %¨bvÚJڻЬvbÜÚÓÚb¬ÓvlÚ¨Ú¨b¬ÐvÚ³ÀiÚ ÜvÚì¨l¬ìÚ¬bJܬ¨ÓÚJÐvÚ¨¬ÜÚ»ÐvÓvÐëvlÀÚ 7vÚ»JvÜÜvÚ¬bJܬ¨ÓÚbJ¨ÚXvÚÐvÜåШvlÚÜ¬Ú ÜvÐÚlvJåÜÚ»JbvÓÚlåШÚJڻЬvbÜÀ 7¬ÚÐvÓvÜÚÜvÚ»JvÜÜvÚ¬bJܬ¨ÓhÚ ¬ÚܬÚB¨l¬ì3vÓvÜÚ.JvÜÜvÚ ¬bJܬ¨ÓÀ
7ELCOME TO %NCORE
åÓܬ£ÚB¬ÐÓ»JbvÓÚ ½¨b¬ÐvÚ³ÀÚ¬¨î¾ !FTER SIZING AND ARRANGING PALETTES AND WINDOWS THE CONlGURATION MAY BE SAVED AS A CUSTOM WORKSPACE %NCORE SAVES THE PALETTE ARRANGEMENT INCLUDING WHICH ONES ARE OPEN THEIR SIZE AND THEIR LOCATION %NCORE ALSO REMEMBERS THE POSITION OF THE -ENU %DITOR 4IMELINE AND -ONITOR WINDOWS 4HIS ALLOWS THE USER TO BUILD CUSTOM WORKSPACES THAT CATER TO SPECIlC TASKS AND WORKmOWS 4O CREATE A CUSTOM WORKSPACE !RRANGE AND SIZE WINDOWS THE WAY YOU WANT #HOOSE 7INDOW 7ORKSPACE 3AVE 7ORKSPACE 4YPE A NAME FOR THE WORKSPACE AND CLICK 3AVE
#HAPTER
4O USE A WORKSPACE #HOOSE 7INDOW 7ORKSPACE AND CHOOSE A WORKSPACE 4O DELETE A CUSTOM WORKSPACE #HOOSE 7INDOW 7ORKSPACE $ELETE 7ORKSPACE CHOOSE A NAME AND CLICK $ELETE
7vÚÐÓÜÚ.ЬvbÜh 7HEN USING %NCORE FOR THE lRST TIME THE INTERFACE IS EMPTY UNTIL A NEW PROJ ECT IS CREATED OR OPENING AN EXISTING PROJECT TAKES PLACE 4O OPEN A NEW PROJECT 'O TO &ILE .EW 0ROJECT /R USE THE KEYBOARD SHORTCUT #TRL .
7ELCOME TO %NCORE
!T THIS POINT %NCORE OPENS THE .EW 0ROJECT 3ETTINGS DIALOG 4HIS DIALOG DETERMINES THE TELEVISION STANDARD ON WHICH THE $6$ WILL BE PLAYED #HOOSE .43# FOR .ORTH !MERICA #HOOSE 0!, &OR !SIA AND %UROPE #LICK /+ 7HEN YOU OPEN A NEW PROJECT THE 0ROJECT WINDOW IS DISPLAYED !T THIS TIME %NCORE IS READY TO IMPORT ASSETS
7åШÚ%¨Ù%ÚÜvÚ.Ь£»ÜÚ ¬ÐÚ7AÚ4ÜJ¨lJÐl 7HEN YOU OPEN A NEW PROJECT THE $ONT 0ROMPT FOR 46 3TANDARD OPTION IS GIVEN IN THE 0ROJECT 46 3TANDARD DIALOG )F YOU CHECK THIS BOX BEFORE CLICKING /+ THE NEXT TIME YOU OPEN A NEW PROJECT IT WILL IMMEDIATELY USE THE 46 STANDARD YOU CHOSE EARLIER
#HAPTER
!N h!SSETv IS ANY VIDEO GRAPHIC AUDIO OR OTHER ELEMENT TO BE USED IN THE CREATION OF THE $6$ -ANAGE YOUR ASSETS CAREFULLY FOR THE MOST EFlCIENT USE OF YOUR TIME AND THE %NCORE APPLICATION
9OU CAN TURN THE 0ROMPT FOR 4ELEVISION 3TANDARD BACK ON FOR NEW PROJECTS EVEN IF THE h$ONT 0ROMPTv BOX WAS CHECKED IN THE .EW 0ROJECT SETTINGS 4HIS IS DONE BY ACCESSING THE 'ENERAL 0REFERENCES SETTINGS (OWEVER IF YOU OPEN A PROJECT UNDER ONE PARTICULAR 46 STANDARD REACTIVATING THE PROMPT DOES NOT CHANGE THE 46 STANDARD FOR THE PRESENT PROJECT 4O ACCESS THE 'ENERAL 0REFERENCES 'O TO %DIT 0REFERENCES 'ENERAL /R USE THE KEYBOARD SHORTCUT #TRL + 4HIS OPENS THE 0REFERENCES SETTINGS FOR NEW PROJECTS !LSO 4OOL 4IPS AND "EEP 7HEN $ONE CAN BE TURNED AND O« USING THIS WINDOW 4O TURN THE 0ROMPT FOR 46 3TANDARD ON OR O« #HECK THE 0ROMPT FOR 46 3TANDARD BOX #LICK /+ 4O CHANGE THE DEFAULT 46 STANDARD WITHOUT PROMPTING FOR A 46 STANDARD 3ELECT .43# OR 0!, AND LEAVE THE 0ROMPT FOR 46 3TANDARD UNCHECKED #LICK /+
7ELCOME TO %NCORE
4JëvÚJ¨lÚ3vbJÚÜvÚ.ЬvbÜ 7HEN YOU CLOSE %NCORE OR A PROJECT A 3AVE 0ROJECT PROMPT OPENS (OWEVER %NCORE DOES NOT USE TIMED BACKUPS )N THE CASE OF A POWER FAILURE OR COMPUT ER CRASH ALL UNSAVED WORK WILL BE LOST 3O DURING THE COURSE OF A PROJECT IT IS IMPORTANT TO SAVE OFTEN 4O SAVE A PROJECT FOR THE lRST TIME 'O TO &ILE 3AVE !S /R USE THE KEYBOARD SHORTCUT #TRL 3HIFT 3 4HIS OPENS THE 3AVE !S DIALOG !LL PROJECTS ARE SAVED AS 5NTITLED AND SO ON BY DEFAULT #HOOSE A DESIRED lLE LOCATION 4YPE THE NAME OF THE PROJECT IN THE &ILE .AME lELD #LICK 3AVE
3AVING TO THE DESKTOP IS A CONVENIENT PLACE TO SAVE THE PROJECT lLES BUT IT IS BEST TO CREATE A NEW FOLDER ON THE DESKTOP AND SAVE INTO THAT FOLDER 4HIS IS BECAUSE %NCORE CREATES TWO lLE FOLDERS AND A PROJECT PREFERENCES lLE IN ADDITION TO THE MAIN PROJECT lLE #REATING A SEPARATE FOLDER WILL HELP REDUCE CLUTTER ON THE DESKTOP AND PREVENT ACCIDENTAL DELETION
#HAPTER
!FTER A PROJECT HAS BEEN SAVED %NCORE ALLOWS TWO OPTIONS FOR SAVING 3AVE AND 3AVE !S 4O SAVE A PROJECT 'O TO &ILE 3AVE /R USE THE KEYBOARD SHORTCUT #TRL 3 #HOOSING 3AVE UPDATES THE PREVIOUSLY SAVED lLE WITHOUT PROMPTING FOR A lLE NAME 4O SAVE A PROJECT UNDER A NEW lLE NAME 'O TO &ILE 3AVE !S 4YPE A NEW lLE NAME FOR THE PROJECT #LICK 3AVE #HOOSING 3AVE !S OPENS THE 3AVE !S DIALOG 3AVING UNDER A NEW lLE NAME SAVES THE PROJECT IN A DI«ERENT lLE WITHOUT SAVING OVER THE ORIGINAL PROJ ECT lLE 9OU CAN OPEN PROJECTS IN ONE OF THREE WAYS /PEN PROJECTS IN 7INDOWS %XPLORER BY DOUBLE CLICKING ON THE PROJECT NCOR ICON
7ELCOME TO %NCORE
5SE THE /PEN COMMAND IN THE &ILE MENU 4HIS IS BEST FOR NEW PROJECT lLES THAT HAVE BEEN IMPORTED FROM ANOTHER COMPUTER OR HAVE NOT BEEN OPENED RECENTLY 4O OPEN A PROJECT lLE 'O TO &ILE /PEN /R USE THE KEYBOARD SHORTCUT #TRL / 4HIS OPENS THE /PEN 0ROJECT DIALOG (IGHLIGHT THE DESIRED PROJECT lLE #LICK /PEN %NCORE O«ERS YET ANOTHER CHOICE FOR OPENING lLES ,IKE MANY APPLICATIONS %NCORE KEEPS A LIST OF RECENTLY USED PROJECT lLES FOR QUICK ACCESS 4O OPEN A RECENTLY USED PROJECT lLE 'O TO &ILE
#HAPTER
)N THE LOWEST PORTION OF THE &ILE PULL DOWN MENU IS A LIST OF lLES #LICK ON THE DESIRED lLE %NCORE NOW DIRECTLY OPENS THE PROJECT
£»¬ÐܨÚAlv¬ÚÓÓvÜÓ !N ASSET IS ANYTHING IMPORTED TO THE PROJECT TO USE WITHIN THE PROJECT .EARLY ALL $6$S HAVE MOTION VIDEO AS THEIR MAIN CONTENT EXCEPT IN THE CASE OF SLIDESHOW DISCS %NCORE WILL IMPORT MOST $IRECT 3HOW COMPATIBLE VIDEO FORMATS WITH THE EXCEPTION OF 1UICK4IMEMOV OR QT 1UICK4IME lLES ARE SUPPORTED IN 6ERSION &OR $6$ AUTHORS -0%' MPG MV MPV AND !6) ARE THE TWO MOST COM MONLY USED FORMATS 4HERE ARE ALSO RESTRICTIONS DEPEND ING ON THE TELEVISION STANDARD OF THE PROJECT .43# VIDEO MUST HAVE A FRAME SIZE OF c c OR c AND MUST HAVE A FRAME RATE OF OR FRAMES PER SECOND FPS 0!, VIDEO MUST HAVE A FRAME SIZE OF c OR c AND MUST HAVE A FRAME RATE OF FPS
7ELCOME TO %NCORE
4HERE ARE THREE WAYS TO IMPORT VIDEO ASSETS 5SING THE &ILE MENU 5SING THE 0ROJECT WINDOW $RAGGING FROM 7INDOWS %XPLORER 4O IMPORT VIDEO ASSETS USING THE &ILE MENU 'O TO &ILE )MPORT AS !SSET /R USE THE KEYBOARD SHORTCUT #TRL ) 4HIS OPENS THE )MPORT AS !SSET DIALOG ,OCATE AND SELECT THE VIDEO lLES (OLDING #TRL WHILE YOU CLICK ON lLES SELECTS MULTIPLE lLES FOR IMPORT #LICK /PEN 4HE lLES ARE IMPORTED INTO THE 0ROJECT WINDOW !NY UNSUPPORTED lLES WILL NOT BE IMPORTED 4HE 0ROJECT TAB IN THE 0ROJECT WINDOW LISTS ALL THE MAJOR COMPONENTS OF THE PROJECT SUCH AS MENUS TIMELINES AND ASSETS )T PROVIDES A SPREADSHEET VIEW OF THE MATERIALS SHOWING IMPORTANT INFORMATION SUCH AS lLE SIZE AND TYPE OF lLE
#HAPTER
4O IMPORT VIDEO ASSETS USING THE 0ROJ ECT TAB 2IGHT CLICK INSIDE THE 0ROJECT TAB )F DRAGGING AND DROPPING lLES INTO THE 0ROJECT WINDOW IS YOUR FAVORITE METHOD YOULL NOTICE THAT DRAGGING 0HOTOSHOP lLES INTO THE 0ROJECT WINDOW ALWAYS IMPORTS THEM AS ASSETS 4O CHANGE THIS BEHAVIOR AND TO IMPORT MENUS HOLD ALT WHILE DRAGGING AND THE 0HOTOSHOP lLE WILL BE IMPORTED AS A MENU RATHER THAN AN ASSET
3ELECT )MPORT AS !SSET 4HIS OPENS THE )MPORT AS !SSET DIALOG 3ELECT THE DESIRED lLES #LICK /PEN 4HE VIDEO ASSETS NOW HAVE BEEN IM PORTED INTO THE 0ROJECT TAB 4O IMPORT VIDEO ASSETS USING 7INDOWS %XPLORER )N 7INDOWS OPEN THE FOLDER CONTAINING THE VIDEO lLES 7ITH THE %NCORE 0ROJECT TAB IN VIEW LEFT CLICK AND HOLD ON THE lLE $RAG THE MOUSE CURSOR INTO THE 0ROJECT TAB 2ELEASE THE LEFT MOUSE BUTTON 4HE lLES HAVE NOW BEEN IMPORTED INTO THE 0ROJECT TAB
7ELCOME TO %NCORE
AÚëÓÀÚ".ãÚ4¬åÐbvÚvÚ ¬¨ ÓlvÐJܬ¨Ó %¨vÚ¬ÚÜvÚlvbÓ¬¨ÓÚ A ÚJåܬÐÓÚìÚ £JvÚÓÚìvÜvÐÚܬÚåÓvÚAÚ¬ÐÚ".ãÚ Ó¬åÐbvÚvÓÚܬÚXålÚÜvÐÚ A ڻЬvbÜÓÀÚ ål¬ÚAlv¬Ú¨ÜvÐvJëviÚ¬ÐÚAiÚÓÚåÓåJîÚ JÚÓ¬åÐbvڬУJÜÚåÓvlÚ¨ÚB¨l¬ìÓÀÚAÚ Ó¬åÐbvÚvÓÚJÐvÚÜî»bJîÚëvÐîÚJÐviÚXv bJåÓviÚÜvîÚb¬¨ÜJ¨Ú£åbÚ¬ÚÜvڬШJÚ Ó¬åÐbvÚlJÜJÀÚAÓÚJÐvÚvJÓvÐÚܬÚvlÜÚ¨ÚJ¨Ú # ÚÜJ¨Ú".ãÀÚ¬ìvëvÐÚAÚÓÚ¨¬ÜÚ JÚ A Úëlv¬~b¬£»J¨ÜڬУJÜÀÚÚAÚ vÓÚ£»¬ÐÜvlڨܬڨb¬ÐvÚJÐvÚJåܬ£JÜ bJîÚÜÐJ¨Ób¬lvlڨܬÚ".ãÀ 7vÚ"¬Ü¬¨Ú.bÜåÐvÚí»vÐÜÓÚЬå»Ú ¬ lvbÚãiÚ¬ÐÚ".ãiÚÓÚJÚlvëvÐîÚb¬lvbÀÚ ÜÚb¬£»ÐvÓÓvÓÚJÐvÚÓ¬åÐbvÚvÓiÚÓåbÚ JÓÚAiڨܬÚÐvJÜëvîÚÓ£JÚvÓÀÚ"¬ÓÜÚ A ÓÚåÓvÚ".ãÚvÓÚ¬ÐÚÜÓÚÐvJÓ¬¨ÀÚ 7vÚb¬£»ÐvÓÓ¬¨Úì¬ÐÓÚXîÚlÓbJÐl¨Ú¬ÐÚ b¬£»ÐvÓÓ¨ÚÐvlå¨lJ¨ÜÚ¨¬Ð£Jܬ¨Ú¨ÚJÚ ÐJ£vÚJ¨lÚJbЬÓÓÚÐJ£vÓÚ½¬ëvÐÚÜ£v¾À Bv¨ÚåÓ¨ÚAÓÚ¨Ú¨b¬ÐviÚ¨b¬ÐvÚìÚ Jåܬ£JÜbJîÚJ¨lvÚÜvÚv¨b¬lvÚÜ¬Ú ".ãÚìv¨ÚXål¨ÚÜvÚlÓbÀÚ¨b¬ÐvÚ J¨lÚ.Ðv£vÐvÚåÓvÚÜvÚÓJ£vÚ".ãÚ¨ b¬lvÐÀÚÜvÐÚJ»»bJܬ¨ÚbJ¨ÚXvÚåÓvlÚܬÚ
#HAPTER
»Ðv»JÐvÚ A ÚvJÚb¬¨Üv¨ÜÀÚ ;Ó¨Ú".ãÚJÓÚÜvÚÓ¬åÐbvÚvÚJ¬ìÓÚ ¨b¬ÐvÚܬÚÓ»ÚÜvÚvíÜÐJÚÓÜv»Ú¬Úb¬£ »ÐvÓÓ¨ÚÜvÚvÚìv¨ÚXål¨ÚÜvÚlÓbÀÚ 7ÓÚì¬Ð¬ìÚJbb¬£¬lJÜvÓÚ¬ÜvÐÚvíÜvÐ ¨JÚJ»»bJܬ¨ÓÚ¬ÐÚÓ¬åÐbvÚ£JÜvÐJÚÜJÜÚ JÓÚJÐvJlîÚXvv¨Úb¬£»ÐvÓÓvlÚܬÚ".ãÀ
£»¬ÐÜÚ. "Úål¬ÚvÓ 0#- AUDIO OR 0ULSE #ODE -ODULATION IS A COMMON UNCOMPRESSED AUDIO FORMAT )T O«ERS LOSSLESS lDELITY TO THE ORIGINAL SOURCE (OWEVER ITS lLE SIZE IS TYPICALLY MUCH TOO LARGE FOR ECO NOMICAL $6$ AUTHORING 7HEN 0#- IS IMPORTED INTO %NCORE BY DEFAULT IT WILL AUTOMATICALLY TRANSCODE THE AUDIO lLE INTO $OLBY $IGITAL !# WHEN BUILDING THE DISC "Y DOING THIS %NCORE CREATES MORE SPACE FOR VIDEO ASSETS 4O IMPORT A 0#- AUDIO lLE 2IGHT CLICK IN THE 0ROJECT TAB AND SELECT )MPORT AS !SSET /R USE THE KEYBOARD SHORTCUT #TRL ) 4HIS OPENS THE )MPORT AS !SSETS DIALOG ,OCATE AND SELECT THE 0#- &ILES
7ELCOME TO %NCORE
9OU CAN SELECT MULTIPLE lLES BY HOLD ING THE #TRL KEY WHILE CLICKING #LICK /PEN 4HE AUDIO lLES HAVE NOW BEEN IMPORT ED INTO THE 0ROJECT TAB !S MENTIONED BEFORE 0#- lLES ARE TRANSCODED TO !# lLES BY DEFAULT 4HIS IS RECOMMENDED BECAUSE IT COM PRESSES THE AUDIO lLE AND ALLOWS THE AUTHOR TO DEVOTE MORE AVAILABLE DISC CAPACITY TO VIDEO )F YOU WANT THE 0#- FORMAT IN THE lNAL PRODUCT THEN SET THE PROCESS TO $ONT 4RANSCODE 0#- lLES ARE $6$ LEGAL AND CAN BE BURNED DIRECTLY TO DISC WITHOUT ADDITIONAL TRANSCODING )MPORTANT 4HE 0#- lLE MUST BE K(Z AND AT OR BIT SAMPLE RATE /THERWISE THIS OPTION IS NOT AVAILABLE 4O RETAIN 0#- AUDIO IN THE lNAL DISC 2IGHT CLICK ON THE AUDIO lLE 'O TO 4RANSCODE 3ETTINGS $ONT 4RANS CODE 4HE 0#- lLE IS NOW SET TO $ONT 4RANS CODE WHICH WILL BE RETAINED ON THE lNAL DISC
3OME OLDER SET TOP $6$ PLAYERS WILL NOT PROPERLY PLAY BACK 0#- AUDIO lLES
#HAPTER
£»¬ÐÜÚ ÞÚål¬ÚvÓ
0#- lLES ARE SIMILAR TO WAV lLES "OTH FORMATS USE UNCOMPRESSED AUDIO HOWEVER WAV lLES MUST BE CONVERTED TO 0#- WHEN THE DISC IS ENCODED
!# IS A $OLBY $IGITAL FORMAT FOR !U DIO )T O«ERS AN E£CENT AND ECONOMI CAL ENCODING FOR MULTICHANNEL AUDIO CONTENT !# IS ALSO THE FORMAT TO WHICH %NCORE TRANSCODES OTHER AUDIO lLE FORMATS )F !# $OLBY $IGITAL CONTENT HAS BEEN PREPARED IN ANOTHER APPLICATION FOR A PROJECT IT MAY BE IM PORTED DIRECTLY INTO %NCORE AND WILL BE PRESERVED hAS ISv WHEN BURNED TO DISC 4O IMPORT !# lLES 2IGHT CLICK IN THE 0ROJECT TAB 3ELECT )MPORT AS !SSETS 4HIS OPENS THE )MPORT AS !SSETS &ILE DIALOG ,OCATE AND 3ELECT THE !# AUDIO lLES FOR IMPORT #LICK /PEN 4HE !# lLE HAS NOW BEEN IMPORTED INTO %NCORE .OTICE THAT THE 4RANSCODE 3ETTING FOR THE !# lLE IS SET TO $ONT 4RANSCODE
7ELCOME TO %NCORE
£»¬ÐÜÚ".³Ú JîvÐÚÚ ål¬ÚvÓ -0%' ,AYER )) AUDIO lLES CAN ALSO BE USED BUT THIS FORMAT IS NOT WIDELY SUPPORTED BY .43# $6$ PLAYERS )F -0%' lLES ARE IMPORTED INTO AN .43# PROJECT THEY WILL BE AUTOMATI CALLY TRANSCODED TO A .43# $6$ COM PLIANT !# AUDIO lLE !# IS THE BEST CHOICE FOR PLAYER COMPATIBILITY 4O IMPORT AN -0%' ,AYER )) AUDIO lLE 2IGHT CLICK IN THE 0ROJECT TAB 3ELECT )MPORT AS !SSET 4HE KEYBOARD SHORTCUT #TRL ) MAY ALSO BE USED 4HIS OPENS THE )MPORT AS !SSET DIALOG ,OCATE AND SELECT THE DESIRED -0%' AUDIO lLES #LICK /PEN 4HE -0%' AUDIO lLE HAS NOW BEEN IMPORTED INTO THE 0ROJECT TAB .OTICE IT HAS BEEN SET TO !UTOMATICALLY 4RANS CODE
#HAPTER
)F THIS IS A 0!, PROJECT THE 4RANSCODE 3ETTINGS CAN BE SET TO $ONT 4RANSCODE !# IS ALMOST ALWAYS A BETTER CHOICE THAN -0%' AUDIO UNLESS THE KNOWN TARGET AUDIENCE ONLY HAS VERY OLD EQUIPMENT TO PLAY BACK THE PROJECT !LL COMPUTERS LESS THAN FOUR YEARS OLD THAT CONTAIN $6$ PLAYERS WILL PLAY BACK !# lLES
)MPORTANT 4HIS SETTING CAN BE CHANGED ON AN .43# PROJECT BUT MOST .43# $6$ PLAYERS DO NOT SUPPORT -0%' ,AYER )) AUDIO 4O RETAIN -0%' ,AYER )) AUDIO ON A 0!, $6$ PROJECT 2IGHT CLICK ON THE -0%' AUDIO lLE 'O TO 4RANSCODE 3ETTINGS $ONT 4RANS CODE 4HE -0%' ,AYER )) AUDIO lLE WILL NOW BE PRESERVED ON THE lNAL $6$
J¨vÚÜvÚ vJåÜÚål¬Ú ¨b¬l¨Ú4bv£v "Y DEFAULT %NCORE ENCODES NON $OLBY $IGITAL !UDIO INTO THE $OLBY $IGITAL !# FORMAT )MPORTED !# lLES ARE AUTOMATICALLY SET TO $ONT 4RANSCODE 4HE !# FORMAT IS WIDELY SUPPORTED AND IS RECOMMENDED FOR ALL PROJECTS (OWEVER THIS DEFAULT SCHEME CAN BE MODIlED TO 0#- OR -0%' ,AYER )) AUDIO
7ELCOME TO %NCORE
#HANGING THE DEFAULT AUDIO ENCOD ING SCHEME ONLY APPLIES TO AUDIO lLES IMPORTED AFTER THE SCHEME HAS BEEN CHANGED 4O CHANGE THE DEFAULT AUDIO ENCODING SCHEME 'O TO %DIT 0REFERENCES %NCODING #LICK ON THE ARROW NEXT TO THE $EFAULT !UDIO %NCODING 3CHEME 3ELECT THE DESIRED DEFAULT AUDIO FOR MAT #LICK /+ .OW ALL AUDIO lLES IMPORTED INTO %N CORE WILL BE TRANSCODED TO NEW DEFAULT AUDIO FORMAT
#HAPTER
£»¬ÐÜÚvÓÚJÓÚÐJ»bÓ
2EMEMBER THAT lLES MAY ALSO BE DRAGGED AND DROPPED DIRECTLY INTO THE 0ROJECT WINDOW
%NCORE WILL IMPORT OF A WIDE VARIETY OF GRAPHIC FORMATS 4HESE GRAPHICS MAY BE USED IN A SLIDESHOW BECOME A PART OF A MENU OR BOTH %NCORE SUPPORTS "-0 -0%' 4)&& ')& *0%' 0.' %8)& AND 03$ 7HEN 1UICK 4IME IS INSTALLED IT ALSO SUPPORTS 4'! AND 0)#4 .OTE )MPORTING A 03$ lLE AS A GRAPHIC DISCARDS THE LAYERS 4O IMPORT A lLE AS A GRAPHIC 2IGHT CLICK INSIDE THE 0ROJECT TAB 3ELECT )MPORT AS !SSET 4HIS OPENS THE )MPORT AS !SSET DIALOG ,OCATE AND SELECT THE GRAPHIC lLES (OLDING #TRL WHILE CLICKING SELECTS MULTIPLE lLES #LICK /PEN 4HE GRAPHICS HAVE NOW BEEN IMPORTED INTO THE 0ROJECT TAB
7ELCOME TO %NCORE
¨lÚ"ÓÓ¨ÚvÓÚ½ÓÓvÜÓ¾ 7HILE %NCORE IS OPEN IT KEEPS TRACK OF ASSETS AND CHECKS FOR THEM UPON OPENING $URING THE COURSE OF A PROJ ECT lLES MIGHT GET MOVED TO ANOTHER DRIVE THE DRIVE CONTAINING THOSE lLES MAY BE DISCONNECTED OR THE lLES MAY BE RENAMED OR DELETED )N THESE CASES %NCORE CANNOT TRACK THE lLE )F %NCORE CANNOT LOCATE AN ASSET IT WILL PUT THE lLE NAME IN ITALICS IN THE 0ROJECT TAB )NSTEAD OF REIMPORTING THE MISSING ASSET AND STARTING OVER %NCORE ALLOWS THE USER TO LOCATE THE ASSET .OTE 4HIS FUNCTION IS ONLY AVAILABLE FOR MISSING ASSETS 4O LOCATE A MISSING ASSET 2IGHT CLICK ON THE ASSET IN ITALICS 3ELECT ,OCATE -ISSING !SSET
#HAPTER
4HIS OPENS THE ,OCATE -ISSING !SSET DIALOG ,OCATE THE ASSETS NEW LOCATION OR lLENAME #LICK /PEN 7HEN THE ASSET IS LOCATED ITS lLE NAME APPEARS IN NORMAL TYPE )MPORTANT 4HE NAME OF THE ORIGINAL lLE IS PRESERVED WHEN USING ,OCATE !S SET EVEN IF THIS IS NOT THE lLENAME OF THE LOCATED lLE
3v»JbvÚÓÓvÜÓ -ANY HOURS ARE SPENT CREATING A PROJ ECT AND SOMETIMES THE ONLY DI«ERENCE BETWEEN TWO PROJECTS IS THE CONTENT )NSTEAD OF CREATING A WHOLE NEW PROJ ECT %NCORE CAN SIMPLY REPLACE THE ASSETS IN AN OLD PROJECT 4HE 2EPLACE !SSETS COMMAND IS VERY SIMILAR TO THE ,OCATE !SSETS COMMAND (OWEVER INSTEAD OF KEEPING THE ORIGI NAL lLENAME 2EPLACE !SSETS USES THE NEW ASSETS lLENAME 4O REPLACE AN ASSET )N THE 0ROJECT TAB RIGHT CLICK ON THE AS SET TO BE REPLACED
7ELCOME TO %NCORE
3ELECT 2EPLACE !SSET 4HIS OPENS THE 2EPLACE !SSET DIALOG ,OCATE AND SELECT THE NEW ASSET #LICK /PEN 4HE OLD ASSET HAS NOW BEEN REPLACED IN THE 0ROJECT TAB
vÜÚ%ÐJ¨òvl ,ARGE PROJECTS TYPICALLY HAVE MULTIPLE MENUS ASSETS AND TIMELINES )F FOR EX AMPLE A PROJECT HAS A NUMBER OF SLIDE SHOWS WITH MULTIPLE GRAPHICS IN EACH SLIDESHOW THE 0ROJECT TABS LIST COULD BE TOO LONG TO USE E«ECTIVELY ! SMALL MEASURE OF ORGANIZATION CAN SAVE A GREAT DEAL OF TIME DOWN THE ROAD
7HEN REPLACING VIDEO ASSETS ASSOCIATED WITH TIMELINES AND CHAPTER POINTS ITS IMPORTANT TO CHECK THE CHAPTER POINT LOCATIONS AND ADJUST THEM IF NECESSARY
#HAPTER
%NCORES 0ROJECT TAB O«ERS THE ABIL ITY TO ORGANIZE lLES INTO SEPARATE lLE FOLDERS 3EVERAL lLES CAN BE MOVED AT THE SAME TIME BY USING THE #TRL AND 3HIFT KEYS (OLD 3HIFT TO SELECT A RANGE OF lLES (OLD #TRL WHILE CLICKING TO SELECT SEVERAL NON CONTIGUOUS lLES
4O CREATE A NEW FOLDER 2IGHT CLICK IN THE 0ROJECT TAB 3ELECT .EW &OLDER OR #LICK THE .EW &OLDER ICON LOCATED AT THE BOTTOM OF THE 0ROJECT TAB 4HIS OPENS THE .EW &OLDER .AME DIA LOG %NTER A NAME FOR THE NEW FOLDER #LICK /+ 4HE NEW FOLDER NOW APPEARS IN THE 0ROJECT TAB 4HE NEXT STEP IS TO ADD lLES TO THE FOLDER 4O ADD lLES TO A FOLDER #LICK AND HOLD THE MOUSE BUTTON ON THE lLE $RAG THE lLE INTO THE NEW FOLDER 4HE lLE IS NOW ADDED TO THE NEW FOLDER
7ELCOME TO %NCORE
.J¨ÚÜvÚ A Ú.ЬvbÜÚ;Ó¨ÚJÚ ¬ìbJÐÜ BvÚ¬ÐJ¨òJܬ¨ÚÓÚ¨¬ÜÚ¬¨îÚvÓÓv¨ÜJÚ låШÚÜvÚåÓvÚ¬ÚåÓ¨Ú¨b¬ÐviÚÜÚÓÚ £»¬ÐÜJ¨ÜÚܬÚXvÚ¬ÐJ¨òvlÚXv¬ÐvÚvëvÐÚ ÜåШ¨Ú¬¨ÚÜvÚb¬£»åÜvÐÀÚ A ÓÚåÓvÚJÚ ÓîÓÜv£Ú¬Ú¨ÓÚJ¨lÚJbܬ¨ÓÚÜJÜÚ»åÜÚ JÚÜvÚJÓ»vbÜÓÚ¬ÚÜvڻЬvbÜÚܬvÜvÐÀÚ 7vÚÜÐbÚܬڣJÓÜvÐ¨Ú A ÚJåÜ¬Ð¨Ú ÓÚÓÜJÐܨÚìÜÚJÚÓ£»vÚ¬ìbJÐÜÚÜJÜÚ ¬åܨvÓÚÜvÚ¬ÐJ¨òJܬ¨Ú¬ÚÜvڻЬ vbÜÀÚ.v¨bÓÚJ¨lÚ»J»vÐÚJÐvÚåÓvåÚ¨ÚÜÓÚ »Ð¬bvÓÓÀ 4ÜJÐÜÚXîÚÓܨÚJÚÜvÚlvÐv¨ÜÚvJÜåÐvÓÚ ¬ÚJڻЬvbÜÚÓåbÚJÓÚ£v¨åÓÚJ¨lÚÜ£v ¨vÓÀÚBÚÜÚJëvÚJ¨Ú¨ÜЬlåbܬÐîÚëlv¬Ú ½ÓܨvоÚÜJÜÚ»JîÓÚìv¨ÚÜvÚ A ÚÓÚ ¨ÓvÐÜvlÆÚBÚÜÚJëvÚÓ»vbJÚvJÜåÐvÓÚ ¬ÐÚJÚÓåX£v¨åÚÜJÜÚJbbvÓÓvÓÚ¨lëlåJÚ bJ»ÜvÐÚ»¬¨ÜÓÆÚ 7v¨ÚlvblvÚ¬ìÚvJbÚvJÜåÐvÚìÚ¨Ú Ü¬vÜvÐÚJ¨lÚbÐvJÜvÚJÚ¬ìÚbJÐÜÀ .ЬvbÜÓÚJÐvÚJ¨lÚÓ£JÚìÚXv¨vÜÚЬ£Ú JÚ¬ìbJÐÜÀ
7HEN ALL ASSETS ARE LISTED IN A mOWCHART IT CAN ALSO BE USED TO KEEP TRACK OF SIZE AND NUMBER OF ASSETS $OING SO WILL BE HELPFUL WHEN DETERMINING BITRATE
#HAPTER
AvìÚ4»vbbÚvÚ7î»vÓÚ¨Ú ÜvÚ.ЬvbÜÚ7JX 3OMETIMES DURING A PROJECT IT HELPS TO SEE ONLY ONE KIND OF A lLE AT A TIME SUCH AS THE MENUS OR ASSETS %NCORES 0ROJECT TAB CAN SHOW OR HIDE lLE TYPES "Y DEFAULT ALL lLE TYPES ARE SHOWN 4O HIDE A lLE TYPE )N THE 0ROJECT TAB GO TO THE BOTTOM OF THE WINDOW #LICK TO DESELECT THE ICON AND HIDE THOSE lLE TYPES .OW THE lLE TYPE UNSELECTED WILL NO LONGER SHOW UP IN THE 0ROJECT TAB 4O SHOW ONLY ONE lLE TYPE )N THE 0ROJECT TAB GO TO THE BOTTOM OF THE WINDOW #LICK TO DESELECT AND HIDE THE OTHER TWO lLE TYPES
7ELCOME TO %NCORE
)F lLES APPEAR TO BE hMISSINGv IN THE 0ROJECT TAB OFTEN IT IS BECAUSE THE lLE TYPE HAS BEEN SET TO HIDE #HANGE THE 4RANSCODE 3ETTINGS FOR 6IDEO %NCORE BY DEFAULT AUTOMATICALLY TRANSCODES NON $6$ COMPLIANT VIDEO INTO -0%' VIDEO )N ADDITION TO THIS %NCORE AUTOMATICALLY SETS THE BITRATE AND ENCODING SCHEME FOR THE VIDEO THAT BEST MATCHES PROJECT MATERIAL AND THE DESTINATION FORMAT )F YOU DO NOT HAVE EXPERIENCE WITH SETTING VIDEO CODECS OR DONT NEED A SPECIlC ASPECT RATIO IT IS BEST TO LEAVE THESE SETTINGS ALONE %NCORE SUPPLIES A NUMBER OF TRANSCODE PRESETS )F .43# WAS CHOSEN FOR THE 46 STANDARD THEN ONLY .43# COMPATIBLE TRANSCODE PRESETS ARE AVAILABLE 4HIS IS TRUE FOR 0!, AS WELL 4O SPECIFY A TRANSCODE PRESET FOR A VIDEO lLE 2IGHT CLICK ON THE lLE 'O TO 4RANSCODE 0RESETS 3ELECT THE DESIRED TRANSCODE PRESET
#HAPTER
4HE VIDEO WILL NOW BE TRANSCODED AC CORDING TO THE SETTINGS IN THE PRESET .OTE 4HE PRESETS HAVE AUDIO ENCODING SETTINGS !NY AUDIO THAT IS MULTIPLEXED WITH A VIDEO lLE WILL BE TRANSCODED ACCORDING TO THE AUDIO SETTINGS IN THAT PRESET
åÓܬ£Ú7ÐJ¨Ób¬lvÚ.ÐvÓvÜÓÚ ¬ÐÚAlv¬ !DVANCED $6$ AUTHORS WITH EXPERI ENCE IN -0%' ENCODING WILL APPRECI ATE THE ABILITY TO ADJUST THE TRANSCODE BY CREATING NEW PRESETS !GAIN %NCORE DOES A lNE JOB OF TRANSCODING ASSETS AND CREATING NEW PRESETS MAY RESULT IN A LOW QUALITY OR UNUSABLE -0%' IF DONE INCORRECTLY %NCORE USES THE SAME -AIN #ONCEPT %NCODER THAT IS INCLUDED WITH !DOBE 0REMIERE HOWEVER THE 0REMIERE ENCODER O«ERS ADDITIONAL ADVANCED OPTIONS !GAIN THIS IS FOR ADVANCED USERS 4O CREATE A NEW CUSTOM 4RANSCODE 0RESET 'O TO &ILE 4RANSCODE 3ETTINGS %DIT 4RANSCODE 0RESETS
7ELCOME TO %NCORE
4HIS OPENS THE %DIT 4RANSCODE 0RESET 3ETTINGS DIALOG !N EXISTING PRESET CAN BE EDITED TO CREATE A NEW PRESET OR A CUSTOM PRESET CAN BE CREATED FROM SCRATCH )F A PRESET IS CREATED FROM AN EXISTING PRESET THE ORIGINAL PRESET WILL NOT BE A«ECTED )T IS FASTER TO CREATE A NEW PRESET BY EDITING AN EXISTING PRESET THAT BEST MATCHES THE DESIRED SETTINGS %DITING THE CUSTOM PRESET REQUIRES MORE AD JUSTMENTS BECAUSE ALL THE SETTINGS ARE SET TO THE HIGHEST POSSIBLE LEVELS 3ELECT A PREEXISTING PRESET OR CHOOSE #USTOM FROM THE PULLDOWN MENU )N THE LOWER LEFT PANE CLICK 6IDEO 4HIS OPENS THE 6IDEO SETTINGS FOR THE PRESET !DJUST THE SLIDERS AND OPTIONS FOR THE TRANSCODE 1UALITY 3LIDER !DJUSTS OVERALL QUAL ITY FROM TO lVE BEING THE HIGHEST (IGHER QUALITY WILL RESULT IN A LONGER ENCODE
#HAPTER
!SPECT 2ATIO OR 4HIS DElNES THE OUTPUT !SPECT 2ATIO &RAME 2ATE $ElNES THE FRAMES PER SECOND .OT ADJUSTABLE IN .43# 0ROGRAM 3EQUENCE )NTERLACED OR 0RO GRESSIVE $ETERMINES THE SCAN MODE OF THE -0%' VIDEO &IELD /RDER /NLY AVAILABLE FOR AN )NTERLACED 0ROGRAM 3EQUENCE $E TERMINES WHICH PART OF THE lELD IS SCANNED lRST UPPER OR LOWER "ITRATE %NCODING #"2 #ONSTANT "IT 2ATE OR 6"2 6ARIABLE "IT 2ATE 6"2 IS THE BEST CHOICE FOR QUALITY BECAUSE BITS ARE ALLOCATED WHEN NEEDED MOST #"2 WILL ENCODE AT ONE BITRATE AND QUALITY MAY SU«ER IF THE BIT RATE IS SET TOO LOW - &RAMES 3ETS THE NUMBER OF " FRAMES BETWEEN ) AND 0 FRAMES . &RAMES 4HIS NUMBER OF FRAMES BETWEEN ) FRAMES MUST BE A MULTIPLE OF THE - FRAMES NUMBER "ITRATE 4HIS IS ONLY AN OPTION IF A #ON STANT "IT 2ATE IS SELECTED $ETERMINES THE MEGABITS PER SECOND %NCODING 0ASSES /NLY AVAILABLE IN 6ARIABLE "IT 2ATE MODE 3PECIFY ONE
7ELCOME TO %NCORE
OR TWO ENCODING PASSES 4WO PASSES WILL GIVE THE BEST QUALITY BUT WILL TAKE TWICE AS LONG TO ENCODE 4ARGET "ITRATE 3ET THE SLIDER TO THE AVERAGE BITRATE DESIRED FOR THE lLE -AXIMUM "ITRATE -BPS IS THE MAXIMUM BITRATE ALLOWED -INIMUM "ITRATE -UST BE AT LEAST -BPS BUT THIS IS NOT A RECOMMEND ED MINIMUM BITRATE )NSERT PIC 4HE %NCODER 3ET TINGS FOR VIDEO
!T THIS TIME ADJUSTMENTS CAN BE MADE TO THE AUDIO THAT ACCOMPANIES THE VIDEO "Y DEFAULT A KBPS #HAN NEL !# $OLBY $IGITAL AUDIO FORMAT IS USED #LICK THE !UDIO BUTTON IN THE LEFT PANE -AKE ANY NECESSARY ADJUSTMENTS TO AUDIO FORMAT OR BITRATE !UDIO &ORMAT $OLBY $IGITAL 3TEREO -0%' ,AYER )) AND 0#- $OLBY $IGITAL IS RECOMMENDED BECAUSE IT IS WIDELY SUPPORTED BY $6$ PLAYERS "ITRATE .OT AVAILABLE FOR 0#- $ETER MINES THE KILOBITS PER SECOND OF THE lNAL AUDIO ! HIGHER NUMBER MEANS A HIGHER QUALITY SOUND BUT AT THE
#HAPTER
EXPENSE OF DISC SPACE 4HE DEFAULT KBPS FOR $OLBY $IGITAL IS A GOOD BAL ANCE OF BITRATE AND QUALITY 4HE SAME IS TRUE FOR KBPS FOR -0%' #LICK THE 3AVE ICON %NCORE WILL PROMPT FOR A NAME FOR THE NEW PRESET 4YPE A NAME FOR THE PRESET AND THEN CLICK /+ )N THE 4RANSCODE 0RESETS DIALOG CLICK /+ 4HE CUSTOM PRESET IS NOW READY TO BE APPLIED TO THE INDIVIDUAL ASSETS )T IS STILL NECESSARY TO CHANGE THE 4RANSCODE 0RESET FOR EACH ASSET IN THE 0ROJECT TAB
.Ðv»Ð¬bvÓÓÚAlv¬Ú ¨ÚJÚ#¬¨¨vJÐÚlܬÐÚ ¬ÐÚ vÓÜÚ¨b¬lv Bv¨ÚÜÚb¬£vÓÚÜ¬Ú A ڻЬlåbܬ¨iÚÜvÐvÚ ÓÚ¨¬ÚÐv»Jbv£v¨ÜÚ¬ÐÚJÚbJ»JXvÚ# iÚ ¬ÐÚ¨¬¨¨vJÐÚvlܬÐÀÚÚڻЬÐJ£ÚÓåbÚJÓÚ .Ðv£vÐvÚ.ЬÚÓÚlvJÚ¬ÐÚ»Ðv»JШÚJÓ ÓvÜÓiÚbÐvJܨڣ¬Ü¬¨Ú£v¨åÓiÚ£JÓÜvÐ¨Ú Jål¬iÚJ¨lÚvëv¨ÚÜÐJ¨Ób¬l¨ÚJÓÓvÜÓÚÜ¬Ú ".ãÀ ÚbåÜÓÚ¨vvlÚܬÚXvÚ£JlviÚÐJ»bÓÚJÐvÚ
7ELCOME TO %NCORE
lvÓÐvliÚ¬ÐÚëlv¬Ú¨vvlÓÚܬÚXvÚb¬¬ÐÚb¬Ð ÐvbÜvliÚJÚ¨¬¨¨vJÐÚvlܬÐÚìÚXvb¬£vÚJ¨Ú £»¬ÐÜJ¨ÜÚ»JÐÜÚ¬Úî¬åÐÚܬ¬ÓvÜÀ Bv¨Úì¬Ð¨ÚìÜÚb¬£»åÜvÐÚv¨vÐ JÜvlÚ£vlJiÚÜÍÓÚJÚ¬¬lÚlvJÚܬڣJvÚ ÓåÐvÚî¬åÐÚÐJ»bÓÚJÐvÚb¬¬ÐÚÓJvÀÚ7ÓÚÓÚ vÓ»vbJîÚÜÐåvÚìv¨Úì¬Ð¨Ú¬¨Úb¬¨Üv¨ÜÚ ÜJÜÚìÚXvÚXЬJlbJÓÜÀÚÚ Alv¬ÚbJ¨ÚJÓ¬ÚXvÚb¬¬ÐÚb¬ÐÐvbÜvlÚÜ¬Ú £J¨ÜJ¨Úb¬¨Ü¨åÜîÚXvÜìvv¨ÚlvÐv¨ÜÚ b»ÓÚ¬ÐÚJllÚbÐvJÜëÜîÚ¬ÐÚÓÜîÓÜbÚvvbÜÀÚ .Ðv£vÐvÚ.ЬÚJÓ¬Ú¬vÐÓÚJ¨Ú¨b¬lvÐÚ¨vJÐ îÚlv¨ÜbJÚܬÚÜvÚ¬¨vÚÜJÜÚÓÚ¨bålvlÚ ìÜÚ¨b¬ÐvÀÚE¬åÚbJ¨ÚJÓ¬ÚåÓvÚ.Ðv£vÐvÚ .ЬÚܬÚví»¬ÐÜÚÓvbܬ¨ÓÚ¬ÚJÚÓvÅåv¨bvÚÜ¬Ú ¨lëlåJÚ".ãÚvÓÚJÓÚìvÚJÓÚܬڬ¨Ú £åÜ»vÚb»ÓÚܬvÜvÐÚ¨Ú¬ÐlvÐÚܬÚbÐvJÜvÚ JÚJÐvÐiÚÓvJ£vÓÓÚÜ£v¨vÀÚ
0ROS KNOW THAT REDUCING COLOR SATURATION IS BENElCIAL TO MOST GOOD ENCODES PARTICULARLY IN HIGH MOTION VIDEO #ROPPING OFF THE EDGES OF VIDEO FRAMES THAT ORIGINATED IN $6 IS USUALLY ANOTHER GOOD PRACTICE BECAUSE $6 CAMERAS TYPICALLY HAVE hFRINGINGv OR VIDEO NOISE ON THE RIGHT AND LEFT EDGES OF THE FRAME 4HE -0%' ENCODER SEES THIS INFORMATION AS VIDEO AND TRIES TO ENCODE IT CORRECTLY !NOTHER GOOD PRACTICE IS TO hCRUSH THE BLACKS v REMOVING GRADATIONS OF BLACK AND HAVING AS FEW VARIANTS OF BLACK AS POSSIBLE WHICH ALLOWS THE ENCODER TO SEE AS MUCH REDUNDANCY AS POSSIBLE
#HAPTER
J¨vÚÜvÚ7ÐJ¨Ób¬lvÚ .ÐvÓvÜÚ¬ÐÚål¬ !DDITIONAL AUDIO FOR MULTILINGUAL TRACKS OR SPECIAL FEATURES SUCH AS DIRECTORS COMMENTARY SHOULD MATCH THE QUALITY OF THE MAIN TRACK )F A PRESET IS USED TO TRANSCODE THE MAIN CONTENT USE THIS SAME PRESET FOR THE OTHER AUDIO lLES .OTE $O NOT TRANSCODE OR USE A PRESET FOR $OLBY $IGITAL !# lLES !P PLYING A PRESET WILL CONVERT THEM INTO TWO CHANNEL !# "Y DEFAULT %NCORE RECOGNIZES !# lLES AND SETS THEM TO $ONT 4RANSCODE 4O APPLY A TRANSCODE PRESET TO AUDIO )N THE 0ROJECT TAB RIGHT CLICK ON THE AUDIO lLE 'O TO 4RANSCODE 3ETTINGS ,EFT CLICK ON THE APPROPRIATE 4RANSCODE 0RESET 4HE TRANSCODE PRESET NOW APPLIES TO THE AUDIO lLE
7ELCOME TO %NCORE
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#HAPTER
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#HAPTER
4IMELINES 4IMELINES
GIMME MORE TIME /NE OF THE BEST INNOVATIONS OF $6$ OVER 6(3 IS THE ABILITY TO NAVIGATE VIDEO CONTENT QUICKLY AND EASILY 4IMELINES INCLUDE CHAPTER POINTS WHICH ALLOW INSTANT ACCESS TO VARIOUS SECTIONS OF A VIDEO %NCORE ALLOWS UP TO TIMELINES IN A $6$ PROJECT 4IMELINES ARE ALSO USED TO CREATE SLIDESHOWS /NCE A VIDEO ASSET IS IMPORTED INTO %NCORE THE NEXT STEP IS TO CREATE A NEW TIMELINE .OTE IF A VIDEO ASSET IS INTENDED AS A BACKGROUND FOR A MENU CREATING A TIME LINE IS NOT NECESSARY
#HAPTER
4ÜJÐÜÚ£vÚå» %NCORE O«ERS MANY WAYS TO CREATE A TIMELINE USE THE METHOD THAT BEST MATCHES YOUR WORKmOW %ACH METHOD STARTS WITH SELECTING THE VIDEO lLE 4O CREATE A NEW TIMELINE 3ELECT THE VIDEO lLE 5SE THE KEYBOARD SHORTCUT #TRL 4 /R RIGHT CLICK ON THE VIDEO lLE AND SELECT .EW 4IMELINE /R USE THE #REATE .EW 4IMELINE ICON IN THE 0ROJECT TAB
4IMELINES 4IMELINES
/R GO TO 4IMELINE .EW 4IMELINE !FTER A TIMELINE IS CREATED THE 4IME LINES AND THE -ONITOR WINDOWS OPEN 4HIS IS A GOOD TIME TO REORGANIZE THE WORKSPACE TO GET READY TO WORK WITH THE TIMELINES
#HAPTER
! NEW TIMELINE IS CREATED WITH THE SAME NAME AS THE ASSET ! TIMELINE CAN BE RENAMED TO HELP IDENTIFY THE 3ELECTING A CLIP IN THE 0ROJECT 7INDOW THEN PRESSING THE NEW TIMELINE ICON WILL CREATE A TIMELINE WITH THE ASSET ALREADY ADDED )N 6ERSION BOTH AUDIO AND VIDEO CAN BE SELECTED CREATING A TIMELINE WITH BOTH ELEMENTS 4HIS ELIMINATES DRAGGING AND DROPPING AND EVEN NAMES THE TIMELINE ACCORDING TO THE ASSET
TIMELINE 4HIS IS HELPFUL WHEN MULTIPLE TIMELINES ARE CREATED FROM THE SAME ASSET 4O RENAME A TIMELINE 7ITH THE TIMELINE SELECTED IN THE 4IME LINES TAB GO TO THE 0ROPERTIES PALETTE )N THE .AME lELD ENTER A NEW NAME FOR THE TIMELINE !DD A SHORT DESCRIPTION OF THE TIMELINE IN THE $ESCRIPTION lELD
"¬¨Ü¬ÐÚ7£v¨vÓ 4HE -ONITOR WINDOW IS THE VISUAL EXTENSION OF THE 4IMELINES WINDOW )T DISPLAYS THE FRAME WHERE THE #URRENT 4IME )NDICATOR #4) OF THE 4IMELINES WINDOW IS SITTING 4O PREVIEW A TIMELINE WITH THE -ONITOR WINDOW 0RESS THE 0LAY BUTTON IN THE -ONITOR WINDOW
4IMELINES 4IMELINES
.OTICE THAT AS THE VIDEO PLAYS THE #4) MOVES ALONG THE TIMELINE !LSO YOU CAN DRAG THE #4) ALONG THE TIMELINE #LICK AND HOLD ON THE #4) DRAG IT TO THE APPROPRIATE PLACE ON THE TIMELINE .OTICE THAT THE -ONITOR WINDOW IS CONTROLED DIRECTLY BY THE #4) (OW PRECISELY THE #4) CONTROLS THE -ONITOR WINDOW IS RELATED TO THE ZOOM LEVEL OF 4IMELINES WINDOW ! HIGHER ZOOM LEVEL PROVIDES HIGHER PRECISION 4O ADJUST THE ZOOM LEVEL OF THE 4IME LINES WINDOW :OOM IN WITH #TRL :OOM OUT WITH #TRL n 0RESS #TRL ZERO TO RESIZE THE TIME LINE TO lT THE WINDOW /R AT THE LOWER LEFT CORNER OF THE 4IME LINES WINDOW USE THE ZOOM SLIDER
#HAPTER
9OU CAN PREVIEW A TIMELINE USING TIME CODE 4HIS PROVIDES A SLOWER FRAME BY FRAME PREVIEW #LICK AND HOLD ON THE TIMECODE IN THE 4IMELINES WINDOW $RAG THE CURSOR LEFT TO MOVE THE 4IME CODE BACK $RAG IT RIGHT TO MOVE IT FORWARD )F YOU KNOW A SPECIlC TIMECODE VALUE YOU CAN ENTER IT DIRECTLY 1UICK CLICK ON THE TIMECODE VALUE %NTER A TIMECODE .OW THE #4) JUMPS TO THE SPECIlC TIMECODE AND THE -ONITOR WINDOW DISPLAYS THE TIMECODES FRAME %NCORE O«ERS NEW ICONS IN THE -ON ITOR WINDOW TO AID SUBTITLE CREATION
4IMELINES 4IMELINES
7Ð£Ú »ÓÚ¨ÚÜvÚ7£v¨vÚ B¨l¬ì 3OMETIMES THERE IS A BIT OF BLANK FOOTAGE OR OTHER UNDESIRABLE INFORMA TION AT THE BEGINNING ANDOR END OF A TIMELINE %NCORE ALLOWS THE BEGINNING AND END OF TIMELINES TO BE TRIMMED EDITED 4HIS DOES NOT CHANGE THE ASSET RATHER IT DElNES THE SEGMENT OF THE ASSET THAT THE $6$ PLAYER SHOULD READ %VEN IF THE TIMELINE IS TRIMMED TO HALF OF THE ORIGINAL LENGTH OF THE ASSET THE ENTIRE ASSET IS STILL ENCODED AS PART OF THE $6$ 4O TRIM CLIPS IN THE 4IMELINE WINDOW (OVER THE CURSOR OVER THE BEGINNING OR END OF A CLIP UNTIL A RED BRACKET AP PEARS #LICK AND DRAG THE BRACKET TO TRIM THE TIMELINE 2ELEASE THE MOUSE BUTTON WHEN THE CLIP IS THE RIGHT LENGTH
!LWAYS IMPORT ANY ADDITIONAL AUDIO OR SUBTITLE TRACKS INTO THE TIMELINE BEFORE TRIMMING )F THEY ARE IMPORTED AFTER THEY MUST BE RETRIMMED )F THE TRACKS DONT MATCH UP THE SUBTITLES AND AUDIO MIGHT BE MISMATCHED WITH THE VIDEO OR CONTINUE TO PLAY WHEN THE VIDEO IS lNISHED
#HAPTER
BJÜÍÓÚÜvÚ.¬¨ÜÆ #HAPTER POINTS ALLOW VIEWERS OF YOUR 0ROGRAM STREAMS ARE MUCH EASIER TO TRIM WHEN COMPARED WITH SEPARATE AUDIO AND VIDEO STREAMS ELEMENTARY STREAMS 0ROGRAM STREAMS CONTAIN VIDEO AND AUDIO THAT IS LINKED )NSIDE %NCORE THIS HELPS MAINTAIN SYNC WHEN TRIMMING (OWEVER AN .,% SHOULD BE USED FOR TRIMMING WHENEVER POSSIBLE
$6$ TO SKIP FORWARD OR BACKWARDS TO DI«ERENT SECTIONS OF THE VIDEO 4HIS ALSO ALLOWS DIRECT LINKING TO SECTIONS OF THE TIMELINE FROM THE $6$ MENUS %NCORE AUTOMATICALLY CREATES A CHAPTER POINT AT THE BEGINNING OF A TIMELINE THIS INTIAL CHAPTER POINT CANNOT BE MOVED 9OU CAN SET UP TO CHAPTER POINTS IN ONE TIMELINE /NE OF THE ADVANTAGES TO USING !6) SOURCE lLES INSTEAD OF -0%' SOURCE lLES IS THAT YOU CAN CREATE CHAPTER POINTS ANYWHERE WITHOUT WORRYING ABOUT '/0 HEADERS AND .,% CHAPTER MARKERS SEE NEXT TWO SECTIONS (OW EVER YOU SHOULD PLACE CHAPTER POINTS AT LEAST FRAMES APART IN !6) lLES TO INSURE PROPER PLAYBACK %NCORE O«ERS A FEW OPTIONS WHEN PLAC ING CHAPTER POINTS 4O SET A CHAPTER POINT USING THE -ONI TOR WINDOW 0LAY THE VIDEO OR USE THE #4) TO SET THE DESIRED PLACE ALONG THE TIMELINE FOR THE CHAPTER POINT
4IMELINES 4IMELINES
#LICK THE !DD #HAPTER 0OINT ICON IN THE -ONITOR WINDOW 4O SET A CHAPTER POINT USING THE 4IME LINES WINDOW 3ET THE #4) TO THE DESIRED PLACE ON THE TIMELINE OR INPUT THE TIMECODE DIRECTLY #LICK THE !DD #HAPTER 0OINT ICON /R RIGHT CLICK ON THE #4) AND SELECT !DD #HAPTER 0OINT /R USE THE ASTERISK KEY ON THE .UM 0AD TO ADD A CHAPTER POINT 7HEN YOU SET A CHAPTER POINT A CHAP TER POINT ICON APPEARS ON THE TIMELINE 9OU CAN ADJUST THE POINT BY CLICKING ON THE ICON AND DRAGGING IT TO ANOTHER PLACE 7HEN CHAPTER POINTS ARE ADDED THEY ARE AUTOMATICALLY LABELED SEQUENTIALLY EG #HAPTER #HAPTER AND SO ON &OR ORGANIZATIONAL PURPOSES YOU CAN RENAME CHAPTER POINTS AND ADD SHORT DESCRIPTIONS TO HELP LABEL THE CHAPTERS 4HIS DOES NOT CHANGE HOW THE $6$ PLAYER IDENTIlES THE CHAPTER POINTS
#HAPTER
4O RENAME A CHAPTER POINT 7ITH THE CHAPTER POINT SELECTED IN THE 4IMELINES TAB GO TO THE 0ROPERTIES PALETTE )N THE .AME lELD RENAME THE CHAPTER POINT %NTER A SHORT DESCRIPTION OF THE CHAP TER IN THE $ESCRIPTION lELD
4vÜÚ J»ÜvÐÚ.¬¨ÜÓÚJÜÚ%.Ú vJlvÐÓÚ¨Ú".ãÚvÓ /NE OF THE DISADVANTAGES OF USING -0%' SOURCE lLES IS THAT CANNOT ADD CHAPTER POINTS AT A SPECIlC FRAME )F THE APPLICATION ALLOWED CHAPTER POINT CREATION AT ANY FRAME IT IS LIKELY THAT BLACK FRAMES WOULD APPEAR ON THE TIMELINE #HAPTER POINTS MUST BE ADDED TO THE BEGINNING OF A 'ROUP /F 0ICTURES OR '/0 HEADER FOR SHORT /NLY FRAMES CONTAINING ALL INFORMATION MAYBE USED 4HESE ARE ALSO KNOWN AS ) FRAMES %NCORE WILL LOCATE THEM FOR YOU '/0 HEADERS APPEAR AS WHITE MARKS ALONG THE TIMELINE RULER WHEN THE TIME LINE IS AT FULL ZOOM
4IMELINES 4IMELINES
4O SET A CHAPTER POINT IN AN -0%' TIMELINE :OOM IN WITH #TRL UNTIL THE WHITE TICKS APPEAR IN THE RULER $RAG THE #4) TO AN APPROPRIATE '/0 (EADER INDICATOR #LICK THE !DD #HAPTER 0OINT ICON
;ÓvÚ J»ÜvÐÚ"JÐvÐÓÚ Ð¬£ÚJÚ#¬¨¨vJÐÚlܬРE¬åÚbJ¨ÚÓvÜÚbJ»ÜvÐÚ»¬¨ÜÓÚ¬¨ÚJ¨îÚ lvÓÐvlÚÐJ£vÚìv¨Úì¬Ð¨ÚìÜÚAÚ vÓÀÚ¬ìvëvÐiÚÜvÐvÚJÐvÚÓ¬£vÚ£»¬ÐÜJ¨ÜÚ b¬¨ÓlvÐJܬ¨ÓÚìv¨Úì¬Ð¨ÚìÜÚb»ÓÚ JÐvJlîÚv¨b¬lvlÚܬÚ".ãÀ ".ãÚb»ÓÚJÐÐJ¨vÚÜvÚëlv¬ÚÓÜÐvJ£Ú ¨Ü¬ÚÓ£JÚÓvbܬ¨ÓiÚbJvlÚ%.ÓÚ¬ÐÚЬå»Ú ¬Ú»bÜåÐvÓÀÚÚ7ÓÚЬå»Ú¬Ú»bÜåÐvÓÚÓÚ ¬¨vÚ¬ÚÜvÚb¬ÐvÚJÓ»vbÜÓÚ¬Ú".ãÚb¬£ »ÐvÓÓ¬¨ÀÚÚ7¨Ú¬ÚÜv£ÚJÓÚÓ£JÚbå¨ÓÚ ÜJÜÚ£JvÚå»ÚÜvÚëlv¬ÚÓÜÐvJ£ÀÚÚÚBv¨Ú ì¬Ð¨ÚìÜÚ".ãÚb»ÓÚ¨Ú¨b¬ÐviÚ î¬åÚbJ¨Ú»JbvÚbJ»ÜvÐÚ»¬¨ÜÓÚ¬¨îÚJÜÚÜvÚ Xv¨¨¨Ú¬Ú%.ÓiÚ¬ÜvÐìÓvÚ¨¬ì¨ÚJÓÚ ÜvÚ%.ÚvJlvÐÀ Bv¨Ú£»¬ÐܨÚ".ãÚvÓiÚJÚÜÜvÚ »J¨¨¨Ú¨ÚJlëJ¨bvÚÓÚÐvb¬££v¨lvlÀÚ
-OST $6$S USE FOR INTERLACED .43# FOR PROGRESSIVE .43# AND FOR 0AL -OST VIDEO CONTAINS '/03 FOR EVERY SECOND OF CONTENT
#HAPTER
vbJåÓvÚî¬åÚbJ¨¨¬ÜÚbJ¨vÚÜvÚ%.Ú vJlvÐÓÚ¨Ú¨b¬ÐviÚî¬åÚ£åÓÜÚÓ»vbîÚ Üv£Úìv¨Ú»Ðv»JШÚb»ÓÚåÓ¨ÚJ¨Ú 7HEN USING !DOBE 0REMIERE THE CHAPTER MARKERS MUST BE NAMED USING THE CHAPTER lELD OR THEY WILL NOT APPEAR IN %NCORE
víÜvШJÚJ»»bJܬ¨ÀÚ J»ÜvÐÚ£JÐvÐÓÚ¨Ú .Ðv£vÐviÚ¬ÐÚvíJ£»viÚ¬ÐbvÚJÚ¨vìÚ%.Ú vJlvÐÚܬÚXvÚbÐvJÜvlÚÜJÜÚb¬ÐÐvÓ»¬¨lÓÚ Ü¬ÚbJ»ÜvÐÚ»¬¨ÜÓÚìv¨Úb¬£»ÐvÓÓvlÚÜ¬Ú ".ãÀ Úî¬åÚåÓvÚl¬XvÚ.Ðv£vÐvÚܬÚbÐvJÜvÚJ¨Ú ".ãÚb»iÚbJ»ÜvÐÚ£JÐvÐÓÚЬ£ÚÜvÚ Ü£v¨vÚbJ¨ÚXvÚ»ÐvÓvÐëvlÚ¨ÚÜvÚ". ãÚb»ÀÚ%¨bvÚ£»¬ÐÜvlڨܬڨb¬ÐviÚÜvÚ £JÐvÐÓÚJÐvÚJëJJXvÚ¨ÚÜvÚ7£v¨vÚ ì¨l¬ìÀÚ
4vÜÚ.¬ÓÜvÐÚÐJ£vÓÚ¬ÐÚ
J»ÜvÐÚ.¬¨ÜÓ 7HEN CREATING STILL OR MOTION THUMB NAIL MENUS IT IS RECOMMENDED TO USE A FRAME THAT BEST REPRESENTS THE CHAP TER IT LINKS TO "ECAUSE MANY CHAPTER POINTS OCCUR AT FRAMES WITH LITTLE ACTION IT TYPICALLY DOESNT REPRESENT WHAT IS TAKING PLACE IN THAT CHAPTER 4HE SOLUTION IS TO USE POSTER FRAMES &OR MORE INFORMATION ON STILL AND MO TION THUMBNAIL MENUS SEE THE CHAPTER ON !DVANCED $6$ -ENU
4IMELINES 4IMELINES
! POSTER FRAME CAN BE ANY FRAME ALONG A TIMELINE "Y DEFAULT %NCORE USES THE lRST FRAME OF A CHAPTER AS THE POSTER FRAME 7HEN A THUMBNAIL IS LINKED TO A CHAPTER POINT THE POSTER FRAME IS DIS PLAYED )N THE CASE OF MOTION THUMB NAILS IT IS THE STARTING FRAME 4O SET A POSTER FRAME FOR A CHAPTER 7ITHIN A CHAPTER DRAG THE #4) TO THE DESIRED FRAME 2IGHT CLICK ON THE #4) CURSOR AND CLICK ON 3ET 0OSTER &RAME 4HE POSTER FRAME APPEARS ON THE TIME LINE AS A BOX WITH THE NUMBER OF THE CHAPTER IT REPRESENTS /NLY ONE POSTER FRAME CAN BE SET PER CHAPTER )F FOR SOME REASON YOU WANT A POSTER FRAME BEFORE OR AFTER THE CHAPTER IT REPRESENTS YOU CAN ACCOMPLISH THIS EASILY 4O SET A CHAPTER POINTS POSTER FRAME OUTSIDE THE CHAPTER $RAG THE #4) TO THE DESIRED FRAME OUT SIDE THE CHAPTER 2IGHT CLICK ON THE #HAPTER 0OINT ICON
%NCORE IS ALSO CAPABLE OF IMPORTING MARKERS FROM !6) lLES THAT HAVE BEEN CREATED WITH EMBEDDED PROJECT INFORMATION
#HAPTER
#LICK ON 3ET 0OSTER &RAME 3ETTING THE POSTER FRAME BY RIGHT CLICKING ON THE CHAPTER POINT ITSELF ALLOWS THE POSTER FRAME TO BE CREATED ANYWHERE (OWEVER THIS IS NOT RECOM MENDED BECAUSE IT MIGHT CONFUSE THE VIEWER 4HE IDEA IS TO REPRESENT THE CHAPTER TO AID IN NAVIGATION 9OU CAN SET A POSTER FRAME WITHOUT THE 4IMELINE WINDOW BY USING THE 0ROPER TIES PALETTE )F YOU KNOW THE SPECIlC TIMECODE OF THE POSTER FRAME YOU CAN USE IT AS ANOTHER WAY TO CREATE A POSTER FRAME 4O SET A POSTER FRAME USING TIMECODE 7ITH THE CHAPTER POINT SELECTED GO TO THE 0ROPERTIES PALETTE )N THE 0OSTER &RAME lELD ENTER THE DESIRED TIMECODE 0RESS %NTER OR CLICK ANYWHERE OUTSIDE THE lELD .OTICE THAT A POSTER FRAME IS AUTOMATI CALLY SET ON THE TIMELINE %NCORE O«ERS A NEW KEYBOARD SHORTCUT #RTL !LT THAT YOU CAN USE TO EASILY CREATE POSTER FRAMES
4IMELINES 4IMELINES
(OLD DOWN #RTL !LT AND THEN CLICK AND DRAG ON THE ASSOCIATED CHAPTER MARKER 4HE MONITOR WINDOW WILL DISPLAY THE hSCRUBBINGv AS YOU DRAG THE POSTER FRAME MARKER TO THE DESIRED FRAME
4vÜÚÜvÚ3v£¬ÜvÚ ¬¨ÜÐ¬Ú åÜܬ¨Ú"v¨åÚ¬ÚJÚ7£v¨v -OST $6$ PLAYERS O«ER A MENU BUTTON ON THEIR REMOTE CONTROLS 4HIS ALLOWS THE VIEWER TO RETURN TO A SPECIlED MENU WHILE WATCHING A VIDEO 4HIS BUTTON ALSO ALLOWS THE VIEWER TO RETURN BACK TO THE POINT OF THE VIDEO WHERE THEY INITIALLY PRESSED THE BUTTON %S SENTIALLY IT PAUSES AND BOOKMARKS THAT PART OF THE TIMELINE 4HE -ENU BUTTON AND THE 4ITLE BUT TON HAVE DI«ERENT FUNCTIONS SEE 4ITLE "UTTON VERSUS -ENU "UTTON IN THE LAST CHAPTER 9OU CAN SET THE REMOTE CONTROL MENU BUTTON DESTINATION FOR EACH TIMELINE 4HE DESTINATION CAN BE A MENU OR AN OTHER TIMELINE &OR EASE OF NAVIGATION IT IS BEST TO LINK IT TO A MENU 4O SET THE DESTINATION FOR THE MENU BUTTON
#HAPTER
7ITH THE TIMELINE SELECTED IN THE 4IME LINES TAB GO TO THE 0ROPERTIES PALETTE )N THE -ENU "UTTON lELD CLICK ON THE 4HE -ENU BUTTON ALLOWS THE VIEWER TO JUMP DIRECTLY TO A RELATED MENU )F SEVERAL TIMELINES ORIGINATE FROM THE SAME MENU THE MENU BUTTON ALLOWS THE VIEWER TO POP BACK TO THE MENU AND EASILY SELECT DIFFERENT CONTENT
ARROW BUTTON &ROM THE LIST OF CHOICES CHOOSE THE MENU OR TIMELINE THAT THE BUTTON WILL LINK TO .OW WHEN THE TIMELINE IS PLAYED PRESSING MENU ON THE REMOTE WILL TAKE THE VIEWER TO THE SPECIlED MENU %NCORE .OW YOU CAN SET 2ETURN TO ,AST -ENU AS THE -ENU "UTTON LINK 4HIS WILL TAKE VIEWERS BACK TO THE MENU WHERE THEY ACCESSED THE TIME LINE
4vÜÚÜvÚ¨lÚbܬ¨Ú¬ÚJÚ 7£v¨v 7HEN A TIMELINE ENDS IT SIMPLY ENDS BY DEFAULT 7ITHOUT AN END ACTION THE PLAYER WAITS FOR INSTRUCTIONS 4HIS IS REFERRED TO AS AN /RPHANED 4IMELINE )T COULD BE A PROBLEM IF THE TIMELINE IS FOR THE INTRODUCTORY VIDEO STINGER OR BUM PER CLIP THAT PRECEEDS THE MAIN MENU OF THE $6$ 4HE END ACTION IS THE AN SWER TO THE $6$ PLAYERS QUESTION h7HAT DO WE DO AND WHERE DO WE GO NOW v
4IMELINES 4IMELINES
7HILE MOST TIMELINE END ACTIONS LINK BACK TO THE TITLE MENU SOMETIMES A PROJECT REQUIRES CONTENT THAT WILL LOOP BACK TO THE BEGINNING OF THE TIMELINE 4HE END ACTION CAN LINK TO ANYWHERE ON A $6$ EVEN A SPECIlC CHAPTER POINT ON A TIMELINE 4O SET THE END ACTION OF A TIMELINE 7ITH THE TIMELINE SELECTED IN THE 4IME LINES TAB GO TO THE 0ROPERTIES PALETTE )N THE %ND !CTION lELD CLICK ON THE AR ROW BUTTON #HOOSE THE MENU OR CHAPTER POINT OF A TIMELINE AS THE END ACTION .OW WHEN THE TIMELINE ENDS THE $6$ PLAYER WILL GO TO THIS DESTINATION !LSO NOTICE THIS END ACTION IS NOW DISPLAYED IN THE 4IMELINE TAB 4HE VIEWER CAN OVERRIDE THIS END AC TION WITH THE BUTTON THAT STARTED THE TIMELINE &OR INSTANCE IF THE TIMELINE WAS PLAYED FROM THE CHAPTER SELECTION MENU THE BUTTONS IN THAT MENU CAN IN STRUCT THE $6$ PLAYER TO RETURN TO THE CHAPTER SELECTION MENU INSTEAD OF THE MAIN MENU SEE 3ET AN /VERRIDE !CTION OF A "UTTON
"E CERTAIN ALL OF YOUR TIMELINES HAVE AN END ACTION SET ! TIMELINE WITHOUT AN END ACTION CAN CREATE A BROKEN LINK RUINING THE NAVIGATION OF THE ENTIRE PROJECT
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#HAPTER
3PEAK THE ,ANGUAGE "åÜ7ÐJbÙ"åܨåJÚål¬iÚ 4åXÜÜvÓÚJ¨lÚ4lvÓ¬ìÓ /NE OF THE GREATEST BUT MOST OVERLOOKED FEATURES OF A $6$ IS THE CAPACITY FOR MULTIPLE AUDIO AND SUBTITLE TRACKS 4HIS CUTS PRODUCTION COSTS DRAMATICALLY BY GIVING ONE $6$ A GREATER AUDIENCE "EFORE $6$ COMPANIES HAD TO RELEASE SEV ERAL DI«ERENT VERSIONS OF A VIDEO IN DI«ERENT LANGUAGES /THER FEATURES SUCH AS $OLBY $IGITAL SOUND MULTIPLE AUDIO TRACKS AND MULTIPLE SUBTITLE TRACKS TAKE THE VIEWERS EXPERIENCE TO A WHOLE NEW LEVEL )N ADDITION A $6$ O«ERS THE ABILITY TO CREATE AND DISPLAY SLIDESHOWS 4HESE SLIDESHOWS CAN DISPLAY A COLLECTION OF ART STORYBOARDS OR STILL PHOTOGRAPHS TAKEN DURING PRODUCTION 4HE POSSIBLITIES ARE LIMTED ONLY BY YOUR OWN IMAGI NATION
#HAPTER
£»¬ÐÜÚål¬Ú¨Ü¬ÚJÚ 7£v¨v %NCORE 4IP 7HEN CREATING A NEW TIMELINE YOU CAN CREATE A TIMELINE BY SIMULTANEOUSLY SELECTING A VIDEO AND AUDIO ASSET IN THE 0ROJECT WINDOW AND CLICKING THE #REATE A .EW 4IMELINE BUTTON )F THE VIDEO lLE YOU SELECTED CONTAINS AUDIO THE AUDIO lLE WILL BE ADDED AS A SECOND TRACK IN THE TIMELINE
)F YOURE WORKING WITH !6) lLES OR AN ENCODER THAT PRODUCES PROGRAM STREAMS THE VIDEO AND AUDIO WILL BE LINKED TOGETHER AND ADDED TO A TIME LINE AUTOMATICALLY 9OULL HAVE TO MANU ALLY ADD OTHER AUDIO TRACKS ELEMENTARY STREAMS DESIGNED TO BE USED IN CON JUNCTION WITH A SEPARATE VIDEO STREAM 4HIS MAINLY APPLIES TO PROJECTS THAT RELY ON IMPORTED -0%' VIDEO AND A SEPARATE !# AUDIO STREAM 4O ADD AUDIO TO A TIMELINE 7ITH THE 4IMELINE WINDOW IN VIEW SE LECT THE AUDIO lLE IN THE 0ROJECT TAB #LICK AND HOLD ON THE lLE WITH THE LEFT MOUSE BUTTON AND DRAG THE lLE INTO THE 4IMELINE WINDOW
3PEAK THE ,ANGUAGE
$ROP RELEASE THE LEFT MOUSE BUTTON THE lLES INTO THE WINDOW 4HE lLES HAVE NOW BEEN ADDED TO THE TIMELINE "ECAUSE A $6$ PLAYER CAN WINDOW PLAY ONE AUDIO TRACK AT A TIME ADDITIONAL AUDIO TRACKS ARE MUTED 4O PREVIEW A LANGUAGE TRACK )N THE 4IMELINE WINDOW GO TO THE AU DIO TRACK TO BE PREVIEWED #LICK ON THE GREY BOX TO SET THE SPEAK ER ICON ON THAT TRACK )F FOR SOME REASON THE WRONG lLE HAS BEEN ADDED TO A TIMELINE DELETING IT IS EASY 4O DELETE AN AUDIO TRACK FROM A TIME LINE #LICK ON THE AUDIO TRACK 0RESS $ELETE ON THE KEYBOARD 4HE AUDIO TRACK HAS NOW BEEN DELETED FROM THE TIMELINE
#HAPTER
ÞÚ¬ÐÚ"viÚ.vJÓvÆ )F AUDIO IN A TIMELINE IS NOT !# IT IS BEST TO TRANSCODE IT 4RANSCODING AUDIO AHEAD OF TIME INSTEAD OF WAITING UNTIL AFTER THE CONTENT IS ENCODED GIVES AN EXTRA OPPORTUNITY TO PREVIEW THE lLE IN ITS lNAL FORM 4O TRANSCODE AUDIO )N THE 0ROJECT TAB RIGHT CLICK ON THE AUDIO lLE 3ELECT 4RANSCODE .OW %NCORE BY DEFAULT WILL ENCODE THE AUDIO TO THE !# FORMAT UNLESS THE AUDIO ENCODING SCHEME HAS BEEN CHANGED OR A CUSTOM PRESET HAS BEEN CHOSEN3EE h#HANGE THE $EFAULT !UDIO %NCODING 3CHEMEv AND h#REATE A #US TOM 0RESETv IN #HAPTER !LSO YOU CAN HAVE 4RANSCODED AUDIO REVERT BACK TO THE ORIGINAL lLE IF THE ORIGINAL lLE IS STILL PRESENT 4O REVERT TRANSCODED AUDIO )N THE 0ROJECT TAB RIGHT CLICK ON THE TRANSCODED AUDIO 3ELECT 2EVERT TO /RIGINAL
3PEAK THE ,ANGUAGE
lÜÚål¬Ú »ÓÚ¨ÚÜvÚ 7£v¨vÚB¨l¬ì !UDIO lLES IMPORTED INTO A TIMELINE SHOULD BE THE SAME LENGTH AS THE VIDEO OF THE TIMELINE 9OU CAN TRIM THE BEGINNING AND ENDS OF AUDIO CLIPS TO lT THE VIDEO )F THEY ARE LONGER THAN THE VIDEO THEY WILL CONTINUE TO PLAY EVEN AFTER THE VIDEO HAS lNISHED -ULTIPLEXED AUDIO AUDIO INTERLEAVED WITH VIDEO CANNOT BE TRIMMED SHORTER THAN THE VIDEO CLIP 4O TRIM AUDIO CLIPS )N THE 4IMELINE WINDOW HOVER THE CURSOR OVER THE BEGINNING OR END OF AN AUDIO CLIP 7HEN THE RED BRACKET CURSOR APPEARS LEFT CLICK AND HOLD ON THE CLIP $RAG THE CLIP TO AN APPROPRIATE SIZE AND RELEASE THE LEFT MOUSE BUTTON
#HAPTER
!LWAYS PREVIEW YOUR CLIPS AFTER TRIM MING TO ASSURE THE AUDIO TRACK MATCH ES THE VIDEO TRACK 4RIMMING THE BEGIN $ONT RELY EXCLUSIVELY ON %NCORE FOR TRIMMING CLIPS ! NONLINEAR EDITOR WILL DO A MUCH BETTER JOB OF PREPARING ASSETS AND MAINTAINING SYNC
NING OF CLIPS CAN CAUSE DIALOG TRACKS TO BE OUT OF SYNC WITH THE VIDEO
4»vbîÚål¬Ú J¨åJv $6$ PLAYERS ARE CAPABLE OF RECOGNIZING THE VARIOUS LANGUAGE TRACKS OF A $6$ -OST $6$ SET TOP PLAYERS WILL PLAY THE LANGUAGE TRACK THAT THEYVE BEEN SET TO PLAY BY DEFAULT &OR INSTANCE MOST $6$ PLAYERS IN THE 53! HAVE BEEN SET TO PLAY %NGLISH BUT IF YOU WANT YOU CAN PROGRAMM THEM TO PLAY A 3PANISH TRACK lRST )F A $6$ PLAYERS PREFERED TRACK IS NOT PRESENT IT WILL PLAY 4RACK BY DEFAULT 7HEN USING MULTIPLE LANGUAGE TRACKS ITS IMPORTANT TO LABEL THOSE TRACKS IN SIDE %NCORE INCLUDING THE AUDIO TRACK MULTIPLEXED WITH THE VIDEO 4O SPECIFY A LANGUAGE TRACK )N THE 4IMELINE WINDOW GO TO THE AU DIO TRACK #LICK ON THE ARROW TO REVEAL THE LAN GUAGE CODES
3PEAK THE ,ANGUAGE
#LICK ON THE APPROPRIATE LANGUAGE
llÚJÚ4åXÜÜvÚ7ÐJb ! $6$ PLAYER MUST ASSOCIATE SUBTITLES WITH A TIMELINE 4HEREFORE THE SUBTITLE TRACK MUST BE ADDED TO A TIMELINE 4O ADD A SUBTITLE TRACK )N THE 4IMELINE WINDOW RIGHT CLICK IN THE LOWER LEFT PANE 3ELECT !DD 3UBTITLE 4RACK .OTICE THAT A SUBTITLE TRACK HAS BEEN ADDED TO THE LOWEST PANE OF THE 4IME LINE WINDOW 5NLIKE THE VIDEO AND AUDIO TRACKS IT APPEARS BLANK AT lRST 9OU CAN IMPORT TEXT FROM A SUBTITLE PROGRAM OR DIRECTLY ENTER IT IN THE -ONITOR WINDOW 4O DELETEREMOVE A SUBTITLE TRACK 2IGHT CLICK IN THE LOWER LEFT PANE OF THE 4IMELINE WINDOW 3ELECT 2EMOVE 3UBTITLE 4RACK
)F YOU HAVE TWO TRACKS IN THE SAME LANGUAGE SUCH AS A TRACK AND A NORMAL TWO CHANNEL TRACK SET THEM BOTH TO THE CORRECT LANGUAGE 4HEIR ORDER ON THE TIMELINE DETERMINES WHICH IS PLAYED lRST
#HAPTER
¬£»Ðvv¨l¨Ú4åXÜÜvÓ ÚÓåXÜÜvÚÓÚÜvíÜÚÜJÜÚJ»»vJÐÓÚ¬¨ÚÜvÚ ÓbÐvv¨ÚlåШÚJÚvJÜåÐvÀÚ;ÓåJîÚÜÚÓÚ JÚÜÐJ¨ÓJܬ¨Ú¬ÚÜvÚÓ»¬v¨ÚJ¨åJvÀÚ 4åXÜÜvÓÚJÐvÚJÚÐvJÜÚìJîÚ¬ÚbÐvJܨÚJÚ £åܨåJÚlÓbÚìܬåÜÚÐvÅåШÚJ¨Ú Jllܬ¨JÚJål¬ÚÜÐJbÚ¬ÐÚÜvÚlvÓÐvlÚ J¨åJvÀÚ%Üv¨Ú A ÓÚJëvÚJÚÓåXÜÜvÚ ÜÐJbÚÜJÜÚlÓ»JîÓÚbJ»Ü¬¨ÓÚ¬ÐÚÜvÚ £¬ëviÚJ¨Ú£»¬ÐÜJ¨ÜÚvJÜåÐvÚ¬ÐÚÜvÚ vJШڣ»JÐvlÀÚ 4åXÜÜvÓÚÓ¬ålÚXvÚÐvJlJXvÚXåÜÚ¨¬¨¨ ÜÐåÓÜëvÀÚ7vÐv¬ÐviÚÓvÜܨÚJ¨ÚJ»»Ð¬»Ð JÜvÚv¨ÜÚJ¨lÚ»¬Óܬ¨ÚÓÚ£»¬ÐÜJ¨ÜÀÚ ¨b¬ÐvÚJ¬ìÓÚå»ÚܬÚÜÐvvÚÚb¬¬ÐÓÚÜ¬Ú XvÚåÓvlÚ¬ÐÚÓåXÜÜvÓÀÚ4¬ÚÚJÚÓbv¨vÚÓÚ lJ¬Ú¨Üv¨ÓëviÚî¬åÚbJ¨ÚåÓvÚb¬¬ÐÓÚÜ¬Ú Ðv»ÐvÓv¨ÜÚì¬ÚÓJlÚìJÜÀ 7vÚÓåXÜÜvÚÜÐJbÚÓÚJÚÓÜÐvJ£Ú¬Ú¨¬Ð£J ܬ¨ÚÜJÜÚÜvÚ A Ú»JîvÐÚÜåШÓڨܬÚÜvíÜÚ ¬¨ÚÜvÚÓbÐvv¨ÚJÜÚÓ»vbbÚ»¬¨ÜÓÚJ¬¨Ú ÜvÚÜ£v¨vÀÚ A Ú»JîvÐÓÚJÐvÚbJ»JXvÚ¬Ú v¨vÐJܨÚbÐålvÚÜì¬XÜÚ¬ëvÐJîÓÚ¬vÐ ¨ÚJÚ£ÜvlÚ¨å£XvÐÚ¬Úb¬¬ÐÓÚÜJÜÚbJ¨Ú XvÚlÓ»JîvlÀÚë¬lÚ¬¨ÜÓÚìÜÚÓvÐÓÚ¬ÐÚ b¬£»bJÜvlÚbåÐëvÓÀÚ¬ìvëvÐiÚî¬åÚbJ¨Ú åÓvÚÜvÚÜÐvvÚJëJJXvÚb¬¬ÐÓÚܬÚJ¨ÜJJÓÚ ÜvÚÜvíÜÀÚ
3PEAK THE ,ANGUAGE
;ÓvÚÜvÚ JÐJbÜvÐÚ.JvÜÜvÚ ¬ÐÚ4åXÜÜvÚ¬¨ÜÓ "EFORE YOU ADD THE lRST SUBTITLE TO A PROJECT YOU NEED TO SELECT THE FONT AND FONT SIZE %NCORES #HARACTER PALETTE O«ERS A MYRIAD OF TYPESETS AND FONTS ALONG WITH POINT SIZES AND CHAR ACTER SPACING &IND THE BEST LOOK AND SIZE OF THE SUBTITLE FONT BEFORE START ING BECAUSE ITS DI£CULT TO REDO EACH INDIVIDUAL SUBTITLE CLIP 4O CHOOSE A CHARACTER STYLE FOR SUB TITLES 7ITH THE SUBTITLE TRACK SELECTED GO TO THE #HARACTER PALETTE IN THE PALETTE WINDOW !DJUST THE SETTINGS APPROPRIATELY
#HAPTER
&ONT 3EVERAL FONTS ARE AVAILABLE BUT CHOOSE A FONT WITHOUT SERIFS OR COM PLEX CURVES 4HE STRAIGHTER THE TYPE FACE THE BETTER IT WILL APPEAR ON THE SCREEN 2EMEMBER THAT THE $6$ PLAYER CREATES THE TEXT WITH CRUDE AND BLOCKY TWO BIT PIXELS !CCOMODATE THIS LIMITA TION &ONT 3TYLE #HOOSE EITHER REGULAR OR BOLD AND USE ITALICS SPARINGLY &ONT 3IZE -EASURED IN POINTS 4YPI CALLY YOU SHOULD USE OR POINT FONTS 4HE BIGGER THE FONT THE EASIER IT IS TO READ BUT IF ITS TOO BIG IT WILL CROWD THE FRAME AND LESS TEXT CAN BE COMFORTABLY ADDED &ONT #OLOR )RRELEVANT 4HE &ONT #OLOR FOR SUBTITLES IS CONTROLLED BY COLOR SETS 4HE OTHER FEATURES OF THE #HARACTER PALETTE ARE BEST LEFT ALONE FOR SUBTITLES 4YPICALLY THESE OTHER FEATURES CAN lNE TUNE THE PRESENTATION OF CERTAIN TROUBLESOME SUBTITLES BUT THE DEFAULT SETTINGS ARE RECOMMENDED %XPERIMENT WITH THESE SETTINGS WHEN APPROPRIATE
3PEAK THE ,ANGUAGE
llÚ4åXÜÜvÓÚ¨ÚÜvÚ "¬¨Ü¬ÐÚB¨l¬ì %NCORE ALLOWS SUBTITLES TO BE TYPED DIRECTLY INTO THE -ONITOR WINDOW 4HE lRST STEP IN THIS PROCESS IS TO ADJUST THE WORKSPACE 4O ADJUST THE WORKSPACE FOR BEST SUB TITLING -INIMIZE THE 0ROJECT WINDOW )N THE -ONITOR WINDOW SET THE $ISPLAY 3IZE TO PERCENT 2ESIZE THE -ONITOR WINDOW TO lT THE NEW SIZE #LICK THE 3AFE !REAS ICON LOCATED NEXT TO THE $ISPLAY 3IZE 4HIS DISPLAYS THE !CTION AND 4ITLE 3AFE !REAS 3UBTITLES SHOULD BE WITHIN THE INNER BOX OR 4ITLE 3AFE !REA 4HIS AS SURES THAT THE SUBTITLES WILL BE SEEN CLEARLY IN THE FRAME ON MOST EVERY TELEVISION OR MONITOR
#HAPTER
.OW THAT THE WORKSPACE IS IN ORDER ITS TIME TO BEGIN SUBTITLING 0LAY THE VIDEO OR MOVE THE #4) TO WHERE THE lRST SUB %NCORE .OW SUBTITLES CAN BE ADDED SIMPLY BY PRESSING THE !DD 3UBTITLE BUTTON IN THE 0REVIEW 7INDOW 7HEN YOU ENTER A SUBTITLE IT WILL USE THE PROPERTIES AND POSITION OF THE PREVIOUSLY ENTERED SUBTITLESTIlED
TITLE WILL BEGIN 4O INSERT A SUBTITLE #HOOSE THE (ORIZONTAL 4EXT TOOL FROM THE 4OOLBAR 9OU CAN USE VERTICAL TEXT BUT IT CAN SURPRISE THE VIEWERS WHO DONT EXPECT IT AND IT USUALLY BLOCKS THE ACTION IN A FRAME 7ITHIN THE 4ITLE 3AFE !REA CLICK ON WHERE THE TEXT IS TO BE PLACED 4YPE THE SUBTITLE 0RESS THE 2ETURN%NTER KEY TO KEEP TEXT WITHIN THE 4ITLE 3AFE AREA 2EMEMBER THAT YOU CAN PLACE TEXT ANYWHERE )F A SUBTITLE BLOCKS NECESSARY INFORMATION AT THE BOTTOM OF THE FRAME MOVE IT TO THE TOP OR USE THE 6ERTICAL 4EXT TOOL 4O MOVE SUBTITLES 'O TO THE 4OOLBAR AND CHOOSE ANY OF THE 3ELECTION TOOLS )N THE -ONITOR WINDOW CLICK ON THE SUBTITLE
3PEAK THE ,ANGUAGE
,EFT CLICK AND HOLD IN THE CENTER OF THE BOX $RAG THE SUBTITLE TO THE DESIRED LOCA TION 2ELEASE THE LEFT MOUSE BUTTON 7HILE IT IS BEST TO USE THE #HARACTER PALETTE TO DETERMINE SUBTITLE SIZE SOMETIMES ONLY A FEW SUBTITLES NEED RESIZING 4O RESIZE A SUBTITLE 'O TO THE 4OOLBAR AND CHOOSE THE 3E LECTION TOOL #LICK ON THE TEXT IN THE -ONITOR WIN DOW
#HAPTER
(OVER THE CURSOR OVER THE CORNER OF THE BOX UNTIL THE DIAGONAL CURSOR APPEARS #LICK AND HOLD ON THE CORNER AND DRAG THE BOX TO THE APPROPRIATE SIZE 2ELEASE THE MOUSE BUTTON
¬¬ÓvÚÜvÚ ¬¬ÐÚЬå»Ú¬Ú JÚ4åXÜÜvÚ » ! TIMELINE CAN HAVE UP TO THREE DI«ER ENT COLOR GROUPS FOR ITS SUBTITLES 4HIS ALLOWS A COLOR DI«ERENTIATION BETWEEN SPEAKERS DURING DIALOG )N EACH OF THESE GROUPS ARE THREE COLORS 4HESE COLORS WORK TOGETHER TO REDUCE THE BLOCKINESS OF THE TEXT 9OU CAN CHOOSE THE COLOR GROUP FOR EACH SUBTITLE FROM THE 0ROPERTIES PAL ETTE 4O CHANGE THE COLOR GROUP OF A SUBTITLE 3ELECT THE SUBTITLE CLIP IN THE 4IMELINES WINDOW 'O TO THE 0ROPERTIES PALETTE OPEN THE #OLOR 'ROUP lELD #HOOSE #OLOR 'ROUP 'ROUP OR 'ROUP !T THIS TIME YOU CAN CHOOSE THE STROKE
3PEAK THE ,ANGUAGE
BOLDNESS OF THE SUBTITLE 4HE STROKE CONTROLS HOW THE COLORS WORK TOGETHER #HOSING .ONE DISPLAYS JUST ONE THIN COLOR WHILE CHOOSING (EAVY EXPANDS THE THREE COLORS TO AN ALMOST RIDICU LOUS SIZE .ORMAL IS RECOMMENDED !LIGNMENT SHOULD REMAIN AT PER CENT FROM THE TOP
ÐvJÜvÚJÚ#vìÚ7£v¨vÚ
¬¬ÐÚ4vÜ )F YOU WANT MORE CONTROL OVER THE COLOR THEN YOU CAN ADJUST THE COLOR SET FOR THE TIMELINE BUT WHEN YOU CHANGE THE COLOR SET FOR A TIMELINE ALL THE SUB TITLES WILL CHANGE TO MATCH THOSE COLORS ACCORDING TO THEIR GROUPS /NLY THREE COLOR GROUPS ARE ALLOWED PER TIMELINE OR NINE COLORS TOTAL 5SING A NEW COLOR SET FOR TIMELINE IS A TWO STEP PROCESS &IRST YOU MUST CREATE A NEW COLOR SET AND THEN YOU MUST AP PLY IT TO THE TIMELINE 4O CREATE A NEW COLOR SET FOR A TIME LINE 'O TO 4IMELINE %DIT 4IMELINE #OLOR 3ETS
#HAPTER
4HIS OPENS THE %DIT 4IMELINE #OLOR 3ET DIALOG 9OU CAN ADJUST THE CURRENT OR TIMELINE DEFAULT COLOR SET AND THE CHANGES WILL AUTOMATICALLY APPEAR IN THE SUBTITLES #LICK 0REVIEW )F YOU PLAN TO USE ONLY ONE COLOR SET FOR THE PROJECT YOULL SAVE A STEP "UT IF YOU WANT DI«ERENT COLOR SETS FOR DI«ERENT TIMELINES THEN YOU WILL NEED TO CREATE A NEW COLOR SET 2EMEMBER BY CHANGING THIS DEFAULT COLOR SET ALL TIMELINES AND THEIR SUBTITLES THAT USE THIS COLOR SET WILL BE A«ECTED 3KIP THE NEXT COUPLE OF STEPS IF THE DEFAULT COLOR SET IS THE ONLY ONE YOU PLAN TO USE #LICK ON THE #REATE .EW #OLOR 3ET ICON 4HIS PROMPTS FOR A #OLOR 3ET NAME 4YPE A NAME FOR THE COLOR SET AND CLICK /+ .OW THAT YOUVE MADE A NEW COLOR SET IT IS TIME TO ADJUST THE COLORS .OTICE THAT ONLY THREE COLORS ARE IN EACH GROUP 4HE lRST COLOR OR THE lLL COLOR IS REALLY THE TEXT ITSELF 4HE SECOND COLOR STROKE COLOR PROVIDES DElNITION TO THE INSIDE COLOR 4HE THIRD COLOR THE
3PEAK THE ,ANGUAGE
ANTIALIAS COLOR COUNTERACTS THE BLOCKI NESS OF THE TEXT #LICK ON A BLOCK OF COLOR TO ADJUST IT -OVE THE SLIDER UP OR DOWN TO CHANGE THE HUE -OVE THE COLOR PICKER CIRCLE IN THE BIG BOX TO CHANGE THE GREY DENSITY #LICK /+ 9OU CAN ADJUST THE OPACITY OR SOLID NESS OF EACH COLOR !T PERCENT THE COLOR WILL BE COMPLETELY OPAQUE PERCENT IS COMPLETELY TRANSPARENT
#HECK THE .43# #OLORS /NLY BOX IF THIS IS AN .43# PROJECT 4HIS WILL ASSURE THAT THE BEST COLORS WILL BE USED ON .43# TELEVISIONS
#HAPTER
-AKE ALL DESIRED ADJUSTMENTS TO THE COLOR SET #LICK /+ %NCORE 4IP 4HE 4IMELINE #OLOR 3ET DIALOG BOX NOW INCLUDES THE ABILITY TO CREATE AN ANTI ALIAS COLOR FROM A COMBINATION OF THE &ILL AND 3TROKE COLORS $O THIS BY SELECTING THE #REATE !NTI ALIAS FROM &ILL AND 3TROKE #OLOR OPTION
)F YOU CREATED A NEW TIMELINE COLOR SET THEN THE NEXT STEP IS TO APPLY IT TO THE TIMELINE )F NOT THEN THE TASK IS COMPLETE 4O APPLY A NEW COLOR SET TO A TIMELINE #LICK INSIDE THE 4IMELINE WINDOW 'O TO THE 0ROPERTIES PALETTE #LICK THE ARROW NEXT TO THE #OLOR 3ET lELD 3ELECT THE NEW COLOR SET 4HE COLOR SET HAS NOW BEEN APPLIED TO THIS TIMELINE
4vÜÚÜvÚ vJåÜÚ v¨ÜÚ¬Ú 4åXÜÜvÓ "Y DEFAULT THE LENGTH OF SUBTITLES IS TWO SECONDS (OWEVER THE LENGTH OF INDIVIDUAL SUBTITLES MAY BE ADJUSTED SEE NEXT SECTION )N ADDITION DEFAULT LENGTH MAY ALSO BE CHANGED 4O CHANGE THE $EFAULT ,ENGTH OF 3UB TITLES
3PEAK THE ,ANGUAGE
'O TO %DIT 0REFERENCES 3UBTITLES 4HIS OPENS THE 0ROJECT 3ETTINGS FOR 3UB TITLES 4HE $EFAULT ,ANGUAGE REFERS TO THE LANGUAGE CODE FOR WHICH SUBTITLES ARE AUTOMATCALLY SET 3EE h3PECIFY 3UB TITLE ,ANGUAGEv LATER IN THIS CHAPTER FOR MORE DETAILS )F MANY OF YOUR PROJECTS USE ANOTHER LANGUAGE FOR SUBTITLES GO AHEAD AND SPECIFY THE LANGUAGE 7HEN SPECIFYING A DEFAULT LENGTH KEEP IN MIND THAT THE AVERAGE PERSON CAN READ APPROXIMATELY EIGHT WORDS IN ABOUT TWO SECONDS 4HE DEFAULT LENGTH IS APPROPRIATE AND SHOULD NOT BE CHANGED UNLESS THE VIDEO DEMANDS
%NCORE 4IP 7HEN YOU CREATE A NEW TIMELINE IT NOW ADOPTS THE LAST COLOR SET YOU USED 4HIS IS USEFUL WHEN YOU WANT TO CREATE MULTIPLE TIMELINES THAT ALL USE THE SAME COLOR SET 3IMPLY CREATE A TIMELINE AND CHOOSE A COLOR SET FROM THE 0ROPERTIES PALETTE OR MODIFY THE COLOR SET OF AN EXISTING TIMELINE 4HE NEXT NEW TIMELINE YOU CREATE WILL USE THE COLOR SET YOU SELECTED
IT %NTER A NUMBER IN SECONDS FOR THE $E FAULT 3UBTITLE ,ENGTH #LICK /+ .OW ALL NEW SUBTITLES CREATED WILL AUTO MATICALLY BE THE LENGTH SPECIlED
2EMEMBER THAT COLOR SETS ARE NOT GLOBAL SETTINGS AND MUST BE SPECIlED IN THE PROPERTIES OF A TIME
#HAPTER
4vÜÚÜvÚ¨ÚJ¨lÚ%åÜÚ.¬¨ÜÓÚ ¬Ú4åXÜÜvÓ 0LACE THE #4) TO THE FRAME WHERE YOU WANT THE SUBTITLE TO BEGIN OR END AND TRIM THE SUBTITLE CLIP TO THAT LINE
3OMETIMES SUBTITLES NEED TO BE SHORTER OR LONGER THAN THE DEFAULT LENGTH 2APID lRE DIALOG AND SLOW DELIBER ATE MONOLOGS NEED SPECIAL TREATMENT %NCORE O«ERS A COUPLE OF DI«ERENT WAYS TO ADJUST THE CUES AND LENGTHS OF SUBTITLES 4O SET THE )N AND /UT POINTS OF A SUB TITLE USING THE 4IMELINE WINDOW !DJUST THE :OOM ,EVEL OF THE TIMELINE SO THAT YOU CAN ADJUST SUBTITLES WITH PRECISION (OVER OVER THE BEGINNING OR END OF A SUBTITLE UNTIL THE RED BRACKET CURSOR APPEARS
3PEAK THE ,ANGUAGE
#LICK AND DRAG THE BEGINNING OR END OF THE SUBTITLE TO THE APPROPRIATE SIZE OR PLACE )F THE SUBTITLE IS THE RIGHT LENGTH BUT IS NOT IN THE RIGHT PLACE YOU CAN ADJUST IT BY MOVING IT #LICK AND HOLD ON THE SUBTITLE CLIP AND DRAG IT TO A BETTER PLACE ON THE TIME LINE %NCORE O«ERS A BETTER OPTION FOR TRIM MING THE IN AND OUT POINTS OF SUBTITLES BY USING THE -ONITOR WINDOW 7HILE A
3INCE ONLY ONE SUBTITLE CLIP CAN BE DISPLAYED AT A TIME %NCORE DOES NOT ALLOW SUBTITLES TO OVERLAP )F ONE SUBTITLE IS MOVED INTO ANOTHER IT WILL JUMP TO THE OTHER SIDE OF THE CLIP IT IS MOVING INTO )N THIS WAY %NCORE PREVENTS THE ACCIDENTAL DISPLACEMENT OF OTHER SUBTITLE CLIPS
SUBTITLE IS DISPLAYED YOU CAN SET ITS )N POINT TO A LATER FRAME OR ITS /UT POINT TO AN EARLIER FRAME 4RIM SUBTITLE CLIPS USING THE -ONITOR WINDOW )F A SUBTITLE COMES IN TOO EARLY CLICK THE 4RIM 3UBTITLE )N POINT ICON AT THE FRAME WHERE IT SHOULD COME IN )F A SUBTITLE LINGERS TOO LONG CLICK THE 4RIM 3UBTITLE /UT POINT ICON AT THE FRAME WHERE THE SUBTITLE SHOULD DISAP PEAR
4HESE -ONITOR WINDOW CONTROLS ONLY WORK IF A SUBTITLE IS DISPLAYED 9OU MUST MOVE THE SUBTITLE CLIPS POSITION IN THE 4IMELINE WINDOW IF AN EARLIER )N POINT OR A LATER /UT POINT IS REQUIRED
#HAPTER
£»¬ÐÜÚJÚ7víÜÚ4bлÜÚJÓÚ 4åXÜÜvÓ !DVANCED 4IP $UE TO THE NATURE OF SUBTITLES IT IS BEST TO START THEM !&4%2 CHAPTER POINTS )F A SUBTITLE IS STARTED IN A PREVIOUS CHAPTER AND THE CHAPTER IS DIRECTLY SELECTED THERE IS A GOOD CHANCE THE lRST SUBTITLE WILL NOT APPEAR WHEN PLAYED
%NCORE PERMITS THE IMPORTING OF #AP TIONS )NC 3CRIPT &!" )MAGE 3CRIPT AND 4EXT 3CRIPT lLE FORMATS AS SUBTITLES &OR PLAIN 4EXT 3CRIPT THERE ARE FEW RE QUIREMENTS 4HE TEXT ENCODING CAN BE !3#)) 54& OR 54& !LSO THERE IS A SPECIlED FORMAT FOR USING TIMECODE 4HIS IS A SUBTITLE 4HE lRST NUMBER IS THE SUBTITLES OR DER )N THIS CASE IT IS THE lRST SUBTITLE 4HE NEXT IS THE )N POINT OF THE SUBTITLE )N SIMPLER TERMS THIS SUBTITLE COMES IN AT THE lRST SECOND OF THE TIMELINE 4HE OTHER TIMECODE IS THE /UT POINT OF THE SUBTITLE 3O THE SUBTITLE REMAINS ON THE SCREEN FOR TWO SECONDS 4HE lNAL VALUE IS THE SUBTITLE TEXT ITSELF h4HIS IS A SUBTITLEv WILL APPEAR ON THE SCREEN AT THE lRST SECOND OF THE TIMELINE AND WILL DISAPPEAR TWO SECONDS LATER 4O IMPORT A TEXT SCRIPT AS A SUBTITLE )N THE 4IMELINE WINDOW RIGHT CLICK ON THE SUBTITLE TRACK #HOOSE )MPORT 3UBTITLES 4EXT 3CRIPT
3PEAK THE ,ANGUAGE
4HIS OPENS THE /PEN &ILE DIALOG !NY SUBTITLE CLIPS THAT EXIST ON THIS SUBTITLE TRACK WILL BE ERASED TO ACCOMMODATE THE IMPORTED lLE ,OCATE AND SELECT THE TEXT SCRIPT lLE #LICK /PEN 4HIS OPENS THE )MPORT 3UBTITLES 4EXT 3CRIPT DIALOG 9OU CAN BE ADJUST THE POSITION AND SIZE OF THE TEXT BOX ON THE SCREEN 4HIS O«ERS A FEW OPTIONS FOR THE FONT FONT SIZE AND COLOR GROUP OP TIONS AS WELL AS !SIAN TEXT OPTIONS AND TIMECODE O«SET CONTROLS 4HE 4IMECODE /«SET CONTROL IS A USEFUL FEATURE IF THE BEGINNING OF THE VIDEO HAS BEEN TRIMMED SINCE THE SUBTITLE SCRIPT WAS CREATED #HOOSE 2ELATIVE AND INSERT THE PROPER TIMECODE O«SET ,EAVING IT AT !BSOLUTE MAINTAINS THE TIMECODES SPECIlED IN THE ORIGINAL TEXT SCRIPT -AKE THE NECESSARY ADJUSTMENTS AND THEN CLICK /+ 4HE TEXT SCRIPT HAS NOW BEEN CONVERTED TO SUBTITLES #HECK THE TIME POSITION OF ALL THE SUBTITLES TO ENSURE PROPER PLACEMENT
-AKING ADJUSTMENTS IN THIS DIALOG DETERMINES HOW ALL THE SUBTITLES WILL BE PLACED NOT JUST THE lRST SUBTITLE
#HAPTER
4»vbîÚ4åXÜÜvÚ J¨åJv ,IKE THE AUDIO TRACKS SUBTITLE TRACKS HAVE A SPECIlC LANGUAGE CODE 4HIS CODE ALLOWS $6$ PLAYERS TO RECOGNIZE THE LANGUAGE SO THAT DIRECT SELECTION OF THE SUBTITLE TRACK CAN BE ACCOMPLISHED USING THE PLAYERS HARDWARE 4O SPECIFY SUBTITLE LANGUAGE )N THE 4IMELINE WINDOW SELECT THE SUBTITLE TRACK /PEN THE LIST OF LANGUAGE CODES BY CLICKING ON THE ARROW #HOOSE THE APPROPRIATE LANGUAGE CODE
ÐvJÜvÚJÚ4lvÓ¬ìÚЬ£Ú 4ÜÚ£JvÓ %NCORE CAN CREATE A SLIDESHOW FROM UP TO GRAPHICS 4HIS SLIDESHOW CAN EVEN INCLUDE AUDIO AND SUBTITLES 'RAPHICS MUST BE IMPORTED INTO THE
3PEAK THE ,ANGUAGE
0ROJECT TAB SEE h)MPORT &ILES AS 'RAPH ICSv IN #HAPTER )N ORDER TO CREATE A SLIDESHOW YOU MUST CREATE A NEW TIMELINE 4O CREATE A SLIDESHOW )N THE 0ROJECT TAB SELECT THE DESIRED lRST GRAPHIC OF THE SLIDESHOW 5SE THE KEYBOARD SHORTCUT #TRL 4 OR THE #REATE .EW 4IMELINE ICON 4HIS OPENS A NEW TIMELINE WITH THE GRAPHIC SELECTED AS THE lRST IMAGE IN THE TIMELINE .OW THE OTHER GRAPHICS MUST BE IMPORTED )N THE 0ROJECT WINDOW SELECT A GRAPHIC OR A RANGE OF GRAPHICS TO ADD TO THE TIMELINE #LICK AND DRAG THE GRAPHICS INTO THE 4IMELINE WINDOW !S EACH GRAPHIC IS ADDED IT IS ASSIGNED ITS OWN CHAPTER POINT )F SEVERAL lLES WERE ADDED TO THE TIMELINE AT ONCE THE GRAPHICS ARE ORDERED ALPHANUMERICALLY 3O FOR EXAMPLE PIC WILL COME BEFORE PIC #HANGING THE ORDER IS SIMPLE
#HAPTER
4O MOVE A GRAPHIC TO A DI«ERENT PLACE ALONG THE TIMELINE )N THE 4IMELINE WINDOW CLICK AND HOLD 3LIDESHOWS ENCODE GRAPHICS TO A SINGLE FRAME AND DISPLAY THIS FRAME OVER TIME 4HIS PROCESS IS EXTREMELY EFlCIENT AS IT ONLY REQUIRES ONE FRAME OF CONTENT TO DISPLAY VIDEO OVER TIME &OR THIS REASON SLIDESHOWS CAN CONTAIN A LOT OF IMAGES AND ARE ONE OF THE MOST EFlCIENT METHODS OF STORING AND PLAYING BACK CONTENT ON A $6$
ON THE GRAPHIC YOU WISH TO MOVE $RAG IT TO THE DESIRED PLACE ON THE TIMELINE AND RELEASE THE MOUSE BUTTON .OTICE THAT THE CHAPTER POINTS ARE REOR DERED TO MAINTAIN THE SEQUENCE
låÓÜÚÜvÚ åÐJܬ¨Ú¬Ú4ÜÚ £JvÓÚ¨ÚÜvÚ7£v¨vÚ B¨l¬ì 7HEN A STILL IMAGE IS ADDED TO A TIME LINE BY DEFAULT ITS LENGTH IS SIX SECONDS 9OU CAN ADJUST THIS LENGTH FOR INDIVIDUAL STILLS 4O ADJUST THE LENGTH OF STILL IMAGES )N THE 4IMELINE WINDOW SELECT THE DESIRED IMAGE (OVER THE CURSOR OVER THE END OF THE STILL UNTIL THE RED BRACKET CURSOR AP PEARS #LICK AND DRAG THE EDGE OF THE STILL TO THE APPROPRIATE LENGTH
3PEAK THE ,ANGUAGE
4HE STILLS AFTER THE CLIP AUTOMATICALLY ADJUST THEIR POSITIONS TO lLL THE GAP
4vÜÚÜvÚ vJåÜÚ v¨ÜÚ¬Ú 4ÜÚ£JvÓ %VERY STILL IMAGE IMPORTED INTO A TIME LINE IS AUTOMATICALLY ASSIGNED A LENGTH OF SIX SECONDS BY DEFAULT 4HIS IS CONTROLLED BY THE PROJECT PREFERENCES )F YOU WANT A DI«ERENT DEFAULT LENGTH YOU SHOULD CHANG IT BEFORE CREATING A SLIDESHOW TIMELINE 4O CHANGE THE DEFAULT LENGTH OF STILL IMAGES 'O TO %DIT 0REFERENCES 4IMELINES )N THE $EFAULT ,ENGTH OF 3TILL )MAGES ENTER A NEW LENGTH IN SECONDS #LICK /+ .OW ALL STILLS ADDED TO A TIMELINE WILL BE ASSIGNED THIS NEW DEFAULT LENGTH (OWEVER ALL STILLS IN EXISTING SLIDESHOW TIMELINES WILL NOT CHANGE THEIR DURA TIONS
%NCORE 7HEN STILL IMAGES ARE ADDED TO A 3LIDESHOW A DIALOG APPEARS REQUESTING THE LENGTH OF EACH IMAGE
This Page Intentionally Left Blank
#HAPTER
-ENUS -ENUS !RT AND &UNCTION )F 4IMELINES ARE THE HIGHWAYS ON A $6$ THEN -ENUS ARE THE GATEWAYS TO THOSE ROADS $6$ MENUS O«ER PERHAPS THE GREATEST ADVANTAGES OVER 6(3 7ITH MENUS A $6$S FEATURES MAY BE SEEN AND ACCESSED INSTANTLY -ENU CREATION HAS BECOME AN ART FORM OF ITS OWN RIGHT WITH THE USE OF SPECTACULAR BACK GROUNDS MOTION TRANSITIONS VIDEO BACKGROUNDS AND MOTION THUMBNAILS %NCORE IS SUPPLIED WITH PROFESSIONALLY DESIGNED TEMPLATES THAT CAN BE PUT TO USE IN MINUTES 4HIS SPEEDS THE PRODUCTION PROCESS AND ALLOWS A BEGINNING AUTHOR TO QUICKLY CREATE PROFESSIONALLY DESIGNED MENUS AND BUTTONS )T IS RECOMMENDED THAT EVERYONE NOT JUST BEGINNING AUTHORS EXPLORE THE TEM PLATES INCLUDED WITH %NCORE 4HE CONCEPTS LEARNED FROM THE TEMPLATES WILL PAY O« DIVIDENDS WHEN CREATING MENUS FROM SCRATCH
#HAPTER
%»v¨ÚJ¨ÚíÓܨÚ7v£»JÜv 4HE lRST STEP IN USING TEMPLATES IS TO 4EMPLATES ARE A GREAT WAY TO GET STARTED IN %NCORE 4HEY CAN BE USED TO HELP GATHER IDEAS FOR A PROJECT AND CAN BE EASILY MODIlED TO CATER TO INDIVIDUAL PROJECTS ! GOODIES FOLDER FOUND IN %NCORES INSTALLATION #$ PROVIDES ADDITIONAL TEMPLATES AND ASSETS
OPEN ONE OF THE MENU TEMPLATES 4HEY ARE STORED IN THE ,IBRARY PALETTE 4O OPEN A TEMPLATE /PEN THE ,IBRARY PALETTE 4HE ,IBRARY PALETTE CONTAINS THREE KINDS OF 0HOTOSHOP lLES GRAPHICS BUTTONS AND MENUS 4HE MENUS IN THE ,IBRARY PALETTE CONTAIN BACKGROUNDS BUTTONS TEXT AND GRAPHICS 4HE MENU TEMPLATES ALL CONTAIN THE WORD hMENUv IN THEIR NAMES 3UBMENUS ARE GENER ALLY USED FOR CHAPTER SELECTION MENUS 9OU CAN PREVIEW THE LOOK OF A MENU BY SELECTING FROM THE LIST ! THUMBNAIL VIEW OF THE MENU OR GRAPHIC APPEARS 3ELECT THE DESIRED MENU FROM THE LIST 2IGHT CLICK ON THE SELECTED MENU AND SELECT #REATE .EW -ENU 4HIS LOADS THE TEMPLATE INTO THE -ENU %DITOR WINDOW &OR THIS EXAMPLE THE %NTERTAINMENT MENU IS USED !T THIS TIME ITS A GOOD IDEA TO REOR GANIZE THE WORKSPACE -INIMIZE THE 0ROJECT WINDOW -ONITOR WINDOW OR
-ENUS
4IMELINE WINDOW 4HE -ENU %DITOR PALETTES AND 4OOLBAR SHOULD BE EASILY ACCESSIBLE $RAG THE 0ROPERTIES PALETTE OUT OF THE 0ALETTE WINDOW
;¨lvÐÓÜJ¨l¨Ú JÓbÚ JîvÐÓÚJ¨lÚ JîvÐÚ.ÐvívÓÚ ¨b¬ÐvÚ¨vÐÜÓÚ¬¨vÚ¬ÚÜvÚXvÓÜÚ¨¨¬ ëJܬ¨ÓÚ¬ÚÜÓÚÓÓÜvÐڻЬÐJ£Úl¬XvÚ .¬Ü¬Ó¬»} JîvÐÓÀÚÚ¨b¬ÐvÚ£v¨åÓiÚ XåÜܬ¨ÓiÚJ¨lÚÐJ»bÓÚvíÓÜÚ¬¨ÚJîvÐÓÚ Óv»JÐJÜvlÚìÜÚÓv¨ÓXvÚ¨J£¨Úb¬¨ëv¨ ܬ¨ÓÀ ¨b¬ÐvÚåÓvÓÚJîvÐÓÚJ¨lÚJîvÐÚÓvÜÓÚÜ¬Ú ¬ÐJ¨òvÚëJЬåÓÚJÓ»vbÜÓÚ¬ÚJÚ£v¨åÀÚÚ JîvÐÚbJ¨ÚXvÚJÚÓ»vbbÚÐJ»bJÚJÓ»vbÜÚ ¬ÚJÚvÀÚ¬ÐÚvíJ£»viÚÜvÐvÚÓÚJÚÓ»v bbÚJîvÐÚ¬ÐÚÜvíÜiÚJÚÓ»vbbÚJîvÐÚ¬ÐÚ JÚÐJ»bÚJ¨lÚJÚÓ»vbbÚJîvÐÚ¬ÐÚÜvÚ XJbЬå¨lÀÚ7vÓvÚJîvÐÓÚJÐvÚ¬ÐJ¨òvlÚ ¨Ü¬ÚJîvÐÚÓvÜÓÀÚ¬ÐÚvíJ£»viÚJÚXåÜܬ¨Ú ¬ÚJÚ A ÚÓÚJÚЬå»Ú¬ÚJîvÐÓÚ¬ÐJ¨òvlÚ ¨Ü¬ÚJÚJîvÐÚÓvÜÀ ÚXåÜܬ¨ÚÓÚJÚå¨bܬ¨JÚJÓ»vbÜÚ¬Ú A ÀÚ 7vÚëvìvÐÚbJ¨Ú»ÐvÓÓÚÜÚܬڻvЬУÚJ¨Ú Jbܬ¨ÀÚ¨b¬ÐvÚ£åÓÜÚ£JvÚJÚlÓܨbܬ¨Ú XvÜìvv¨ÚJ¨Ú¬Ðl¨JÐîÚÐJ»bÚJ¨lÚJÚXåÜ Ü¬¨ÀÚ¨b¬ÐvÚl¬vÓÚÜÓÚXîÚJÓÓ¨¨ÚJÚ½Ã¾Ú »ÐvíÚܬÚJÚXåÜܬ¨ÍÓÚJîvÐÚÓvÜÀ
)TS A VERY GOOD IDEA TO OWN AND COMPREHEND 0HOTOSHOP IF A LOT OF WORK IS ANTICIPATED FOR %NCORE (OWEVER THE MANY APPLICATIONS OF 0HOTOSHOP TO THE %NCOREVISUAL WORKmOW ARE ANOTHER BOOK BY ITSELF ) RECOMMEND 2ICHARD (ARRINGTONS 0HOTOSHOP #3 FOR .ON ,INEAR %DITORS
#HAPTER
¨¬ÜvÐÚ£»¬ÐÜJ¨ÜÚJÓ»vbÜÚ¬ÚJÚ A Ú £v¨åÚÓÚÜvÚ4åX»bÜåÐvÚÜÀÚ7ÓÚ ÓÚJ¨Ú¨ÜvÐJbÜëvÚÐJ»bÚv¨vÐJÜvlÚXîÚ 5SE AN EXISTING TEMPLATE TO REVERSE ENGINEER THE MENU STRUCTURE 4HIS IS THE EASIEST WAY TO UNDERSTAND HOW ALL OF THE DIFFERENT ELEMENTS ARE COMBINED TO CREATE A MENU
ÜvÚ A Ú»JîvÐÀÚÜÚJlÓÚ¨JëJܬ¨ÚXîÚ Ü¨ÚÜvÚXåÜܬ¨ÓiÚJ¨lÚb¬¨Ð£¨Ú Óvvbܬ¨ÀÚ¨Ú£J¨îÚìJîÓiÚÜvÚÓåX»bÜåÐvÚ ÓÚÐvJîÚÜvÚ£v¨åÚÜÓvÀÚE¬åÚbJ¨ÚbÐv JÜvÚJÚ£v¨åÚåÓ¨ÚåÓÜÚÜvÚÓåX»bÜåÐvÀÚ åÜÚXvbJåÓvÚÜvÚÓåX»bÜåÐvÚÓÚJÚbÐålvÚ Üì¬XÜÚ£JvÚÜJÜÚbJ¨ÚåÓvÚJÚ£Jí£å£Ú ¬ÚÜÐvvÚb¬¬ÐÓÚJÜÚ¬¨bviÚÜÚÓÚXvÓÜÚåÓvlÚJÓÚ JÚÜÚ¬ÐÚJÚ£¬ÐvÚvJX¬ÐJÜvÚXJb Ьå¨lÚ£v¨åÀ 7vÚÓåX»bÜåÐvÚÜÚJîvÐÓÚJÐvÚlv¨ ÜvlÚXîÚÜvÚ½³¾i½ã¾iÚJ¨lÚ½Þ¾Ú»ÐvívÓÀÚ 7vÚÓåX»bÜåÐvÚÜÓÚåÓÜÚ¬¨vÚJîvÐÚ ¨ÓlvÚJÚXåÜܬ¨ÍÓÚJîvÐÚÓvÜÀÚ
"¬lîÚÜvÚ7víÜÚ¨ÚJ¨Ú íÓܨÚ7v£»JÜv 9OU CAN CHANGE A TEMPLATE TO SUIT INDIVIDUAL NEEDS WITH THE -ENU %DITOR 9OU CAN ADD OR DELETE TEXT AND BUTTONS -AKING CHANGES TO A TEMPLATE DOES NOT A«ECT THE ORIGINAL TEMPLATE 3EE h3AVING A -ODIlED 4EMPLATEv IN THIS CHAPTER $ONT LET THE TEXT OF A MENU LIMIT YOUR PERCEPTION OF WHAT IT SHOULD OR CAN
-ENUS
POSSIBLY DO 9OU MAY SET BUTTONS IN A MENU TO LINK ANYWHERE AND YOU MAY MODIFY THE TEXT TO INDICATE THE CHANGED LINK 4O CHANGE THE TITLE TEXT OF A MENU 3ELECT THE $IRECT 3ELECT TOOL THE WHITE ARROW FROM THE 4OOLBAR )N THE -ENU %DITOR DOUBLE CLICK ON THE TITLE TEXT 7HILE YOU CAN USE THE 4EXT TOOLS TO PERFORM THIS FUNCTION IT IS BEST TO USE THE $IRECT 3ELECT TOOL TO MODIFY EXIST ING TEXT 4HIS PREVENTS THE ACCIDENTAL CREATION OF BLANK TEXT LAYERS 7HEN THE )NSERT 4EXT CURSOR APPEARS DELETE THE EXISTING TEXT 4YPE IN THE NEW TITLE 4HE TITLE TEXT HAS NOW BEEN CHANGED 4HE FONT AND FONT SIZE CAN ALSO BE CHANGED FOR THE TEXT USING THE #HARAC TER PALETTE AND $IRECT 3ELECT TOOL 4O CHANGE THE FONT OR SIZE OF TEXT IN A MENU 5SE THE $IRECT 3ELECT TOOL AND SINGLE CLICK ON THE TEXT
#HAPTER
! BLUE BOUNDING BOX WILL APPEAR AROUND THE TEXT !T THIS TIME YOU CAN MOVE THE TEXT OR RESIZE IT USING THE CORNERS OF THE BOX "UT FOR CONSISTENCY USE THE #HARACTER PALETTE /PEN THE #HARACTER PALETTE 3ELECT THE FONT ANDOR FONT SIZE FOR THE TEXT !LTHOUGH YOU CAN ADJUST THE COLOR IN THE #HARACTER PALETTE THE EXISTING COL ORS MATCH THE SCHEME OF THE MENU AND HAVE A VERY PROFESSIONAL LOOK 4O MODIFY THE TEXT OF A BUTTON /PEN THE ,AYERS PALETTE #LICK ON THE ARROW TO TWIRL DOWN THE BUTTONS LAYER SET AND REVEAL ITS INDI VIDUAL LAYERS 3ELECT THE 4EXT LAYER OF THE BUTTON THE LAYER WITH THE 4 ! BLUE BOUNDING BOX NOW APPEARS AROUND THE TEXT 4HERE IS A SECOND BOUNDING BOX AROUND A LARGER AREA THIS REPRESENTS THE ENTIRE AREA OF THE BUTTON 9OU MAY NOW MODIFY THE TEXT IN THE SAME WAY AS THE TITLE TEXT
-ENUS
vJbÜëJÜvÚ¬ÐÚ3v£¬ëvÚíÜÐJÚ åÜܬ¨ÓÚЬ£ÚJÚ7v£»JÜv -OST OF THE TEMPLATES HAVE FOUR BUT TONS FOR THE USUAL OPTIONS IN A $6$S MAIN MENU )F YOU NEED FEWER BUTTONS THEN YOU CAN THE DELETE OR DEACTIVATE THE BUTTONS 3IMPLY DELETING THE TEXT DOES NOT REMOVE A BUTTON 4HE BEST WAY TO HIDE A BUTTON IS TO DEACTIVATE IT IN THE ,AYERS PALETTE 4O DEACTIVATE A BUTTON /PEN THE LAYERS PALETTE 3ELECT THE LAYER SET OF THE BUTTON #LICK ON THE "UTTON ICON IN THE "UTTON /BJECT COLUMN .OTICE WHEN CLICKING ON THE "UTTON /BJECT COLUMN THE THIRD COLUMN FROM THE LEFT SIDE OF THE PALETTE THAT THE PRElX IN THE LAYER SET IS REMOVED %N CORE NO LONGER TREATS THIS AS A BUTTON AND CONSIDERS IT AN OBJECT 4HE NEXT STEP IS TO HIDE THE OBJECT #LICK ON THE %YEBALL ICON IN THE lRST COLUMNS BOX TO DESELECT IT .OW THAT THE %YEBALL ICON IS DESE LECTED THE OBJECT AND ITS TEXT NO LONGER APPEAR IN THE -ENU %DITOR
4HE TEXT FOR THE BUTTONS IS CHANGED IN MUCH THE SAME WAY THE TITLE TEXT IS CHANGED 3INCE THE TEXT IS A LAYER OF THE BUTTON HOWEVER IT IS EASY TO SELECT THE WRONG LAYER OF A BUTTON 4HE EASIEST WAY TO MODIFY THE TEXT OF A BUTTON IS TO USE THE ,AYERS 0ALETTE TO DIRECTLY SELECT THE TEXT LAYER lRST
#HAPTER
/F COURSE YOU CAN DELETE THE ENTIRE BUTTON FROM THE MENU 4O DELETE A BUTTON FROM A TEMPLATE "UTTONS CAN BE DELETED IN 0HOTOSHOP BY SIMPLY DELETING LAYERS THAT CONTAIN BUTTON LAYER SETS
)N THE LAYERS PALETTE SELECT THE BUT TONS LAYER SET 0RESS THE $ELETE KEY 4HE BUTTON AND TEXT HAVE NOW BEEN COMPLETELY REMOVED FROM THE MENU
lÜÚ¨Ú.¬Ü¬Ó¬»ÚvJÜåÐv %XPERIENCED 0HOTOSHOP USERS WILL AP PRECIATE THE ABILITY TO USE 0HOTOSHOP TO EDIT THEIR $6$ MENUS 0HOTOSHOP O«ERS SEVERAL OPTIONS FOR CREATING GRAPHICS AND EDITING COLORS 4O EDIT IN 0HOTOSHOP 7ITH THE -ENU %DITOR OPEN ON THE MENU GO TO -ENU %DIT IN 0HOTOSHOP 4HIS OPENS 0HOTOSHOP IF INSTALLED AND IMPORTS THE CURRENT MENU !FTER YOUVE MADE ALL THE ADJUST MENTS TO THE MENU IN 0HOTOSHOP GO TO &ILE 3AVE IN 0HOTOSHOP
-ENUS
4HE MENU IN %NCORE HAS NOW BEEN UP DATED WITH THE CHANGES TO THE lLE
4JëvÚJÚ"¬lvlÚ7v£»JÜv 7HEN A TEMPLATE IS USED A COPY OF THAT TEMPLATE IS CREATED 4HIS WAY THE ORIGINAL TEMPLATE IS NOT CHANGED BY THE USER AND SAFEGUARDS AGAINST ACCIDEN TALLY CORRUPTING A USEABLE MENU 7HILE THIS IS A NICE FEATURE IT CAN BE FRUS
4IP FOR %NCORE 9OU CAN ACCESS THE %DIT IN 0HOTOSHOP FEATURE USING A CONVENIENT TOOLBAR BUTTON 4O EDIT A MENU IN !DOBE 0HOTOSHOP OPEN IT IN THE -ENU %DITOR AND THEN CLICK THE %DIT IN 0HOTOSHOP BUTTON
TRATING IF ONE TEMPLATE IS CHANGED THE SAME WAY EVERY TIME IT IS USED 4O SAVE A MODIlED TEMPLATE 7ITH THE DESIRED lNAL TEMPLATE IN THE -ENU %DITOR GO TO -ENU %DIT IN 0HO TOSHOP 4HIS OPENS AND LOADS THE TEMPLATE INTO 0HOTOSHOP .OTICE THAT THE lLE NAME OF THE MENU IN 0HOTOSHOP IS COMPLETELY DI«ERENT THAN THE ORIGINAL NAME OF THE TEMPLATE
!FTER A lLE HAS BEEN SAVED IN 0HOTOSHOP THE LIVE LINK WITH %NCORE IS SEVERED 4HE %DIT IN 0HOTOSHOP COMMAND MUST BE USED AGAIN TO MAKE ADDITIONAL CHANGES TO THE MENU USING 0HOTOSHOP
#HAPTER
)N 0HOTOSHOP GO TO &ILE 3AVE !S )N THE 3AVE !S DIALOG GIVE THE TEMPLATE A NEW lLE NAME THAT IS DI«ERENT FROM THE ORIGINAL TEMPLATE NAME #HOOSE THE DESKTOP AS THE SAVED lLE DESTINATION #LICK 3AVE .OW YOU NEED TO IMPORT THE MENU INTO %NCORES ,IBRARY PALETTE
-ENUS
)N %NCORE OPEN THE ,IBRARY PALETTE 2IGHT CLICK INSIDE THE LIBRARY AND SE LECT !DD )TEM 4HIS OPENS THE .EW ,IBRARY )TEM DIA LOG ,OCATE AND SELECT THE NEW TEMPLATE FROM THE DESKTOP #LICK /PEN 4HE NEW TEMPLATE HAS BEEN ADDED TO THE ,IBRARY PALETTE
#HAPTER
;ÓvÚÜvÚ XÐJÐîÚ.JvÜÜvÚÜ¬Ú %ÐJ¨òvÚÐJ»bÓiÚ"v¨åÓiÚ J¨lÚ åÜܬ¨Ó )TEMS CAN ALSO BE DRAGGED AND DROPPED DIRECTLY INTO THE ,IBRARY 0ALETTE
9OU CAN SET %NCORES ,IBRARY PALETTE TO VIEW ONLY CERTAIN TYPES OF 03$ lLES 4HIS IS RATHER HELPFUL IF YOU HAVE MULTIPLE lLES IN THE ,IBRARY PALETTE "Y DEFAULT ALL THE lLE TYPES ARE SHOWN 4O HIDE A lLE TYPE IN THE ,IBRARY PAL ETTE !T THE BOTTOM OF THE WINDOW THERE ARE THREE ICONS #LICK ON THE ICON OF THE lLE TYPE YOU WISH TO HIDE 4O SHOW JUST ONE TYPE OF lLE CLICK ON THE OTHER lLE TYPES TO HIDE THEM %NCORE ALLOWS EVEN GREATER ORGA NIZATION 9OU CAN CREATE LIBRARY SETS TO lLE THE DI«ERENT ITEMS AWAY UNDER CATEGORIES YOU DElNE 4O CREATE A NEW LIBRARY SET &ROM THE ,IBRARY PALETTE mYOUT MENU SELECT .EW ,IBRARY 3ET %NTER A NAME FOR YOUR LIBRARY SET AND CLICK /+
-ENUS
4O ADD ITEMS TO A LIBRARY SET )N THE ,IBRARY PALETTE DISPLAY THE LIBRARY SET TO WHICH YOU WANT TO ADD ITEMS BY SELECTING IT FROM THE SET DROP DOWN BOX #LICK THE !DD )TEM BUTTON OR SELECT !DD )TEM FROM THE ,IBRARY PALETTE mY OUT MENU )N THE lLE BROWSER LOCATE THE ITEM YOU WANT TO ADD AND THEN CLICK /+
XÐJÐîÚ.JvÜÜvÚ "J¨Üv¨J¨bv ÜvÐÚÓvëvÐJڻЬvbÜÓÚJëvÚXvv¨ÚbÐv JÜvliÚÜvÚ XÐJÐîÚ»JvÜÜvÚ£ÜÚJ»»vJÐÚ båÜÜvÐvlÚJ¨lÚlÓ¬ÐJ¨òvlÀÚÜÍÓÚJÚ¬¬lÚ »ÐJbÜbvÚܬڻvЬУÚJÚÜÜvÚӻШÚbvJ¨ ¨ÚЬ£ÚÜ£vÚܬÚÜ£vÚܬÚvv»ÚÜvÚvÚÓÜÚ Ó¬ÐÜÀÚ¨b¬ÐvÚìÚ¨¬ÜÚJ¬ìÚÜvÚXåÜ¨Ú Üv£»JÜvÓiÚXåÜܬ¨ÓiÚJ¨lÚÐJ»bÓÚܬÚXvÚ lvvÜvlÀ 7¬ÚlvvÜvÚJ¨ÚÜv£ÚЬ£ÚÜvÚ XÐJÐîÚ»J vÜÜvh 4vvbÜÚÜvÚÜv£ÚܬÚXvÚlvvÜvlÀ ¨ÚÜvÚ¬ìvÐÐÜÚb¬Ð¨vÐÚ¬ÚÜvÚ»JvÜÜviÚ bbÚÜvÚ7ÐJÓÚb¬¨À
/NE OF THE MOST SIGNIlCANT CHANGES BETWEEN AND IS THE ,IBRARY 0ALETTE )N VERSION THE SHOW AND HIDE lLE TYPE ICONS ARE ABOVE THE LIST OF ITEMS AND INCLUDES BACKGROUNDS TEXT AND SHAPES (OLD SHIFT AND CLICK ON THE lLE TYPES YOU WISH TO DISPLAY 4O DISPLAY ONE lLE TYPE JUST CLICK ITS ICON
#HAPTER
¨b¬ÐvÚìÚìJШÚÜJÜÚÜÓÚlvvܬ¨ÚbJ¨ ¨¬ÜÚXvÚå¨l¬¨vÀ
¬¨Ð£ÚÜvÚlvvܬ¨ÚXîÚbb¨Ú% À ¨¬ÜvÐÚÐvb¬££v¨lJܬ¨ÚÓÚܬڻЬÐÜòvÚ î¬åÐÚ£v¨åÓÚJ¨lÚXåÜܬ¨ÓÚJbb¬Ðl¨ÚÜ¬Ú åÓvÀÚ îÚlvJåÜiÚ¨b¬ÐvÚåÓvÓÚÜvÚXJ¨Ú £v¨åÚJÓÚÜvÚlvJåÜÚ£v¨åiÚXåÜÚî¬åÚ£JîÚ ÓvÜÚJ¨îÚ£v¨åÚJÓÚÜvÚlvJåÜÚ£v¨åÀÚ7vÚ ÓJ£vÚÓÚÜÐåvÚ¬ÐÚJÚXåÜܬ¨ÀÚ7vÚlvJåÜÚ £v¨åÚJ¨lÚXåÜܬ¨ÚJëvÚJÓÜvÐÓÓÚ¨víÜÚÜ¬Ú ÜvÐÚ¨J£vÓÀ 7¬ÚÓvÜÚÜvÚlvJåÜÚ£v¨åÙXåÜܬ¨h 4vvbÜÚÜvÚlvÓÐvlÚ£v¨åÙXåÜܬ¨ÚJ¨lÚ ÐÜbbÀ 4vvbÜÚ4vÜÚJÓÚ vJåÜÚ"v¨åÚ¬ÐÚ vJåÜÚ XåÜܬ¨À JbÚÜ£vÚJÚ¨vìÚ£v¨åÚÓÚbÐvJÜvlÚЬ£Ú ÜvÚ"v¨åÚ»ål¬ì¨ÚlJ¬iÚÜÓÚìÚXv b¬£vÚÜvÚ¨vìÚlvJåÜÚ£v¨åÀ
;Ó¨Ú.¬Ü¬Ó¬»ÚܬÚ
ÐvJÜvÚJÚ"v¨å .OT ONLY CAN YOU MODIFY %NCORES MENUS IN 0HOTOSHOP BUT YOU CAN CREATE THEM WITHIN 0HOTOSHOP WITH OUT EVER USING %NCORES -ENU %DITOR "ECAUSE 0HOTOSHOP AND %NCORE SHARE
-ENUS
THE SAME LAYER CONVENTIONS IMPORTING A 0HOTOSHOP MENU IS A BREEZE +EEP IN MIND THAT %NCORES MENUS ARE 0HOTOSHOP 03$ lLES 4HERE ARE SEVER AL WAYS TO IMPORT A 03$ lLE AS A MENU (OWEVER A 03$ lLE SHOULD NEVER BE IMPORTED AS AN ASSET 7HEN A 03$ lLE IS IMPORTED AS AN ASSET IT mATTENS THE LAYERS MAKING THE MENU UNUSABLE FOR ANYTHING OTHER THAN A BACKGROUND 4O IMPORT A 03$ lLE TO USE IN ONLY ONE PROJECT )N THE 0ROJECT TAB RIGHT CLICK IN A BLANK AREA OF THE PANE 3ELECT )MPORT AS -ENU )N THE )MPORT AS -ENU DIALOG LOCATE AND SELECT THE DESIRED PSD MENUS #LICK /PEN /F COURSE IF A 03$ lLE IS SLATED FOR MULTIPLE USE THE BEST WAY TO IMPORT THE MENU IS THROUGH THE ,IBRARY PAL ETTE 4O IMPORT A MENU FOR FUTURE USE IN PROJECTS 'O TO THE ,IBRARY PALETTE RIGHT CLICK IN THE LIST
%NCORE TIP #REATE ,IBRARY 3ETS OF YOUR FREQUENTLY USED MENUS AND BUTTONS 9OU CAN ACCESS THEM INSTANTLY BY CHANGING THE LIBRARY SET DISPLAYED IN THE PALETTE
#HAPTER
3ELECT !DD )TEM )N THE !DD )TEM DIALOG LOCATE AND SELECT THE MENUS /NCE A MENU IS ADDED TO THE ,IBRARY 0ALETTE CONSIDER IT A MASTER TEMPLATE 7HEN OPENED IN SUBSEQUENT PROJECTS %NCORE CREATES A DUPLICATE COPY LEAVING THE ORIGINAL MENU COMPLETELY INTACT
#LICK /PEN .OW THE MENU IS A PART OF THE ,IBRARY PALETTE AND IS AVAILABLE FOR USE IN ANY PROJECT +EEP IN MIND THAT A MENU USES MULTIPLE LAYER SETS )F THE 03$ lLE HAS JUST ONE LAYER SET AND A BACK GROUND %NCORE WILL TREAT THE 03$ lLE AS A BUTTON !LSO THE LAYER SETS MUST HAVE THE APPROPRIATE PRElXES 3EE THE SIDEBAR h5NDERSTANDING "ASIC ,AYERS AND ,AYER 0RElXES 5SING THE ,IBRARY 0ALETTEv EARLIER IN THIS CHAPTER
ÐvJÜvÚJÚ#vìÚ"v¨åÚ¨ÓlvÚ ¨b¬Ðv #REATING A MENU FROM SCRATCH INSIDE %NCORE IS EASY BUT REQUIRES A GREATER UNDERSTANDING OF THE MENU ARCHITEC TURE 7HILE %NCORE CAN CERTAINLY BE USED TO CREATE MENUS ITS SAFE TO SAY THAT !DOBE INTENDED %NCORE TO BE USED IN COOPERATION WITH 0HOTOSHOP
-ENUS
%»v¨ÚJÚ J¨Ú"v¨å !LL MENUS START WITH A BACKGROUND %NCORES DEFAULT MENU IS A BLANK BACK GROUND "UTTONS TEXT AND OTHER GRAPH ICS ARE ADDED LATER 4O CREATE A BLANK MENU /PEN THE ,IBRARY PALETTE AND CHOOSE THE BLANK MENU .OTE %NCORE O«ERS A X AND A X BLANK MENU 2IGHT CLICK ON THE MENU AND SELECT #REATE .EW -ENU 4HE -ENU %DITOR OPENS AND DISPLAYS THE BLANK MENU BACKGROUND
%NCORE NOW SUPPORTS 0HOTOSHOP #3 LAYER COMPS 4HIS ALLOWS LAYER SETS TO BE PLACED INSIDE OTHER LAYER SETS
#HAPTER
;ÓvÚ#¬¨.¬Ü¬Ó¬»ÚvÓÚ JÓÚ"v¨åÓ .¬Ü¬Ó¬»ÚJÓÚXvv¨ÚåÓvlÚXîÚ A ÚJå ܬÐÓÚ¬ÐÚJÚëvÐîÚ¬¨ÚÜ£viÚJ¨lÚÜÚÓÚÜvÚ ÐJ»bÓÚvlܬÐÚ¬Úb¬bvÀÚ¬ìvëvÐiÚÚ ÜvÚÐJ»bÓÙ»¬Ü¬ÚvlܬÐÚî¬åÚåÓvÚÓÚ¨¬ÜÚ .¬Ü¬Ó¬»iÚîvÜÚl¬vÓÚÓå»»¬ÐÜÚ.¬Ü¬Ó¬»Ú JîvÐÚb¬¨ëv¨Ü¬¨ÓÚJ¨lÚ»ÐvívÓiÚÜÚÓÚÓÜÚ »¬ÓÓXvÚܬÚbÐvJÜvÚJ¨lÚ£»¬ÐÜÚJÚ£v¨åÚ Ü¬Ú¨b¬ÐvÀÚ7¬ÚJbb¬£»ÓÚÜÓÚÜJÓiÚî¬åÚ £åÓÜÚÐÓÜÚb¬¨ëvÐÜÚÜvÚvÚܬÚ.4 ڬУJÜÚ Xv¬ÐvÚ£»¬ÐܨÚÜvÚvÀ Úî¬åÐÚÐJ»bÓÚvlܬÐÚl¬vÓ¨ÍÜÚÓå»»¬ÐÜÚ .4 ÚJîvÐÓÚ¬ÐÚbJ¨¨¬ÜÚví»¬ÐÜÚܬÚÜvÚ.4 Ú ¬Ð£JÜiÚÜvÚÐvb¬££v¨lvlÚì¬Ð¬ìÚÓÚ Ü¬ÚåÓvÚÜvÚ¨¬¨.¬Ü¬Ó¬»ÚJ»»bJܬ¨Ú ܬÚbÐvJÜvÚÜvÚëJЬåÓÚb¬£»¬¨v¨ÜÓÚ¬ÚJÚ £v¨åÚÓv»JÐJÜvîÀÚ4JëvÚÜv£Ú¨ÚJÚXÜ£J»Ú ½ ".¾iÚ .iÚ¬ÐÚڬУJÜiÚJ¨lÚÜv¨Ú£ »¬ÐÜÚÜv£Ú¨Ü¬Ú¨b¬ÐvÚJÓÚ¨lëlåJÚvÓÀÚ ¨îÚÓå»»¬ÐÜvlÚÐJ»bÚ£JîÚXvÚ£»¬ÐÜvlÚ ¨Ü¬ÚÜvÚ XÐJÐîÚ»JvÜÜvÖÚ¨b¬ÐvÚìÚÜÐvJÜÚ Üv£ÚJÓÚJÜÚÐJ»bÓÀÚ£»¬ÐÜÚÜvÚXJb Ьå¨lÚJ¨lÚXåÜܬ¨ÓÚ¨lëlåJîڨܬÚÜvÚ XÐJÐîÚ»JvÜÜviÚJ¨lÚÜv¨ÚåÓvÚ¨b¬ÐvÍÓÚ "v¨åÚlܬÐÚܬÚJ»»îÚÜvÚJÜÜÐXåÜvÓÚÜ¬Ú ÜvÚXåÜܬ¨ÓÀÚ½4vvÚÊ ¬¨ëvÐÜÚJÚÐJ»bÚܬÚJÚ åÜܬ¨ËÚ¨Ú J»ÜvÐÚÀ¾
-ENUS
££vÚ4¬£vÚ JbЬå¨l ! GRAPHIC THAT IS IMPORTED FROM THE 0ROJECT TAB INTO %NCORES ,IBRARY PALETTE CAN BE USED AS A BACKGROUND FOR A MENU )F THE IMAGE IS NOT THE CORRECT SIZE FOR THE PROJECT IT WILL BE RESCALED TO lT WITHIN THE DIMENSIONS OF THE NOR MAL BLANK BACKGROUND 4O IMPORT A GRAPHIC AS A MENU BACK GROUND /PEN THE ,IBRARY PALETTE AND THE 0ROJ ECT TAB 3ELECT THE GRAPHIC lLE IN THE 0ROJECT TAB #LICK AND HOLD ON THE lLE AND THEN DRAG IT INTO THE ,IBRARY PALETTE .OTICE THAT THE lLE BECOMES A 03$ lLE AFTER IT IS IMPORTED INTO THE ,IBRARY PALETTE #LICK THE 0LACE ICON IN THE ,IBRARY PALETTE 7HEN THE -ENU %DITOR IS OPENED THE GRAPHIC IS DISPLAYED AS A PART OF THE BACKGROUND (OWEVER IT IS NOT LOCKED TO THE BACKGROUND YET 4HIS IS ESPECIAL LY APPARENT IF THE IMAGE WAS RESCALED IN ANY WAY
#HAPTER
#LICK ON THE GRAPHIC IN THE -ENU %DITOR TO DISPLAY THE BLUE BOUNDING BOX 2ESIZE THE IMAGE WITH THE CORNER BOUNDING BOXES OR CLICK AND HOLD ON THE IMAGE TO REPOSITION 7HEN THE IMAGE IS THE DESIRED SIZE AND IS IN THE RIGHT POSITION IT IS BEST TO LOCK THE IMAGE TO THE BACKGROUND LAYER 4HIS WAY IT CANNOT BE ACCIDEN TALLY REPOSITIONED OR RESIZED 'O TO THE ,AYERS PALETTE #LICK ON THE BOX IN THE SECOND COLUMN OF THE LAYER 4HE ,OCK ICON WILL APPEAR IN THE BOX 4HIS INDICATES THAT THE LAYER CANNOT BE ADJUSTED UNLESS IT IS UNLOCKED .OW THE BACKGROUND GRAPHIC WILL STAY IN PLACE )F DESIRED THE BLACK BACKGROUND LAYER CAN BE DELETED BUT IT IS NOT NEC ESSARY %NCORE USERS WILL ENJOY THE MORE INTUITIVE APPROACH TO ADDING A BACK GROUND TO A MENU
-ENUS
4O SET A BACKGROUND IN %NCORE 7ITH THE -ENU %DITOR OPEN GO TO THE ,IBRARY PALETTE AND SELECT THE DESIRED BACKGROUND #LICK THE 3ET AS "ACKGROUND ICON
BJÜÍÓÚ"îÚ#J£vÆ )TS BEST TO PROPERLY LABEL YOUR MENUS AS SOON AS YOU CREATE THEM TO MINI MIZE CONFUSION 9OU CAN RENAME MENUS IN THE -ENU TAB THE 0ROJECT TAB OR THE 0ROPERTIES PALETTE 2ENAMING IN THE -ENU OR 0ROJECT TAB IS ACCOM PLISHED BY RIGHT CLICKING ON THE lLE NAME AND CHOOSING 2ENAME "UT IT IS BETTER TO GET INTO THE HABIT OF USING THE 0ROPERTIES PALETTE INSTEAD 4O RENAME A MENU #LICK ON THE BACKGROUND OF A MENU IN THE -ENU %DITOR OR HAVE THE MENU SELECTED IN THE -ENU TAB OR 0ROJECT TAB 'O TO THE 0ROPERTIES PALETTE )N THE .AME lELD CHANGE THE NAME OF THE MENU
%NCORE TIP )T IS NOT NECESSARY TO RESIZE OR LOCK YOUR MENUS WHEN OPENING A NEW MENU WITH THE ,IBRARY PALETTE
#HAPTER
BJÜÚ ¬ÚÚ4JîÆ 7HEN TEXT IS ADDED TO A MENU A TEXT LAYER IS CREATED IN THE ,AYERS PALETTE %XERCISE CARE WHEN USING THE 4EXT TOOLS BECAUSE CLICKING MULTIPLE TIMES ON THE MENU WITH THE 4EXT TOOLS COULD INADVERTENTLY CREATE BLANK TEXT LAYERS 9OU CAN ADD TEXT HORIZONTALLY OR VERTI CALLY 4O ADD HORIZONTAL TEXT TO A MENU 7ITH THE -ENU %DITOR OPEN SELECT THE (ORIZONTAL 4EXT TOOL #LICK THE TOOL ON THE MENU TO SET THE INSERTED TEXT POSITION ! BLINKING VERTICAL LINE WILL APPEAR TEXT WILL BE ENTERED FROM LEFT TO RIGHT 4YPE IN THE TEXT AND HIT RETURN TO ADD A LINE BREAK 6ERTICAL 4EXT PLACES LETTERS FROM TOP TO BOTTOM IN A COLUMN 4O )NSERT 6ERTICAL 4EXT 3ELECT THE 6ERTICAL 4EXT TOOL #LICK ON THE MENU WHERE YOU WANT THE TOP MOST lRST LETTER TO GO
-ENUS
4YPE IN THE TEXT AND PRESS 2ETURN TO PUT IN A COLUMN BREAK 4HE #HARACTER PALETTE O«ERS A WIDE ARRAY OF FONTS AND TOOLS TO ADJUST THE LOOK OF THE TEXT 4O CHANGE THE FONT OR ATTRIBUTES OF TEXT /PEN THE #HARACTER PALETTE !DJUST THE &ONT &ONT 3IZE ,ETTER 3PAC ING 4EXT 3TYLE OR #OLOR !FTER YOUVE MADE THE ADJUSTMENTS BEGIN TYPING IN THE MENU USING THE 4EXT TOOLS #HANGING THE LOOK OF EXISTING TEXT IS FAIRLY SIMPLE AND THERE ARE A FEW WAYS TO DO IT BUT THE BEST WAY IS TO USE THE ,AYERS PALETTE AND #HARACTER PALETTE TOGETHER 4O CHANGE THE &ONT!TTRIBUTES OF %XIST ING 4EXT )N THE ,AYERS PALETTE SELECT THE TEXT LAYER OR HOLD #TRL WHILE CLICKING TO SELECT MULTIPLE LAYERS
#HAPTER
'O TO THE #HARACTER PALETTE AND MAKE THE DESIRED ADJUSTMENTS .OW THE ALL THE TEXT IN THE LAYERS WILL BE ADJUSTED SIMULTANEOUSLY
¬ìÚ ¬vÓÚÜÚ ¬¬Æ 4EXT SHOULD BE PLACED IN AN AREA THAT CAN BE READILY SEEN ON ALL TELEVISIONS AND MONITORS )F TEXT IS PLACED TOO CLOSE TO THE EDGES SOME TELEVISIONS MIGHT CUT O« THAT TEXT %NCORES -ENU %DITOR INCLUDES GUIDES KNOWN AS THE !CTION AND 4ITLE 3AFE AREAS 4O TURN ON THE !CTION AND 4ITLE 3AFE !REAS )N THE -ENU %DITOR CLICK ON THE !CTION4ITLE 3AFE ICON 4HIS WILL DISPLAY TWO WHITE BOXES ON THE MENU !LWAYS PLACE TEXT WITHIN THE INNER BOX 4EXT IS NOT LOCKED IN PLACE UNTIL THE PROJECT IS BUILT AND IT SHOULD BE ADJUSTED TO RESPECT THESE 3AFE !REAS IF YOU WANT TO ASSURE THAT TEXT WILL NOT BE CLIPPEDBY VARIOUS TELEVISION BEZELS 4O REPOSITION TEXT 5SING THE $IRECT 3ELECT TOOL CLICK AND
-ENUS
HOLD ON THE CENTER OF THE TEXT IN THE -ENU %DITOR $RAG THE TEXT TO THE PROPER POSITION WITHIN THE 4ITLE 3AFE !REA 2ELEASE THE LEFT MOUSE BUTTON WHEN DONE 7HILE THE BLUE BOUNDING BOX IS IN VIEW YOU CAN RESIZE THE TEXT USING THE CORNERS OR SIDES OF THE BOX )T IS ALWAYS BETTER TO USE THE #HARACTER PALETTE TO ADJUST TEXT !VOID DISTORTION OF THE TEXT BY HOLDING THE 3HIFT KEY WHILE RESIZING THE TEXT 4HE 3HIFT KEY CONSTRAINS THE PROPORTIONS MAKING THE HEIGHT AND THE WIDTH SCALE TOGETHER 4O RESIZE THE TEXT 5SING THE $IRECT 3ELECT TOOL CLICK ON THE TEXT (OLD DOWN THE 3HIFT KEY #LICK AND HOLD ON THE CORNER OF THE BLUE BOUNDING BOX WITH THE MOUSE $RAG THE CORNER OF THE BOX TO RESIZE THE TEXT 7HEN THE TEXT IS THE DESIRED SIZE RE LEASE THE MOUSE BUTTON
#HAPTER
%¨îÚÜvÚ4Jl¬ìÚ ¨¬ìÓ| ! THREE DIMENSIONAL LOOK CAN BE GIVEN 7HILE NOT RECOMMENDED IT IS ACCEPTABLE TO RESIZE THE TEXT WITHOUT THE 3HIFT +EY 4HE TEXT CAN BE MADE LONGER OR WIDER BY JUST DRAGGING THE CORNER !LSO BY USING THE #TRL +EY WHILE SELECTING THE TEXT BOXES MULTIPLE TEXT LAYERS CAN BE SELECTED AND RESIZED OR REPOSITIONED SIMULTANEOUSLY 4HIS CAN INSURE THE SAME hLOOKv TO THE TEXT IS PRESERVED IN ALL TEXT LAYERS
TO TEXT BY ADDING A DROP SHADOW ! DROP SHADOW IS AN ILLUSION THAT GIVES THE APPEARANCE OF LIGHT SHINING DOWN ON THE TEXT AND CASTING A SHADOW ON THE BACKGROUND AS THOUGH THE TEXT WERE ELEVATED 4O ADD A DROP SHADOW TO TEXT 3ELECT THE TEXT LAYERS 'O TO /BJECT $ROP 3HADOW 4HIS OPENS UP THE $ROP 3HADOW DIA LOG WHICH O«ERS SEVERAL OPTIONS FOR THE SHADOWS APPEARANCE #OLOR "LACK IS THE $EFAULT BUT ANY COLOR CAN BE SELECTED )T IS BEST TO USE SHADES OF GREY /N A DARK BACKGROUND USE A LIGHTER SHADE ON A BRIGHT BACK GROUND GO DARKER /PACITY $ETERMINES THE TRANSPARENCY OF THE SHADOW !T PERCENT THE UNDERLYING BACKGROUND IS BLOCKED OUT WHILE PERCENT WONT APPEAR AT ALL )T IS BEST TO lND A MEDIUM BETWEEN THE EXTREMES BECAUSE A SHADOW DOESNT ALWAYS BLOCK OUT WHAT IT IS CAST UPON !NGLE 3ETS THE ANGLE OF THE IMAGINARY
-ENUS
LIGHT SOURCE #AN BE BETWEEN AND DEGREES $ISTANCE 3ETS THE LENGTH OF THE TEXT FROM THE BACKGROUND ! HIGHER NUM BER INCREASES THE PERCEIVED DISTANCE BETWEEN THE TEXT AND THE BACKGROUND 3IZE $ETERMINES THE SIZE OF THE SHAD OW 4HE DEFAULT SIZE IS BEST "UT THE SIZE SHOULD INCREASE WITH THE DISTANCE FROM THE LIGHT SOURCE 3PREAD 3ET TO :ERO 4HIS DETERMINES THE DI«USION OR SPREAD OF THE SHADOW -AKE ALL DESIRED CHANGES TO THE SET TINGS #LICK /+ .OW THE TEXT APPEARS TO HOVER OVER THE BACKGROUND
#HAPTER
¨b¬ÐvÚ³ÀÚåÜ¬Ð¨Ú ìÜÚ4Üîv !NOTHER SIGNIlCANT IMPROVEMENT IN THE RELEASE IS THE ABILITY TO USE PRESET STYLES 3TYLES LET YOU QUICKLY CHANGE THE APPEARANCE OF AN ELEMENT IN A MENU 3TYLES ARE 0HOTOSHOP LAYER E«ECTS SUCH AS SHADOWS GLOWS BEV ELS OVERLAYS AND STROKES 7HEN YOU MOVE OR EDIT THE ELEMENT THE E«ECTS ARE MODIlED CORRESPONDINGLY 3TYLES ARE LOCATED IN THE 3TYLES PAL ETTE 3TYLES COME IN THREE CATEGORIES TEXT SHAPE AND IMAGE 9OU MAY SORT STYLES BY CATEGORY BY CLICKING ON THE 3TYLE 4YPES ICON 3TYLES BEHAVE DI«ER ENTLY DEPENDING ON WHETHER THEY ARE APPLIED TO AN INDIVIDUAL LAYER OR TO A LAYER SET SUCH AS A BUTTON 9OU CAN AP PLY TEXT SHAPE OR IMAGE STYLE TO ANY INDIVIDUAL LAYER ! TEXT STYLE COULD BE APPLIED TO A SHAPE FOR EXAMPLE 4O APPLY A STYLE TO AN INDIVIDUAL LAYER OR LAYER SET 3ELECT THE LAYER IN THE ,AYERS PALETTE OR CLICK ON THE ELEMENT IN THE -ENU %DITOR 'O TO THE 3TYLES PALETTE AND DOUBLE
-ENUS
CLICK ON THE STYLE YOU WISH TO APPLY /R SIMPLY CLICK AND DRAG THE STYLE FROM THE PALETTE AND DROP IT ONTO THAT ELE MENT IN THE -ENU %DITOR 9OU CAN UNDO STYLES BY APPLYING THE 0LAIN 3HAPE 0LAIN 4EXT .O )MAGE %DGE %«ECTS AND .O )MAGE &ILL %«ECTS STYLES JUST AS YOU DID IN THE PREVIOUS EXAMPLES 4HIS FUNCTION REMOVES ANY STYLES APPLIED TO THE ELEMENT
0HOTOSHOP 4IP #USTOM 3TYLES MAY ALSO BE IMPORTED FROM 0HOTOSHOP ! STYLE IS A 0HOTOSHOP lLE CONTAINING ONE OR MORE LAYER EFFECTS 4HE 0HOTOSHOP lLE MUST CONTAIN A SINGLE LAYER BUT NO BACKGROUND LAYER #REATE A 0HOTOSHOP lLE WITH A TEXT LAYER FOR A TEXT STYLE AND A SHAPE LAYER FOR A SHAPE STYLE &OR IMAGE STYLES CREATE A LAYER THAT IS NOT A TEXT OR A SHAPE LAYER !PPLY LAYER EFFECTS AND CONlGURE THEM TO OBTAIN THE STYLE YOU WANT 9OU CAN THEN SAVE THE 0HOTOSHOP lLE AND IMPORT IT INTO !DOBE %NCORE $6$ AS A STYLE
This Page Intentionally Left Blank
#HAPTER
0USH -Y "UTTONS
"UTTONS ARE AN INTEGRAL PART OF THE $6$ EXPERIENCE !SIDE FROM PROVIDING NAVIGATION INFORMATION BUTTONS ALSO CREATE AN AMBIENCE THAT COMPLIMENTS THE $6$ PRESENTATION "UTTONS CONSIST OF PRIMARY ELEMENTS THE BACKGROUND BUT TON GRAPHIC AND THE 3UBPICTURE (IGHLIGHT
#HAPTER
4HE SUBPICTURE HIGHLIGHT IS THE INTER ACTIVE PART OF A BUTTON )T ALLOWS THE VIEWER TO SEE WHICH BUTTON IS SELECTED AND IF IT HAS BEEN hPRESSEDv ! SUB PICTURE HIGHLIGHT IS TYPICALLY USED TO ACCENT AN UNDERLYING GRAPHIC 7ITH THIS IN MIND IT IS POSSIBLE AND RECOMMENDED THAT THE DESIGN OF THE BACKGROUND BUTTON GRAPHICS BE IN DEPTH COLORFUL AND CREATIVE 5SING THE SUBPICTURE HIGHLIGHT TO COMPLEMENT THAT DESIGN SCHEME IS ALSO RECOM MENDED )F YOU ARE USING TEMPLATES WITH PRE EX ISTING BUTTONS FEEL FREE TO SKIP DIRECTLY TO THE ,INKING "UTTONS SECTION OF THE NEXT CHAPTER "UTTONS OFTEN CONSIST OF GRAPHICS THAT ARE PART OF A BACKGROUND VIDEO STREAM )N THIS CASE GRAPHICS ARE USED AS WINDOW DRESSING FOR THE SUBPICTURE HIGHLIGHT THE OVERLAY THAT PROVIDES SELECTION INFORMATION "ECAUSE OF THE LIMITED GRAPHICS POTENTIAL OF THE SUB PICTURE THE BACKGROUND BUTTON
0USH -Y "UTTONS
GRAPHIC OFTEN EXISTS IN THE -0%' VIDEO STREAM "ECAUSE IT EXISTS AS PART OF A BACKGROUND VIDEO STREAM IT OF FERS FAR BETTER COLOR DEPTH QUALITY AND DETAIL )N ADDITION BACKGROUND VIDEO PROVIDES ALMOST LIMITLESS ANIMATION OPTIONS IN STARK CONTRAST WITH STATIC OVERLAYS
;ÓvÚ åÜܬ¨ÓÚЬ£ÚÜvÚ XÐJÐîÚ.JvÜÜv #REATING A BUTTON FROM SCRATCH CAN BE A TRYING EXPERIENCE FOR A NOVICE $6$ !UTHOR WANTING TO CREATE A $6$ QUICK LY &ORTUNATELY %NCORE SUPPLIES PRE MADE BUTTONS IN THE ,IBRARY 0ALETTE 4O START A -ENU MUST BE OPENED IN THE -ENU %DITOR EVEN IF IT IS A SIMPLE BLACK BACKGROUND 4O !DD A BUTTON FROM THE ,IBRARY 0AL ETTE INTO THE -ENU %DITOR 7ITH THE -ENU %DITOR OPEN GO TO THE ,IBRARY 0ALETTE 3ELECT A BUTTON FROM THE ,IBRARYÀ
#HAPTER
"UTTONS ARE DESIGNATED BY SMALL PLAIN SQUARE ICONS BENEATH THE PREVIEW THUMBNAIL IN THE ,IBRARY 0ALETTE )N THIS "UTTONS KNOWN AS THUMBNAILS ARE AVAILABLE 4O LEARN MORE ABOUT USING THUMBNAILS SEE #HAPTER
EXAMPLE THE !NGLED "UTTON IS USED 7ITH THE BUTTON SELECTED #LICK AND $RAG THE BUTTON INTO THE -ENU %DITOR 4HE BUTTON NOW APPEARS IN THE -ENU %DITOR WITH A BOUNDING BOX AROUND IT )F YOU ARE USING %NCORE THEN ALL OF THE ABOVE BEHAVIORS WILL WORK BUT IT HAS MORE ADVANCED FEATURES SUCH AS THE PLACE COMMAND
.4 ÓÚ J¨Ú vÚ åÜܬ¨ÓÚ7¬¬ !LL BUTTONS USED IN %NCORE EXIST INSIDE 0HOTOSHOP PSD lLES 4HEY USE SPECIAL ,AYER PRElXES THAT DESIGNATE THE LAYER SET AS A BUTTON 7HEN A SINGLE LAYER SET WITH A PRElX IS IMPORTED INTO %NCORE IT TREATS THE lLE AS A BUTTON 7HEN CREATING A BUTTON IN 0HOTOSHOP REMEMBER THAT ALL THE LAYERS OF THE BUTTON ARE CONTAINED WITHIN A LAYER SET
0USH -Y "UTTONS
MARKED WITH THE PRElX )NDIVIDUAL LAYERS INSIDE THE LAYER SET INDICATE THINGS SUCH AS TEXT GRAPHICS SUBPIC TURES AND THUMBNAILS 3EVERAL DI«ERENT PRElXES ARE USED TO ASSIGN THE DI«ERENT LAYERS &IRST THE PRElX IN THE ,AYER 3ET 7ITHOUT THIS PRElX %NCORE TREATS THE GRAPHIC AS AN OBJECT 3ECONDLY THE LAY ERS IDENTIFY THE SUBPICTURE HIGHLIGHTS %ACH REPRESENTS A DI«ERENT COLOR THAT CAN BE USED FOR THE SUBPICTURE /NE LAYER CAN BE USED FOR ONE COLOR OR ALL CAN BE USED TO CREATE SUBPICTURE CONTAINING INDIVIDUAL COLORS 4HE lNAL PRElX IS THE PRElX WHICH REPRESENTS THE THUMBNAIL LAYER 4HIS LAYER IS A PLACEHOLDER FOR THE VIDEO INFORMATION THAT WILL BE DISPLAYED IN A THUMBNAIL 4O )MPORT A 0HOTOSHOP lLE AS A BUTTON /PEN THE ,IBRARY 0ALETTE IN %NCORE 2IGHT CLICK ON THE LIST OF ITEMS AND CHOOSE !DD .EW )TEMÀ
#HAPTER
)N THE !DD )TEM $IALOG SELECT THE PSD BUTTON lLE #LICK /+ ! BUTTON SHOULD !,7!93 BE IMPORTED INTO THE ,IBRARY 0ALETTE ./4 THE 0ROJECT 4AB )F IMPORTED INTO THE 0ROJECT 4AB AS AN !SSET %NCORE WILL DISCARD THE LAYERS AND mATTEN THE IMAGE )F IT IS IMPORTED AS A -ENU ANY BACKGROUND INFORMATION WILL BE PRESERVED
.OW THE BUTTON CAN BE DRAGGED INTO THE -ENU %DITOR USING THE STEPS SPECI lED IN THE PREVIOUS SECTION
;ÓvÚ#¬¨.¬Ü¬Ó¬»ÚvÓÚ JÓÚ åÜܬ¨Ó !S MENTIONED BEFORE %NCORE IS DE SIGNED WITH 0HOTOSHOP INTEGRATION IN MIND 4HE 0HOTOSHOP LAYER CONVEN TIONS ARE THE KEY TO %NCORES -ENU AND "UTTON FUNCTIONS (OWEVER IF YOUR 'RAPHICS %DITOR OF CHOICE SUPPORTS 03 ,AYER CONVENTIONS AND CAN SAVE THE lLE IN THE PSD FORMAT THEN SUCCESSFUL BUTTON CREATION CAN BE ACHIEVED )F YOUR )MAGE'RAPHICS %DITOR DOES NOT SUPPORT 03 LAYERS OR THE PSD FORMAT GRAPHICS CAN BE IMPORTED INTO %NCORE DIRECTLY /NCE THE lLE IS IMPORTED USE %NCORES LAYER CAPABILITY TO ASSIGN THE BUTTON ATTRIBUTES TO THE GRAPHIC 3EE THE #ONVERT A 'RAPHIC TO A "UTTON SEC TION OF THIS CHAPTER FOR DETAILS
0USH -Y "UTTONS
;ÓvÚ4J»vÓÚJ¨lÚ£JvÓÚ Ð¬£ÚÜvÚ XÐJÐîÚ.JvÜÜv %NCORE HAS A SET OF READY TO USE GRAPHICSOBJECTS IN THE ,IBRARY 0AL ETTE 3HAPES CAN BE USED TO CREATE BACKGROUND GRAPHICS BUTTON GRAPHICS AND EVEN SUBPICTURE HIGHLIGHTS 4HE SHAPES ARE EXTREMELY INTUITIVE AND EASY TO USE !T THE SAME TIME THEY PROVIDE A HUGE VARIETY OF CREATIVE OP TIONS 3EE NEXT SECTION 4O !DD A GRAPHIC FROM THE ,IBRARY 0AL ETTE INTO THE -ENU %DITOR 7ITH THE -ENU %DITOR OPEN GO TO THE ,IBRARY 0ALETTE 3ELECT A GRAPHIC FROM THE ,IBRARY 7ITH THE GRAPHIC SELECTED #LICK AND $RAG THE BUTTON INTO THE -ENU %DITOR 4HE GRAPHIC NOW APPEARS IN THE -ENU %DITOR WITH A BOUNDING BOX AROUND IT)F YOU ARE USING %NCORE THEN ALL OF THE ABOVE BEHAVIORS ARE SUPPORTED )T ALSO O«ERS ADDITIONAL FEATURES SUCH AS THE PLACE COMMAND AND NEW REPLACEMENT BEHAVIORS
#HAPTER
5SING THE PLACE COMMAND SETS THE OBJECT IN THE CENTER OF THE MENU )F YOU WANT TO REPLACE AN OBJECTGRAPHIC 5SE THE SHIFT KEY TO CONSTRAIN PROPORTIONS WHILE CREATING A SHAPE
IN THE -ENU %DITOR WITH AN OBJECT FROM THE ,IBRARY USE THE 2EPLACE COMMAND 4O REPLACE AN OBJECT )N THE MENU SELECT THE OBJECT YOU WANT TO REPLACE )N THE ,IBRARY 0ALETTE SELECT THE DE SIRED OBJECT #LICK THE 2EPLACE )CON 4HE OBJECT IN THE -ENU %DITOR WILL BE REPLACED WITH THE ONE SELECTED IN THE ,IBRARY 0ALETTE
0USH -Y "UTTONS
¬¨ëvÐÜÚJÚÐJ»bÚܬÚJÚ åÜܬ¨ %NCORE HAS THE POWER TO CONVERT A SIMPLE GRAPHIC INTO A FULLY FUNCTIONAL BUTTON 4HIS CAN BE A PHOTOGRAPH OR AN ELABORATE DESIGN ONLY IMAGINATION LIMITS WHAT CAN BE USED !NY GRAPHIC IMPORTED INTO %NCORES 0ROJECT 4AB OR ,IBRARY 0ALETTE CAN BE UTILIZED 4O USE A GRAPHIC FROM THE 0ROJECT 4AB 7ITH THE 0ROJECT 4AB AND THE -ENU %DI TOR OPEN SELECT THE DESIRED GRAPHIC #LICK AND HOLD ON THE GRAPHIC THEN DRAG IT INTO THE -ENU %DITOR )MPORTED GRAPHICS SHOULD EITHER BE mAT NON PSD lLES OR IN A ONE LAYER SET PSD lLES -ULTIPLE LAYER SETS ARE PRESERVED IN THE ,IBRARY 0ALETTE BUT %NCORE WILL TREAT THE GRAPHIC AS A COLLECTION OF /BJECTS OR A BUTTONLESS MENU
#HAPTER
)F YOU PLAN TO USE THE SAME GRAPHIC IN SEVERAL PROJECTS IMPORT IT INTO %NCORES ,IBRARY 0ALETTE !NY GRAPHIC 3PEED 4IP 3ELECT THE GRAPHIC AND USE #TRL " TO INSTANTLY CONVERT IT TO A BUTTON
IS INSTANTLY CONVERTED INTO A PSD lLE 9OU MAY ADD A GRAPHIC AS AN )TEM AS DESCRIBED IN THE h)MPORT 0HOTOSHOP &ILE AS A "UTTONv SECTION EARLIER IN THIS CHAPTER /NCE THE GRAPHIC IS IN THE ,IBRARY 0ALETTE SIMPLY DRAG IT INTO THE -ENU %DITOR /NCE A GRAPHIC IS DRAGGED INTO THE -ENU %DITOR ITS TIME TO CONVERT IT FROM AN OBJECT TO A FUNCTIONAL BUTTON 4O CONVERT A 'RAPHIC /BJECT TO A "UT TON 3ELECT THE OBJECT IN THE -ENU %DITOR )N THE TOP BAR GO TO /BJECT #ONVERT TO "UTTON
0USH -Y "UTTONS
)F YOU OPEN THE ,AYERS 0ALETTE YOU WILL SEE THAT THE 'RAPHIC IS NOW WITHIN A ,AYER 3ET WITH A 0RElX 7HENEVER A BUTTON IS CREATED IN THE MENU EDITOR ITS A GOOD IDEA TO RENAME THE BUTTON SO IT IS INSTANTLY RECOGNIZ ABLE FROM ONE OF THE OTHER WINDOWS 4O 2ENAME A "UTTON 7ITH THE BUTTON SELECTED OPEN THE 0ROPERTIES 0ALETTE )N THE .AME &IELD TYPE IN AN APPRO PRIATE NAME IE PLAY ALL OR SPECIAL FEATURES !LSO BY RENAMING BUTTONS THE LAYER SET NAME ITSELF WILL CHANGE MAKING IT EASY TO SELECT THE PROPER BUTTONS WITH THE ,AYERS 0ALETTE 3UBPICTURE HIGHLIGHT CREATION IS COV ERED LATER ON IN THIS CHAPTER )N %NCORE SUBPICTURES ARE CREATED AUTOMATI CALLY WHEN A BUTTON IS CREATED
#HAPTER
¬»îÚJ¨lÚ.JÓÜvÚ åÜܬ¨ÓÚ¨Ú ÜvÚ"v¨åÚlܬР)F THE IMPORTED BUTTON IS OBVIOUSLY TOO BIG OR SMALL FOR THE MENU HAVING TO RESIZE AND RESCALE BUTTONS COULD BE A CHALLENGE "UT IT DOESNT HAVE TO BE "EFORE REPLICATING A BUTTON RESIZE IT SEE NEXT SECTION %VERY BUTTON THEREAFTER WILL MATCH THE RESIZED BUTTONS DIMENSIONS
%NCORE ALLOWS SEVERAL METHODS FOR DUPLICATING BUTTONS IN THE -ENU %DITOR /F COURSE ONE COULD PULL A BUTTON OUT OF THE ,IBRARY 0ALETTE SEVERAL TIMES BUT MOUSE AND KEYBOARD SHORTCUTS ARE MUCH FASTER %NCORE $6$ LIKE MOST MODERN APPLICA TIONS SUPPORTS THE STANDARD 7INDOWS COPY AND PASTE SHORTCUTS 4O #OPY AND 0ASTE A BUTTON USING 7IN DOWS SHORTCUTS 7ITH THE 3ELECTION 4OOL CLICK ON THE BUTTON 5SE #TRL # TO COPY THE BUTTON INTO THE 7INDOWS #LIPBOARD -OVE THE CURSOR TO THE DESIRED LOCATION OF THE NEXT BUTTON 5SE #TRL 6 TO 0ASTE THE COPIED BUTTON INTO THE -ENU %DITOR 7HILE THIS IS A CONVENIENT APPROACH FOR USERS FAMILIAR WITH STANDARD SHORTCUTS
0USH -Y "UTTONS
THERE IS ONE DUPLICATE COMMAND THAT MAKES IT EVEN EASIER 5SING THE !LT KEY 4O $UPLICATE A "UTTON USING %NCORES MOUSE KEYBOARD SHORTCUTS 7ITH THE 3ELECTION 4OOL CLICK ON THE BUTTON YOU WISH TO DUPLICATE (OLD THE !LT +EY LEFT CLICK AND DRAG THE NEW BUTTON OUT TO AN APPROPRIATE SPOT !FTER ALL YOUR BUTTONS ARE PRESENT ITS A GOOD IDEA TO RENAME THE BUTTONS
3vÓòvÚ åÜܬ¨ÓÚ¨ÚÜvÚ"v¨åÚ lܬР.OT ALL BUTTONS lT ALL MENUS -ORE OFTEN THAN NOT A BUTTON WILL NEED TO BE RESIZED OR RESCALED IN ORDER TO lT THE SCHEME OF A MENU %NCORE $6$ ALLOWS SEVERAL BUTTONS TO BE RESIZED AT ONCE !NOTHER IMPORTANT CONSIDERATION IS SCALING -OST BUTTONS LOOK BEST WHEN THEY ARE RESIZED WITH RESPECT TO THEIR PROPORTIONS ALSO KNOWN AS CONSTRAIN ING
-ULTIPLE BUTTONS CAN BE SELECTED BY CLICKING AND DRAGGING A BOX AROUND THE BUTTONS /R SPECIlC BUTTONS CAN BE SELECTED OR DESELECTED BY USING THE #TRL KEY WHILE CLICKING
#HAPTER
4O RESIZE A BUTTON WHILE CONSTRAINING PROPORTIONS )N THE -ENU %DITOR USING EITHER 3ELEC TION 4OOL SELECT THE BUTTONS TO BE RESIZED ! BLUE BOUNDING BOX APPEARS AROUND THE BUTTONS /N EACH CORNER OF THE BOX IS A SOLID BLUE SQUARE 7HILE HOLDING THE 3HIFT KEY CLICK AND HOLD ON THE BOUNDING BOXS CORNER $RAG THE BOX UNTIL IT IS THE CORRECT SIZE THEN RELEASE THE MOUSE BUTTON .OTICE THAT THE BUTTONS MAINTAIN THEIR PROPORTIONS AND THE HEIGHT AND WIDTH GROW AND SHRINK AT THE SAME RATE 5S ING THE 3HIFT KEY ASSURES THAT THERE ISNT UNUSUAL SCALING OF THE BUTTONS 4HIS IS IDEAL FOR BUTTONS WITH TEXT BECAUSE IT WONT SKEW THE LOOK OF THE CHARACTERS 4HERE WILL BE TIMES WHEN RESCALING THE BUTTONS IS NECESSARY TO MAKE THE BUT TON LONGER OR SHORTER /N THE FOUR SIDES OF THE BOUNDING BOX ARE BLUE SQUARES "Y CLICKING ON THOSE SQUARES THE BOX
0USH -Y "UTTONS
WILL GROW OR SHRINK ON THE ADJACENT SIDES IE CLICKING AND DRAGGING THE TOP WILL ADJUST THE LENGTH OF THE LEFT AND RIGHT SIDES 5SING THE 3HIFT +EY WHILE ADJUSTING THE TOP BOTTOM OR SIDES OF THE BOUNDING BOX HAS NO E«ECT 4O RESCALE A BUTTON USING THE CORNERS FOLLOW THE ABOVE STEPS WITHOUT PRESS ING 3HIFT
ÐÐJ¨vÚ åÜܬ¨ÓÚ¨ÚÜvÚ "v¨åÚlܬР.OW IS A GOOD TIME TO POINT OUT THE MAJOR DI«ERENCE BETWEEN THE 3ELECTION 4OOL AND THE $IRECT 3ELECTION 4OOL 4HE 3ELECTION TOOL SELECTS AN ENTIRE GROUP OR LAYER SET 4HE $IRECT 3ELECTION 4OOL SELECTS WHATEVER LAYER THE CURSOR IS ON TOP OF WHEN CLICKED -ANY COMPLICATED BUTTONS HAVE MULTIPLE LAYERS )F THE $IRECT 3ELECT 4OOL IS USED TO MOVE AN ITEM SOMETIMES ONLY ONE LAYER IN THAT SET IS MOVED WHICH MAY INTERFERE WITH THE LOOK OF THE BUTTON
5SE THE 3ELECTION 4OOL INSTEAD OF THE $IRECT 3ELECTION 4OOL TO MOVE ENTIRE BUTTONS
#HAPTER
4RYING TO ARRANGE BUTTONS BY SIGHT CAN BE A TEDIOUS TASK #ONSIDER THAT BUT TONS LIKE ANY TEXT ON A SCREEN SHOULD BE ARRANGED ACCORDING TO THE 4ITLE AND !CTION 3AFE AREAS )F A BUTTON EXTENDS INTO A NON 4ITLE 3AFE AREA IT MIGHT NOT BE SEEN BY THE VIEWER ON SOME TELEVI SIONS &ORTUNATELY %NCORE INCLUDES ALIGNMENT ARRANGEMENT AND DISTRIBU TION TOOLS !RRANGEMENT MOVES A BUTTON OR OB JECTS BACK OR FORWARD THROUGHOUT THE LAYERS OF A BUTTON 4HIS IS HELPFUL WHEN A BUTTON OR A PART OF TEXT WAS INADVER TENTLY PUT BEHIND THE BACKGROUND OR SHOULD BE SET FARTHER BACK -OST $6$ !UTHORS WILL BE USING THE !LIGN AND $ISTRIBUTE &UNCTIONS TO GIVE THE BUTTONS AN EVEN SPACING AND A NICE mUSH LOOK 4O $ISTRIBUTE "UTTONS %VENLY )N THE -ENU %DITOR SELECT THE BUTTONS TO DISTRIBUTE )N THE /BJECT -ENU GO TO $ISTRIBUTE 2ELATIVE TO 3AFE !REAS "Y SELECTING THIS WHEN %NCORE DISTRIB UTES THE BUTTONS IT WILL NOT ALLOW THE BUTTONS TO EXTEND PAST THE SAFE AREAS
0USH -Y "UTTONS
'O TO /BJECTS $ISTRIBUTE 6ERTICALLY 4HIS WILL LINE THE BUTTONS UP AND DOWN )F THERE ARE SEVERAL LARGE BUTTONS THEY WILL CROWD TOGETHER /R 'O TO /BJECTS $ISTRIBUTE (ORIZON TALLY !S THE NAME IMPLIES THE BUTTONS ARE SPACED EVENLY ACROSS THE WIDTH OF THE MENU AND TAKE ADVANTAGE OF MORE SCREEN AREA THAN VERTICALLY PLACED BUT TONS .OTICE ALSO THAT THE 2ELATIVE TO 3AFE !REAS IS STILL CHECKED 4HE !LIGN COMMAND REPOSITIONS THE BUTTONS ACCORDING TO THE SIDES OR CEN TERS OF THE BOUNDING BOXES DEPENDING ON THE ALIGNMENT CHOSEN 4O !LIGN "UTTONS 3ELECT THE BUTTONS YOU WISH TO ALIGN 'O TO /BJECTS !LIGN 2ELATIVE TO 3AFE !REAS !GAIN THIS COMMAND IS ESSENTIAL TO ASSURING THE BUTTONS WILL BE VISIBLE ON MOST TELEVISIONS 4HIS COMMAND ALSO SETS THE 4ITLE 3AFE !REA AS THE BOX TO WHICH EVERY BUTTON SELECTED ALIGNS 'O TO /BJECTS !LIGN
$ONT LET "UTTONS OVERLAP UNDER ANY CIRCUMSTANCES )T INTERFERES WITH MOUSE SELECTION OF BUTTONS WHEN VIEWING THE $6$ WITH A COMPUTER
#HAPTER
4HE ALIGNMENT OPTIONS ARE DIVIDED INTO A TOP AND BOTTOM PANEL 4HE TOP PANEL IS BEST FOR USE WITH BUTTONS THAT ARE %XPERIMENT WITH THESE !LIGNMENT OPTIONS )F YOU MAKE A MISTAKE USE #TRL : 5NDO TO BRING THE BOXES BACK TO THEIR ORIGINAL POSITIONS
VERTICALLY DISTRIBUTED ,EFT AND 2IGHT WILL BRING THE BOXES mUSH WITH THE 3AFE !REA BORDER ON THEIR RESPECTIVE SIDES #ENTER WILL BRING THE BOXES INTO THE HORIZONTAL CENTER OF THE SCREEN 4HE BOTTOM PANEL IS GREAT FOR BOXES THAT ARE HORIZONTALLY DISTRIBUTED DI VIDED INTO 4OP -IDDLE AND "OTTOM !S THE NAMES SUGGEST THESE COMMANDS WILL BRING THE BOXES INTO THOSE RESPEC TIVE POSITIONS
;Ó¨ÚÐl¨vÓÚ ¨Ú¨b¬ÐvÚ³À /NE OF THE NICER ADDITIONS TO IS THE ABILITY TO USE GRIDLINES TO ORIENT YOUR BUTTONS OR OBJECTS ON THE MENU 9OU CAN ADD BUTTONS AND MOVE BUT TONS SO THEIR TOP BOTTOM OR SPECIlC SIDE IS ALIGNED WITH A GRIDLINE THAT YOU SPECIFY 4O SHOW OR HIDE GUIDES -AKE SURE THE -ENU %DITOR WINDOW IS ACTIVE AND CHOOSE 6IEW 3HOW 'UIDES 4O PLACE A GUIDE
0USH -Y "UTTONS
7ITH THE -ENU %DITOR WINDOW ACTIVE CHOOSE 6IEW .EW 'UIDE )N THE DIALOG BOX SELECT (ORIZONTAL OR 6ERTICAL ORIENTATION ENTER A POSITION AND CLICK /+ )F YOU ARE UNSURE OF WHICH PIXEL FROM THE LEFT OR TOP YOU WANT THE GUIDE TO REST ON YOU CAN ALWAYS MOVE IT LATER IN THE -ENU %DITOR 4O MOVE A GUIDE 3ELECT THE SELECTION TOOL 0OSITION THE POINTER OVER THE GUIDE $RAG THE GUIDE TO MOVE IT ,OCK THE GUIDES TO PREVENT ACCIDENTAL MOVEMENT OF THE GUIDES ONCE THEY HAVE BEEN SET
%NCORE 4IP 9OU CAN NOW mIP BUTTONS OR GRAPHICS USING THE mIP (ORIZONTAL OR &LIP 6ERTICAL COMMANDS IN THE /BJECT -ENU
#HAPTER
4O LOCK ALL GUIDES 7ITH THE -ENU %DITOR WINDOW ACTIVE CHOOSE 6IEW ,OCK 'UIDES /NCE THE GUIDES ARE SET CLICK ON THE BUTTON AND MOVE IT TO THE LINE %NCORE WILL SNAP THE BUTTONS EDGE TO THE LINE 9OU MAY ALSO ALIGN A BUTTONS MID POINT TO THE GRIDLINE CENTERING THE BUTTON OR OBJECT ON THE GRIDLINE
0USH -Y "UTTONS
vÜܨÚ4ÜîòvlhÚ»»î¨Ú 4ÜîvÓÚÜ¬Ú åÜܬ¨ÓÚ¨Ú¨b¬ÐvÚ ³À %NCORE IS NOW EQUIPPED WITH A 3TYLES 0ALETTE THAT CAN APPLY 0HOTO SHOP STYLES TO ELEMENTS IN AN %NCORE MENU !NYONE WHO HAS USED STYLES IN 0HOTOSHOP WILL APPRECIATE THE ABILITY TO USE AND CREATE STYLES IN %NCORE 3TYLES CREATE MANY DI«ERENT LOOKS INCLUDING BEVELS TEXTURES AND STROKES 4HESE STYLES CAN BE APPLIED TO INSTANTLY STYL IZE OBJECTS SHAPES OR TEXT %NCORE USES THREE CATEGORIES FOR STYLES )MAGE 4EXT AND 3HAPES %XPERIMENT WITH STYLES TO CREATE UNIQUE LOOKS FOR YOUR PROJECT )F YOU DONT LIKE THE STYLE APPLIED SIMPLY HIT 5NDO #TRL : AND TRY ANOTHER ONE 4O APPLY A STYLE TO A BUTTON 3ELECT THE BUTTONS LAYER SET IN THE ,AY ERS 0ALETTE OR CLICK ON THE ELEMENT IN THE -ENU %DITOR 'O TO THE 3TYLES 0ALETTE AND DOUBLE CLICK ON THE STYLE YOU WISH TO APPLY
#HAPTER
/R SIMPLY CLICK AND DRAG THE STYLE FROM THE PALETTE AND DROP IT ONTO THAT BUT TON IN THE -ENU %DITOR )F YOU APPLIED A STYLE AND CANNOT 5NDO IT YOU MAY BE ABLE TO WORKAROUND THE PROBLEM BY APPLYING THE 0LAIN 3HAPE 0LAIN 4EXT .O )MAGE %DGE %FFECTS AND .O )MAGE &ILL %FFECTS STYLES
ÐvJÜvÚJÚ4åX»bÜåÐvÚ ÜÚ¬ÐÚJÚ åÜܬ¨ 4HE 3UBPICTURE HIGHLIGHT IS PROBABLY THE MOST IMPORTANT ASPECT OF A BUT TON 7ITHOUT IT THE BUTTON WILL NOT FUNCTION 4HE SUBPICTURE HIGHLIGHT IS A SIMPLE CRUDE PICTURE DISPLAYING UP TO INDIVIDUAL COLORS )T IS GENERATED BY THE $6$ 0LAYER AS AN OVERLAY 4HERE FORE IT DOES NOT EXIST AS PART OF THE -0%' VIDEO )T IS BEST RESERVED AS A SUBTLE HIGHLIGHT TO COMPLIMENT THIS BACKGROUND VIDEO 7HEN CREATING A 3UBPICTURE (IGHLIGHT INSIDE %NCORE %NCORE MAPS OUT THE SHAPE OF THE BUTTON AND hCUTSv A HIGH LIGHT TO MATCH THE VISIBLE DIMENSIONS OF THE BUTTON INCLUDING THE TEXT 4O #REATE A 3UBPICTURE (IGHLIGHT FOR AN ENTIRE BUTTON 3ELECT THE BUTTONS IN THE -ENU %DITOR 'O TO /BJECT #REATE 3UBPICTURE /R USE THE QUICK SHORTCUT !LT #TRL "
0USH -Y "UTTONS
.OW %NCORE HAS CREATED A SUBPICTURE FOR THE BUTTON
ÐvJÜvÚJÚ7víÜÚ4åX»bÜåÐvÚ Ü #REATING A 3UBPICTURE (IGHLIGHT OVER AN ENTIRE BUTTON IS A SIMPLE TASK BUT IT
)F YOU ARE USING THE PRE MADE BUTTONS IN %NCORE YOU DO NOT NEED TO CREATE A SUBPICTURE HIGHLIGHT FOR IT )T HAS ALREADY BEEN PROVIDED
COVERS THE ENTIRE SHAPE AND COULD POS SIBLY BLOCK THE DESIGN &ORTUNATELY %N CORE COMES EQUIPPED WITH THE ABILITY TO CREATE A TEXT SUBPICTURE HIGHLIGHT 4HIS WAY ONLY ONE PART OF THE BUTTON IS HIGHLIGHTED AND BRINGS ATTENTION TO THE TITLE OF THE BUTTON WITHOUT BLOCKING THE ENTIRE DESIGN 7HEN MULTIPLE BUTTONS ARE SELECTED THE 0ROPERTIES 0ALETTE CAN CHANGE THEM SIMULTANEOUSLY .OTE )F YOU USED %NCORES SUPPLIED BUTTONS YOU CANNOT APPLY A SUBPICTURE HIGHLIGHT TO THE TEXT SINCE MOST OF THE BUTTONS HAVE A SHAPE ALREADY 4O CREATE A 4EXT 3UBPICTURE (IGHLIGHT 3ELECT THE BUTTONS IN THE -ENU %DITOR 'O TO THE 0ROPERTIES 0ALETTE CHECK THE #REATE 4EXT 3UBPICTURE BOX
%NCORE 4IP 9OU NO LONGER HAVE TO CREATE A SUBPICTURE HIGHLIGHT AS A SEPARATE STEP /NCE A BUTTON IS CREATED THE SUBPICTURE HIGHLIGHT IS AUTOMATICALLY CREATED FOR YOU
#HAPTER
AvìÚÜvÚ4vvbܬ¨Ú4ÜJÜvÓÚ¬Ú ÜvÚ4åX»bÜåÐvÚÜÓ &OR MORE CONTROL OVER THE SHAPE OF THE SUBPICTURE HIGHLIGHT USE 0HOTOSHOP TO CREATE ACCENT LAYERS TO THE MAIN BUTTON 0RElX THOSE LAYERS WITH OR OR 3EE %DIT )N 0HOTOSHOP FEATURE IN #HAPTER
3UBPICTURE HIGHLIGHTS TYPICALLY HAVE THREE STATES .ORMALUNSELECTED SE LECTED AND ACTIVATED /N MOST $6$S THE .ORMAL SUBPICTURE HIGHLIGHT STATE IS TRANSPARENT "Y DEFAULT %NCORES -ENU %DITOR SHOWS NO SUBPICTURE HIGH LIGHTS !T THE BOTTOM OF THE -ENU %DITOR SCREEN THERE ARE THREE BUTTONS THAT CONTROL THE DISPLAY OF THOSE DI«ERENT STATES 7HEN NONE OF THE ICONS ARE SELECTED NO SUBPICTURE HIGHLIGHT IS DISPLAYED 4O VIEW THE 3ELECTED 3UBPICTURE (IGH LIGHT 3TATE #LICK THE MIDDLE ICON
0USH -Y "UTTONS
4O VIEW THE !CTIVATED 3TATE #LICK THE LAST ICON 4O VIEW THE .ORMAL 3TATE #LICK THE lRST ICON
4HE KEYBOARD SHORTCUTS #42, #42, AND #42, MAY ALSO BE USED TO TOGGLE BETWEEN THE DIFFERENT STATES
This Page Intentionally Left Blank
#HAPTER
.AVIGATION
)NTUITIVE NAVIGATION IS THE GOAL OF EVERY $6$ AUTHOR %VERY BUTTON SHOULD LINK TO AN ASSET ON THE $6$ 4HIS LINK MAY BE TO ANOTHER MENU SUCH AS AN !UDIO 3UBTITLE SELECTION MENU OR TO A CHAPTER POINT ALONG THE MAJOR TIMELINE OF THE $6$ (OW THE VIEWER OF THE lNISHED $6$ NAVIGATES FROM BUTTON TO BUTTON IS AD DRESSED MANAGED AND CHANGED BY THE $6$ AUTHOR %VEN THE 4ITLE -ENU AND NUMBER BUTTONS ON THE VIEWERS REMOTE CONTROL CAN BE ASSIGNED FUNCTIONS
#HAPTER
¨Ú åÜܬ¨ÓÚÜ¬Ú J»ÜvÐÚ .¬¨ÜÓ 5SE 3TILL OR -OTION 4HUMBNAILS TO SPICE UP THESE CHAPTER SELECTION MENUS 3EE RELATED SECTIONS IN THE NEXT CHAPTER FOR MORE DETAIL
-ANY $6$S HAVE SUBMENUS THAT ALLOW THE VIEWER TO DIRECTLY ACCESS CHAPTERS IN A TIMELINE 4HIS WAY THE VIEWER DOESNT HAVE TO SKIP THROUGH THE CHAP TERS WHILE VIEWING THE TIMELINE 7HILE THIS MAY NOT BE A FEATURE IN SOME $6$S THE 0LAY OR 0LAY !LL BUTTON NEARLY ALWAYS EXISTS 4HIS IS LINKED TO THE lRST CHAPTER POINT OF A TIMELINE !LSO ANY BUTTONS FOR SLIDESHOW PRESEN TATIONS ARE LINKED TO THE lRST CHAPTER POINT %NCORE O«ERS MANY WAYS TO LINK BUT TONS TO CHAPTER POINTS 4O LINK A BUTTON IN THE -ENU %DITOR 2IGHT CLICK ON THE BUTTON 3ELECT ,INK 4Ox 4HIS WILL OPEN THE ,INK 4O DIALOG &ROM THE LIST OF SELECTIONS OPEN THE 4IMELINE THIS BUTTON WILL LINK TO !LL THE CHAPTER POINTS ON THAT PARTICU LAR TIMELINE ARE NOW DISPLAYED 3ELECT THE DESIRED CHAPTER POINT
.AVIGATION
#LICK /+ 4HE BUTTON WHEN PRESSED WILL LINK TO THIS CHAPTER POINT )F THE 4IMELINES 7INDOW AND -ENU %DITOR ARE OPEN CHAPTER POINTS CAN BE DRAGGED AND DROPPED ONTO THE DESIRED BUTTONS 4O $RAG AND $ROP #HAPTER 0OINTS ONTO "UTTONS )N THE 4IMELINES 7INDOW SELECT THE CHAPTER POINT ,EFT CLICK AND HOLD ON THE CHAPTER POINT $RAG THE CURSOR UP TO THE BUTTON
#HAPTER
2ELEASE THE MOUSE BUTTON ONCE THE LIGHTER BOX APPEARS AROUND THE BUTTON !ND OF COURSE THE 0ROPERTIES 0ALETTE #HAPTER POINTS CAN ALSO BE SELECTED IN THE 4IMELINES 4AB AND DRAGGED ONTO BUTTONS THE SAME WAY
O«ERS ANOTHER WAY TO LINK BUTTONS CREATIVELY 4O LINK BUTTONS USING THE 0ROPERTIES 0ALETTE 7ITH THE BUTTON SELECTED GO TO THE 0ROPERTIES 0ALETTE #LICK ON THE ARROW IN THE ,INK 4O lELD 'O TO THE DESIRED 4IMELINE AND CLICK ON THE APPROPRIATE CHAPTER POINT -ENUS TO MENUS WHOS GOT THE HOOK UP 7HEN MULTIPLE MENUS ARE USED IN A PROJECT THEN BUTTONS MUST BE USED TO LINK THE VARIOUS MENUS TOGETHER !LL THE METHODS SPECIlED IN THE PREVIOUS SECTION WILL WORK WHEN LINKING MENUS EXCEPT OF COURSE THE USE OF THE 4IME LINES 7INDOW BUT THERE IS ONE DI«ER ENCE THAT COULD BE POTENTIALLY CONFUS ING 7HEN LINKING A BUTTON TO ANOTHER MENU %NCORE ASKS FOR A BUTTON ON THAT DESTINATION MENU %NCORE ALLOWS THE AUTHOR TO SPECIFY WHICH BUTTON IS HIGHLIGHTED WHEN NAVI
.AVIGATION
GATING TO THAT MENU POTENTIALLY MAK ING IT FASTER FOR THE VIEWER TO LOCATE THE APPROPRIATE BUTTON )N MOST CASES THE DEFAULT BUTTON IS THE BETTER CHOICE BUT HAVING THIS LEVEL OF mEXIBILITY REMAINS USEFUL 4O LINK A BUTTON TO ANOTHER MENU USING THE 0ROPERTIES 0ALETTE 7ITH THE BUTTON SELECTED IN THE -ENU %DITOR GO TO THE 0ROPERTIES 0ALETTE )N THE ,INK 4O lELD CLICK ON THE ARROW TO DISPLAY THE CHOICES #HOOSE THE MENU YOU WISH TO LINK TO #HOOSE THE BUTTON THAT SHOULD BE HIGH LIGHTED lRST WHEN THE VIEWER NAVIGATES TO THAT MENU ! NEW ADDITION TO %NCORE IS THE 2ESUME ,INK .OW YOU CAN SET A h"ACKv BUTTON THAT WILL LINK THE VIEWER BACK TO THE MENU FROM WHICH THEY ACCESSED THE CURRENT MENU 3O IF ONE MENU CAN BE ACCESSED FROM SEVERAL OTHER MENUS THIS LINK WILL TAKE THEM BACK TO THE PREVIOUS MENU
"UTTONS FROM OTHER MENUS CAN BE DRAGGED AND DROPPED FROM THE -ENU 4AB INTO THE BUTTONS OF A MENU IN THE THE -ENU %DITOR
#HAPTER
;ÓvÚ.bì»ÓÚ¬ÐÚ åÜܬ¨Ú ¨¨ .bì»ÓÚ¬vÐÚîvÜÚJ¨¬ÜvÐÚÐvJÜÚìJîÚ Ü¬Ú¨ÚXåÜܬ¨ÓÀÚÚî¬åÚJëvÚ¨vëvÐÚåÓvlÚJÚ »bì»ÚXv¬ÐviÚ¨¬ìÚÓÚJÚ¬¬lÚÜ£vÚÜ¬Ú ÓÜJÐÜÀÚÚ»bì»ÚJ¬ìÓÚî¬åÚܬÚbÐvJÜvÚJÚ ¨ÚXîÚÓ£»îÚlÐJ¨ÚÜÚܬÚìJÜÚî¬åÚ ìJ¨ÜÚÜÚܬڨÚܬiÚ¨ÓÜvJlÚ¬ÚlvJ¨ÚìÜÚ »åÚl¬ì¨Ú£v¨åÓÚ¬ÐÚlJ¬ÓÀÚ 7vÚ»bì»Úb¬¨ÚJ»»vJÐÓÚ¬¨ÚÜvÚ vÜÚJ¨lÚÓlvÚ¬ÚÜvÚ ¨Ú7¬ÚvlÚ¨ÚJÚ XåÜܬ¨ÍÓÚ.Ь»vÐÜvÓÚ.JvÜÜvÀÚ½ÜÚ¬¬ÓÚvÚ JÚb¬vlÚå»Úì»Ú¬ÐÚJÚÓ¨JÀ¾ÚÚî¬åÚbJ¨Ú ÓvvÚÜvÚÜv£Úî¬åÚìÓÚܬڨÚܬiÚî¬åÚ bJ¨ÚåÓvÚÜvÚ»bì»ÀÚ7ÓÚÓÚìîÚ¬¬lÚ ì¬ÐÓ»JbvÚ¬ÐJ¨òJܬ¨ÚÓÚvÓÓv¨ÜJÖÚ £J¨ÚJ¨¬ÜvÐÚÐvJÜÚJÐå£v¨ÜÚ¬ÐÚJÚ låJÚ£¬¨Ü¬ÐÚÓvÜå»À 7¬ÚåÓvÚÜvÚ.bì»ÚܬڨÚܬÚJÚbJ»ÜvÐÚ »¬¨Üh BÜÚÜvÚXåÜܬ¨ÍÓÚ.Ь»vÐÜvÓÚ.JvÜÜvÚ¬»v¨Ú J¨lÚÜvÚ7£v¨vÚB¨l¬ìÚ¬»v¨iÚbbÚJ¨lÚ ¬lÚ¬¨ÚÜvÚ»bì»Úb¬¨Ú¨ÚÜvÚ ¨ÚÜ¬Ú vl
.AVIGATION
ÐJÚÜvÚbåÐÓ¬ÐÚܬÚÜvÚJ»»Ð¬»ÐJÜvÚbJ» ÜvÐÚ»¬¨ÜÚ¨ÚÜvÚ7£v¨vÀÚ %¨bvÚÜvÚÜv£ÚÓÚÓvvbÜvliÚvÜÚ¬Ú¬ÚÜvÚ vÜÚ£¬åÓvÚXåÜܬ¨À ¨lÚåÓÜÚvÚÜJÜiÚÜvÚXåÜܬ¨ÍÓÚ¨ÚÓÚ ÓvÜÚܬÚÜJÜÚbJ»ÜvÐÚ»¬¨ÜÀÚ7ÓÚ£vܬlÚ ¬Ú¨¨ÚbJ»ÜvÐÚ»¬¨ÜÓÚì¬ÐÓÚ¨ÚÜvÚ 7£v¨vÓÚ7JXÚJÓÚìvÀ 7ÓÚì¬ÐÓÚ¬ÐÚ£v¨åÚ¨ÚÜvÚÓJ£vÚìJîÀÚ åÓÜÚlÐJÚÜvÚ»bì»ÚܬÚÜvÚJ»»Ð¬ »ÐJÜvÚ£v¨åÚ¨ÚÜvÚ"v¨åÓÚ7JXÚJ¨lÚÜÍÓÚ Jåܬ£JÜbJîÚÓvÜÚܬÚÜvÚlvJåÜÚXåÜܬ¨Ú¨Ú ÜJÜÚ£v¨åÀ ¨b¬ÐvÚìÚ¨¬ÜÚJ¬ìÚî¬åÚܬڨÚÜ¬Ú Ó¬£vܨÚÜJÜÚbJ¨¨¬ÜÚXvÚ¨vlÀÚÚìJÜÚ î¬åÍÐvÚÜÐî¨ÚܬڨÚܬÚÓÚ¨¬ÜÚJ¬ìvliÚ ÜvÚ»bì»ÚÓ£»îÚìÜlÐJìÓÚJ¨lÚÜvÚ ¨ÚvlÚÐv£J¨ÓÚå¨bJ¨vlÀ
#HAPTER
4vÜÚJ¨Ú%ëvÐÐlvÚbܬ¨Ú¬ÚJÚ åÜܬ¨ !LWAYS SET THE LINK OF THE BUTTON BEFORE ATTEMPTING TO SET THE OVERRIDE BUTTON /VERRIDE ONLY WORKS ON THE TIMELINE OR MENU THE BUTTON IS SET TO LINK TO
/VERRIDE IS A TRICKY AND POTENTIALLY CONFUSING ASPECT OF $6$ CREATION THEREFORE THIS IS AN ADVANCED FEATURE AND SHOULD BE USED BY EXPERIENCED AUTHORS 0UT SIMPLY "UTTON /VERRIDE ALLOWS YOU TO CHANGE THE END ACTION OF WHATEVER THAT BUTTON LINKS TO &OR EXAMPLE A TIMELINE IS SET TO RETURN TO THE MAIN MENU AFTER IT IS DONE PLAY ING BUT YOU WANT THE VIEWER TO RETURN TO THE CHAPTER SELECTION MENU IF THEY ACCESSED THE TIMELINE THROUGH THE BUTTONS ON THAT MENU "Y USING BUTTON OVERRIDE THIS IS NOT ONLY POSSIBLE BUT EASY TO DO 4O SET THE /VERRIDE !CTION OF A BUTTON )N THE BUTTONS 0ROPERTIES 0ALETTE CLICK THE ARROW NEXT TO THE /VERRIDE !CTION &IELD 3ELECT THE TIMELINE OR MENU YOU WANT THE ,).+%$ ITEM TO RETURN TO WHEN IT IS DONE PLAYING
.AVIGATION
.JîÚ%¨viÚ.JîÚÚJ¨lÚ.JîÚ%¨v Úî¬åÐڻЬvbÜÚåÓvÓÚ£åÜ»vÚÜ£v¨vÓiÚ î¬åÚ£ÜÚìJ¨ÜÚÜvÚåÓvÐÚܬÚJëvÚ£¬ÐvÚ b¬¨ÜЬڬëvÐÚÜvÚìJîÚÜvÚÜ£v¨vÓÚJÐvÚ »JîvlÀÚ¬ÐÚvíJ£»viÚÚî¬åÚJëvÚJÚ A Ú ìÜÚÜÐvvÚ£åÓbÚëlv¬ÓÀÚE¬åÚ£JîÚìJ¨ÜÚ ÜvÚëvìvÐÚܬÚXvÚJXvÚܬÚìJÜbÚÜvÚël v¬ÓÚ¨ÚÓvÅåv¨bviÚXåÜÚÚÜvîÚlvÓÐvÚÜvîÚ bJ¨ÚÓvvbÜÚ¬¨vÚëlv¬ÚJ¨lÚÐvÜåШÚܬÚÜvÚ
7HEN DOING CHAPTER SELECTION MENUS MULTIPLE BUTTONS CAN HAVE THEIR OVERRIDES SET AT THE SAME TIME *UST SELECT ALL THE BUTTONS AND SET THE /VERRIDE IN THE 0ROPERTIES 0ALETTE
£v¨åÚJÜvÐÚÜÚÓÚl¬¨vÚ»Jî¨ÀÚ 7vÚÓ¬åܬ¨ÚÓÚܬÚbÐvJÜvÚ¨lëlåJÚÜ£v ¨vÓÚ¬ÐÚvJbÚb»iÚÓ£»îÚåÓ¨Ú åÜܬ¨Ú %ëvÐÐlvÚJ¨lÚ7£v¨vÚ¨lÚbܬ¨ÓÚÜ¬Ú bÐvJÜvÚ£åÜ»vÚ¨JëJܬ¨Ú»JÜÓÀÚÚÚÀÚ ÐÓÜiÚî¬åÍÚìJ¨ÜÚܬÚÓvÜÚå»ÚÜvÚÜ£v¨vÓÚ ¬ÐÚ.JîÚÀÚ7ÓÚ£vJ¨ÓÚÜJÜÚìv¨ÚÜvÚ .JîÚÚXåÜܬ¨ÚÓÚÓvÜiÚÜÚ»JîÓÚJÚÜÐvvÚ Ü£v¨vÓÚÜv¨ÚÐvÜåШÓÚܬÚÜvÚ£J¨Ú£v¨åÚ ¬¨bvÚÜvÚÜÐlÚÜ£v¨vÚÓÚ¨ÓvlÀ ¨ÚÜvÚ.JîÚJÚXåÜܬ¨ÚܬÚÜvÚÐÓÜÚÜ£v ¨vÀÚ ¨ÚÜvÚÐÓÜÚÜ£v¨vÍÓÚ¨lÚJbܬ¨Ú ܬÚÜvÚÓvb¬¨lÚÜ£v¨vÀÚ ¨ÚÜvÚÓvb¬¨lÚ Ü£v¨vÍÓÚ¨lÚJbܬ¨ÚܬÚÜvÚJÓÜÚÜ£v¨vÀÚ ¨lÚÜv¨Ú¨ÚÜvÚJÓÜÚÜ£v¨vÍÓÚ¨lÚJb ܬ¨ÚܬÚÜvÚ£v¨åÀ #¬ìÚÓvÜÚå»ÚÜvÚ.JîÚ%¨viÚ.JîÚ7ì¬ÚJ¨lÚ .JîÚ7ÐvvÚXåÜܬ¨ÓÀÚBÜÚÜvÓvÚÜv£ÓÚ
%NCORE )T IS NO LONGER NECESSARY TO SET AN OVERRIDE END ACTION TO RETURN TO A PREVIOUS MENU 3IMPLY SELECT 2ETURN TO ,AST -ENU AS THE END ACTION OF THE TIMELINE AND THE $6$ WILL RETURN TO THE MENU IT WAS ACCESSED FROM
#HAPTER
ÓvvbÜvliÚÜvÚ A Ú»JîvÐÚìÚÓ¬ìÚ¬¨îÚ ¬¨vÚÜ£v¨viÚÜv¨ÚÐvÜåШÚܬÚÜvÚ£v¨åÀ )T IS NOT CURRENTLY POSSIBLE TO INSTRUCT AN OVERRIDE AT THE END OF A CHAPTER IE 7HEN CHAPTER ONE IS lNISHED DONT PLAY CHAPTER RETURN TO THE MAIN MENU $/ ./4 !44%-04 4/ 7/2+ !2/5.$ 4()3 "9 #2%!4).' 4)-%,).%3 &/2 %6%29 #(!04%2 9OU WILL END UP ENCODING THE ASSET MULTIPLE TIMES FOR EVERY TIMELINE CHAPTERS WILL TURN INTO TIMELINES AND FULL ASSETS MUST BE ENCODED TO THE DISC 0LUS THERE IS A $6$ TRACK ACCESS SNAG BETWEEN TIMELINES WHICH WOULD PUT A GLITCHY PAUSE BETWEEN CHAPTERS
#¬ìÚJÚÜJÜÍÓÚ¨vvlvlÚÓÚܬڨÚÜvÚ.JîÚ %¨vÚXåÜܬ¨ÚܬÚÜvÚÐÓÜÚbJ»ÜvÐÚ»¬¨ÜÚ¬Ú ÜvÚÐÓÜÚÜ£v¨vÀÚ 7v¨ÚÓvÜÚÜvÚ.JîÚ%¨vÚXåÜܬ¨ÚܬڬëvÐÐlvÚ ÜvÚ¨lÚbܬ¨Ú¬ÚÜvÚÐÓÜÚÜ£v¨vÀÚ E¬åÚì¬ålÚÐv»vJÜÚÜÓڻЬbvÓÓÚìÜÚJÚ ÜvÚXåÜܬ¨ÓiÚvíbv»ÜÚÜvÚXåÜܬ¨Ú¨¨ÚÜ¬Ú ÜvÚJÓÜÚÜ£v¨vÀÚÜÓÚÜ£v¨vÚÓÚJÐvJlîÚ vJl¨ÚXJbÚܬÚÜvÚ£J¨Ú£v¨åÚìv¨Ú ÜÚÓÚl¬¨vÀÚ4¬ÚJÚî¬åÚJëvÚܬÚl¬ÚÓÚ¨Ú ÜvÚXåÜܬ¨ÚܬÚÜvÚÜ£v¨vÀÚ#¬Ú¬ëvÐÐlvÚ ¨vvlvlÀ
;ÓvÚ.JîÓÜÓÚ¨Ú¨b¬ÐvÚ³À /NE OF %NCORES MOST AWAITED FEATURES 0LAYLISTS ALLOWS YOU TO SKIP THE COM PLICATED ROUTING OUTLINED IN THE PREVI OUS SECTION 4HINK OF PLAYLISTS AS /VER RIDE ON STEROIDS 7ITH 0LAYLISTS YOU CAN PROGRAM A BUTTON TO PLAY A SERIES OF TIMELINES IN ANY ORDER YOU CHOOSE 0LUS YOU CAN START THOSE TIMELINES AT ANY CHAPTER POINT &OR EXAMPLE YOU CAN PROGRAM A PLAYLIST TO PLAY THE SEC OND CHAPTER OF ONE TIMELINE THE lRST CHAPTER OF THE SECOND TIMELINE AND
.AVIGATION
THE LAST CHAPTER OF THE LAST TIMELINE 9OU CAN EVEN HAVE THE PLAYLIST PLAY THE LAST TIMELINE THEN THE lRST THEN THE SECOND AND GO BACK TO THE MENU AT THE END OF THE SECOND TIMELINE 4O CREATE A PLAYLIST )N THE 0ROJECT TAB CHOOSE &ILE .EW 0LAYLIST
.OTE 4HE TIMELINES MUST STILL PLAY TO THE END BEFORE CONTINUING TO THE NEXT TIMELINE ON THE PLAYLIST
#HAPTER
%NTER A NAME FOR THE 0LAYLIST AND CLICK /+ 3ELECT THE PLAYLIST IN THE 0ROJECT TAB AND OPEN THE 0ROPERTIES PALETTE $RAG THE PICK WHIP FROM THE 4IMELINE SECTION OF THE 0LAYLIST )NSPECTOR TO A TIMELINE IN THE 0ROJECT TAB %NCORE ADDS THE SPECIlED TIMELINE TO THE PLAYLIST )F DESIRED SET AN END ACTION TO LINK TO A TIMELINE OR A MENU USING THE PICK WHIP .OW ALL YOU MUST DO IS LINK A BUTTON TO THAT PLAYLIST
.AVIGATION
J¨vÚÜvÚåܬ£JÜbÚ 3¬åÜ¨Ú¬Ú åÜܬ¨Ó !UTHORS NEW TO $6$ CREATION DONT ALWAYS REALIZE THAT THEY CONTROL THE VIEWERS NAVIGATIONAL EXPERIENCE %NCORE TAKES MOST OF THE GUESSWORK OUT OF BUTTON ROUTING BY HANDLING IT AUTOMATICALLY 9ET THE METHOD IN WHICH %NCORE AUTOMATICALLY ROUTES THOSE BUT TONS CAN BE ADJUSTED 4O CHANGE THE !UTOMATIC 2OUTING OF "UTTONS IN %NCORE 'O TO %DIT 0REFERENCES -ENU
.OTE IT IS RECOMMENDED THAT NEW $6$ !UTHORS LEAVE THESE SETTINGS ALONE UNTIL A GOOD FAMILIARITY WITH %NCORE TECHNIQUES IS ESTABLISHED !DJUSTING THESE SETTINGS MAY LIMIT OR COMPLETELY DISABLE THE ABILITY TO NAVIGATE MENUS
#HAPTER
4HIS OPENS THE PREFERENCES DIALOG FOR MENU BUTTON ROUTING 2OUTE "UTTONS UPDOWN 5NCHECKING THIS BOX DISABLES THE FEATURES ABILITY TO ROUTE BUTTONS FOR THE UP AND DOWN ARROWS ON A $6$ REMOTE CONTROL LIMIT ING ROUTING TO THE LEFT AND RIGHT 7RAP !ROUND 5P$OWN 5NCHECKING THIS BOX DISABLES THE AUTOMATIC WRAP FROM THE BOTTOM OR TOP BUTTON TO ANOTHER BUTTON )N OTHER WORDS PRESS ING DOWN ON THE BOTTOM BUTTON IN A COLUMN DOES NOTHING 7HEN CHECKED IT O«ERS THE OPTION OF WRAPPING TO THE SAME COLUMN OR AN ADJACENT COLUMN 2OUTE "UTTONS ,EFT2IGHT 5NCHECKING THIS BOX DISABLES THE USE OF THE LEFT OR RIGHT KEYS TO MOVE THE SELECTION LEFT OR RIGHT 7RAP !ROUND ,EFT2IGHT 5NCHECKING THIS BOX DISABLES THE AUTOMATIC WRAP FROM THE LEFTMOST OR RIGHTMOST BUT TON TO ANOTHER BUTTON )F THE BOX IS CHECKED IT O«ERS THE OPTION OF WRAP PING TO THE SAME ROW OR WRAPPING TO AN ADJACENT ROW
.AVIGATION
vÜÚ"vÚ ¬ÚÜhÚ J¨vÚÜvÚ 3¬åÜ¨Ú¬Ú åÜܬ¨Ó 7HILE %NCORES !UTOMATIC "UTTON 2OUT ING FEATURE IS RELIABLE THERE ARE TIMES A UNIQUE BUTTON ROUTING IS REQUIRED 7HEN YOUR BUTTONS ARE IN A NOVEL LAY OUT SOMETIMES %NCORE DOESNT ROUTE THEM IN AN INTUITIVE MANNER &IRST !UTOMATIC 2OUTING MUST BE DISABLED THEN THE BUTTONS CAN BE AS SIGNED NEW ROUTES 4O MANUALLY CHANGE THE ROUTING OF BUT TONS 'O TO THE 0ROPERTIES 0ALETTE OF THE MENU 5NCHECK THE !UTOMATICALLY 2OUTE "UT TONS BOX
7ARNING 5NCHECKING ALL BOXES DISABLES %NCORES !UTOMATIC "UTTON 2OUTING FEATURE 5NLESS YOU PLAN TO ROUTE THE BUTTONS YOURSELF IT IS BEST TO LEAVE SOME OF THE ROUTING FUNCTIONAL AND TEST THE NAVIGATION YOURSELF
#HAPTER
.OW THE -ENU %DITOR WILL ALLOW YOU TO CHANGE THE ROUTING OF BUTTONS 'O TO THE -ENU %DITOR AND CLICK ON THE 3HOW "UTTON 2OUTING )CON AT THE BOT TOM OF THE WINDOW .OW THE BUTTONS HAVE NUMBERED CROSSES IN THEIR CENTERS 4HESE REPRE SENT THE DIRECTIONAL BUTTONS ON A $6$ PLAYERS REMOTE CONTROL )N THE CENTER OF EACH CROSS IS THE BUTTONS NUMBER 4HE NUMBERS IN EACH DIRECTION INDICATE EXACTLY TO WHICH BUTTON PRESSING IN THIS DIRECTION WILL MOVE THE SELECTION )F YOU WANT THE DIRECTIONAL KEY TO TAKE THE SELECTION TO ANOTHER BUTTON INSTEAD OF THE ONE INDICATED YOU MUST DRAG IT TO SELECT THE DI«ERENT BUTTON #LICK AND HOLD ON THE DIRECTION AND DRAG THE LINE TO THE DESIRED BUTTON
.AVIGATION
9OULL NOTICE AS YOU DRAG THE LINE AWAY FROM THE BUTTON A PICKWHIP LIKE LINE DRAWS OUT )F YOU DRAG THIS LINE TO AN OTHER BUTTON IT WILL CHANGE THE ROUTING OF THIS DIRECTION TO THAT BUTTON "54 IF YOU DRAG THE LINE TO THE CENTER OF THE BUTTON ITSELF IT WILL DISABLE THE ROUTING OF THAT DIRECTION ALTOGETHER /NCE THE DESIRED BUTTON IS SELECTED RELEASE THE MOUSE BUTTON )F THE PICKWHIP WAS DRAGGED TO ITS OWN BUTTON A ZERO WILL APPEAR IN THAT AR ROW MEANING ROUTING IN THIS DIRECTION HAS BEEN DISABLED
.OTE -AKE SURE ALL BUTTONS ARE ROUTED AND CAN BE ACCESSED FROM AT LEAST ONE OTHER BUTTON )F NOT SOME BUTTONS CANNOT BE ACCESSED USING TRADITIONAL $6$ PLAYER REMOTE CONTROLS
#HAPTER
.Ь»vÐÚ"¬åÓvÚ4vvbܬ¨ÚÐvJ "J¨îÚëvìvÐÓÚvÚܬÚìJÜbÚ A ÍÓÚ¬¨Ú %NCORE 4HE SELECTION AREA ERROR HAS BEEN CORRECTED TEXT LAYERS NO LONGER AFFECT THE SIZE OF THE SELECTION AREA
ÜvÐÚb¬£»åÜvÐÓÀÚ¬ÐÚÜÓÚÐvJÓ¬¨iÚXåÜ Ü¬¨ÓÚJëvÚ£¬åÓvÚÓvvbܬ¨ÚJÐvJÓÚÓ¬Ú ìv¨ÚÜvÚ£¬åÓvÚÓÚ¨ÚÜÓÚJÐvJÚbb ¨ÚìÚJbÜëJÜvÚÜvÚXåÜܬ¨ÀÚ7¬Ú»Ðvëv¨ÜÚ ÜbvÓÚìv¨ÚJÚëvìvÐÚåÓvÓÚJÚ£¬åÓviÚ ÜvÚÓvvbܬ¨ÚJÐvJÚ¬ÚÜvÚXåÜܬ¨ÓÚ£åÓÜÚ XvÚbvbvlÀ îÚåÓ¨ÚÜvÚ4¬ìÚ3¬åÜ¨Ú¬Ú åÜܬ¨ÓÚ vJÜåÐvÚ¨ÚÜvÚ"v¨åÚlܬÐiÚÜvÚÓvvbܬ¨Ú JÐvJÚbJ¨ÚXvÚëvìvlÀÚ7vÚX¬ÐlvÐÓÚ¬ÚÜvÚ JÐvJÚJÐvÚÓ¬ì¨ÚJÓÚJÚÓ¬lÚX¬íÀÚ7vÓvÚ X¬ívÓÚÓ¬ålÚ¨vëvÐÚ¬ëvÐJ»iÚ¬ÐڻЬXv£ÓÚ ìÚ¬bbåÐÚìv¨Úëvì¨ÚÜvÚ A Ú¬¨ÚJÚ b¬£»åÜvÐÀÚÓ¬ÚÜÓÚÓÚJÚ¬¬lÚÜ£vÚÜ¬Ú bvbÚÜvÚÓòvÚ¬ÚÜvÓvÚÓvvbܬ¨ÚJÐvJÓÀÚ Ú¬¨vÚXåÜܬ¨ÍÓÚÓvvbܬ¨ÚJÐvJÚÓÚXvÐÚ ÜJ¨ÚvëvÐîÚ¬ÜvÐÚXåÜܬ¨iÚÜÚÓڻЬXJXîÚ XvbJåÓvÚÜvÐvÚÓÚJÚXJ¨ÚÜvíÜÚJîvÐÚ¨ÚÜvÚ XåÜܬ¨ÍÓÚJîvÐÚÓvÜÀÚ vvܨÚÜvÓvÚXJ¨Ú ÜvíÜÚJîvÐÓÚìÚåÓåJîÚÐvlåbvÚÜvÚÓòvÀ
4vÜÚÜvÚ vJåÜÚ åÜܬ¨ 4HE DEFAULT BUTTON IS THE lRST BUTTON HIGHLIGHTED WHEN A MENU IS DISPLAYED 5SUALLY THIS BUTTON IS BUTTON NUMBER ONE BUT THE DEFAULT BUTTON CAN BE ANY
.AVIGATION
BUTTON ON THE MENU 4O #HANGE THE $EFAULT "UTTON OF A -ENU 3ELECT THE MENU AND OPEN ITS 0ROPER TIES 0ALETTE #LICK THE ARROW ON THE $EFAULT BUT TON lELD AND SELECT THE DESIRED BUTTON NUMBER .OW WHEN THIS MENU OPENS THIS BUT TON WILL BE HIGHLIGHTED
%ÓvÜÚÜvÚ åÜܬ¨Ú#å£XvÐÓ -ANY $6$ VIEWERS USE THE NUMBER KEYS ON THEIR REMOTES TO SELECT AND ACTIVATE BUTTONS &OR THE SAKE OF CON SISTENCY IT IS SOMETIMES BEST TO O«SET THE BUTTON NUMBERS TO ACCOUNT FOR NAVIGATING BETWEEN MENUS &OR EXAM PLE A MENU HAS THREE CHAPTER SELECTION BUTTONS AND THE NEXT MENU HAS THREE BUTTONS ALSO 9OU WOULD WANT TO O«SET THE SECOND MENUS BUTTON NUMBERS BY THREE TO ACCOUNT FOR THE CHANGE 3O INSTEAD OF THE BUTTONS BEING NUMBERED AND AN O«SET OF WOULD CHANGE THE VALUES TO AND 4O O«SET THE BUTTON NUMBERS
)T IS NEVER A GOOD IDEA TO CHANGE A BUTTONS NUMBER TO MAKE IT THE DEFAULT BUTTON
#HAPTER
3ELECT THE -ENU AND OPEN THE 0ROPER TIES 0ALETTE #LICK INSIDE THE /«SET lELD AND ENTER THE O«SET NUMBER 3ET THE 2EMOTE #ONTROL 4ITLE "UTTON OF A $ISC /N MOST $6$ REMOTE CONTROLS THERE IS A 4ITLE BUTTON 4HIS BUTTON ALLOWS THE VIEWER TO GO TO A DEFAULT MENU OR TIMELINE ON THE DISC FROM ANY LOCATION ON THE DISC .ORMALLY THIS IS SET TO THE MAIN MENU "UT IT MAY BE SET TO ANY MENU OR TIMELINE ON THE DISC 4O SET THE 2EMOTE #ONTROL 4ITLE BUTTON 'O TO THE $ISC 4AB IN THE 0ROJECT 7IN DOW /PEN THE 0ROPERTIES 0ALETTE FOR THE $ISC )N THE 4ITLE "UTTON &IELD CLICK ON THE AR ROW TO OPEN THE DROP DOWN MENU 3ELECT THE MENU OR TIMELINE YOU WANT THIS BUTTON TO LINK TO
7ÜvÚ åÜܬ¨ÚëÓÚ"v¨åÚ åÜܬ¨ -OST $6$ PLAYER REMOTE CONTROLS O«ER THE 4ITLE BUTTON AND -ENU BUTTON !ND THE VAST MAJORITY OF PEOPLE CANNOT TELL
.AVIGATION
THE DI«ERENCE BETWEEN THE FUNCTIONS OF THE TWO 5NFORTUNATELY MANY $6$ AUTHORS HAVE NOT TAKEN CREATIVE ADVAN TAGE OF THEIR RESPECTIVE FUNCTIONS 2EGARDING FUNCTIONALITY THE -ENU AND 4ITLE BUTTONS DO THE SAME THING 7HEN EVER THE BUTTON IS PRESSED THE $6$ PLAYER PAUSES WHATEVER IT IS DOING AND GOES TO THE MENU )F IT IS PRESSED AGAIN IT RETURNS THE VIEWER TO THEIR PREVI OUS PLACE 4HIS ALLOWS THE VIEWER TO STOP THE FEATURE RETURN TO A MENU AND ADJUST SOMETHING SUCH AS SUBTITLES OR LANGUAGES THEN RETURN RIGHT BACK TO WHEN THEY lRST PUSHED THE BUTTON !S FAR AS SCOPE AND ADJUSTABILITY THE 4ITLE AND -ENU BUTTONS ARE VERY DIF FERENT 4HE 4ITLE BUTTON IS A CONSTANT IT DOESNT MATTER WHERE THE BUTTON IS PRESSED IT RETURNS TO THE SAME MENU EVERY TIME 4HE -ENU BUTTON HOWEVER CAN BE SET SPECIlCALLY TO SUIT THE NEEDS OF EVERY TIMELINE 3O IN ESSENCE YOU CAN GIVE YOUR VIEWERS TWO MENU OP TIONS WHILE WATCHING A $6$ 4HEY CAN WATCH A 4IMELINE FROM THE #HAPTER 3E LECTION -ENU AND RETURN TO THE #HAP TER 3ELECTION MENU BY PRESSING THE -ENU BUTTON /R THEY CAN HIT THE 4ITLE BUTTON AND RETURN TO THE MAIN MENU
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#HAPTER
4AKIN ON (OLLYWOOD !DVANCED -ENU !UTHORING
/NCE YOUVE BECOME FAMILIAR WITH CREATING SIMPLE MENUS AND BUTTONS IN %N CORE YOU QUICKLY BRANCH O« INTO SOME OF THE MORE COMPLICATED AND CREATIVE FACETS OF $6$ AUTHORING .ONE OF THESE FEATURES ARE REQUIRED FOR A BASIC $6$ BUT THE CREATIVE AUTHOR WILL ENJOY TAKING THEIR $6$S TO THE NEXT LEVEL
#HAPTER
ÐvJÜvÚål¬Ù J¨åJvÚ J¨lÚ4åXÜÜvÚ4åX£v¨åÓ )F YOU IMPORTED SEVERAL AUDIO TRACKS OR CREATED SUBTITLE TRACKS FOR ONE FEATURE IT MAKES SENSE TO CREATE A $6$ MENU THAT ALLOWS THE VIEWER TO ACCESS THOSE ADDITIONAL TRACKS "ASICALLY A BUTTON ON AN AUDIO LANGUAGESUBTITLE SUBMENU INSTRUCTS THE $6$ PLAYER TO PLAY ANOTHER AUDIO OR SUBTITLE TRACK WHILE PLAYING THE TIMELINE 3TART BY CREATING A MENU THAT IDENTIlES THE AVAILABLE TRACKS 4HEN WHEN LINKING BUTTONS A SPECIAL COMMAND MUST BE INCLUDED WITH THE BUTTONS LINKING INSTRUCTIONS 4O SET A BUTTON TO PLAY AN AUDIO OR SUBTITLE TRACK 3ELECT THE BUTTON AND OPEN ITS 0ROPER TIES 0ALETTE )N THE ,INK 4O &IELD CLICK THE ARROW AND SELECT 3PECIFY /THER 4HIS OPENS THE ,INK 4O $IALOG WITH OPTIONS FOR LINKING AND TRACK SELEC TION 4HE SIMPLEST WAY TO SWITCH AUDIO TRACKS IS TO LINK THIS BUTTON TO THE lRST CHAPTER POINT OF THE TIMELINE
4AKIN ON (OLLYWOOD
,INK THE BUTTON TO THE lRST CHAPTER POINT OF THE TIMELINE 4HEN IN THE !UDIO &IELD SELECT THE DESIRED AUDIO TRACK NUMBER /R 3ELECT THE 3UBTITLE TRACK NUMBER #LICK /+ .OW WHEN THE BUTTON IS ACTIVATED IT WILL GO DIRECTLY TO THE lRST CHAPTER OF THE TIMELINE AND PLAY THE AUDIO OR SUBTITLE TRACK SPECIlED 9OU CAN ALSO LINK THE BUTTON TO ANOTHER MENU SUCH AS THE MAIN MENU
ÐvJÜvÚ4ÜÚJ¨lÚAlv¬Ú 7å£X¨JÚ"v¨åÓ /NE OF THE VALUABLE FEATURES OF MANY $6$S IS THE ABILITY TO DISPLAY A SINGLE FRAME OR A SHORT SEQUENCE FROM A CHAPTER IN THE BUTTON THAT LINKS TO THE CHAPTER 4HIS WAY THE VIEWER CAN GET AN IDEA OF THE CONTENTS OF THE CHAPTER WITHOUT HAVING TO GO TO THE TIMELINE %NCORE PROVIDES A SET OF #HAPTER 3ELEC TION SUBMENUS COMPLETE WITH THUMB NAILS
#HAPTER
7HETHER YOU ARE CREATING 3TILL SINGLE FRAME OR 6IDEO 4HUMBNAILS THE lRST STEP IS TO LINK THE THUMBNAIL BUTTON TO 7HEN CREATING MULTIPLE TIMELINES ) RECOMMEND YOU BE CERTAIN TO HAVE THE SAME NUMBER OF AUDIO AND SUBTITLE TRACKS IN EACH TIMELINE )F ONE TIMELINE DOESNT HAVE THE AUDIO OR SUBTITLE TRACK SPECIlED THE $6$ PLAYER WILL DEFAULT TO TRACK ONE AND WILL ./4 RETURN TO THE TRACK SPECIlED WHEN PLAYING ANOTHER TIMELINE
THE CHAPTER POINT 4O LINK A THUMBNAIL TO A CHAPTER POINT #LICK ON THE BUTTON AND GO TO ITS 0ROP ERTIES 0ALETTE )N THE ,INK 4O lELD CLICK THE ARROW 3ELECT THE 4IMELINE AND THE DESIRED CHAPTER POINT )MMEDIATELY THE lRST FRAME OF THE CHAPTER POINT IS DISPLAYED IN THE THUMBNAIL FRAME )F YOU SELECTED A POSTER FRAME THEN THE POSTER FRAME WILL BE DISPLAYED IN THE THUMBNAIL 3EE 3ET 0OSTER &RAMES IN #HAPTER .OW AT THIS POINT IF ALL YOU WANTED TO CREATE WAS STILL GRAPHIC THUMBNAILS YOURE DONE (OWEVER IF YOU WANT TO GENERATE MOTION VIDEO THUMBNAILS YOU MUST ANIMATE THE MENUS BUTTONS 4O !NIMATE 6IDEO 4HUMBNAILS 3ELECT THE -ENU AND OPEN ITS 0ROPER TIES 0ALETTE #HECK THE !NIMATE "UTTONS BOX
4AKIN ON (OLLYWOOD
#¬ìÚvJÐÚ7ÓhÚ "v¨åÚål¬ !DDING AUDIO TO A MENU CAN SERVE AS THE PERFECT COMPLEMENT TO THE $6$ EX PERIENCE "Y THE SAME TOKEN HOWEVER CHOOSING THE WRONG AUDIO CAN MAKE A MENU ANNOYING #HOOSE A SUBTLE BACK GROUND AUDIO TRACK PREFERABLY WITHOUT LYRICS OR DIALOGUE )N OTHER WORDS lND SOMETHING THAT WILL LOOP CLEANLY OTHERWISE AFTER A FEW MINUTES THE MENU WILL BEGIN TO WEAR ON THE VIEWER 5SING LOOPS FOUND IN !DOBES !UDI TION LIBRARY SERVES AS A GOOD STARTING POINT OR lND A LIBRARY OF !CID LOOPS THAT lT THE MUSICAL STYLE 4HESE LOOP SEAMLESSLY AND ARE GENERALLY GENERIC AND RARELY CONTAIN ANY @SURPRISES THAT VIEWERS MIGHT lND IRRITATING #HOOSING THE RIGHT AUDIO IS THE HARD PART BUT PUTTING IT IN IS A BREEZE
#HAPTER
4O ADD BACKGROUND AUDIO TO A MENU 3ELECT THE MENU YOU WISH TO ADD AUDIO TO 7ORK WITH A SOUND EDITING PROGRAM AND lND A GOOD LOOP POINT ON THE AUDIO TRACK 7RITE DOWN THE TIME CODE OF THE LOOP POINT
/PEN THE 0ROPERTIES 0ALETTE AND GO TO THE !UDIO &IELD 7ITH THE 0ROJECT 4AB IN VIEW $RAG THE PICKWHIP TO THE DESIRED AUDIO TRACK IN THE 0ROJECT 4AB
(AVE A SECOND OR TWO OF SILENCE JUST AFTER THE LOOP POINT AND JUST BEFORE THE END OF THE CLIP 4HIS WILL REDUCE POPS ANDOR STUTTERS WHEN THE CLIP SNAPS BACK TO THE LOOP POINT 4HIS CAN ALSO BE DEALT WITH BY USING !UDITION LOOPS OR !#)$ LOOPS AS THEY ARE PRE FADED AT THE BEGINNINGS AND ENDS OF EACH LOOP lLE
2ELEASE THE MOUSE BUTTON 4HE PICKWHIP WILL RETRACT AND THE NAME OF THE AUDIO lLE WILL APPEAR IN THE AUDIO lELD !LSO NOTICE THAT THE DURATION OF THAT AUDIO lLE BECOMES THE DURATION OF THE MENU ITSELF )F YOU CHANGE NOTHING THE MENU WILL STOP BEING DISPLAYED WHEN THE TRACK IS OVER 4O CHANGE THIS SEE THE SECTION ,OOP -ENU3UBPICTURE (IGHLIGHT $ELAY IN THIS CHAPTER
llÚ JbЬå¨lÚAlv¬Ú ܬÚJÚ"v¨å -ANY BEGINNING $6$ AUTHORS SEE VIDEO BACKGROUNDS IN PROFESSIONAL $6$S AND WONDER HOW THEY WERE MADE 4HE TRUTH IS EVERY MENU HAS A VIDEO BACKGROUND 4HE BASIC MENUS BECOME
4AKIN ON (OLLYWOOD
VIDEO STREAMS AND THE SAME RULES APPLY TO MOTION MENUS AS THEY DO TO BASIC hSTILLv MENUS )F YOU WANT A VIDEO CLIP TO PLAY IN THE BACKGROUND IT IS A VERY SIMPLE PROCESS 4O ADD BACKGROUND VIDEO TO A MENU 3ELECT THE MENU AND OPEN THE 0ROPER TIES 0ALETTE 7ITH THE 0ROJECT 4AB IN VIEW GO TO THE 6IDEO lELD #LICK ON THE PICKWHIP ICON AND DRAG THE WHIP TO THE DESIRED VIDEO lLE IN THE 0ROJECT 4AB 2ELEASE THE MOUSE BUTTON AND THE WHIP WILL RETRACT .OTICE THE MENUS DURATION IS NOW THE DURATION OF THE CLIP 7HEN THE CLIP ENDS THE MENU WILL STOP BEING DIS PLAYED IF LEFT ALONE 3EE NEXT SECTION .OTE )F A BACKGROUND VIDEO AND AUDIO CLIP ARE USED BUT THEY ARE OF DI«ERENT LENGTHS %NCORE WILL SET THE DURATION TO MATCH THE LONGEST CLIP .OTICE THAT IF YOU HAVE ANY BUTTONS THEY WILL BE DISPLAYED ON TOP OF THE BACKGROUND VIDEO
#HAPTER
ÐvJܨÚ"¬Ü¬¨ÚìÜÚ ÜvÐÚvbÜÓ 4HE MORE AMBITIOUS AUTHOR THINKS OF THOSE SLEEK MOTION MENUS WHERE THE BUTTONS mY ONTO THE SCREEN OR LIGHTNING JUMPS FROM ONE BUTTON TO THE NEXT ILLUMINATING THE BUTTONS IN SERIES %NCORE IS NOT CAPABLE OF CREAT ING THOSE KIND OF E«ECTS BUT ITS SISTER PROGRAM !FTER %«ECTS IS PERFECT FOR UNLEASHING THAT CREATIVE POTENTIAL !FTER %«ECTS IS NOT A SIMPLE PROGRAM BY ANY MEANS AND A LOT OF TIME AND PATIENCE MUST GO INTO CREATING HIGH VOLTAGE MENUS )F YOU ARE COMFORTABLE WITH !FTER %«ECTS THEN IMPORTING !% -0%' OR !6) COMPOSITIONS INTO %N CORE IS EASY &OR THOSE JUST GETTING INTO !FTER %«ECTS CHECK OUT BOOKS BY #HRIS AND 4RISH -EYER FOR SOLID INFORMATION ON HOW TO USE !% TO CREATE GREAT MO TION MENUS !LSO %NCORE HAS ADDED INTERACTIVITY WITH !FTER %«ECTS 4O SAVE A MENU FOR USE IN !DOBE !FTER %«ECTS 3ELECT THE MENU IN THE 0ROJECT WINDOW OR IN THE -ENU %DITOR
4AKIN ON (OLLYWOOD
#HOOSE -ENU #REATE !FTER %«ECTS #OMPOSITION #HOOSE A lLE NAME AND DESTINATION AND CLICK /+ +EEP A FEW SIMPLE TIPS IN MIND WHEN CREATING MENUS WITH !% !T SOME POINT THE BUTTONS SHOULD STOP MOVING 4HE SUBPICTURE HIGHLIGHTS CAN NOT MOVE WITH THE BUTTONS THEY WILL APPEAR IN THE SAME PLACE REGARDLESS OF WHERE THE BACKGROUND BUTTON MAY BE (OWEVER 7(%. THE SUBPICTURE HIGH LIGHTS APPEAR IS COVERED IN THE NEXT SECTION )T HELPS TO WORK BACKWARDS FROM THE hRESTING POSITIONv OF THE MENU #RE ATE A 0HOTOSHOP lLE THAT WILL ACT AS A PLACEHOLDER FOR CREATING THE SUBPICTURE HIGHLIGHTS IN %NCORE 5SE THAT SAME 0HOTOSHOP lLE AS THE BASE COMPOSITION IN !FTER %«ECTS (IDE ALL BUT THE SUBPICTURE HIGHLIGHTS IN THE PSD lLE ONCE YOUVE SET THE lNAL PLACEMENT OF THE BUTTONS )F YOU LEAVE THE GRAPHIC LAYERS VISIBLE THEY WILL REMAIN IN THE MENU THE ENTIRE TIME )F THE MOTION MENU IS DESIGNED TO LOOP LEAVE A FEW SECONDS OF INACTIVITY
#HAPTER
JUST AFTER THE LOOP POINT AND BEFORE THE END OF THE CLIP 4HIS WILL HELP SMOOTH OUT THE STUTTER WHEN THE VIDEO SNAPS BACK TO THE LOOP POINT /NCE YOU HAVE lNISHED CREATING THE !% COMPOSITION YOU WILL NEED TO SAVE THE lLE AS EITHER -0%' OR !6) 4HEN )MPORT THAT lLE INTO %NCORES 0ROJECT WINDOW AS AN ASSET 5SE THAT ASSET AS YOUR BACKGROUND VIDEO FOR THE MENU
¬¬»ÚlÍÚ ¬¬»ÖÚ ¬¬»¨ÚJÚ "v¨åÀÚ /NCE BACKGROUND AUDIO OR VIDEO IS ADDED TO A MENU IT CAN NO LONGER BE (ELD &OREVER LIKE A STILL MENU /NCE THE CLIP IS lNISHED THE MENU WILL CARRY OUT ITS END ACTION 3EE 3ET AN %ND !C TION FOR A -ENU LATER IN THIS CHAPTER (OWEVER THE MENU CAN BE SET TO LOOP SEVERAL TIMES OR FOREVER IF NEED BE )F IT IS SET TO ,OOP &OREVER THE MENUS %ND !CTION IS IRRELEVANT SINCE IT WILL NEVER END 4O ,OOP A -ENU /PEN THE -ENUS 0ROPERTIES 0ALETTE #LICK THE ARROW IN THE ,OOP &IELD
4AKIN ON (OLLYWOOD
3ELECT THE DESIRED NUMBER OF LOOPS FROM THE LIST /R TYPE IN THE NUMBER OF LOOPS )F YOU HAVE SET UP A COMPLEX MOTION MENU WHERE FOR EXAMPLE THE BUTTONS SLIDE IN OR FADE IN HAVING THIS REPEAT ITSELF COULD GET ANNOYING 0LUS THE SUBPICTURE HIGHLIGHTS APPEAR WHEN THE MENU lRST OPENS NOT WHEN THE BUT TONS ARE IN THE hCORRECTv POSITIONS &ORTUNATELY LOOP POINT ACCOMPLISHES SEVERAL TASKS IN AN INTUITIVE MANNER .OT ONLY DOES IT ALLOW YOU TO SET A POINT IN A CLIP TO LOOP BACK TO IT DELAYS THE SUBPICTURE HIGHLIGHT KEEPING HIGH LIGHTS OUT OF VIEW UNTIL THE LOOP POINT IS REACHED 4O SET THE LOOP POINT OF A MENU )N THE MENUS 0ROPERTIES 0ALETTE CLICK IN THE ,OOP 0OINT &IELD
#HAPTER
4YPE IN THE PRECISE TIME CODE FOR THE LOOP POINT 5NLESS A NUMBER OF LOOPS ARE SELECTED THE LOOP POINT DOES NOT MATTER -AKE SURE BOTH LOOP FEATURES ARE SET
íÜÚ4ÜJvÚ vÜÖÚ7ÐJ¨Óܬ¨Ú Alv¬ÓÚ¬ÐÚ"v¨åÓ &OR THE !FTER %«ECTS SAVVY EXIT TRAN SITIONS ARE A MUST )F YOUR OPENING SEQUENCE HAD BUTTONS mYING IN WHY NOT HAVE THEM mYING OUT $EPENDING ON THE $6$ AND MENU SCHEME THE EXIT COULD BE THE SAME NO MATTER WHICH BUTTON WAS PUSHED IE ALL BUTTONS ZOOM OUT TO A BLUR OR EACH BUTTON COULD HAVE ITS OWN EXIT MOTION IE THE PLAY BUTTON SPINS AND mIES OUT WHEN PRESSED WHILE THE CHAPTER SELECTION BUTTON EXPANDS AND MORPHS INTO THE CHAPTER SELECTION SUBMENU )N ANY CASE THE BUTTONS ARENT LINKED TO THEIR DESTINATIONS RATHER THEY ARE LINKED TO A TRANSITION TIMELINE 4HAT TIMELINES END ACTION SERVES AS THE REAL LINK TO THE DESIRED MATERIAL )F YOU HAVE ONE BUTTON THAT LINKS TO ONE SPECIAL TRANSITION TIMELINE SETTING THE TRANSITION DI£CULTIES EASY 4O SET THE TRANSITION TIMELINE FOR ONE BUTTON
4AKIN ON (OLLYWOOD
3ELECT THE BUTTON /PEN ITS 0ROPERTIES 0ALETTE AND CLICK THE ARROW IN THE ,INK 4O lELD 3ELECT THE TRANSITION CLIPS TIMELINE FROM THE LIST AND CLICK ON CHAPTER ONE 4HE NEXT STEP IS TO SET THE END ACTION OF THAT TRANSITION TIMELINE TO LINK TO THE RIGHT DESTINATION )N THE 4IMELINES 4AB SELECT THE TRANSI TION CLIPS TIMELINE 'O TO THE 4IMELINES 0ROPERTIES 0ALETTE AND CLICK ON THE ARROW IN THE %ND !C TION lELD 3ELECT THE DESIRED MENU OR TIMELINE FROM THE CHOICES !S A TIME SAVER MANY $6$ AUTHORS HAVE ONE GENERAL EXIT TRANSITION FOR ALL OF THEIR BUTTONS 3OME BLUR THE MENU SO THAT IT IS INDISTINGUISHABLE FROM THE NEXT MENU OR TIMELINE /NE TRANSITION CAN SERVE MANY FUNCTIONS 4HE ONLY PROBLEM IS A TIMELINE CAN ONLY BE SET FOR ONE END ACTION %ACH BUTTON MUST OVERRIDE THAT END ACTION TO GET WHERE THE VIEWER WANTS TO GO 4O LINK MULTIPLE BUTTONS TO THE SAME TRANSITION TIMELINE
! TIMELINE SHOULD BE CREATED FOR ANY VIDEO CLIP THAT ACTS AS A TRANSITION &2/- A MENU 5SE BACKGROUND VIDEO FOR TRANSITIONS 4/ A MENU
#HAPTER
$RAW A BOX OR HOLD THE #TRL KEY TO SELECT MULTIPLE BUTTONS IN THE -ENU %DITOR OR THE -ENUS 4AB /NCE THE BUTTONS ARE SELECTED GO TO THE 0ROPERTIES 0ALETTE .OTICE THAT THE SPECIlC CHARACTERIS TICS OF EACH BUTTON ARE NOT SHOWN BUT THE BUTTONS CAN BE LINKED TO THE SAME ITEM OR FOR THIS PURPOSE EXIT TRANSI TION TIMELINE )N THE ,INK 4O lELD CLICK ON THE ARROW 3ELECT THE TRANSITION TIMELINE FROM THE LIST .OW ALL BUTTONS WILL LINK TO THE SAME EXIT CLIP TIMELINE %ACH BUTTON MUST BE SET TO OVERRIDE THE TIMELINE IN A DI«ER ENT WAY 3ELECT THE BUTTON AND GO TO THE 0ROPER TIES 0ALETTE
4AKIN ON (OLLYWOOD
'O TO THE OVERRIDE lELD AND SELECT THE APPROPRIATE DESTINATION 2EPEAT FOR ALL BUTTONS THAT REQUIRE A DI«ERENT DESTINATION .OW WHEN THE TRANSITION IS ACCESSED FROM THIS BUTTON THE TRANSITION CLIPS TIMELINE %ND !CTION WILL PROCEED TO WHERE THE BUTTON OVERRIDE DIRECTS IT
ÐvJÜvÚJÚ"v¨åÚ ¬¬ÐÚ4vÜ %VERY MENU CAN HAVE ONE COLOR SET 5SUALLY THE COLOR SET IS HANDLED AUTO MATICALLY BASED ON COLORS USED IN THE 0HOTOSHOP lLE WHEN 0HOTOSHOP IS USED TO CREATE A MENU (OWEVER ENTIRE COLOR SETS CAN BE CREATED TO SUIT YOUR NEEDS "EFORE A NEW COLOR SET CAN BE APPLIED TO A MENU THE COLOR SET MUST BE CRE ATED 4O CREATE A NEW COLOR SET
4HE OVERRIDE FUNCTION OF A BUTTON ONLY OVERRIDES THE END ACTION OF THE MENU OR TIMELINE IT LINKS TO
#HAPTER
'O TO -ENU %DIT -ENU #OLOR 3ET 4HIS OPENS THE -ENU #OLOR 3ET $IALOG )F YOU HAVE NEVER USED THIS DIALOG )F THIS IS AN .43# PROJECT CHECK .43# #OLORS /NLY 4HIS WILL ASSURE THAT THE COLORS WILL BE SAFELY SHOWN ON MOST .43# #OLOR 46S
BEFORE THERE SHOULD ONLY BE ONE #OLOR 3ET IN THE LIST THE -ENU $EFAULT )F YOU DONT WANT TO DEAL WITH CREATING A NEW COLOR SET YOU CAN ALWAYS ADJUST THE MENU DEFAULT 5NTIL YOU ARE COMFORT ABLE WITH CHANGING THE COLOR SETS ITS PROBABLY BEST TO HAVE A FAIL SAFE COLOR SET SO CREATE A NEW COLOR SET #LICK THE .EW #OLOR 3ET )CON .AME THE NEW COLOR SET AND CLICK /+ .OW ITS TIME TO ADJUST THE SUBPICTURE COLORS AND OPACITY TO SUIT YOUR NEEDS 4HE lRST SET OF THREE COLORS REPRESENTS THE NORMAL OR UNSELECTED STATE 5SU ALLY THESE THREE COLORS ARE SET TO /PACITY 4RANSPARENT 4HE NEXT GROUP DOWN HAS SIX AVAILABLE COLORS THIS REPRESENTS THE SELECTED AND ACTIVATED STATES FOR THE lRST COLOR GROUP 4HE NEXT GROUP OF SIX COLORS REPRESENTS THE SECOND COLOR GROUP SELECTED AND ACTIVATED STATES
4AKIN ON (OLLYWOOD
$OUBLE CLICKING ON THE COLOR PANE ON AN INDIVIDUAL COLOR GROUP OPENS THE #OLOR 0ICKER -OVE THE SELECTION CIRCLE TO THE PRE FERRED COLOR #LICK /+ !T THIS POINT YOU CAN SET THE OPACITY OF THE COLOR IF WORKING WITH DETAILED BACKGROUND BUTTONS ITS BEST TO GO LIGHT ON THE OPACITY 4HE HIGHLIGHT WILL APPEAR AS MORE OF A GLOW #LICK THE ARROW TO OPEN THE PULL DOWN MENU AND SELECT THE DESIRED OPACITY #ONTINUE UNTIL THE COLOR SET IS TO YOUR SPECIlCATIONS #LICK /K 4HE COLOR SET IS NOW READY TO BE AP PLIED TO A MENU
)F YOUVE ADJUSTED A COLOR SET THAT WAS CURRENTLY BEING APPLIED TO A MENU THE ADJUSTMENTS ARE APPLIED TO THAT MENU "UT DO NOT CONFUSE THIS FOR A GLOBAL SETTINGS ADJUSTMENT AS NOT ALL MENUS ARE CHANGED WHEN CREATING OR CHANGING A COLOR SET
#HAPTER
;¨lvÐÓÜJ¨l¨Ú ¬¬ÐÚ4vÜÓÚ J¨lÚ4åX»bÜåÐvÚÜÓÚ /NE OF THE MOST POTENTIALLY CONFUSING ASPECTS OF $6$ MENUS IS THE IDEA OF COLOR SETS AND THE PRElXES 4HINK OF IT AS PAINTING BY NUMBERS 4HE PRElXES SET WHICH PIXELS ON THE SCREEN WILL BE COLORED BY THE SUBPIC TURE *UST LIKE A BLANK PAINT BY NUM BERS SHEET 5SUALLY PAINT BY NUMBERS HAS A LITTLE KEY THAT SAYS WHICH COLORS GO WITH EACH NUMBER 4HIS IS THE #OLOR 3ET 4HE #OLOR 3ET CAN BE CHANGED AT ANY TIME BEFORE BUILDING A PROJECT TO DISC !LSO KEEP IN MIND THAT FOR EACH COLOR GROUP THERE ARE THREE SELECTION STATES 4HE NORMAL OR UNSELECTED SELECTION STATE IS USUALLY TRANSPARENT BUT IT CAN BE ANY COLOR OR OPACITY YOU DESIRE 2EMEMBER YOU CONTROL THE PAINT BY NUMBERS COLOR KEY THE $6$ PLAYER PAINTS WHAT YOU TELL IT TO WHERE YOU WANT IT TO )F THIS STILL SEEMS CONFUSING TAKE SOME TIME TO EXPERIMENT WITH COLOR SETS AND COLOR GROUPS .OT EVERYBODY GETS IT AT lRST BUT THROUGH TRIAL AND ERROR IT MAKES MORE SENSE
4AKIN ON (OLLYWOOD
J¨vÚJÚ"v¨åÍÓÚ ¬¬ÐÚ4vÜ ! MENUS COLOR IS SET TO AUTOMATIC BY DEFAULT THIS AUTOMATIC COLOR SET READS THE ORIGINAL COLORS OF THE PSD lLE AND CREATES A COLOR SET THAT BEST MATCHES THOSE COLORS !T ANY TIME YOU CAN CHANGE THE AUTOMATIC COLOR SET TO MENU DEFAULT )F A NEW COLOR SET WAS CREATED IT WILL BE AVAILABLE 4O CHANGE A MENUS COLOR SET 3ELECT THE MENU AND OPEN THE 0ROPER TIES 0ALETTE )N THE #OLOR 3ET &IELD CLICK THE ARROW TO REVEAL THE CHOICES 3ELECT THE DESIRED COLOR SET 4HE NEW COLOR SET IS NOW APPLIED TO THE MENUS SUBPICTURES
#HAPTER
;ÓvÚÜvÚ.ÐvëvìÚB¨l¬ì 4HE 0REVIEW 7INDOW IS INDISPENSABLE 0HOTOSHOP USERS BE ADVISED THAT WHEN A PSD MENU IS IMPORTED INTO %NCORE IT ANALYZES THE COLOR SCHEME USED BY 0HOTOSHOP AND TRIES TO PARSE THE COLORS OF THE LAYERS TO $6$ COMPLIANT SUBPICTURE COLORS )F YOU CHANGE THE MENUS COLOR SET IN %NCORE THEN USE THE %DIT IN 0HOTOSHOP FEATURE THE ORIGINAL COLORS USED IN THE ORIGINAL MENU WILL SHOW UP IN 0HOTOSHOP AS IF NOTHING HAD CHANGED %NCORE DOES NOT CARE WHAT COLORS WERE USED IN 0HOTOSHOP ONCE A NEW COLOR SET IS APPLIED NOR WILL IT UPDATE THE COLORS WHEN IMPORTED BACK INTO 0HOTOSHOP )N OTHER WORDS THE COLORS OF THE LAYERS ARE IRRELEVANT ONLY THE COLOR SET IN %NCORE MATTERS
FOR CHECKING A MENUS LINKS NAVIGA TION END ACTIONS AND APPEARANCE BY SIMULATING THE CONTROLS OF A $6$ PLAYER 0LUS YOU CAN SET THE MENU IN MOTION AND SEE IF THE LOOP POINTS ARE APPROPRIATE AND CLEAN UP ANY GROSS mAWS IN DESIGN 4O 0REVIEW A MENU 2IGHT CLICK ON THE MENU IN THE -ENU %DITOR 3ELECT 0REVIEW FROM (ERE 4HIS OPENS THE 0REVIEW 7INDOW 7HILE THE 0REVIEW 7INDOW IS OPEN THE REST OF THE WORKSPACE IS LOCKED AND CAN NOT BE UNLOCKED UNTIL THE WINDOW IS CLOSED
4AKIN ON (OLLYWOOD
4HERE ARE A FEW CONTROLS ON THE 0RE VIEW 7INDOW THAT ARE EASILY RECOGNIZ ABLE SUCH AS THE DIRECTIONAL KEYPAD SIMULATING THE $6$ PLAYER REMOTE CON TROL THE 4 BUTTON FOR THE 4ITLE "UTTON AND THE - BUTTON FOR THE -ENU "UTTON 4HE AVAILABLE AUDIO TRACKS AND SUB TITLE TRACKS CAN BE CHANGED BUT MORE IMPORTANTLY AS YOU NAVIGATE THE MENU YOU CAN SEE HOW YOUR SUBTITLE AND AU DIO SUBMENU BUTTONS CHANGE THE $6$S SETTINGS ,ETS SAY YOU HAVE YOUR MENU SET TO LOOP TIMES OR YOUR TIMELINE IS A LITTLE LONGER THAN YOU WANT TO WAIT JUST TO SEE THE END ACTION %NCORES 0REVIEW 7INDOW ALLOWS YOU TO EXECUTE THE %ND !CTION OF WHATEVER IS BEING PREVIEWED (OWEVER IF YOUR MENU IS SET TO ,OOP &OREVER OR (OLD &OREVER THIS OPTION WILL NOT WORK *UST ABOUT EVERYONE WHO HAS SET UP MOTION THUMBNAILS OR BACKGROUND VID EO OF A MENU WILL COME TO THE 0REVIEW 7INDOW AND SEE hMOTIONLESSv MOTION MENU #HANCES ARE YOU DID EVERYTHING RIGHT BUT %NCORE NEEDS TO RENDER THE
#HAPTER
MENU )N THE MAIN DISPLAY PANEL A RED DISK WILL APPEAR IF THE PREVIEW NEEDS TO BE RENDERED 3IMPLY PRESS THE 2ENDER )CON AND %N CORE WILL RENDER THE PREVIEW THIS COULD TAKE A FEW MINUTES IF THE CLIP IS RATHER LONG OR YOU HAVE VIDEO THUMBNAILS AND A VIDEO BACKGROUND 2ULE OF THUMB )F %NCORE NEEDS TO AD JUST THE VIDEO IN ANY WAY IT WILL NEED TO BE RENDERED )F GRAPHICS ARE IN A MENU WITH A VIDEO BACKGROUND %NCORE NEEDS TO CREATE A NEW BACKGROUND VIDEO STREAM WITH THE GRAPHICS AS PART OF THE FRAMES )F THE SOURCE VIDEO IS !6) IT NEEDS TO BE COMPRESSED TO -0%' .INE TIMES OUT OF TEN THE PREVIEW MUST BE REN DERED )F YOUR VIDEO THUMBNAILS STILL WONT WORK CHANCES ARE YOU DIDNT CHECK THE !NIMATE "UTTONS BOX IN THE MENUS 0ROPERTIES 0ALETTE 9OU WILL NOTICE A SLIGHT GLITCH OR HANG BETWEEN MENUS AND TIMELINES $ONT WORRY THIS WILL NOT TRANSFER TO THE lNAL DISC
4AKIN ON (OLLYWOOD
4vÜÚÜvÚ¨lÚbܬ¨Ú¬ÚJÚ "v¨å 3ETTING THE END ACTION OF A MENU IS NOT ALWAYS NECESSARY BUT IS A CONVENIENT FEATURE FOR PRESENTATION $6$S IN A PUBLIC SETTING 9OU CAN SET A $6$ MENU TO AUTOMATICALLY PLAY A MOVIE OR RETURN TO A SPECIlC MENU IF NO BUTTONS ARE PRESSED FOR A CERTAIN LENGTH OF TIME (OWEVER THIS OPTION IS NOT POSSIBLE IF THE MENU IS SET TO ,OOP &OREVER OR (OLD &OREVER .OTE %NCORE STILL MAKES HAVING AN END ACTION AVAILABLE EVEN THOUGH IT IS NOT POSSIBLE IN THE &OREVER SITUATIONS 9OU MUST SET A DURATION FOR A STILL MENU AND UNCHECK (OLD &OREVER &OR LOOPED MENUS SELECT A NUMBER OF LOOPS IN STEAD OF ,OOP &OREVER 4O SET AN %ND !CTION FOR A MENU 3ELECT THE MENU AND OPEN THE 0ROPER TIES 0ALETTE )N THE %ND !CTION lELD CLICK THE ARROW AND SELECT THE %ND !CTION DESTINATION FROM THE LIST
#HAPTER
3OMETIMES THE QUICK LISTS OF ITEMS IN THE ,INK 4O /VERRIDE AND %ND !CTION &IELDS ARE MISSING CERTAIN TIMELINES AND MENUS 4HIS IS BECAUSE %NCORE KEEPS A LIST OF THE MOST RECENTLY USED ITEMS )F YOU HAVE NOT LINKED TO THIS TIMELINE OR MENU BEFORE IT WILL NOT SHOW UP IN THIS LIST )F THE DESTINATION IS NOT DISPLAYED ON THE LIST 5SE THE 0ICKWHIP TO LINK THE %ND !C TION TO AN ITEM THAT IS IN VIEW /R USE THE 3PECIFY /THER OPTION IN THE DROP DOWN LIST 3ELECT THE END ACTION IN THE 3PECIFY /THER $IALOG AND CLICK /+
4AKIN ON (OLLYWOOD
4vÜÚÜvÚ"v¨åÚ%ëvÐÐlv -ENU /VERRIDE LIKE -ENU %ND !CTION IS NOT REQUIRED BY THE MENU (OWEVER IN ORDER TO USE /VERRIDE THE -ENU %ND !CTION MUST BE SET 4HIS /VERRIDE AL LOWS MORE CONTROL OVER WHAT HAPPENS WHEN THE $6$ IS LEFT ALONE FOR A LONG PERIOD OF TIME 9OU COULD SET THE MENU TO GO TO A FEATURE TIMELINE THEN RETURN TO THE STINGER CLIP OR INTRODUCTORY VIDEO INSTEAD OF GOING STRAIGHT BACK TO THE MAIN MENU 4O 3ET -ENU /VERRIDE 3ELECT THE -ENU AND /PEN THE 0ROPER TIES 0ALETTE )N THE /VERRIDE &IELD CLICK THE !RROW TO OPEN THE LIST OF OPTIONS )F THE ITEM YOU WANT TO OVERRIDE TO IS IN THE LIST SELECT IT )F NOT GO TO 3PECIFY /THER AND USE THE $IALOG TO SET THE OVERRIDE
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#HAPTER
"URN "ABY "URN åШ¨ÚÜvÚ.ЬvbÜÚÜ¬Ú Ó
/NCE THE MENUS ARE BUILT THE TIMELINES ARE ASSSEMBLED AND EVERYTHING IS LINKED TOGETHER ITS TIME TO TIE UP ALL THE LOOSE ENDS 4HIS CAN INCLUDE ADDING $6$ 2/- CONTENT FOR USE ON A COMPUTER OR SETTING UP COPY PROTECTION AND REGION CODES !T THIS POINT YOU CAN SAVE YOURSELF A FEW DOLLARS IN BLANK $6$S AND OR A FEW HUNDRED DOLLARS IN DUPLICATION COSTS BY CHECKING AND RECHECKING YOUR DISC *UST BECAUSE IT WORKS ON YOUR COMPUTER DOESNT MEAN IT WILL WORK ON ALL SET TOP PLAYERS !ND ONE SEEMINGLY INSIGNIlCANT DETAIL CAN RUIN THE ENTIRE PROJECT
#HAPTER
;ÓvÚÜvÚ ÓbÚ7JXÚ Ü¬Ú#J£vÚJÚ Ób 4HE DISC NAME IS DISPLAYED WHEN A DISC IS INSERTED INTO COMPUTERS AND SOME SET TOP $6$ PLAYERS
7HEN YOU STARTED YOUR NEW PROJECT THE PROJECT NAME BECAME THE DISC NAME )F YOU DIDNT GIVE YOUR PROJECT A NAME AND YOU BURNED THE DISC THE DISC VOLUME WOULD BE NAMED 5NTITLED .OT THE BEST NAME FOR A DISC #HECK THE $ISC 4AB TO SEE IF THE NAME IS SUITABLE FOR THE DISC 4O .AME A $ISC )N THE 0ROJECT 7INDOW CLICK ON THE $ISC 4AB #LICK IN THE TOP lELD NEXT TO THE DISC %NTER A NAME FOR THE DISC .OW WHEN THE DISC IS INSERTED INTO COMPUTER THAT CAN READ VOLUME LABELS THIS WILL BE THE NAME DISPLAYED
4vÜÚÜvÚÐÓÜÚ.JîÚ¬ÚJÚ ÓbÚ ½¨ÜЬÚAlv¬Ú¬ÐÚ"v¨å¾ "Y DEFAULT THE lRST MENU OR TIMELINE CREATED OR IMPORTED INTO %NCORE IS SET AS THE &IRST 0LAY 4HIS MEANS WHEN THE $6$ IS INSERTED INTO A PLAYER THIS MENU OR TIMELINE IS PLAYED lRST "UT DONT RELY ON THIS $URING THE COURSE OF
"URN "ABY "URN
A PROJECT &IRST 0LAY MIGHT ACCIDENTALLY BE ASSIGNED TO A DI«ERENT TIMELINE OR MENU )F THE RELATED TIMELINE IS DE LETED THE lRST PLAY IS NOT RE ASSIGNED )N THIS CASE WHEN THE DISC IS INSERTED NOTHING WILL HAPPEN 4HE DISC WILL AWAIT INSTRUCTIONS FROM THE VIEWER 4O 3ET THE &IRST 0LAY OF A $ISC )N THE 0ROJECT 4AB RIGHT CLICK ON THE -ENU OR 4IMELINE THAT SHOULD BE SET AS &IRST 0LAY 3ELECT 3ET AS &IRST 0LAY .OW WHEN THE DISC IS INSERTED THIS MENU OR TIMELINE WILL BEGIN PLAYING
llÚ A 3%"Ú ¬¨Üv¨ÜÚ Ü¬ÚJÚ Ób ! GOOD NUMBER OF PEOPLE ENJOY WATCH ING $6$S ON THEIR COMPUTERS AND THEY HAVE THE ADVANTAGE OF VIEWING OR USING $6$ 2/- CONTENT !MONG OTHER THINGS $6$ 2/- CONTENT CAN INCLUDE 0# SOFTWARE SAMPLE lLES SCREENSAV ERS AND ANY EXTRA CONTENT RELATED TO THE $6$ &OR INSTANCE IF THE DISC IS A SOFTWARE TRAINING $6$ YOU MIGHT IN CLUDE AN EXECUTABLE lLE AND CONTENT
#HAPTER
FOR THE SOFTWARE BEING TRAINED ON IN THE $6$ &IRST ORGANIZE ALL THE $6$ 2/- CON -AKE SURE YOUR ANTI VIRUS SOFTWARE IS UP TO DATE AND THAT YOU SCAN THE $6$ 2/- lLES THROUGHLY BEFORE ADDING THE CONTENT TO THE $6$ &OLDER /NCE THE MEDIA HAS BEEN CLEARED ITS A GOOD IDEA TO DISABLE THE ANTI VIRUS SOFTWARE DURING THE DISK BURN
TENT YOU WISH TO USE INTO ONE FOLDER %NCORE ALLOWS YOU TO USE ONE MASTER FOLDER FOR $6$ 2/- CONTENT 4O ADD $6$ 2/- #ONTENT TO A PROJECT )N THE $ISC 4AB 'O TO THE $6$ 2/- #ONTENT 3ECTION #LICK "ROWSE ,OCATE AND 3ELECT THE FOLDER FROM YOUR HARD DRIVE #LICK /K 4HE lLE FOLDER IS NOW SET 7HEN THE DISC IS BUILT THESE lLES WILL BE IN CLUDED IN THE $6$ 6OLUME AND WILL BE ACCESSIBLE TO COMPUTER USERS
vbÚ ¨ÓÙ vbÚ.ЬvbÜÚ .OTHING IS WORSE THAN GETTING YOUR $6$ BACK FROM THE REPLICATION HOUSE POPPING IT INTO YOUR $6$ PLAYER AND lNDING ONE BUTTON OR MENU THAT JUST DOESNT LINK %VERY PROJECT SHOULD BE DOUBLE AND TRIPLE CHECKED ON SEVERAL DI«ERENT PLAYERS TO INSURE THAT THE
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MASTER COPY IS PROBLEM FREE %NCORES #HECK ,INKS FEATURE SCANS THE PROJECT AND LOOKS FOR /RPHANED "UTTONS "UTTONS THAT CANT BE NAVIGATED TO /RPHANED -ENUS -ENUS THAT CANT BE NAVIGATED TO "ROKEN ,INKS "UTTONS THAT DONT LINK TO ANYTHING /RPHANED 4IMELINES 4IMELINES THAT HAVE NOT BEEN LINKED TO %NCORE ALLOWS YOU TO CUSTOMIZE THE SEARCH SO YOU CAN LOOK FOR JUST ONE OR ALL OF THESE SNAGS )N %NCORE THE #HECK ,INKS FEATURE IS NOW THE #HECK 0ROJECT FEATURE )T HAS BEEN EXPANDED TO INCLUDE /VERRIDES /VERRIDE PROPERTY LINKS THAT ARE NOT SET OR BROKEN &IRST 0LAY 7HETHER THE PROJECTS &IRST 0LAY PROPERTY IS NOT SET 4ITLE-ENU 2EMOTE 7HETHER THE PROJECTS 4ITLE-ENU 2EMOTE PROPERTIES ARE NOT SET 0LAYLISTS 0LAYLISTS WITH BROKEN OR MISS
#HAPTER
ING END ACTIONS OR EMPTY PLAYLISTS "UTTON /VERLAP "UTTONS WHOSE OVERLAP THAT MAY LEAD TO BROWSING ERRORS 4OTAL 3IZE OF -ENUS #HECKS THE SIZE OF ALL MENUS AND WARNS IF IT EXCEEDS THE $6$ LIMIT OF '" $ISC #APACITY 7ARNS IF PROJECT SIZE IS LARGER THAN THE CHOSEN DISK MEDIA 4IMELINE "ITRATE TOO HIGH "ITRATES THAT EXCEED THE $6$ LEGAL LIMIT OF -BPS #HAPTERS AND 4RIMS 4IMELINES IN WHICH CHAPTER AND TRIM LOCATIONS WERE ADJUSTED DUE TO TRANSCODING 3UBTITLE 4EXT /VERmOW 3UBTITLE TEXT THAT IS O« SCREEN BECAUSE IT HAS OVER mOWED THE TEXT BOUNDARY %VEN THE MORE ORGANIZED $6$ !UTHORS ACCIDENTALLY DROP A LINK FROM TIME TO TIME !LWAYS CHECK YOUR LINKS TO BE SURE THEY ARE CORRECT 4O SCAN FOR BROKEN OR ORPHANED CON TENT 'O TO THE $ISC 4AB IN THE 0ROJECT 7IN DOW #LICK ON #HECK ,INKS
"URN "ABY "URN
#HECK THE BOXES FOR THE TYPE OF BROKEN CONTENT YOUD LIKE TO SEARCH FOR #LICK 3TART 7HEN THE SEARCH IS COMPLETE THE DIALOG WILL DISPLAY ALL THE CONTENT THAT DISPLAYS TROUBLESOME NAVIGATION 9OU CAN CLICK ON THE ITEM IN THE WINDOW AND THE APPROPRIATE WINDOW WILL OPEN TO ALLOW YOU TO lX THE PROBLEM
BJÜÍÓÚÜÚ¬¨¨JÚ ¬¬Ú vÆÚ .ÐvëvìÚJ¨Ú¨ÜÐvÚ Ób
-ENUS AND 4IMELINES WITHOUT END ACTIONS WILL SHOW UP 3OMETIMES YOU MIGHT WANT A TIMELINE TO STOP PLAYING BUT %NCORE ASSUMES YOU WANT ALL OF YOUR END ACTIONS TO LINK TO SOMETHING ELSE )F YOU DIDNT WANT AN END ACTION FOR A 4IMELINE OR -ENU THEN JUST IGNORE THE REPORT
%NCORE ALLOWS YOU TO PREVIEW AN ENTIRE DISC BEFORE IT IS BURNED 4HIS FUNCTION USES THE 0REVIEW 7INDOW TO READ THE PROJECT LIKE A DISC )NSTEAD OF READING THE PARTICULAR TIMELINE OR MENU IN THE WINDOW THE 0REVIEW COMMAND WILL READ THE PROJECT FROM lRST PLAY 2EAD 5SE THE 0REVIEW 7INDOW IN THE PREVI OUS CHAPTER FOR MORE INFORMATION 4O PREVIEW AN ENTIRE PROJECT 7ITH THE PROJECT OPEN 'O TO &ILE 0REVIEW #HECK EVERY LINK AND EVERY ASSET TO ASSURE THAT ALL THE MENUS WORK AND ALL THE TIMELINES ARE DISPLAYED PROPERLY
%NCORE %NCORE NOW ALLOWS YOU TO IGNORE ANY PROB LEMS AND BUILD THE DISC ANYWAY 4HIS IS NOT RECOMMENDED UNLESS YOU ARE SURE THE PROBLEM IS NOT CRITICAL
#HAPTER
4vÜÚÜvÚ"vlJÚ4òv J¨lÚ7î»v $6$S COME IN VARIOUS MEDIA SIZES AND THE WAY %NCORE WILL CREATE THE DISC IS DIRECTLY RELATED TO HOW MUCH SIZE IT HAS )F A PROJECT WILL lT ON A NORMAL SINGLE SIDED SINGLE LAYER DISC THE DEFAULT SETTING IS PERFECT )F YOU NEED A BIGGER DISC FOR THE PROJECT THEN YOU WILL NEED TO PROVIDE %NCORE WITH THE MEDIA SIZE YOU INTEND TO USE 4O SET MEDIA SIZE )N THE 0ROJECT 7INDOW OPEN THE $ISC 4AB #LICK ON 0ROJECT 3ETTINGS )N THE lELD AT THE TOP SELECT THE APPRO PRIATE MEDIA SIZE OF THE lNAL DISC #HOOSE /NE OR 4WO 3IDED )F YOUR PROJECT USES DUAL LAYERED DUAL SIDED DISCS THEN YOU MUST CREATE FOUR PROJECTS ONE FOR EACH LAYER ON THE DISC %NCORE WILL SET THE LAYER BREAK POINT AT AN APPROPRIATE CHAPTER POINT 2EMEMBER DUAL LAYERED OR DUAL SIDED DISCS CANNOT BE BURNED THEY MUST BE STAMPED /NCE YOU HAVE SELECTED THE APPROPRI
"URN "ABY "URN
ATE MEDIA %NCORE WILL BASE ITS TRANS CODING AND lLE STRUCTURE FOR THE SIZE OF THE PROJECT
4vÜÚ3v¬¨Ú ¬lvÓ -OST PROFESSIONALY PRODUCED $6$ TITLES DISPLAY A REGION CODE ON THE PACKAGING OF THE DISC 4HIS REGION CODE SPECIlES IN WHICH COUNTRY THE $6$ CAN BE PLAYED $6$ PLAYERS ARE REGION SPECIlC AND WILL ONLY PLAY $6$S CODED FOR THEIR REGION 4HIS IS A lRST LEVEL OF COPY PROTECTION LIMITING THE GLOBAL DISTRIBUTIONPIRACY IN OTHER COUNTRIES 4HIS DOESNT GUARANTEE THAT $6$S CAN NOT BE PLAYED IN ANOTHER COUNTRY BUT IT DOES INDEED HELP 2EGION CODING ONLY WORKS FOR REPLICATED DISCS SO DISCS BURNED ON YOUR $6$ BURNER WONT DEMONSTRATE THIS SAFETY PROCESS 53 #ANADA 53 4ERRITORIES *APAN %UROPE 3OUTH !FRICA AND -IDDLE %AST INCLUDING %GYPT 3OUTHEAST !SIA AND %AST !SIA INCLUD ING (ONG +ONG !USTRALIA .EW :EALAND 0ACIlC )S LANDS #ENTRAL !MERICA -EXICO 3OUTH !MERICA AND THE #ARIBBEAN %ASTERN %UROPE &ORMER 3OVIET
%NCORE PROVIDES A SETTING THAT ALLOWS A MEGABYTE PROJECT TO BE BURNED ON A 36#$ 4HE 36#$ DISC WILL FUNCTION SIMILAR TO A $6$ BUT SHOULD ONLY BE USED FOR VERY SMALL PROJECTS 4HESE 36#$S WORK BEST WHEN PLAYED BACK IN A COMPUTER AND SHOULD NOT BE RELIED UPON FOR RELIABLE SET TOP PLAYBACK
#HAPTER
5NION )NDIAN SUBCONTINENT !FRICA .ORTH +OREA AND -ONGOLIA #HINA 2ESERVED 3PECIAL INTERNATIONAL VENUES AIR PLANES CRUISE SHIPS ETC ] "Y DEFAULT %NCORE SPECIlES THAT THE DISC WILL PLAY IN ALL REGIONS /NLY AD JUST THESE SETTINGS IF YOU HAVE A NEED TO SPECIFY REGION CODING 4O SET THE 2EGION #ODE OF A PROJECT )N THE 0ROJECT 7INDOW GO TO THE $ISC 4AB #LICK ON 0ROJECT 3ETTINGS 4HIS OPENS THE 0ROJECT 3ETTINGS $IALOG (ERE YOU CAN CUSTOMIZE THE REGION CODES SO DISCS CAN PLAY IN JUST ONE RE GION OR PERHAPS IN ALL BUT ONE REGION #LICK ON #USTOM IN THE %NABLE ROW #HECK ALL THE DESIRED REGIONS AND UN CHECK THE REGIONS YOU WISH TO hBLOCKvÚ /NCE ALL THE REQUIRED REGIONS ARE SE LECTED CLICK /+ .OW WHEN THE DISC IS PRODUCED IN A REPLICATIONSTAMPING HOUSE THE DISC
"URN "ABY "URN
WILL ONLY PLAY IN THOSE REGIONS SPECI lED
4»vbîÚ ¬»îÚ.ЬÜvbܬ¨ )N THE QUEST TO STOP $6$ PIRACY MUL TIPLE COPY PROTECTION SCHEMES HAVE BEEN INVENTED )N REALITY NO DISC IS SAFE FROM PIRACY ! DETERMINED hPIRATEv CAN CIRCUMVENT ALL OF THESE PROTECTIONS 2EGARDLESS COPY PROTECTION IS STILL A DETERRENT AND WHETHER IT IS WORTH THE EXTRA TIME AND EXPENSE WILL VARY DE PENDING ON MANY FACTORS #OPY 'ENERATION -ANAGEMENT 3YSTEM#'-3 ! SYSTEM THAT CAN ALLOW THE USER TO CREATE A SPECIlED NUMBER OF COPIES OF THE DISC ! SINGLE COPY CAN BE CREATED THAT CANNOT BE DUPLICATED AS WELL 9OU CAN SET IT SO THAT NO COP IES CAN BE MADE FROM THIS DISC OR SO THAT COPIES CAN BE MADE ONLY FROM THIS DISC 5NLIMITED COPYING CAN ALSO BE ENABLED #ONTENT 3CRAMBLING 3YSTEM OR #33 "ASICALLY AN ENCRYPTED CODE WRITTEN ONTO A DISC THAT PREVENTS THE $6$ FROM FUNCTIONING IN A .ON #33 COMPLIANT DEVICE #33 COMPLIANT COMPANIES DO NOT MANUFACTURE PLAYERS THAT ALLOW
)F YOU DO NOT WANT THIS DISC TO PLAY IN THE 5NITED 3TATES OR #ANADA YOU MUST lRST SELECT ANOTHER REGION THEN UNCHECK THE REGION BOX
#HAPTER
THE COPYING OF 6IDEO $6$ CONTENT AND SUPPORT THE TECHNOLOGY THAT MAKES IT HARDER TO COPY FROM THE DEVICE .OTE #OPY PROTECTION DOES NOT WORK FOR DISCS THAT WILL BE BURNED BY THE COMPUTER 4HESE FORMS OF COPY PROTECTION ARE ONLY AVAILABLE ON STAMPED OR PROFESSIONALLY REPLICATED $6$S ! $,4 IS CURRENTLY REQUIRED FOR UTILIZATION OF THE #33 AND -ACROVISION PROTECTION SCHEMES
-ACROVISION %MBEDS A SIGNAL ALSO KNOWN AS A hmAGv INTO THE VIDEO AND AUDIO STREAM THAT INTERFERES WITH THE COPYING OF A $6$ TO CERTAIN DEVICES SUCH AS A 6#2 4O SET COPY PROTECTION )N THE 0ROJECT 7INDOW SELECT THE $ISC 4AB #LICK ON 0ROJECT 3ETTINGS 3ELECT ALL OR NONE OF THE COPY PROTEC TION FEATURES AVAILABLE #LICK /+ 5SING ANY OF THE ABOVE COPY PROTEC TION SCHEMES REQUIRES A LICENSE FROM -ACROVISION 4HE REPLICATOR WILL REPORT THE NUMBER OF DISCS REPLICATED CON TAINING THE PROTECTION mAGS TO -ACRO VISION AND -ACROVISION WILL BILL THE AUTHORCONTENT OWNER FOR THE LICENS ING ! -ACROVISION LICENSE IS REQUIRED BEFORE THE REPLICATOR IS ALLOWED TO DELIVER THE DISCS TO THE CONTENT OWNER 3EE WWWMACROVISIONCOM FOR MORE INFORMATION
"URN "ABY "URN
BÐÜvÚܬÚÜvÚJÐlÚ ÐëvÙ A Ú¬lvÐ !T TIMES IT IS BEST TO WRITE YOUR $6$ TO THE HARD DISC TO GIVE THE PROJECT A lNAL CHECK IN A DI«ERENT APPLICATION SEE SIDEBAR "Y DOING THIS YOU CREATE A $6$ VOLUME ON YOUR DRIVE THAT CAN ONLY BE READ BY A COMPUTER 4O BUILD A DISC TO THE HARD DRIVE 'O TO &ILE "UILD $6$ -AKE $6$ &OLDER ! DIALOGUE WILL OPEN PROVIDING OPTIONS TO SAVE THE PROJECT #LICK 3AVE
%NCORE TIP WILL ALLOW YOU TO SAVE THE PROJECT UNDER A DIFFERENT lLE NAME WHEN BUILDING A PROJECT #LICK 3AVE !S AND CHOOSE A NEW lLENAME
#HAPTER
)F THERE ARE ANY ERRORS OR PLAYBLACK ISSUES %NCORE WILL GIVE YOU A WARNING STATING JUST THAT 9OU MAY VIEW THESE ERRORS OR IGNORE THEM AND CONTINUE )T IS HIGHLY RECOMMENED THAT YOU VIEW AND lX THESE ERRORS .OW THAT THE PROJECT IS SAVED AND ALL ERRORS ARE lXED OR ACCOUNTED FOR IT IS TIME TO SELECT THE FOLDER IN WHICH YOU WISH TO SAVE THE $6$ INFORMATION #HOOSE A DESTINATION OF THE $6$ FOLDER AND CLICK .EXT 4HE -AKE $6$ &OLDER 3UMMARY $IALOG WILL APPEAR AND WILL AWAIT YOUR COM MAND TO BUILD #HECK THE INFORMATION IN THE SUMMARY #LICK "UILD !S THE $6$ IS BUILT TO YOUR HARD DISC IT WILL SHOW THE PROGRESS TOWARDS THE BOTTOM OF THE DIALOGUE BOX
.ÐvëvìÚJÚ ÓbÚìÜÚJ¨ÚíÜvШJÚ 4¬ÜìJÐvÚ A Ú.JîvÐ "J¨îÚ¨vìÚ A ÚJåܬÐÓÚ¬ÚÜЬåÚ ÓÜJbÓÚ¬ÚXJ¨Ú A ÍÓÚJ¨lÚ¬åÐÓÚ¬Ú ìJÓÜvlÚÜ£vÚbvb¨ÚÜvÐڻЬvbÜÓÚXîÚ XåШ¨ÀÚÚ7ÓÚbJ¨ÚXvÚJë¬lvlÚXîÚåÓ¨Ú ÜvÚ.ÐvëvìÚ¬»Ü¬¨Ú¨Ú¨b¬ÐvÀÚÚ
"URN "ABY "URN
¨b¬ÐvÍÓÚ»ÐvëvìÚì¨l¬ìÚÓÚJÚÐvJÜÚܬ¬iÚ ¬ìvëvÐÚJÚÓÜÚJÚ¬ÐÚ»JåÓvÚXvÜìvv¨Ú £v¨åÓÚJ¨lÚÜ£v¨vÓÚl¬vÓ¨ÍÜÚëvÚî¬åÚJ¨Ú JbbåÐJÜvÚvvÚ¬ÐÚ¬ìÚÜvÚ¨JÚlÓbÚìÚ XvJëvÀ ¨b¬ÐvÚJ¬ìÓÚî¬åÚܬÚìÐÜvÚJÚ A Ú¬lvÐiÚ ¬ÐÚbÐvJÜvÚJ¨Ú4%ÚlÓbÚ£JvÀÚÚî¬åÚJëvÚ JÚÓ¬ÜìJÐvÚ A Ú»JîvÐÚ½B¨ A ÚiÚ¬ÐÚ víJ£»v¾Úî¬åÚbJ¨Ú¬JlÚÜvÚ¬lvÐÚ¨Ü¬Ú ÜvÚ A Ú»JîvÐÚÓ¬ÜìJÐvÚJ¨lÚÜvÚ»JîvÐÚ ìÚÜÐvJÜÚÜvÚvÚJÓÚÜÚì¬ålÚJÚ A ÚlÓbÀÚ ½ vbÚî¬åÐÚ A Ú»JîvÐÚÓ¬ÜìJÐvÚ¬ÐÚ ¨ÓÜÐåbܬ¨ÓÀ¾ Bv¨Ú»Ðvëvì¨ÚÜvÚlÓbÚ¨ÚÜvÚvíÜvШJÚ A Ú»JîvÐÚJ»»bJܬ¨iÚ£JvÚÓåÐvÚî¬åÚ JÐvÚ¨¬ÜÚÐ娨¨ÚJ¨îÚ¬ÜvÐÚڻЬÐÜîÚ¬ÐÚ ëlv¬Ú¨Üv¨ÓëvÚJ»»bJܬ¨ÓÀÚE¬åÚìJ¨ÜÚ î¬åÐÚ A ÚÓ¬ÜìJÐvÚܬÚJëvÚJ£¬ÓÜÚåÚ b¬¨ÜЬڬëvÐÚÜvÚJÐlÚlÐëvÚJ¨lÚëlv¬Ú bJÐlÀÚ7ÓÚìÚëvÚî¬åÚJ¨ÚJbbåÐJÜvÚ »JîXJbÀ
"JvÚJÚ A Ú£JvÙ4% 3IMILAR TO A $6$ FOLDER A DISC IMAGE CAN BE CREATED ON A HARD DRIVE /NCE AN IMAGE IS CREATED ITS READY TO BE BURNED TO DISC )MAGES ARE GREAT BE CAUSE THEY WORK IN MANY SOFTWARE $6$
-ANY SOFTWARE PLAYERS ARE AVAILABLE THAT OFFER VARIOUS CAPABILITIES INCLUDING THE ABILITY TO READ $6$ FOLDERS ANDOR DISC IMAGES
#HAPTER
PLAYERS AND PROVIDE mAWLESS PLAYBACK AND PREVIEW 4HEY ARE ALSO E«ECTIVE FOR ARCHIVAL AND TESTING PURPOSES %NCORE TIP .OW %NCORE WILL ALLOW YOU TO SAVE THE PROJECT UNDER A DIFFERENT lLE NAME WHEN BUILDING A PROJECT #LICK 3AVE !S AND CHOOSE A NEW lLENAME
4O BUILD A $6$ DISC IMAGE TO THE HARD DRIVE 'O TO &ILE "UILD $6$ -AKE $6$ )MAGE %NCORE WILL NEED YOU TO SAVE THE CUR RENT PROJECT AND A DIALOG WILL INSTRUCT YOU AND LET YOU SAVE #LICK 3AVE )F THERE ARE ANY ERRORS OR PLAYBLACK ISSUES %NCORE WILL GIVE YOU A WARNING STATING JUST THAT 9OU MAY VIEW THESE ERRORS OR IGNORE THEM AND CONTINUE )T IS HIGHLY RECOMMENED THAT YOU VIEW AND lX THOSE ERRORS #HOOSE A DESTINATION OF THE $6$ IMAGE AND CLICK .EXT 4HE -AKE $6$ )MAGE 3UMMARY $IALOG WILL APPEAR AND WILL AWAIT YOUR COM MAND TO BUILD #HECK THE INFORMATION IN THE SUMMARYÀ #LICK "UILD !S THE $6$ DISC IMAGE IS BUILT TO YOUR HARD DISC IT WILL SHOW THE PROGRESS AT
"URN "ABY "URN
THE BOTTOM
"JvÚJÚ A Ú"JÓÜvÐÙí»¬ÐÜÚ Ü¬Ú 7 )F YOURE PLANNING TO HAVE YOUR $6$ REPLICATED THEN YOU MUST CREATE A $6$ -ASTER ! $,4 $6$ -ASTER IS A VERSIONS OF THE $6$ THAT REPLICATION HOUSES
"URNABLE $6$ $6$2 MEDIA CAN BE SUBMITTED DEPENDING ON THE CAPABILITIES OF THE REPLICATION HOUSE HOWEVER $,4 IS TYPICALLY PREFERABLE
USE FOR STAMPING $6$S 5NLIKE BURNED $6$S A $,4 MASTER MAY INCLUDE CODES FOR COPY PROTECTION REGION CODES AND OR OTHER ADVANCED $6$ FEATURES $,4 IS A MAGNETIC TAPE SYSTEM PROVIDING SOLID RELIABILITY AND IMPRESSIVE DATA lDELITY )F YOU HAVE A $,4 TAPE DRIVE %NCORE WILL RECOGNIZE IT WHEN CREATING THE $6$ -ASTER 4O EXPORT A -ASTER
-AKE SURE TO THROUGHLY CHECK YOUR PROJECT FOR ERRORS BEFORE WRITING A -ASTER
#HAPTER
'O TO &ILE "UILD $6$ -AKE $6$ -ASTER %NCORE WILL NEED YOU TO SAVE THE CUR %NCORE TIP .OW %NCORE WILL ALLOW YOU TO SAVE THE PROJECT UNDER A DIFFERENT lLE NAME WHEN BUILDING A PROJECT #LICK 3AVE !S AND CHOOSE A NEW lLENAME
RENT PROJECT AND A DIALOG WILL INSTRUCT YOU AND LET YOU SAVE #LICK 3AVE )F THERE ARE ANY ERRORS OR PLAYBLACK ISSUES %NCORE WILL GIVE YOU A WARNING STATING JUST THAT 9OU MAY VIEW THESE ERRORS OR IGNORE THEM AND CONTINUE )T IS HIGHLY RECOMMENED THAT YOU VIEW AND lX THOSE ERRORS %NCORE WILL NOW DETECT ANY DEVICES AND MEDIA THAT SUPPORT -ASTERING )F IT CANNOT DETECT YOUR DEVICE CHECK YOUR HARDWARE DOCUMENTATION AND LOAD THE MOST RECENT DRIVERS #LICK .EXT %NCORE WILL CHECK TO SEE IF THE DEVICE AND MEDIA ARE READY TO BUILD THE PROJECT ON TO $,4 /NCE THE CHECK IS COMPLETE A NEW DIALOG WILL OPEN AND GIVE THE SPECIlCS OF THE BUILD AND THE PROGRESS #LICK "UILD %NCORE WILL NOW BUILD AND EXPORT THE PROJECT TO THE -ASTER TAPE
"URN "ABY "URN
åШÚÜ¬Ú Ób 4HE MAJORITY OF %NCORE USERS WILL LIKELY BURN THEIR $6$S TO A $6$ DISC )F THE PROJECT IS SMALL ENOUGH IT MIGHT lT ONTO A TYPICAL WRITABLE #$ )N EITHER CASE YOU WILL NEED BLANK MEDIA IN THE DRIVE READY TO BE BURNED 4O BURN A $6$ DISC
%NCORE TIP .OW %NCORE WILL ALLOW YOU TO SAVE THE PROJECT UNDER A DIFFERENT lLE NAME WHEN BUILDING A PROJECT #LICK 3AVE !S AND CHOOSE A NEW lLENAME
'O TO &ILE "UILD $6$ -AKE $6$ $ISC %NCORE WILL NEED YOU TO SAVE THE CUR RENT PROJECT AND A DIALOG WILL INSTRUCT YOU AND LET YOU SAVE #LICK 3AVE
%NCORE TIP 9OU CAN NOW CHOOSE TO BYPASS ALL WARNINGS AND BUILD THE PROJECT WITHOUT INTERRUPTION 4HIS WILL ALLOW YOU TO CREATE THE DISC UNATTENDED
#HAPTER
)F THERE ARE ANY ERRORS OR PLAYBLACK ISSUES %NCORE WILL GIVE YOU A WARNING STATING JUST THAT 9OU MAY VIEW THESE ERRORS OR IGNORE THEM AND CONTINUE )T IS HIGHLY RECOMMENED THAT YOU VIEW AND lX THOSE ERRORS .OW THAT THE PROJECT IS SAVED AND ALL ERRORS ARE lXED OR ACCOUNTED FOR IT IS TIME TO SELECT SET UP THE BURN 9OU CAN CHOSE TO WRITE THE DISC AT THE SPEEDS INDICATED OR SET UP THE DRIVE TO DO A TEST BURN BEFORE WRITING THE DISC #HOOSE THE WRITE SPEED AND NUMBER OF COPIES 4HE -AKE $6$ $ISC 3UMMARY $IALOG WILL APPEAR AND WILL AWAIT YOUR COM MAND TO BUILD #HECK THE INFORMATION IN THE SUMMARYÀ #LICK "UILD !S THE $6$ DISC IS BURNED IT WILL SHOW THE PROGRESS AT THE BOTTOM
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"URN "ABY "URN
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#HAPTER
A 3ÚëÓÀÚ A Ã3Ú 7vÐvÚJÓÚXvv¨ÚJÚ¬ÜÚ¬ÚÜJÚ¨ë¬ë¨ÚãÚ ÐëJÚ A ڬУJÜÓiÚ A 3ÚJ¨lÚ A Ã3ÀÚ A 3ÚìJÓÚÜvÚÐÓÜÚXJ¨Ú A Ú£vlJÚ Ðvb¬Ðl¨ÚÓÜJ¨lJÐlÀÚ A Ã3ÚìJÓÚ¨ÜЬ låbvlÚJÜvÐÚJ¨lÚÓÚ£JÐvÜvlÚJÓÚJÚXvÜÜvÐÚ Ó¬åܬ¨À 4¬ÚìbÚÓÚXvÜÜvÐÆÚ%Úb¬åÐÓvÚX¬ÜÚÓlvÓÚ ÓJîÚÜvÐڬУJÜÚÓÚÓå»vЬÐiÚXåÜÚЬ£ÚJÚ A ÚåܬÐÍÓÚÓÜJ¨l»¬¨ÜÚÜÚÓÚb¬£»JÐ¨Ú J»»vÓÚܬÚJ»»vÓÀÚ7vîÚ»vЬУÚb¬£ »JÐJXîÚ¨ÚÜvУÓÚ¬ÚÓ»vvlÚJ¨lÚÐvJX ÜîÀÚÚÚ¬ÐÚ¨¬ìiÚJÜÚvJÓÜiÚÜvÐvÚÓÚ¨¬ÚbvJÐÚ ì¨¨vÐÀÚÚÚ A 3ÚÓvv£ÓÚܬÚJëvÚJÚÓÜÚ b¬£»JÜXÜîÚJlëJ¨ÜJvÚìv¨ÚÜÚb¬£vÓÚ Ü¬Ú¬lvÐÚ»JîvÐÓÀÚ A Ã3ÚJ»»vJÐÓÚܬÚXvÚ Üvb¨bJîÚÓå»vЬÐÚJ¨lÚÓ¬ålÚvëv¨Üå JîÚvÓÜJXÓÚÜÓvÚJÓÚJÚÓå»vЬÐڬУJÜÀ "¬ÓÜÚ£»¬ÐÜJ¨ÜîiÚ£JvÚÓåÐvÚî¬åÚb¬¬ÓvÚ ÜvڻЬ»vÐÚ£vlJڬУJÜÚ¬ÐÚî¬åÐÚ»JÐÜb åJÐÚXåШvÐÀÚÚî¬åÚåÓvÚJÚ A 3ÚXåШvÐiÚ Üv¨Úî¬åÚÓ¬ålÚåÓvÚ A 3ÚÐvb¬Ðl JXvÚ£vlJiÚJ¨lÚëbvÚëvÐÓJÚÚî¬åÚåÓvÚ JÚ A Ã3ÚXåШvÐÀÚÚî¬åÚJëvÚJÚb¬£X¬Ú lÐëvÚÜJÜÚbJ¨ÚìÐÜvÚX¬ÜÚ A 3Ù A Ã3Ú Üv¨Úî¬åÚJëvÚ¨¬Ü¨ÚܬÚì¬ÐÐîÚJX¬åÜÀ
'LOSSARY 3OME OF THESE AUDIO TERMS ARE RELEVANT TO %NCORE DIRECTLY AND OTHER TERMS ARE RELATED TO THE AUDIO AND VIDEO INDUSTRY IN GENERAL 3OME OF THE TERMS ARE hNEWv LANGUAGE ADAPTED FROM THE ANALOG WORLD FROM WHICH MANY FEATURES OF %NCORE 0REMIERE !FTER %«ECTS AND 0HOTOSHOP ARE DERIVED !$ #ONVERTER !NALOG TO $IGITAL #ONVERTER -ANY !$S ARE ALSO $!S WHICH CONVERT DIGITAL BACK TO ANALOG FOR MONITORING !# $OLBYS !UDIO #OMPRESSION SCHEME RD GENERATION "OTH STEREO AND SURROUND FORMAT lLES MAY BE ENCODED TO !# %NCORE ONLY SUPPORTS THE ENCODING OF STEREO AUDIO AND IMPORT OF !# lLES !#- !UDIO #OMPRESSION -ANAGER DEVELOPED BY -ICROSOFT AS THE STANDARD INTERFACE FOR SIGNAL
PROCESSING OF AUDIO DATA IN THE 7INDOWS ENVIRONMENT PARTICULARLY GEARED TOWARDS THE 7!6 lLE FORMAT 3OME TOOLS ALLOW CUSTOM !#- PROCESSES !$# !NOTHER NAME FOR ANALOG TO DIGITAL CONVERTER !)&& !UDIO )NTERCHANGE &ILE &ORMAT #AN BE USED FOR STORING AUDIO IN HIGH OR LOW RESOLUTION FORMATS AND SHARING THEM BETWEEN COMPUTER SYSTEMS !LIASING 4HE UNDESIRABLE JAGGED OR STAIR STEPPED APPEARANCE OF UNlLTERED ANGLED LINES IN AN IMAGE GRAPHIC OR TEXT )N VIDEO ALIASING ALSO REFERS TO THE VISUAL BEATING E«ECT CAUSED BY SAMPLING FREQUENCIES OF AN IMAGE BEING TOO LOW TO REPRODUCE CORRECTLY $I«ERENT VIDEO ALIASING E«ECTS INCLUDE RASTER SCAN ALIASING EG WHEN SHARP HORIZONTAL LINES CAUSE A mICKERING E«ECT AND
'LOSSARY
TEMPORAL ALIASING EG WHEN WHEEL SPOKES APPEAR TO REVERSE DIRECTION #ONTRAST WITH ANTIALIASING !LPHA #HANNEL 4HE FOURTH CHANNEL OF A BIT 2'" IMAGE THAT CONTAINS TRANSPARENCY IN THE IMAGE 4HE OTHER THREE CHANNELS ARE RED GREEN AND BLUE !MPLITUDE 4HE HEIGHT OF A WAVEFORM MEASURED FROM THE MIDDLE WHERE SILENCE WOULD BE INDICATED )F NO WAVEFORM IS DRAWN THEN THE AUDIO SECTION IS SILENT THE MEASUREMENT FROM CENTER TO THE HIGHEST POINT IN THE GRAPHICAL DRAWING IS THE VALUE OF THE AMPLITUDE !COUSTIC AMPLITUDE IS MEASURED IN DECIBELS D" SEE DECIBELS 4HE LOUDER THE SIGNAL THE HIGHER THE AMPLITUDE REGARDLESS OF THE MEASUREMENT FORMAT PEAK 2-3 )NSTANT ETC !NCHOR 0OINT ! BITSTREAM LOCATION THAT SERVES AS A RANDOM POINT !N EXAMPLE IS A -0%' ) FRAME !NTIALIASING 4HE MANIPULATION OF EDGES IE THOSE BETWEEN AREAS WITH CONTRASTING COLORS IN AN IMAGE GRAPHIC OR TEXT TO MAKE THE EDGES APPEAR SMOOTHER !NTIALIASED EDGES APPEAR BLURRED UP CLOSE BUT THEY SMOOTH OUT AT AVERAGE VIEWING
DISTANCE !NTIALIASING IS CRITICAL WHEN WORKING WITH HIGH QUALITY GRAPHICS FOR TELEVISION DISPLAY USE /PPOSITE OF ALIASING !RTIFACT $ISTORTION TO A PICTURE OR A SOUND SIGNAL 7ITH DIGITAL VIDEO ARTIFACTS CAN RESULT FROM OVERLOADING THE INPUT DEVICE WITH TOO MUCH SIGNAL OR FROM EXCESSIVE OR IMPROPER COMPRESSION !SPECT 2ATIO 2ATIO OF WIDTH TO HEIGHT IN DIMENSIONS OF AN IMAGE &OR EXAMPLE THE FRAME ASPECT RATIO OF .43# VIDEO IS WHEREAS WIDESCREEN FRAME SIZES USE THE MORE ELONGATED ASPECT RATIO OF OR !SSET !NY DIGITAL lLE THAT IS PART OF THE LIBRARY OR PROJECT IS CONSIDERED AN ASSET !UDITION !DOBES NEW AUDIO EDITING PRODUCT !43# !DVANCED 4ELEVISION 3YSTEMS #OMMITTEE DETERMINES VOLUNTARY TECHNICAL STANDARDS OF ACQUIRING AUTHORING DISTRIBUTION AND RECEPTION OF HIGH DElNITION TELEVISION !6) !BBREVIATION FOR !UDIO 6IDEO )NTERLEAVED THE FORMAT SCHEME CREATED BY -ICROSOFT FOR SYNCHRONIZING AND COMPRESSING
ANALOG AUDIO AND VIDEO SIGNALS !6) IS ALSO THE lLE FORMAT USED BY 6IDEO FOR 7INDOWS !TTENUATE !N ANALOG TERM REFERRING TO DECREASING THE AUDIO LEVEL 5SUALLY DESCRIBED IN DECIBELS !UDIO &ILE !UDIO STORED IN ANY DIGITAL FORMAT IS AN AUDIO lLE .OT TO BE CONFUSED WITH AUDIOPHILE AN AUDIO A«ECIONADO " FRAME )N INTERFRAME COMPRESSION SCHEMES EG -0%' A HIGHLY COMPRESSED BIDIRECTIONAL FRAME THAT RECORDS THE CHANGE THAT OCCURRED BETWEEN THE ) FRAME BEFORE AND AFTER IT " FRAMES ENABLE -0%' COMPRESSED VIDEO TO BE PLAYED IN REVERSE #ONTRAST WITH ) FRAME AND 0 FRAME "ALANCE 4HE DI«ERENCE IN LEVEL OR APPARENT LOUDNESS BETWEEN 2IGHT AND ,EFT IN A STEREO AUDIO SIGNAL 3EE 0ANNING FOR ADDITIONAL INFORMATION "ALANCED #ABLE ! CABLE THAT CONTAINS TWO CONDUCTORS CARRYING AUDIO PLUS A SHIELD FOR THE GROUND THAT CARRIES NO AUDIO 0ROFESSIONAL MIC CABLES ARE ALWAYS BALANCED "ANDWIDTH 4HE RANGE OF FREQUENCIES IN AN AUDIO lLE %1 OR OTHER SIGNAL OR DEVICE THAT PASSES A SIGNAL 4HIS TERM ALSO REFERS TO THE DATARATE OF A STREAMING lLE
'LOSSARY
"ASS ,OW FREQUENCIES IN THE OVERALL SPECTRUM OF SOUND "ASS IS APPROXIMATED IN THE n (Z REGION OF THE FREQUENCY SPECTRUM "ED "ACKGROUND MUSIC OR SOUND E«ECT LAID UNDER A VOICE OVER 4YPICAL TERM IN TELEVISION AND RADIO "ITMAP ! GRAPHIC IMAGE COMPRISED OF INDIVIDUAL PIXELS EACH OF WHICH HAS A VALUE THAT DElNE ITS RELATIVE BRIGHTNESS AND COLOR "IT $EPTH 4HE NUMBER OF BITS IN A SAMPLE 4HE GREATER THE NUMBER OF BITS THE GREATER THE RESOLUTION OF THE AUDIO lLE AND THEREFORE THE MORE ACCURATE THE DIGITAL lLE WILL REPRODUCE THE ORIGINAL AUDIO IMAGE
BE CONSIDERED DULL WITH FEW HIGH FREQUENCIES 3IBILANCE IS TYPICALLY FAIRLY BRIGHT ALLOWING BREATH AND 3S 0S 4S 0S AND OTHER SIBILANT SOUNDS TO BE HEARD "UMPER 3TOCK AUDIO IDENTIFYING THE TELEVISION RADIO OR CABLE STATION OR PERHAPS DESIGNATING A CORPORATE AUDIO IDENT SUCH AS THE FAMOUS )NTEL SOUND #APTURING 2EFERS TO CAPTURING SOURCE VIDEO FOR USE ON A COMPUTER )F ANALOG THE CAPTURED VIDEO IS CONVERTED TO DIGITAL
"OOST 2AISING THE VOLUME OF AN AUDIO SIGNAL
#HANNEL %ACH COMPONENT COLOR THAT DElNES A COMPUTER GRAPHIC IMAGERED GREEN AND BLUEIS CARRIED IN A SEPARATE CHANNEL SO EACH MAY BE ADJUSTED INDEPENDENTLY #HANNELS MAY ALSO BE ADDED TO A COMPUTER GRAPHIC lLE TO DElNE MASKS
"RICKWALL 7HEN DIGITAL AUDIO HITS THE D" THRESHOLD BITS ARE TRUNCATED AND LOST 4HIS IS KNOWN AS hHITTING THE BRICKWALLv BECAUSE YOU CANT RECOVER THE LOST BITS $IGITAL FORM OF DISTORTION
#HAPTER ! NEW SEGMENT OF AN EXISTING WORK AS THE WORK IS BROKEN UP INTO SUBJECT OR SCENE SPECIlC SECTIONS #HAPTER POINTS ARE GENERATED IN THE %NCORE 4IMELINE
"RIGHT $ESCRIPTIVE TERM TO DESCRIBE HIGH FREQUENCIES )F A SOUND IS BRIGHT THEN IT CONTAINS A NUMBER OF HIGH FREQUENCIES )F THE SOUND IS NOT BRIGHT IT MAY
#HORUS &8 ! SERIES OF SHORT MODULATED DELAYS WITH SLIGHT SHIFTS IN PITCH TO CREATE THE E«ECT OF MULTIPLE VOICES STEMMING FROM
ONE VOICE 4HIS E«ECT ALLOWS A SOLO INSTRUMENT TO HAVE THE SOUND OF AN ENSEMBLE DUE TO THE SLIGHT DI«ERENCES IN TIMING AND PITCH #LIP ! DIGITIZED OR CAPTURED PORTION OF VIDEO #LIPPING $ISTORTION GIVEN ITS NAME FROM WHEN AUDIO IS hCLIPPED O«v AFTER EXCEEDING MAXIMUM LEVELS #AN BE CAUSED AT INPUT OUTPUT OR PROCESSING STAGES )N THE DIGITAL REALM CLIPPING BECOMES BRICKWALLING !LSO 4HE CROPPING OF PEAKS OVERMODULATION OF THE WHITE OR THE BLACK PORTIONS OF A VIDEO SIGNAL #ODEC #ONTRACTION OF COMPRESSIONDECOMPRESSION ALGORITHM USED TO ENCODE AND DECODE DATA SUCH AS SOUND AND VIDEO lLES #OMMON CODECS INCLUDE THOSE THAT CONVERT ANALOG VIDEO SIGNALS TO COMPRESSED DIGITAL VIDEO lLES EG -0%' OR THAT CONVERT ANALOG SOUND SIGNALS INTO DIGITAL SOUND lLES SUCH AS 7INDOWS 7-! lLE FORMAT #OMPRESS DYNAMIC RANGE 4O REDUCE THE AMOUNT OF DYNAMIC RANGE OF AN AUDIO SIGNAL MAKING THE OVERALL OUTPUT MORE CONSISTENT ! COMPRESSOR ACTS LIKE AN AUTOMATED FADER BRINGING LOUD
'LOSSARY
PORTIONS OF AN AUDIO SIGNAL TO A MORE QUIET POINT AND RAISING THE LEVEL OF QUIET SECTIONS TO MATCH LOUDER TRANSIENT PEAKS #OMPRESS lLE SIZE 2ESAMPLING REDUCING A lLE SIZE FOR STREAMING OR SHARING OVER THE INTERNET OR INTRANET 5SUALLY A LOSSY PROCESS CAUSING SOME LOSS OF AUDIO QUALITY 2%!, -EDIA -0%' -*0%' AND -ICROSOFT 7-67-! ARE ALL EXAMPLES OF COMPRESSED MEDIA 5SE !PPLES #OMPRESSOR TO COMPRESS MEDIA #OPYRIGHT *UST AS THE WORD IMPLIES THE RIGHT TO COPY !NY COMPOSITION IS COPYRIGHTED WHEN ITS COMPLETED .O ONE HAS THE RIGHT TO COPY THE COMPOSITION VIDEO OR OTHER ART FORMS WITHOUT THE PERMISSION OF THE AUTHOR OF THE WORK
#UT 4O REMOVE DELETE A SECTION FROM A DIGITAL EVENT !LSO REFERS TO A COMPOSITION TYPICALLY IN ALBUM FORM WITH THE COMPOSITION BEING A hCUTv OF AN OVERALL ALBUM !LSO REFERS TO REDUCING FREQUENCIES IN AN EQUALIZER AS IN hCUTTING THE BASSv FROM A MIX MEANING TO REDUCE THE AMOUNT OF BASS IN A MIX #UTO« &REQUENCY 4HE FREQUENCY THAT AUDIO IS DEEPLY ATTENUATED OR REDUCED ,OW PASS AND HIGH PASS lLTERS BOTH CENTER AROUND A CUTO« FREQUENCY 4HE HIGHER THE CUTO« THE LESS ORIGINAL AUDIO IS ALLOWED TO BE HEARD $!7 $IGITAL !UDIO 7ORKSTATION
#UE ! SPECIlC PIECE OF MUSIC COMPOSED TO PLAY AT A SPECIlC MOMENT IN TIME 4HE MOMENT THE COMPOSITION IS TO PLAY IS CALLED A #UE 0OINT ! LIST OF #UE 0OINTS IS CALLED A #UE ,IST GENERALLY DETERMINED IN THE 3POTTING 3ESSION SEE 3POTTING
$ECIBEL D" ! DEVICE OF MEASUREMENT $ESCRIBES ELECTRICAL POWER REFERENCED TO MILLIWATT 3O D"M IS EQUAL TO MILLIWATT OR M D" MAY REFER TO D"U D"V D"M 4O A LISTENER AUDIO MUST BE D" LOUDER TO APPEAR TO BE TWICE AS LOUD WHILE ELECTRONICALLY ONLY D" OF VOLTAGE DI«ERENCE ARE REQUIRED FOR THE SAME RESULT 4HIS IS WHY A WATT AMPLIlER IS NOT TWICE AS LOUD AS A WATT AMPLIlER
#UE ALSO REFERS TO SET UP A PIECE OF MEDIA AUDIO OR VIDEO TO PLAY AT A SPECIlC TRIGGER SUCH AS A $* CUEING UP MUSIC OR VIDEO TO PLAY AT THE PRESS OF A BUTTON
$EINTERLACE 4HE PROCESS OF REMOVING ARTIFACTS THAT RESULT FROM THE NATURE OF TWO lELDS PER FRAME INTERLACED VIDEO
#4) #URRENT 4IME )NDICATOR
$ESTRUCTIVE.ONDESTRUCTIVE $E STRUCTIVE EDITING ALTERS THE ORIGINAL lLE AND CANNOT BE RECOVERED )N THE $!7 AND .,% WORLDS DESTRUCTIVE EDITING IS OFTEN USED TO SAVE DISK SPACE 7ITH THE COST OF HARD DRIVES COMING DOWN DESTRUCTIVE EDITING IS LESS PREVALENT THAN IT WAS NOT LONG AGO .ONDESTRUCTIVE EDITING DOES NOT A«ECT THE ORIGINAL lLE REGARDLESS OF WHAT PROCESSES ARE APPLIED $IGITIZE #ONVERTING ANALOG TO DIGITAL AUDIO OR VIDEO 4HE MOMENT ANALOG INFORMATION IS STORED ON A HARD DRIVE BY WHATEVER MEANS IT ARRIVES THERE IT BECOMES DIGITIZED $ISTORTION 3EE CLIPPING 4HE POINT AT WHICH AUDIO NO LONGER MAINTAINS ITS ORIGINAL INTEGRITY INTENTIONALLY OR NOT !UDIO THAT EXCEEDS PHYSICAL OR ELECTRONIC LIMITATIONS BECOMES DISTORTED !LSO USED AS AN E«ECT PARTICULARLY ON GUITARS VIOLINS AND OTHER STRINGED INSTRUMENTS $OLBY$OLBY ,ABS &OUNDED IN $OLBY ,ABORATORIES IS KNOWN FOR THE TECHNOLOGIES IT HAS DEVELOPED FOR IMPROVING AUDIO SOUND RECORDING AND REPRODUCTION INCLUDING THEIR NOISE REDUCTION SYSTEMS EG $OLBY ! " AND # $OLBY $IGITAL !#
'LOSSARY
$ULL /PPOSITE OF BRIGHT 3OUND THAT IS DULL LACKS HIGH FREQUENCIES -AY BE PERCEIVED AS UNEXCITING $6$6 $IGITAL 6IDEO 4HE MOST COMMON FORM OF $6 COMPRESSION $6 USES A DATA RATE OF MEGABITS PER SECOND OR MEGABYTES PER SECOND $6$ $IGITAL 6ERSATILE $ISC USED FOR STORING IMAGES DATA AUDIO AND SYSTEM BACKUPS 4HE STANDARD FOR -0%' STORAGE AND DISPLAY OF MOVING IMAGES
INDICATING WHAT THE $6$ PLAYER SHOULD DO FOLLOWING THE END OF A VIDEOS PLAY !N END ACTION MIGHT INSTRUCT THE $6$ TO PLAY THE NEXT VIDEO ON THE DISC RETURN TO A MENU OR SIMPLY STOP %NVELOPE ! GRAPHIC DISPLAY OF A VOLUME PAN OR &8 CONTROL ALLOWING AUTOMATED CONTROL OVER THE BEHAVIOR OF SPECIlC PARAMETERS IN THE MIXING OF SOUNDS !LSO REFERRED TO AS THE ACOUSTICAL CONTOUR OF A SOUND ITS ATTACK DECAY SUSTAIN AND RELEASE !$32
$YNAMIC 2ANGE 4HE DI«ERENCE BETWEEN LOUD AND QUIET PASSAGES IN AN AUDIO PERFORMANCE 3OMETIMES REFERRED TO IN TERMS OF HOW LOUD AUDIO IS PERMITTED TO GO WITHOUT DISTORTION OR HOW QUIET AUDIO MAY GO BEFORE NOISE IS HEARD
$YNAMICS 6ARYING LEVELS OF AMPLITUDE THAT AUDIO DEMONSTRATES THROUGHOUT THE PROJECT
%QUALIZER %1 ! PLUGIN THAT ALLOWS SPECIlC FREQUENCIES TO BE MANIPULATED AND CONTROLLED "ASS MIDRANGE TREBLE FREQUENCIES ARE ALL BROKEN DOWN INTO SPECIlC BANDS AND ARE CONTROLLABLE VIA SLIDERS OR DIALS TO CUT OR BOOST SPECIlC FREQUENCIES 4HIS IS ONE OF THE MOST IMPORTANT TOOLS FOUND IN ANY $!7 OR .,% TOOL AS IT ALLOWS SPECIlC CONTOURING AND SHAPING OF AUDIO EVENTS TO HELP IT lT MORE EASILY WITH OTHER AUDIO EVENTS
%$, %DIT $ECISION ,IST %«ECTS &8 3IGNAL PROCESSORS ARE REFERRED TO AS E«ECTS OR &8 2EVERBS CHORUSES DELAYS PHASERS AND mANGERS ARE ALL REFERRED TO AS &8 %ND !CTION !N INSTRUCTION GIVEN TO A PLAYLIST OR VIDEO lLE
%NVELOPE 0OINT ! HANDLE OR NODE INSERTED ON AN ENVELOPE IN 0REMIERE OR !UDITION USED TO CONTROL VARIOUS PARAMETERS OF VOLUME PAN AND AUTOMATED &8 FUNCTIONS
%XPORT 3ENDING MEDIA FROM ONE APPLICATION TO ANOTHER SUCH AS EXCHANGING AUDIO FROM !UDITION TO 0REMIERE OR %NCORE IS AN EXPORT PROCESS 3EE )MPORT &PS !BBREVIATION FOR FRAMES PER SECOND THE STANDARD FOR MEASURING THE RATE OF VIDEO PLAYBACK SPEED ! RATE OF FPS IS CONSIDERED REAL TIME SPEED AND A RATE OF FPS IS CONSIDERED ANIMATION SPEED !T n FPS THE HUMAN EYE CAN DETECT INDIVIDUAL FRAMES CAUSING VIDEO TO APPEAR JERKY &ADE ! GRADUAL DECREASE OR INCREASE OF VIDEO OR AUDIO !UDIO FADES FROM AUDIBLE TO SILENT VIDEO FADES FROM VISIBLE TO BLACK ! FADE MAY ALSO BE USED TO TRANSITION FROM ONE EVENT TO ANOTHER ALSO CALLED CROSSFADE &IELD /NE COMPLETE VERTICAL SCAN OF A PICTURE THAT HAS LINES ! COMPLETE TELEVISION FRAME COMPRISES TWO lELDS THE LINES OF lELD ARE VERTICALLY INTERLACED WITH THOSE OF lELD FOR LINES OF RESOLUTION ACCORDING TO THE .43# STANDARD &IRE7IRE !N )%%% HIGH BANDWIDTHHIGH SPEED INTERFACE CREATED BY !PPLE AS AN INDUSTRY STANDARD FOR lLE )/ NOT LIMITED
'LOSSARY
TO BUT COMMONLY RELATED TO VIDEO AND AUDIO !LSO USED AS A HARD DRIVE INTERFACE &OLEY 4HE ART OF CREATING AMBIENT SOUND FOR lLM SYNCHRONIZED WITH ACTION ON THE SCREEN ! &OLEY ROOM USED TO RECORD AUDIO FOR lLM CONTAINS VARIOUS SURFACES AND EQUIPMENT TO SIMULATE OR IMITATE SOUNDS HEARD IN THE lELD RECORDED AUDIO FOR lLMVIDEO &RAME &ILM MOVES AT FRAMES PER SECOND MEANING THAT INDIVIDUAL PICTURES OR hFRAMESv ARE REQUIRED FOR EACH SECOND OF lLMVIDEO !N EXTRACTED STILL IMAGE OR WHERE THE PLAYHEAD PARKS IN 0REMIERE IS REFERRED TO AS A FRAME .43# VIDEO MOVES AT FRAMES PER SECOND AND 0!, VIDEO MOVES AT FRAMES PER SECOND &REQUENCY )N AUDIO THIS REFERS TO HOW FAST A WAVEFORM OR AUDIO SIGNAL REPEATS ITSELF -EASURED IN (ERTZ ,OW FREQUENCIES ARE n(Z MIDRANGE FREQUENCIES ARE n (Z OR +(Z AND HIGH FREQUENCIES ARE n+(Z 'AIN 4HE AMOUNT THAT A SOUND IS AMPLIlED FROM ITS ORIGINAL VALUE THE CHANGE IN ITS POWER POINT 3EE !MPLITUDE
'/0 'ROUP OF 0ICTURES (Z !BBREVIATION FOR (ERTZ +ILO(ERTZ IS ABBREVIATED AS +(Z AND MEGAHERTZ IS ABBREVIATED WITH -(Z )/ !BBREVIATION FOR )N/UT 2ELATING TO 0REMIERE OR !UDITION GENERALLY REFERRING TO HARDWARE USED TO GET AUDIO IN OR OUT OF A COMPUTER 3EE !$ #ONVERTER ) FRAME )N INTERFRAME COMPRESSION SCHEMES EG -0%' THE KEY FRAME OR REFERENCE VIDEO FRAME THAT ACTS AS A POINT OF COMPARISON TO 0 AND " FRAMES AND IS NOT REBUILT FROM ANOTHER FRAME /PPOSITE " FRAME AND 0 FRAME )MPORT 4O OPEN A lLE IN AN APPLICATION THAT ORIGINATED IN ANOTHER APPLICATION %NCORE CAN IMPORT 7!6 !)&& -/6 AND -6 lLES )NTERFRAME #OMPRESSION ! COMPRESSION ALGORITHM SUCH AS -0%' THAT REDUCES THE AMOUNT OF VIDEO INFORMATION BY STORING ONLY THE DI«ERENCES BETWEEN A FRAME AND THOSE BEFORE IT )NTRAFRAME #OMPRESSION #OMPRESSION THAT REDUCES THE AMOUNT OF VIDEO INFORMATION IN EACH FRAME ON A
FRAME BY FRAME BASIS #OMPARE TO )NTERFRAME COMPRESSION +(Z +ILO(ERTZ ABBREVIATED +(Z 3EE (ERTZ ,ATENCY 4HE PROCESSING TIME BETWEEN AUDIOS ORIGIN OR TRIGGER POINT AND WHEN THE SIGNAL IS ACTUALLY HEARD ,ATENCY ABOVE MILLISECONDS MS IS UNACCEPTABLE IN A RECORDING SITUATION BECAUSE THERE IS NO WAY TO PROPERLY MATCH RECORDED AUDIO WITH AUDIO BEING RECORDED RESULTING IN OUT OF TIME lLES ,AYBACK )MPORTING MATCHING AND DUBBING A lNISHED SCORE OR SOUNDTRACK BACK TO THE VIDEO MASTER %XPORTING AUDIO FROM !UDITION AND IMPORTING TO 0REMIERE FOR lNAL RENDERING FOR INSTANCE CAN BE CONSIDERED A LAYBACK ,AYER ! PART OF A GRAPHIC DOCUMENT THAT IS A SUBSET OF A LARGER DOCUMENT THAT MAY BE SEPARATED OR UNIQUELY MANAGED 0HOTOSHOP DOCUMENTS IN 03$ FORM ARE LAYERED ,AYOVER 2ECORDING AUDIO FROM AN ANALOG SOURCE TO A MULTITRACK $!7 OR AUDIO PORTION OF AN .,% ,AYOUT 4HE MANNER IN WHICH A WORKSPACE OR SURFACE IS DElNED AND VIEWED %NCORE PERMITS SINGLE OR SPLIT WINDOW LAYOUTS
'LOSSARY
,ETTERBOX 4HE ASPECT RATIO OF MOTION PICTURES IS WIDER THAN THOSE OF STANDARD TELEVISIONS 4O PRESERVE THE ORIGINAL ASPECT RATIO OF A MOTION PICTURE A MOTION PICTURE INCLUDES BLACK BARS AT THE TOP AND BOTTOM OF THE SCREEN WHEN PLAYED ON TELEVISION ,OOP ! SEGMENT OR SLICE OF AUDIO THAT REPEATS WITHOUT ANY INDICATION OF THE END OF THE SEGMENT ADJOINING THE BEGINNING OF THE SEGMENT ,OOPED AUDIO SEQUENCES ARE WONDERFUL FOR SEAMLESS MENU LOOPING IN %NCORE -% )NDUSTRY TERM FOR -USIC AND %«ECTS -ASTER 4HE lNISHED PRODUCT AFTER A lNAL MIX HAS BEEN CREATED AND THE lNAL MIX COMPONENTS HAVE BEEN lNALIZED WITH ALL %1 COMPRESSION AND VOLUME SETTINGS 4HE lNAL PRODUCT ON HARD DISK TAPES OR AUTHORED $6$ IS REFERRED TO AS h4HE -ASTERv -EDIA !NOTHER TERM FOR A lLE RELATED TO AUDIO VIDEO GRAPHIC ETC IN THE DIGITAL ENVIRONMENT -IC !BBREVIATION FOR MICROPHONE -IDRANGE !UDIO FOUND IN THE FREQUENCY BANDWIDTHS OF n (Z +(Z
-OIRE 6ISUAL DISTORTION CAUSED BY THE INTERFERENCE OF SIMILAR FREQUENCIES OR THE WAVING E«ECT PRODUCED BY THE CONVERGENCE OF LINES 3EE !LIASING
-ULTIMEDIA -EDIAlLES THAT CONTAIN AUDIO VIDEO GRAPHICS MIDI ANIMATION OR TEXT IN ANY COMBINATION "ROADLY USED TERM TO DESCRIBE NEARLY ANY FORM OF MEDIA
-ONITOR !NY DEVICE THAT ALLOWS AUDIO OR VIDEO TO BE SEEN OR HEARD !UDIO MONITORS ARE IN THE FORM OF SPEAKERS OR HEADPHONES VIDEO MONITORS ARE IN THE FORM OF A TELEVISION #24 OR ,#$
-UTE ! SOFTWARE OR HARDWARE SWITCH THAT PREVENTS AUDIO FROM BEING HEARD ON A CHANNEL OR CHANNELS !UDITION0REMIERE HAVE A MUTE SWITCHBUTTON ON EVERY CHANNEL
-ONO ! SINGLE CHANNEL OF AUDIO INFORMATION AS OPPOSED TO STEREO AUDIO CONTAINING TWO CHANNELS
.EAR &IELD -ONITORS 3MALL REFERENCE MONITORSSPEAKERS WITHIN CLOSE PROXIMITY OF THE ENGINEER EDITOR 5SED IN SMALL ROOMS OR FOR MONITORING AT LOW VOLUME LEVELS IN LARGER ROOMS 'ENERALLY LESS FATIGUING TO THE EAR
-0 -0%' !UDIO ,AYER COMPRESSION FORMAT 5SED TO COMPRESS lLES FOR DELIVERY OVER THE INTERNET OR FOR PLAYBACK ON PORTABLE HARDWARE DEVICES TO SAVE SPACE AND BANDWIDTH -0%' !BBREVIATION FOR -OTION 0ICTURE %XPERTS 'ROUP A GROUP THAT DElNED A STANDARD FOR COMPRESSION OF VIDEO OR AUDIO MEDIA -0%' -0%' IS AN EXTENSION OF THE -0%' COMPRESSION STANDARD DESIGNED TO MEET THE REQUIREMENTS OF TELEVISION BROADCAST STUDIOS -0%' IS THE BROADCAST QUALITY VIDEO FOUND ON $6$S AND REQUIRES A HARDWARE DECODER EG A $6$ 2/- PLAYER FOR PLAYBACK
.,% .ONLINEAR EDITOR .ORMALIZE ! DIGITAL PROCESS FOR INCREASING THE LEVEL OF AN ENTIRE AUDIO lLE TO A PRESET LEVEL WITHOUT CLIPPING .43# .ATIONAL 4ELEVISION 3TANDARDS #OMMITTEE SOMETIMES HUMOROUSLY REFERRED TO AS .EVER 4HE 3AME #OLOR /NE 3HOT !N AUDIO lLE THAT DOES NOT CONTAIN LOOPING INFORMATION BUT IS INTENDED TO PLAY ONCE NOT NECESSARILY IN TIME
'LOSSARY
/UTPUT 'ETTING AUDIO OUT OF THE COMPUTER TO AN ANALOG SPEAKER DIGITAL OUTPUT WITH 30$)& !%3%"5 OR OTHER lLE FORMAT EXTERNAL TO THE COMPUTER 0 FRAME )N INTERFRAME COMPRESSION SCHEMES SUCH AS -0%' THE PREDICTIVE VIDEO FRAME THAT EXHIBITS THE CHANGE THAT OCCURRED COMPARED TO THE ) FRAME BEFORE IT 3EE ) FRAME AND " FRAME 0AD !TTENUATION OF THE ORIGINAL AUDIO LEVEL 3EE !TTENUATION 0!, 0HASE !LTERNATION ,INE -OST ALL COUNTRIES USE 0!, OUTSIDE OF THE 53 AND *APAN SOMETIMES JOKINGLY REFERRED TO AS 0ICTURE !T ,AST 0AN !BBREVIATION FOR 0ANORAMA OR MOVING AUDIO ACROSS THE AUDIO SPECTRUM LEFT TO RIGHT FRONT TO BACK OR COMBINATION OF BOTH %ACH CHANNEL IN 0REMIERE OR !UDITION CONTAINS A PAN CONTROL THAT MAY BE AUTOMATED 0EAK !UDIO LEVELS MAXIMUM POINT IN A lLE 0LAYBACK ,ISTENINGMONITORING THE RECORDING AFTER ITS BEEN LAID TO HARD DRIVE OR TAPE 2EVIEWING THE AUDIO lLE AS ITS BEING COMPOSED !LSO REFERRED TO AS hPREVIEWING v WHICH MAKES NO SENSE BECAUSE YOU
ARE NOT VIEWING THE VIDEO OR AUDIO PRIOR TO ANY EDIT 9OU ARE LISTENING OR WATCHING VIDEO POSTEDIT MAKING THE TERM hPREVIEWv INACCURATE 0LAYHEAD 7HERE THE CURSOR LIES WITHIN THE $!7 OR .,% APPLICATION AS RELEVANT TO A TIMELINE CURSOR AND PLAYHEAD ARE GENERALLY INTERCHANGEABLE
PROJECT AND LISTENING TO AUDIO LOOPS COMPOSITIONS ASSIGNED TO THE VIDEO OR LISTENING TO PLAYBACK OF A MUSICAL COMPOSITION WITH OR WITHOUT VIDEO 3EE 0LAYBACK 0ROJECT ! COLLECTION OF AUDIO AND VIDEO lLES TO BE ASSEMBLED FOR A lNAL PRODUCT 03$ 0HOTO3HOP DOCUMENT
0LAY,IST ! SET OF INSTRUCTIONS THAT TELL A LINKED VIDEO HOW TO BEHAVE WHICH AUDIO IT SHOULD USE WHEN IT SHOULD PLAY AND WHAT FOLLOWS AFTER ITS PLAYBACK 0LUG IN $!7 OR .,% TERM REFERRING TO AUDIO OR VIDEO PROCESSORS THAT MAY BE USED TO SUPPLEMENT THE APPLICATIONS AUDIO OR VIDEO EDITING TOOLS 0OSTER &RAME &RAME GENERATED BY VIDEO INFORMATION IN A VIDEO lLE USED AS A BUTTONFRAME IN %NCORE TO INDICATE CONTENTS OF THE VIDEO LINKED TO THE FRAME 0RESET 0REDETERMINED PARAMETERS OF A PLUGIN TEMPLATE OR OTHER PREDETERMINED SETTING FOR AN APPLICATION 0REVIEW 6IEWING OR LISTENING TO MEDIA FROM AN APPLICATION )N %NCORE PREVIEW IS DElNED BY WATCHING VIDEO ASSOCIATED WITH A
2!- !BBREVIATION FOR 2ANDOM !CCESS -EMORY 2EGION ! PREDETERMINED SPACETIME ON THE TIMELINE IN ANY $!7 OR .,% APPLICATION CONTROLLING PLAYBACK AREATIME ! SEGMENT OF AUDIO OR VIDEO THAT MAY BE SEPARATELY MANAGED FOR EDITING 2ENDER 4O BLEND ALL MULTIMEDIA lLES TOGETHER IN ONE MASTER lLE FORMAT !KIN TO BAKING A CAKE FROM ALL ITS INDIVIDUAL INGREDIENTS 2'" !BBREVIATION FOR 2ED 'REEN "LUE 2OLL /« 4HE POINT AT WHICH FREQUENCIES ARE lLTERED OUT ! LOW FREQUENCY ROLL O« WILL RAPIDLY DIMINISH FREQUENCIES BEGINNING AT THE SPECIlED POINT 3EE !TTENUATION 2UMBLE ,OW FREQUENCIES TOO LOW TO ACTUALLY BE CLEARLY HEARD BUT
'LOSSARY
TAKING UP AUDIO INFORMATION SPACE &OOTSTEPS VIBRATIONS MOTORS ALL CREATE RUMBLE -ANY MIXING RECORDING CONSOLES INCORPORATE RUMBLE lLTERS SET TO APPROXIMATELY n(Z ROLLING LOW FREQUENCIES O« AT THAT POINT TO CLEAN UP AUDIO 3EE 2OLL O« 3AFE 4ITLE !REA 4HE AREA THAT COMPRISES THE PERCENT OF THE 46 SCREEN MEASURED FROM THE CENTER OF THE SCREEN OUTWARD IN ALL DIRECTIONS 4HE SAFE TITLE AREA IS THE AREA WITHIN WHICH TITLE CREDITSNO MATTER HOW POORLY ADJUSTED A MONITOR OR RECEIVER MAY BEARE LEGIBLE %NCORE DISPLAYS SAFE TITLE AREAS 3AMPLE 2ATE 4HE INTERVAL AND RESOLUTION AT WHICH AUDIO IS hPHOTOGRAPHEDv OR MEASURED !UDIO #$S ARE SAMPLED AT A RATE OF + AND BITS !UDITION IS CAPABLE OF MUCH HIGHER RESOLUTIONS AND SAMPLE RATES 3ESSION ! SPACE OF TIME DEDICATED TO RECORDING AUDIO %ACH TIME A NEW RECORDED lLE IS CREATED IT MAY BE REFERRED TO AS A SESSION $IGIDESIGNS 0RO4OOLS USES THIS TERM FOR THEIR BASIC DOCUMENT OF ASSEMBLED ELEMENTS
3&8 !BBREVIATION FOR 3OUND %«ECTS 3IBILANCE 4HE HISSING SOUNDS OF THE HUMAN VOICE MOST NOTICED IN 3S 0S 4S ETC (IGH FREQUENCIES SOMETIMES CHALLENGING TO CONTROL 5SE A $E%SSER PLUGIN OR AN %1 TO CONTROL THIS PHENOMENON 3-04% 3OCIETY OF -OTION 0ICTURE AND 4ELEVISION %NGINEERS !LSO USED AS A TIMECODE REFERENCE 3OLO ! BUTTON OR SWITCH THAT ALLOWS A SINGLE CHANNEL TO BE MONITORED -UTES ALL OTHER AUDIO DURING PLAYBACK WHEN ENGAGED !UDITION O«ERS A SOLO BUTTON ON ALL TRACKS 3OURCE !UDIO !UDIO FROM THE ORIGINAL PROGRAM MEDIA )N A VIDEO lLE THIS IS ON LOCATION SOUND OR AUDIO RELATED TO THE ORIGINAL SOURCE )T IS OFTEN REPLACED OR ENHANCED 3POT !NNOUNCEMENT FOR BROADCAST EG A COMMERCIAL !LSO NICKNAME OF $OUGLAS 3POTTED %AGLE 3POTTING )DENTIFYING AND DOCUMENTING CUES FOR MUSIC E«ECTS SOUNDDESIGN OR OTHER AUDIO INFORMATION SHOULD OCCUR 3EE #UE 3TEREO 4WO CHANNEL AUDIO CONSISTING OF SIMILAR OR DISSIMILAR AUDIO SPREAD ACROSS THE LEFT RIGHT SPECTRUM 4WO SEPARATE
MONO CHANNELS SEPARATED TO ONE LEFT AND ONE RIGHT WOULD NOT BE CONSIDERED STEREO BUT RATHER DUAL MONO 3TEREO MIXES IN !UDITION OR 0REMIERE CONSIST OF PLACING ELEMENTS ON THE MULTITRACK TIMELINE IN REPRESENTATIONS OF THEIR OCCURRENCE ACROSS THE LEFTRIGHT SPECTRUM AND THEN MIXED TO A TWO CHANNELSTEREO MIX REmECTING THE POSITIONING OF AUDIO ELEMENTS 3TREAMER 3LUG OR GRAPHIC OVERLAY ON VIDEO PLAYBACK MARKING EXACT POINTS THAT A CUE IS TO TAKE PLACE &UNCTIONS AS A VISUAL HIT POINT OR CUE 3EE #UE 3UBWOOFER 3PEAKER ENCLOSURE OPTIMIZED TO REPRODUCE SOUNDS FROM (Z TO (Z 3 VIDEO 3HORT FOR 3UPERVIDEO A TECHNOLOGY USED FOR TRANSMITTING VIDEO SIGNALS OVER A CABLE BY DIVIDING THE VIDEO INFORMATION INTO SEPARATED SIGNALS ONE FOR LUMA AND ONE FOR CHROMA 3 VIDEO IS SYNONYMOUS WITH 9# VIDEO 3 VIDEO IS A CONSUMER FORM OF COMPONENT VIDEO USED PRIMARILY WITH (I AND 3 6(3 EQUIPMENT 3WEET 3POT 4HE PRIME LISTENING AREA BETWEEN TWO SPEAKERS IN A STEREO ENVIRONMENT OR A LISTENING ENVIRONMENT 4HIS IS
'LOSSARY
THE POINT THAT ALL AUDIO CHANNELS ARE MOST PRECISE ARRIVING AT THE SAME LOCATION AT THE SAME TIME ! RELATIVELY SMALL AREA IN MOST ANY LISTENING ENVIRONMENT 3WEETEN 0OLISHING OR IMPROVING AN EXISTING RECORDING THROUGH ADDING OTHER PARTS TO THE COMPOSITION OR AUDIO ELEMENTS 0ROCESSING OF SOUND IS ALSO CONSIDERED SWEETENING !NYTHING DONE TO ORIGINAL AUDIO IN ORDER TO ENHANCE ITS QUALITY 3YNC !BBREVIATION FOR SYNCHRONIZE ! MEANS OF ENSURING EVENTS CONSISTENTLY OCCUR AT THE SAME TIME 4IMECODE IS GENERALLY A COMMON SOURCE TO ASSURE EVENTS BEING IN SYNC 4# !BBREVIATION FOR TIMECODE 4EMPORAL #OMPRESSION ! COMPRESSION METHOD THAT REDUCES THE DATA CONTAINED WITHIN A SINGLE VIDEO FRAME BY IDENTIFYING SIMILAR AREAS BETWEEN INDIVIDUAL FRAMES AND ELIMINATING THE REDUNDANCY 3EE ALSO #ODEC 4IMELINE ! COMPONENT OF %NCORE WHERE GRAPHIC AND VIDEO ELEMENTS ARE PLACED TO INCLUDE THEM ON THE $6$ 4IMELINES INCLUDE CHAPTER POINTS AND OTHER ELEMENTS
4RACK !N INDIVIDUAL LINE CONTAINING AUDIO LOOP ELEMENTS 4RANSFER RATE (OW FAST A DISK DRIVE OR #$ DRIVE CAN TRANSFER INFORMATION TO THE #05 -AY BE A BURST RATE OR SUSTAINED RATE (IGH CACHE LEVELS -" OR LARGER ASSIST IN PROVIDING INFORMATION TO THE #05 AT FAST RATES IMPORTANT WHEN BUILDING LARGE COMPOSITES IN 0REMIERE LOTS OF AUDIO TRACKS IN !UDITION AND DEEP MENU STRUCTURES IN %NCORE 4RANSIENT 4HE DI«ERENCE BETWEEN THE LOWEST POINT OF DECAY AND HIGHEST POINT OF ATTACK IN AN AUDIO lLE 4RANSPORT 0LAY RECORD STOP REWIND FAST FORWARD AND RECORD ARE ALL FUNCTIONS OF THE 4RANSPORT IN %NCORE 4HE 4RANSPORT TOOLS CONTROL POSITION OF PLAYBACK AND THE PLAYHEAD 4REBLE 4HE HIGH END OF THE AUDIO FREQUENCY SPECTRUM GENERALLY +(Z AND ABOVE 5NDERSCORE "ACKGROUND MUSIC NOT NECESSARILY MUSICALLY COMPOSED TO CREATE AN EMOTIONAL ATMOSPHERE OR ENVIRONMENT 3IMILAR TO AND OFTEN CALLED A MUSIC BED 3EE "ED 53" !BBREVIATION FOR 5NIVERSAL 3ERIAL "US
6IDEO &ILE )N %NCORE THIS IS RELEVANT TO 1UICK4IME !6) OR -6 lLES DATA lLES THAT CONTAIN VIDEO INFORMATION 6OLUME 4HE INDICATOR FOR OVERALL LEVEL OF A LOOP TRACK OR MASTER PROJECT OUTPUT LEVEL 7AVE WAV 4HE -ICROSOFT DESIGNATOR FOR AUDIO lLE FORMATS A COMMON lLE TYPE 5SED BY 7INDOWS APPLICATIONS AS A lLE FORMAT 7ORKSPACE 4HE PRIMARY WORK SURFACE IN %NCORE MAIN WINDOW WHERE MOST OF THE WORK IS PERFORMED
