|
Feature |
Benefit |
| Resolution independence
|
It doesn’t matter what you want to
create, you can output in that resolution. Low-res web streams,
standard def, or high def can all be created from the same
project file by simply rendering out the desired size. |
| Edits in native formats |
Don’t waste valuable time
conforming or converting your clips. MPEG-2, M2t, QuickTime, AVI
and most other formats are ready to use the moment you drag them
into SpeedEDIT. |
| Auto-insert fades into project |
One keystroke. That’s all it takes
to insert smooth fades into a selected region or your entire
project. Keep building your story, without even thinking about
the process behind it. |
| Process all clips in HD resolutions |
Using Image Super-sampling,
SpeedEDIT allows you to transparently scale standard-definition
clips up to High-definition |
| Overlapping clips auto-fade |
Just stack clips as you need, and
slide them to one side or another to shorten or lengthen the
pace of the dissolve. It’s all about working visually. |
| Modify project WHILE it plays |
Enjoy the flexibility of adding or
deleting clips from your project. WHILE it plays. That is
flexible. |
| Global in/out adjustment |
SpeedEDIT allows you to lasso a
group of clips and with one gesture, shorten, lengthen, rotate
or color-correct the entire region at once. |
| Clip roll-over previews in file bin |
Quickly choose the shot you want
from among numerous takes, and drag it straight to Timeline or
Storyboard, without importing or creating intermediaries or
converting or… |
| Quick copy clips |
Need another copy of the clip
you’re working on? Hold down Ctrl key and drag a fresh copy,
complete with all settings from the original. |
| Clip inherit |
One of SpeedEDIT’s coolest
features: If you have already edited, sized or positioned a
clip, it can be effortlessly replaced with another by just
holding down the Alt key while dragging the new clip on top. All
of the already created properties are instantly applied to the
new clip. |
| Local scrubbing |
Left-clicking on the bottom of a
Timeline clip pops up a thumbnail showing the frame. Holding the
left button down and dragging horizontally will perform a ‘local
scrub’ of just this clip. This is very handy when you are trying
to find a clip or frame in a layer of elements. |
| Track selection |
When active, clicking on any clip
in the project causes the time bar to snap to that clip. This
behavior can also be refined by having the time bar jump to the
first, middle or last frame in the clip. |
| Fade handles on clips |
Instead of invoking Edit Properties
panel, grab the fade handle in the lower corners of a clip and
drag it inward. This ramps transparency for video and volume for
audio clips. Another SpeedEDIT workflow boost. |
| Audio waveform feedback |
Any adjustment to audio levels are
immediately visible in the clip’s timeline waveform, as you
adjust. SpeedEDIT workflow is all about feedback now, not when
you render. |
| Intelligent background rendering |
HD and multi-layered SD projects
may require more disk bandwidth than your laptop can provide.
SpeedEDIT has dynamic background renders that keep your complex
comps ready for playback as soon as possible. Make a small
change, and only that adjusted portion re-draws for immediate
feedback. |
| Real-time full resolution fielded
on-screen rendering |
We show real, fielded (or
progressive) video on your monitor. |
| Undo/Redo |
Load that project tonight, tomorrow
or two years from now, and you can undo your steps back to the
project’s first action (if that is how your preference is set).
|
| User presets |
Within SpeedEDIT is Tool Shed: your
secret weapon. Any time you have carefully worked a clip
fly-though, a color enhancement or gamma boost, that can be
saved as a Tool Shed Preset. The next time it’s needed, there is
not need to spend any time on it. Select the clip, choose the
preset and click Done. You’re done. |
| Ctrl-drag a clip into a folder and
it saves clip settings |
This provides multiple benefits,
such as music clips already marked to the beat of the music.
These instances point back to the source clips, and take no disk
space. |
| Classify clips by color |
Use your own system to visually
distinguish between audio narration, music clips and background
efx; pinpoint problem areas from your last session; have the
freedom in this session to mark something for later…and keep
telling your story. |
| Cut to music (or narration) |
With one click, markers can do some
very helpful things to your project:
- trim all video clips to fit within markers for building
a highlights reel to music or narration
- razor clips or filters at every marker in the clip, for
easy cutting of long takes.
|
| Combine SD and HD clips on the
timeline. |
This is as big as the clips you’ll
be editing. Anything can be edited alongside or on top of
anything else. Mixing your existing library into your new HD
clips never gets in the way of the story, as there’s no
converting or re-scaling to distract you. |
| Real-time up and down conversion
|
Edit a project in any resolution,
from a 320x240 web stream to 2880x1920 max resolution and then
render it out to any resolution, progressive or fielded, that
you need. This also gives you the ability to output HD, SD and
web-sized versions of the same project. |
| YUV rendering engine |
Every important compression format
is YUV (MPEG, DV, HDV, DVCPro) so we talk directly to these
without color conversions. This results in faster feedback with
more accurate color |
| Full resolution HD previews
|
High-Definition brings not just
more pixels, but more clarity, detail and subtle coloration.
Accurately monitor work as you progress without having to guess
|
| Real-time HD previews |
No intermediaries. Drop an HD clip
onto the timeline from a folder and it is ready to scrub and
play. Avoid time wasted converting or rendering clips when you
could be building your project. |
| Output any frame-rate
|
Whether you are editing for output
to Jumbotron, HD, DVD or broadcast, you can provide exactly what
your client wants. |
| Output any resolution |
Edit any clips you have, and focus
on the pacing and storyline. When completed, you can render out
to any resolution you need. |
| Output any aspect ratio |
Regular television aspect or
wide-screen support throughout the workflow from capture, to
titling and output. |
| Input most formats |
Pay no attention to clip formats,
file types or file extensions, and put all your attention on
building the project without any performance penalty for mixing
different clips |
| output via FireWire
|
All cameras and decks now have
FireWire, making it the simplest way to ingest or lay back
video. |
| Tool Shed automation
|
Perfect a move or color-correction
once. Then, with two clicks, recall it to apply to one or dozens
of clips in the project. |
| CG Post™ |
CG Post allows animated titling in
any aspect or resolution. Nearly 200 preset pages allow a quick
starting point for fast set-up. |
| Fully multi-threaded |
Push the pedal to the metal.
SpeedEDIT takes advantage of the new dual-core and
multi-processor systems, wringing maximum performance your
hardware. |
| White Balance correction
|
Sometimes, when shooting quickly,
you may not notice that going from full-sun to shade affected
your shot, until you examine it later. SpeedEDIT lets you make
both subtle and major warm/cool correction to your video. |
| Real-time 3-wheel color correction
|
While separate color and gamma
controls for shadows, mid-tones and highlights has become the
standard for color correction, SpeedEDIT lets you do this in
real-time, with adjustable smoothing between bands for the most
subtle corrections or changes |
| 4-band color selection |
Pick and color. Any color. Now,
modify just that color with saturation or hue. Do that three
more times and you have the ability to fine-tune anything in the
frame. |
| Simultaneous Storyboard and
timeline views |
Storyboards are one of the most
effective means of story set-up, and are still sketched out to
pitch, and then produce commercials, movies and documentaries.
Most editing software gives minimal attention or power to any
existing storyboard interface. Only SpeedEDIT uses storyboarding
as a real-time, interactive process beside the timeline. |
| Dual Timeline views of the same
project |
Once you begin layering or refining
audio, the timeline becomes the best place to work, and
SpeedEDIT gives you simultaneous wide and close-up views of the
project. |
| Real-time layering |
|
| |
|
| 3D control of position, size and
rotation |
When you need it, the visual
positioning panel in SpeedEDIT is extremely fast. It gets faster
and easier when you turn on Auto Key frame, remembering every
move you make. |
| Spline-based control of all
properties and effects |
Splines are just ways you connect 2
keyframes with a curve, but this allows very subtle control over
audio levels, color corrections and playback speeds. |
| Real-time image sequence playback |
If you have original HD footage or
a LightWave animation as a targa sequence, SpeedEDIT’s
intelligent use of meta-data will give you immediate clip
playback, in full resolution. This also means while browsing,
you can double-click on a targa in a file folder, and get
real-time playback of the sequence. Fast and easy. |
| mixture of formats with no
performance penalty |
You will instead be focused on how
to pace your story instead of analyzing and then converting
clips in the middle of your day. |
| Real-time interpolated slow motion |
Slow a clip to perform a
fit-to-fill in a project gap, or dynamically change clip speeds
as a special effect. SpeedEDIT slow motion can’t slow you down. |
| Real-time chroma and luma keying
with spill suppression |
Place talent shot in front of green
screen in a new environment, or key out black portions of a clip
for video motion graphics. |
| Real-time high-quality scaling of
graphics |
This keeps details crisp and clean,
whether you are sizing a video clip down as a
picture-in-picture, or needing to size an SD clip up to fill an
HD frame. |
| Real-time video and audio filters |
All of these filters are real-time,
and animatable. |
| Real-time mixing of unlimited audio
layers |
Sometimes that perfect sound
happens to be a combination of many audio layers, and you can
mix it all in real-time. |
| 3D audio positioning |
With the ease of dragging a target
point around a virtual room, you can pan and fade audio through
space. You can even keyframe this while the clip is playing. |
