That’s true in stereo for PowerDirector’s handling of 3D as well. There’s still a long way to go towards practicability and artistic subtlety in the 3D genre. Audience interest jumps in fits and starts with long stretches of ho-hum in between. 3D film-making has been around since 1922, but stuttered and sputtered often. For the current release, CyberLink baked up some fresh 3D transitions effects and key-able font/title templates. PowerDirector was an early facilitator of 3D stereoscopic video editing, in the game well before MAGIX or Sony. For scoring, MagicMusic churns out pre-licensed cues, but it too costs extra. Then again, the war stories I hear come from folks who are running it native in 64-bit on newer hardware with oodles of RAM.Īudio is handled by a price-tiered structure of companion routines and supplementary programs: Audio Room, Voice-Over Room, WaveEditor and (for a significant extra spend) the “round-trip-able” but standalone-priced digital audio workstation package AudioDirector. 12, however, seems to be much more stable and, reportedly, a lot faster. The title traditionally had a nasty habit of blowing up. Many longtime users of PowerDirector have gotten used to feeling like crash test dummies. That's more evidence of code elegance under the hood.īut that elegance was hard won. These will smoothly visualize without time-sucking render passes. PowerDirector has some pic-in-pic game with a positioning coordinate system and the ability to animate PiP objects-you can even add motion blur. Among other uses, this lets you use SD and HD footage at full resolution within a 4K project (important in this time of format transition). I like to layer a lot and am frequently invoking picture-in-picture. CyberLink marketing claims “the world fastest video editing engine” and, hardware equality assumed, I don’t doubt it. Much more importantly, it seems to be over the competition’s head as well. Just how CyberLink pulls this off is over my programming head. You can see stabilization in close to actual time, so you can fuss with the cropping (to ensure you include all of your clip’s goodness). Effects and transitions preview very quickly, even on modestly-powered CPUs. There must have been a few sharp code-jockeys at work on PowerDirector. But it won’t save your bacon if you haven’t. The keyer works, if you’ve lit your green screen halfway well. Some were apparently written outside CyberLink and ported in, though there’s not (yet) an open plug-in architecture in PowerDirector. They are not bad at all for the price, but you can’t search them efficiently. A lot of these lack a professional level of subtlety and are missing some desirable control handles (although a few auto-calculate how much footage lap is need to make them work well). You can choose from among 150+ transitions and 125+ effects. You can also use the more old-school approach of timecode synch, or even time-of-day if your cams are set-up accurately. Up to four sources, each on its own track, synchronize based on their audio. PowerDirector recently added support for MultiCam editing. I'm guessing you’ll grow tired of that quickly and jump back on the timeline.Īnd on that timeline, you can wrangle up to 100 tracks (not that you’ll use them all). The trouble is, it’s only thumbnails, butt-cut (where the end of one clip abuts the start of the next) together. It’s as simple as dragging and dropping clips depicted by thumbnails. PowerDirector lets you edit using an alternate Storyboard mode. But it’s not the only way to crochet a storyline. We old-fart editors tend to be very protective of our treasured timeline paradigm. It’s not artificially intelligent editing, but in this you can grab a glimpse of that future. Likewise, you can ask PowerDirector to Analyze Content for bits of action you may want to exclude (camera bumps and lighting blips) or specifically include (expressive people and dramatic pans or zooms). You’ll be keen on being able to drop multiple Ins and Outs on each source clip very cool for documentarians laboring to stitch-up a narrative from fly-on-the-wall footage or extended interviews. It's better, even, than a few big pro foundries like Avid Media Composer. But PowerDirector does this extremely well. In most editors, the scaling and scrolling of your workspace, to show what you’re actually working on, is frequently a bit dicey. Stepping into the adult (non-magic) Full Editor, you get an appealing timeline that’s easy to get around.
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