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Like most sophisticated NLE plug-ins, Titler Pro features a timeline, a tabbed effects attribute slider window and an edit/preview window. Any attribute can be keyframed, and the titler’s timeline can be synched to Vegas Pro’s timeline cursor position, allowing the editor to work interactively in reference to the program’s content. Unlimited layers may be placed on the timeline to create extremely sophisticated effects where each letter in a title can have its own surface, edge, shadow and texture changing through time.

Effects and transitions are also offered from libraries that are pre-loaded and expandable as new effects are developed by NewBlue. Entirely completed title animations are also included as templates that may be loaded with one click. Rolling over the template’s icon in the library instantly shows a full-screen preview of that template with whatever type is on the screen. This feature is a godsend when quickly showing a client for decision-making. Additional video tutorials are offered on the website for continued user advancement.

The new Sony Stabilization media effect is an additional feature that may prove useful with so many cell phone cams and handhelds filling the market. There are just three controls—two control sliders for pan stabilization and stabilization intensity, and a radio button to add rolling-shutter correction. Rolling shutter is an error encountered in many CMOS video cameras; when the camera is panned quickly, vertical objects in the scene appear to bend.

I found this feature difficult to employ. There’s no preview offered, so one must choose a short video sample to avoid lengthy rendering (a three-second clip took 16 seconds to be stabilized on the hexacore desk station), and then re-adjust and re-render until the right effect is achieved. The samples I chose ended up with strange jitter, and one repetitively appeared to be zoomed in about 50% for no reason. While operating this effect, the program had its one and only crash. Crashes of Sony Vegas Pro are extremely rare, so I’d wait for the next patch before using this tool for anything but an MTV effect.

I had a great time reviewing Sony Vegas Pro 10’s 3D editing capability—the first to be found on any NLE. The program was easy to learn and simple to use, with frequently impressive results. You can edit with the two video tracks displayed horizontally on the preview monitor, or stereoscopically interlaced, allowing you to wear 3D glasses to view the full effect.

Sony Vegas Pro 11 adds single-display 3D computers such as VAIO F Series 3D laptops and VAIO L Series All-in-One 3D desktop systems. I didn’t have such hardware to test this feature, but imagine that it will enhance the editorial capacity of any editor equipped as such.

Sony Vegas Pro is known for having one of the widest ranges of input and output formats, similar in scope to that of Edius. Vegas Pro 10’s long list of output render formats tends to be exhausting to consider whenever outputting a project, but Sony Vegas Pro 11’s list has been nicely reorganized, and it’s much easier to find the right format, especially if you wish to output with the same parameters that you used to ingest.

One small annoyance remains, however, and it’s not entirely Sony’s fault. Today, JVC manufactures an excellent line of camcorders that output in native QuickTime. If you own a Mac, ingesting to Final Cut Pro is as simple as inserting the chip into the computer—not so with PC-based NLEs, including Edius and Vegas. I think it’s high time that we digital sharecroppers, regardless of whether we plow PC soil or Mac soil, should be liberated from having to waste time and effort preserving the 1%-ers’ brand-antagonistic, divide-and-profit strategies. I challenge NLE manufacturers, especially Sony Creative Software’s brilliant engineers, to deal with this issue once and for all, or I will call all to Occupy Sesame Street.

Learn more about Sony Vegas Pro 11 by visiting the website at