This forced us to fine-tune the relative positioning, for which nudging tools are provided to move clips forwards or backwards on the timeline by a frame at a time. However, in practice, we found it wasn’t entirely accurate with every multi-camera group we tried. The audio synchronisation uses CyberLink’s own technology, rather than being licensed from a third-party, such as Red Giant’s PluralEyes. The sound patterns are matched and the clips can then be synchronised.Īudio track-based synchronisation is a feature which has only just been added to Adobe’s high-end Premiere Pro with the Creative Cloud edition, so its inclusion here is highly commendable. But it’s also possible to use the audio tracks in the clips. You can perform the task manually, using timecodes or the file creation time, or with clip markers. PowerDirector 12 offers five different ways to do this. The most exciting aspect, however, comes when you are synchronising your clips in the first place. In keeping with similar tools available in other software, the Multicam Designer lets you see all the available angles onscreen at once, and then switch between them during playback, with results recorded as edits on the timeline, but with one acting as the master soundtrack. It supports up to four camera angles, plus a fifth audio-only source. The tool is a separate applet, accessible via the new Plugins icon. The most significant new addition is the Multicam Designer, which aims to make piecing together multi-camera shoots much easier. Following on from version 11, which began to set its sights on even higher levels, the new iteration adds even more high-end features.ĬyberLink PowerDirector 12 Ultimate: Features Once better known for being bundled with hardware peripherals and systems, PowerDirector has matured over its lengthy lifespan, and for the last few versions has become a serious contender for “prosumer” video editors. Despite the problems, there are enough interesting diversions here to keep it in the running.PowerDirector 12 is the latest incarnation of CyberLink’s video editing application. Premiere Elements remains the best option for advanced users, then, but it can’t match CyberLink PowerDirector 12 Ultra for sheer quantity of features. PowerDirector is otherwise well equipped for multitrack editing, with its sophisticated animation tools and superb preview performance, so it’s disappointing that this basic flaw is still unresolved. Movements to the left – once again – risk losing synchronisation across multiple timeline tracks. Rather than a global control, the user is confronted with a verbose list of options after each timeline edit, but only when moving a clip to the right or adjusting its right edge. The ripple-editing options introduced in version 11 remain a mess. It’s this lack of attention to detail and joined-up thinking that takes the shine off an otherwise impressive package, and it isn’t the only example. It’s easier to reopen the MultiCam Designer again, but doing so discards changes made on the timeline, including any effects that were applied previously. In fact, it was virtually impossible to make any kind of timeline adjustments to material created in the MultiCam Designer without losing audio sync, which makes us wonder why CyberLink allows it at all. However, this was only offered when we moved a clip, and not when we extended its length, so this also resulted in lost audio sync. This meant audio sync was lost from that point onwards.Īnother new feature in version 12 is an option to create a crossfade transition by overlapping two clips on the timeline. Applying a transition from the library automatically overlapped the two clips, but it did so by moving rather than extending the second clip. Also, we found applying transitions to multi-camera material impossible.
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