Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack – 10 9 – ar


valid until 2018/1/23

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

26.01.2018 – Drag on the image downward and you can create the opposite type of world, in which the inhabitants are on the inside of a sphere. CyberLink has really pushed the envelope with these first-mover features.

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Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

What’s New?

1. 8The Edit using Content Aware Editing right-click choice processes a clip, and then it shows a dialog with tracks for each of the detected events, such as Zoom, Pan, Faces, Speech, Shaky video, poor lighting, and more. It handles the standard trimming, joining, and overlaying of clips and effects with aplomb.
2. 4 It handles the standard trimming, joining, and overlaying of clips and effects with aplomb.http://softik.org/adguard-5-0-155-1204-repack-rus-by-alker-7/Apply reflection effects to title text or PiP objects, or use the 4-color gradient to make your title text really stand out.

3. 2 For example, the assumption is that you will probably want footage with people’s faces in it such as family members and action, rather than sections with nobody in them and nothing happening. Design Studio Need more tools to help make your production look unique? http://softik.org/internet-security-software-reviews-pc-magazine/ http://softik.org/top-10-software-reviews-pc-utilities/This takes degree content and realigns it so that the ground is shaped like a ball that any people in the video are walking around. Before that he worked on PC Magazine?

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Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack

4. 6 Its render speed with OpenCL acceleration enabled is nothing short of astonishing.Cyberlink powerdirector 11 ultra 11 0 0 2516 content packAudio tracks in the timeline by default show waveform lines, and you can turn up and down volume by grabbing and dragging them.

5. 1 The editor doesn’t let you export to H. It can even attempt to convert 2D content to 3D.

6. 7 PowerDirector supports 4K video content.

7. 2 View All 22 Photos in Gallery.

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The most degree video capabilities of any video editor. No trimming in source panel. Number of options can make interface overwhelming. Doesn’t output degree projects to H. PowerDirector is one of the fastest and most capable consumer-level video editing apps for Windows around, and the first to support degree VR footage.

In the past year or two, the amateur video landscape has advanced considerably, and CyberLink’s consumer video editing software is usually among the first with support for new formats. Before 4K content could be shot on most smartphones PowerDirector supported it.

Now we’re starting to see degree video and new high-efficiency codecs like H. And it’s still loaded with tools that help you put together a compelling video, complete with transitions, effects, and titles.

It handles the standard trimming, joining, and overlaying of clips and effects with aplomb. PowerDirector’s fast, powerful video-editing tools make it the prosumer video editing software to beat. For longtime, diehard PowerDirector users, here’s a rundown of new feature highlights in version 16, reviewed here.

I’ll discuss and evaluate each in the appropriate sections below. PowerDirector runs on Windows 7 through Windows 10, with bit versions recommended. You can try out the software with a day downloadable trial version that adds brand watermarks and doesn’t support 4K.

Note that those prices are often discounted. To see exactly which is in each edition, go to CyberLink’s comparison page. View All 22 Photos in Gallery. Installing the program takes up nearly a gigabyte of your hard drive, so be sure to use a machine with room to spare.

The installer no longer tries to add extra unrelated apps alongside the video editor, which makes me happy. The program’s user interface is about as clear and simple as a program with such a vast number of options can be, but it can still get overwhelming when you’re deep in the weeds of fine-tuning video or audio effects.

It’s not quite as unintimidating as of Adobe Premiere Elementshowever. Two choices below those include Auto Mode and Editor—all these modes are self-explanatory. If you don’t need or want all these choices every time you start the program, a simple Always Enter Timeline Mode checkbox is for you.

On this welcome screen, you can also choose your video project’s aspect ratio— The PowerDirector editing interface maintains the traditional source and preview split panels on the top, with your track timeline along the whole width of the bottom of the screen.

The storyboard view is more than just clip thumbnails. You can drag transitions between clips, apply effects, and add audio clips without switching to timeline view. I also like the buttons at the top for showing just video, just photos, or just audio in the source panel.

Four mode choices line up at the top: Capture, Edit, Produce, and Create Disc. The timeline is easy to customize and navigate, with a button for adding tracks.

You’re allowed up to Vegas Movie Studio limits you to 20, which is already probably more than most people need, though not enough for high-end projects. By default, you get three pairs of video and audio tracks with Cyberlink, as well as effects, title, voice, and music tracks.

Zooming the timeline in and out is also a snap, either with Ctrl-Mouse wheel or a slider control. As with most nonlinear video editing software, you join and trim clips on the timeline.

CyberLink has changed the default timeline behavior a bit with this release: Instead of a clip firmly snapping next to an existing clip on the timeline, when you drag one onto the timeline, you’re likely to overlap with the existing clip to the left.

You get a tooltip with five options: If you use the Insert button that appears below the source panel when you select a clip, you can get your clip lined up without any fuss. The Trim tool opened with a scissors icon allows precise control down to the individual frame with two sliders, and the multi-trim tool lets you mark several In and Out points on your clip—a useful tool for cutting out the chaff.

Some professionally trained video editors I know lament, however, that you can’t do a rough trim on a clip before dragging it down into PowerDirector’s project timeline, as you can in Final Cut Pro X and Premiere Pro.

You use PowerDirector’s unique and intuitive selection cursor to split video and delete sections. PowerDirector also makes it easy to fix lighting and color. You can independently adjust the brightness, contrast, hue, saturation, sharpness, and white balance.

New for version 16 is color matching—important for movies shot at different angles with different equipment and lighting. The new Color Match option appears when you have two clips selected, and it’s a simple matter of scrubbing to the frame in each that you want to match.

The new support for CLUTs, or color lookup tables, can give your movie a uniform look, by applying a color mood like those you see in the cinema, for example, the dark blue look of the Batman movies.

Unfortunately, the program doesn’t give you much support in actually locating CLUTs—you’re pretty much on your own. Pinnacle Studio, the only other consumer editor I know of with CLUT support, starts you out with a good selection of the effects, by comparison.

One of the best things to come to home video editors in recent years was pioneered by Apple with the Trailers feature of the Mac’s included iMovie app. Adobe recently added a similar tool, Premiere Elements’ Video Story feature.

With either of these, you fill templates in with video and photo content that meets the needs of a spot in the production, such as Group shot, close-up, or Action shot.

These are elaborated with transitions and background music that match your chosen theme. PowerDirector has a similar tool, Express Project, which you can enter directly from the program startup panel.

Express Project joins another similar tool, the Magic Movie Wizard, which takes you through five steps: Unlike the iMovie tool, PowerDirector requires you to add your own background music—there are no canned scores in the wizard or for Express Projects.

An Express Project only requires two steps: Dragging an Opening, Middle, and Ending onto the timeline, and filling the resulting clip tracks with your media. But it does offer guidance in crafting a digital movie, it is actually more customizable, and the results look pretty cool.

New for version 16 is the Video Collage Designer. This is cyberlink powerdirector 11 ultra 11 0 0 2516 content pack to a tool that appeared in the last version of Adobe Premiere Elements.

Accessed from the Plug-ins button, the Video Collage Designer shows templates with your clips on the side. You simply drag and drop the latter into the former, and you get a nifty animated picture in picture.

PowerDirector already had one of the strongest picture-in-picture tools around, but this is an easier way to get a pleasing result. When you add a degree clip to your project, PowerDirector pops up a dialog box asking whether you want your output to be or 2D.

If you choose the latter, the View Designer window opens, which let you choose the resulting movie’s point of view. You can move the angle around in this window’s preview in three axes x, y, and z with the mouse pointer.

Clicking on up, down, left, and right, arrows alters your point of view, and clicking the center of the arrow control snaps the view to straight on. You can zoom the view, and very usefully, use keyframes to automatically switch from one viewpoint to another.

That last option can take advantage of the Ease In option, which makes the motion more naturally accelerate and decelerate, rather than happening mechanically. This takes degree content and realigns it so that the ground is shaped like a ball that any people in the video are walking around.

Drag on the image downward and you can create the opposite type of world, in which the inhabitants are on the inside of a sphere. A cool option is to use keyframes to rotate the world smoothly.

Also new for videos are stabilization and, remarkably, motion tracking. CyberLink has really pushed the envelope with these first-mover features. Unfortunately, I could not get good stabilization results in footage from my Samsung Gearbut when I tried sample shaky footage from CyberLink’s Steven Lien, the feature worked well.

Motion tracking works about the same as it does in 2D footage, except the selection box changes shape to reflect its position in 3D space. It’s a simple three-step process: You box the object you want to track, run the tracker, and then attach text or graphics to follow it.

It works better than any motion tracking I’ve tested to date. The tracker displayed a circle centering on and a box around the colleagues head I was tracking, and it locked on perfectly.

In the past these tools have tended to lose the tracked object, being distracted by background objects. It even kept up with the trackee when he walked behind a glass door.

For projects that you intend to output in degree format, you can still use the basic trimming, splitting, and joining editing tools, but there are a bunch of PowerDirector features you cannot use: Magic Movie, video cropping think about itand content-aware editing.

You also cannot successfully mix non content into a project. Adding titles and transitions is still possible, as is making color corrections, and time speedups and slowdowns. The program now offers 11 degree title options, including some with fly-in animations.

You can also change up the fonts with over choices and apply effects like stroke and drop shadow. These titles stay in place as the viewer moves around, rather than just statically remaining over the image.

But you can also move them around, change transparency, and scale, all using keyframes—pretty cool. Once you’ve edited the content to taste, you output to H. The exporter lets you choose a privacy level and resolution, including 4K as an option.

The editor doesn’t let you export to H. PowerDirector can export to H. PowerDirector can of course import and edit footage from GoPro cameras, as well as from other action cameras from the likes of Sony, Kodak, and Ion.

But the dedicated Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack Camera Center under the Tools menu item appears when you select a clip.

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New for version 16 is automatic ducking, which doesn’t add quacks to your soundtrack. You can even rotate the text with a handle. You can try out the software with a day downloadable trial version that adds brand watermarks and doesn’t support 4K. I’ll discuss and evaluate each in the appropriate sections below. CyberLink has really pushed the envelope with these first-mover features. It can even attempt to convert 2D content to 3D. Its wealth of powerful tools would be enough to give it a strong recommendation, but the speed with which PowerDirector handles editing and rendering digital movies really gives it the upper hand in the face of many competing products.

Cyberlink powerdirector 11 ultra 11 0 0 2516 content pack days charge account

By default, you get three pairs of video and audio tracks with Cyberlink, as well as effects, title, voice, and music tracks. Zooming the timeline in and out is also a snap, either with Ctrl-Mouse wheel or a slider control.

As with most nonlinear video editing software, you join and trim clips on the timeline. CyberLink has changed the default timeline behavior a bit with this release: Instead of a clip firmly snapping next to an existing clip on the timeline, when you drag one onto the timeline, you’re likely to overlap with the existing clip to the left.

You get a tooltip with five options: If you use the Insert button that appears below the source panel when you select a clip, you can get your clip lined up without any fuss.

The Trim tool opened with a scissors icon allows precise control down to the individual frame with two sliders, and the multi-trim tool lets you mark several In and Out points on your clip—a useful tool for cutting out the chaff.

Some professionally trained video editors I know lament, however, that you can’t do a rough trim on a clip before dragging it down into PowerDirector’s project timeline, as you can in Final Cut Pro X and Premiere Pro.

You use PowerDirector’s unique and intuitive selection cursor to split video and delete sections. PowerDirector also makes it easy to fix lighting and color. You can independently adjust the brightness, contrast, hue, saturation, sharpness, and white balance.

New for version 16 is color matching—important for movies shot at different angles with different equipment and lighting. The new Color Match option appears when you have two clips selected, and it’s a simple matter of scrubbing to the frame in each that you want to match.

The new support for CLUTs, or color lookup tables, can give your movie a uniform look, by applying a color mood like those you see in the cinema, for example, the dark blue look of the Batman movies.

Unfortunately, the program doesn’t give you much support in actually locating CLUTs—you’re pretty much on your own. Pinnacle Studio, the only other consumer editor I know of with CLUT support, starts you out with a good selection of the effects, by comparison.

One of the best things to come to home video editors in recent years was pioneered by Apple with the Trailers feature of the Mac’s included iMovie app. Adobe recently added a similar tool, Premiere Elements’ Video Story feature.

With either of these, you fill templates in with video and photo content that meets the needs of a spot in the production, such as Group shot, close-up, or Action shot. These are elaborated with transitions and background music that match your chosen theme.

PowerDirector has a similar tool, Express Project, which you can enter directly from the program startup panel. Express Project joins another similar tool, the Magic Movie Wizard, which takes you through five steps: Unlike the iMovie tool, PowerDirector requires you to add your own background music—there are no canned scores in the wizard or for Express Projects.

An Express Project only requires two steps: Dragging an Opening, Middle, and Ending onto the timeline, and filling the resulting clip tracks with your media. But it does offer guidance in crafting a digital movie, it is actually more customizable, and the results look pretty cool.

New for version 16 is the Video Collage Designer. This is similar to a tool that appeared in the last version of Adobe Premiere Elements. Accessed from the Plug-ins button, the Video Collage Designer shows templates with your clips on the side.

You simply drag and drop the latter into the former, and you get a nifty animated picture in picture. PowerDirector already had one of the strongest picture-in-picture tools around, but this is an easier way to get a pleasing result.

When you add a degree clip to your project, PowerDirector pops up a dialog box asking whether you want your output to be or 2D. If you choose the latter, the View Designer window opens, which let you choose the resulting movie’s point of view.

You can move the angle around in this window’s preview in three axes x, y, and z with the mouse pointer. Clicking on up, down, left, and right, arrows alters your point of view, and clicking the center of the arrow control snaps the view to straight on.

You can zoom the view, and very usefully, use keyframes to automatically switch from one viewpoint to another. That last option can take advantage of the Ease In option, which makes the motion more naturally accelerate and decelerate, rather than happening mechanically.

This takes degree content and realigns it so that the ground is shaped like a ball that any people in the video are walking around. Drag on the image downward and you can create the opposite type of world, in which the inhabitants are on the inside of a sphere.

A cool option is to use keyframes to rotate the world smoothly. Also new for videos are stabilization and, remarkably, motion tracking. CyberLink has really pushed the envelope with these first-mover features.

Unfortunately, I could not get good stabilization results in footage from my Samsung Gear , but when I tried sample shaky footage from CyberLink’s Steven Lien, the feature worked well.

Motion tracking works about the same as it does in 2D footage, except the selection box changes shape to reflect its position in 3D space. It’s a simple three-step process: You box the object you want to track, run the tracker, and then attach text or graphics to follow it.

It works better than any motion tracking I’ve tested to date. The tracker displayed a circle centering on and a box around the colleagues head I was tracking, and it locked on perfectly.

In the past these tools have tended to lose the tracked object, being distracted by background objects. It even kept up with the trackee when he walked behind a glass door.

For projects that you intend to output in degree format, you can still use the basic trimming, splitting, and joining editing tools, but there are a bunch of PowerDirector features you cannot use: Magic Movie, video cropping think about it , and content-aware editing.

You also cannot successfully mix non content into a project. Adding titles and transitions is still possible, as is making color corrections, and time speedups and slowdowns.

The program now offers 11 degree title options, including some with fly-in animations. You can also change up the fonts with over choices and apply effects like stroke and drop shadow.

These titles stay in place as the viewer moves around, rather than just statically remaining over the image. But you can also move them around, change transparency, and scale, all using keyframes—pretty cool.

Once you’ve edited the content to taste, you output to H. The exporter lets you choose a privacy level and resolution, including 4K as an option. The editor doesn’t let you export to H. PowerDirector can export to H.

PowerDirector can of course import and edit footage from GoPro cameras, as well as from other action cameras from the likes of Sony, Kodak, and Ion. But the dedicated Action Camera Center under the Tools menu item appears when you select a clip.

This offers effects like camera-profile-based corrections for fisheye distortion, vignette, camera shake, and color. It also includes effects favored by action cam users, such as freeze-frame and time-shifts like slowdowns, speedups, and replays.

The fisheye fix has an advantage over GoPro’s own video editor in that it cuts off less of the edge of the screen, and in my test shot it distorted faces less than the GoPro software.

Stabilization isn’t an option in the stock GoPro software, and CyberLink offers enhanced stabilization and the ability to fix camera rotation for a smoother look. The enhanced stabilization which takes much longer did a nice job of smoothing out bumpy shots, but I still occasionally saw some warping—a common artifact of stabilization technology.

The first offers buttons for replay and reverse, and speed effects. You choose how long a piece of the clip the effect should be applied to, and from check boxes you can choose Ease In and Ease Out options.

The tool lets you easily create fun effects that are prized by skateboarders, surfers, and other fun lovers. Another tangentially action-cam related capability is the ability to import and edit clips shot at a high frame rate, such as fps and fps.

I imported a sample of the latter from an iPhone 6, and when I dragged it into my timeline, I got a warning box telling me the frame rate differed from that of my project, but Settings only offered a maximum of 60fps for a project.

A CyberLink contact informed me that the limit only applied to the timeline view, and assured me that fps content is preserved at output time. Adding a slo-mo effect to my test clip turned a hand clap into a terrifying bass thump.

In PowerDirector, the tool simply freezes the action for a specified amount of time on selected frames. Motion tracking lets an object, text, or effect follow around something moving in your video.

You pick the Motion Tracker choice from the same Tools menu as the Action Camera, after selecting a clip in the timeline. The tool makes tracking an object and adding a title, effect, or even another media clip a simple three-step process.

You start by positioning a target box on the object you want tracked, then press the Track button, which runs through the video while following your boxed object. And then you choose what you want to follow the tracked object.

As mentioned above, the degree tracker worked extremely well, but the 2D tracker still lost track of my subject’s face when he turned around, a common limitation in such tools.

I fixed this pretty easily by stopping the tracking, realigning the box, and starting tracking again. It’s easier to get a track correct than in Corel VideoStudio. Adobe Premiere Elements’ motion tracking tool also lost track of a skateboarder in my test footage when he passed behind a pole.

For attaching text to motion-tracked objects in PowerDirector, you can easily attach a mosaic, spotlight, or blur effect, and you get a good choice of many fonts, colors, and sizes.

You can even rotate the text with a handle. One thing I’d like to be able to add, however, is a speech bubble, something offered by Adobe and Corel. PowerDirector can analyze your clip for people, zooming, panning, speech, motion, and shaky video.

This enables you to select or reject areas of interest or boringness. Premiere Elements has a tool that lets you manually pick your favorite moments, but it’s not automated like PowerDirector’s.

The Edit using Content Aware Editing right-click choice processes a clip, and then it shows a dialog with tracks for each of the detected events, such as Zoom, Pan, Faces, Speech, Shaky video, poor lighting, and more.

Clicking on any of the detected clip segments lets you easily select or deselect that portion of the clip for use in your project. Note that this feature doesn’t work with degree content.

With so many people shooting events simultaneously with their HD camera phones, multicam is no longer just for professionals. PowerDirector allows up to multicam tracks, but what this really means is that you can sync that many tracks by audio in the main timeline.

The actual multicam-switching interface still just has four video sources. When I used Audio Analysis, my two clips synced perfectly. Supports import of 4K videos from the latest camera devices, edit more efficiently with TrueVelocity and produce breathtaking 4K movies on disc or publish online right from your desktop.

Design Studio Need more tools to help make your production look unique? PowerDirector 11’s new Design Studio tools come with four new designer tools: You can use the full screen editing interface and timeline for a more accurate animation design, or overlay particle effects over titles.

Apply reflection effects to title text or PiP objects, or use the 4-color gradient to make your title text really stand out. Content Pack Premium The Content Aware Editing system is an interesting new addition, although it isn’t included in the Deluxe version, just Ultra and above.

You choose a clip, and right click to edit in this mode, which begins analysis of the footage. When this is complete, a new window appears with a timeline showing how the clip divides into sections.

Any zooms are detected and shown, as are pans. But the software will also indicate when faces are onscreen, when there is motion in the frame, and when shaky video or poor lighting is detected. With the latter two, there’s a simple icon to enable automatic fixing of both problems, which works extremely quickly.

However, the idea behind this system is that you can quickly find the interesting portions of your clips, then mark these as selected or deselected. For example, the assumption is that you will probably want footage with people’s faces in it such as family members and action, rather than sections with nobody in them and nothing happening.