How do you evaluate the accuracy of exposure? How do you determine if color correction is necessary? How do you identify overexposed or underexposed areas? Sometimes a mere visual assessment is insufficient to answer these questions and more.

In this article, we will delve into a powerful color analysis tool - histograms, which are accessible in the Free version of VSDC Video Editor. They enable you to objectively assess the color distribution within the frame and determine if color correction is required.

We will guide you through the process of working with this analytical tool to achieve your desired outcome.

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What is a histogram?

Histograms are visual graphs that display the pixel values of a frame, enabling the analysis of brightness, contrast levels, and color balance of an image. They provide objective information about the characteristics and deficiencies of the image, helping to determine if color correction is required.

In VSDC Video Editor, you can access histograms in the Scopes window, typically located in the bottom right corner of the software. If you don't see the window, navigate to the View tab in the upper part of the program and activate the corresponding option.

At the upper left corner of the Scopes window, you'll find a dropdown menu that allows you to select the object to be analyzed: the selected media file or the overall scene. To fix your selection, click on the selection field with the left mouse button, then with the right mouse button to confirm.

In the upper right corner, there's another dropdown menu offering four Scopes modes: Wave, Parade, RGB, and Vectorscope. Each mode provides information on the brightness and saturation of the pixels in the frame, with slight differences in representation and details.

Let's explore each mode in more detail.

Wave

By default, the Scopes window displays the Wave mode, which allows you to analyze the brightness and color values of the scene or selected object. When you place the cursor on a frame in the timeline, you can observe the characteristics of that frame represented as pixels in a waveform on the graph. It's important to note that each column on the graph corresponds to a column of pixels in the object.

The horizontal axis (X-axis) on the graph represents the distribution of color tones of the object from left to right. This means that the left side of the object corresponds to the left side of the graph, and the right side of the object corresponds to the right side of the graph.

The vertical axis (Y-axis) of the graph represents the brightness of color, ranging from 0% for black tones (shadows) to 100% for white tones (highlights).

Let's review several specific examples of using this mode:

1. Uneven brightness: If the graph shows a significant imbalance in the heights between the left and right sides, it may indicate an uneven distribution of brightness. In such cases, you can use the corresponding tools in the Basic Effects window above the Scopes to adjust the brightness or contrast levels and achieve a more balanced distribution.



2. High or low contrast: If the graph shows a narrow and high waveform, it may indicate a high contrast in the object, where bright and dark areas strongly contrast each other. In this situation, you may need to decrease the contrast or adjust it to achieve the desired level.



3. Lack of details in shadows or highlights: If the graph shows clipped peaks, it may indicate a loss of details in the shadows or highlights of the image. In this case, you can adjust the brightness and contrast to restore the details and create a more balanced image.

By default, the waveform displays RGB values (Red, Green, Blue) for each pixel. If you need to not only evaluate the brightness and contrast levels but also determine which color components predominate in each area, you can activate the RGB channels separately:

However, if you want to solely focus on the levels of brightness without being distracted by the color components of the object, you can switch to the Luma mode. This mode will display the histogram in black-and-white, showing only the relevant brightness characteristics.

Parade

The Parade mode is useful when you want to determine the predominant color (red, green, or blue) in the scene or object. In this mode, the color channels are displayed closely together without crossing. The horizontal axis (X-axis) represents the selected frame in pixels, with three miniature graphs for red, green, and blue colors respectively, maintaining their orientation. The vertical axis (Y-axis) represents the brightness of the color from dark to light.

By analyzing the graphs of each color channel, you can determine their respective predominance. If one color channel's graph has a higher peak or if the waveform is positioned higher on the graph, it indicates that there are more pixels of that color in the scene or object.

The Parade mode provides a detailed examination of color distribution. If you need to correct a specific color channel, we recommend using the RGB curves tool available in the Color Grading panel. Additionally, you can focus on a specific color by disabling the display of other channels using the corresponding buttons above the graph. This allows you to isolate and make adjustments to individual color channels as needed.

RGB

In RGB mode, the graph displays curves for the three color channels: Red, Green, and Blue. Unlike other modes that are linked to pixel columns of the frame, RGB mode provides tonal information about the object as a whole.

Each color curve is represented by a separate line, showing the distribution of brightness values in a color channel. The horizontal axis represents different levels of brightness, while the vertical axis displays the quantity of pixels at each level. The height and shape of the curves provide information about the predominant color channels and the distribution of brightness among them.

Here are a few examples to consider:

1. If the curve of one color channel is higher than the others, it indicates that the object contains more brightness in that particular color.



2. If the values on the graph in one or several color channels touch the X-axis, it suggests a loss of color hues. This means that the corresponding color components are absent or insufficient.



3. If the graph is shifted to the left, it indicates an underexposed image, where the brightness and details in the dark areas are not prominent enough.



4. If the graph is shifted to the right, it indicates an overexposed image, where the brightness and details in the light areas are lost.

By analyzing the RGB curves, you can gain valuable insights into the overall tonal distribution and make adjustments to achieve the desired color balance and exposure in your video.

Vectorscope

Vectorscope is a powerful tool for visualizing and analyzing the color components of an object. It presents the hues and saturation levels of colors in a selected frame using a circular diagram divided into segments. Each segment represents a specific color, such as yellow, red, magenta, blue, and others, indicated by corresponding square brackets.

Each color segment on the vectorscope has a radius, representing the distance from the center of the diagram to the edge. The length of the radius indicates the saturation or intensity of the color value. A longer radius indicates higher saturation, while a shorter radius indicates lower saturation. For example, if the color value extends beyond the radius of the diagram, it means that the frame is oversaturated.

Above the vectorscope, you will find four options with additional functions:

1. Vectorscope modes: The first icon from the left allows you to select from three available display modes. The classic mode displays a vectorscope graph as a traditional circle diagram with indicators, providing a general idea of color distribution in a frame. The vector mode splits the diagram into sectors of different colors, allowing for a more detailed examination of color distribution and specific hues. The Hide graticule/vectors mode shows only the color values of the object on the vectorscope, hiding the sectors, circle, and indicators. This mode is useful when you want to focus solely on the color of the object.



2. Color borders: The second icon controls the display of color borders represented as square boxes. There are six of these boxes, and they indicate excessive saturation of the object.
3. Color mode: The third icon allows you to toggle the display of color in the graph. When activated, the diagram displays the color palette, illustrating the distribution of hues. When deactivated, the graph displays black, gray, and white hues.
4. Skin tone radius line: The last icon activates a line indicating optimal color values for more precise skin tone adjustment. When analyzing a frame with a person in it, you can observe how the pixels on the graph align with this line. If the pixels match the line, it indicates that the color values in the frame correspond to the optimal skin tone color. If the pixels deviate significantly from the line, color correction may be needed to align them.

Once you have selected the mode, you can analyze how the colors and saturation levels are distributed on the vectorscope. If you notice any unevenness or issues on the graph, you can use the corresponding color correction effects or tools from the Lift, Gamma & Gain tools in VSDC. These tools allow you to adjust color values, saturation, and other parameters to achieve the desired result.

Wrapping up

The Scopes window in VSDC provides reliable tools for enhancing the quality of your images. Even with basic skills, you can effectively control the contrast level, saturation, and color balance in your projects without risking the loss of details or making exposure mistakes. We encourage you to explore and experiment with these tools and share your successes with us.

It's important to note that there is no universal rule or one-size-fits-all approach to pixel distribution in a graph. You have the freedom to deviate from the classical representation of the graphs based on your preferences, objectives, or the mood you wish to convey. Feel free to customize and adapt the graphs according to your creative vision.

Should you have any questions, do not hesitate to reach out at This email address is being protected from spambots. You need JavaScript enabled to view it., through Facebook or Twitter.

Multi-camera editing, also known as multicam, is a technique that allows video editors to combine footage from multiple cameras and audio sources into a single, cohesive video clip. This technique was originally developed for television but it has become increasingly popular among professional video creators.

In response to the popular request, multicam has been added to the VSDC video editing suite starting version 8.1. This means VSDC users can upload footage shot with several cameras and easily switch between angles while maintaining audio and video synchronization on the timeline.

To learn how to work with the Multicam feature, you can either watch a video tutorial below or follow the three easy steps described in the article.

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Step 1. Upload the files

To get started, open the Resources window on the right. If you can't find it, go to the View tab at the top, select Resources, and click View/Hide window. Once ready, drag files from your desktop into the resources section. Next, select the files you want to include in your multicam clip, right-click on them, and choose Create a multicam clip.

Step 2. Adjust multicam clip settings

After creating a multicam clip, you can start adjusting its settings. A pop-up window will appear providing several options to choose from including sync mode, camera name, and default track. Let's explore these options below.

Sync mode

The Sync mode algorithm helps you define the way your video clips will be synchronized.

There are four synchronization options available in the menu:

• In — for synchronizing videos based on their beginnings
• Out — for synchronizing videos based on their endings
• Timecode — for synchronizing videos according to their timecodes
• Sound — for synchronizing videos based on the audio tracks

We recommend using the Sound mode as it simplifies the process of aligning media from all sources. This method allows you to use audio tracks for accurate matching of video files and provides more precise synchronization.

Camera name

The Camera name menu provides options to name video files in the Source window by using a sequential, angle, camera metadata or other approach. Feel free to choose any preferred option, as their only purpose is to help you quicker understand which footage you are currently using.

Default track

The Default track menu helps you choose the default audio track for the multicam clip from the selection of available files.

Once you have finished with the settings, click OK to apply the changes and proceed to the next step to begin working with your newly created multicam clip.

Step 3. Edit multicam clip

After applying the settings, return to the Resources window. Find the new multicam clip among resources and drag it onto the timeline.

On the timeline your multicam clip will look like a regular video with just one difference: there will be green markers indicating the beginning and ending of each file.

Keep in mind that your multicam clip contains all the video and audio files you've added within a single track. VSDC 8.1 does not yet allow you to double-click the multicam clip and manually edit the tracks within it. However, this feature will be available in the next update, so stay tuned.

If you need to switch video angles or edit the tracks in the multicam clip, go to the View tab and open Sources. This panel contains all the camera angles and audio files you've added to the multicam clip.

To switch between angles, select the desired file, and the audio or video file will adjust accordingly on the timeline. You can do it both during the playback and when the playback is paused.

To edit tracks within the clip, you have 3 options:

• Choose Split audio and video to edit both video and audio tracks simultaneously
• Choose Split video to edit video tracks independently from audio tracks
• Choose Split audio to edit audio tracks independently from video tracks

The same set of tools is also available in the Multicam toolbar (see Multicam tab), so feel free to use it wherever is more convenient for you.

Wrapping up

Now that you know how to use the multicam editing mode in VSDC, you can start creating more dynamic videos that will impress your audience.

If you’re using the free version of VSDC, you can create multicam clips with up to two camera angles. To use more than two angles, upgrade to VSDC Pro.

Should you have any questions or concerns, don't hesitate to email us at This email address is being protected from spambots. You need JavaScript enabled to view it. or message us on Facebook and Twitter. Our team is always here to help you make the most of your editing experience.

Color plays a vital role in establishing the atmosphere and mood of a video. Different color palettes evoke various emotions in viewers, ranging from vibrant and bright to dark and somber. While classic color correction can help create the desired mood, effects can further enhance the impact.

In the latest update 8.2, the VSDC team has expanded the functionality of effects by introducing color keyframes. This new feature allows you to create keyframes and modify colors within effects. It provides you with greater flexibility to experiment with colors according to your preferences and evoke the desired emotions in your audience.

Let's dive into this new feature and explore how it can assist you in adding a unique and memorable style to your videos.

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Step 1 – Create additional keyframes

To begin, create a project and simply drag the desired media file from the desktop to the timeline. Alternatively, you can use the Add an object option located to the left of the preview window. Next, select the media file on the timeline and apply an effect with color parameters. For instance, let's select the LensFlare effect (Editor - Video effects - Nature).

Click on the effect to select it, and the properties window will appear on the right-hand side. If the properties window does not show up, right-click on the effect and choose Properties. Look for the Color Tone property within the properties window. This is where we will create and adjust the keyframes. To access the keyframe window, click on the three dots next to this parameter.

By default, the effect contains two keyframes - the first and the last one. On the timeline, these keyframes are represented as squares of a uniform light brown color. In the properties window, the keyframes are displayed as diamond-shaped icons within the Color Tone parameter. If the diamond icon is filled with color, it means that a keyframe has been created. If you see only the outline of the diamond icon, it indicates that no keyframe is present, and you can create one.

To create a keyframe:

• Place the cursor on the timeline where you want to create a keyframe
• Go back to the properties window to the Color tone parameter and find a diamond-shaped icon
• Click on the icon to create a new keyframe

Add as many keyframes as necessary to achieve the desired effect.

To navigate between frames, use the arrows located to the left and right of the keyframes icon. This allows you to move back and forth between the created keyframes.

If you want to remove a keyframe, simply place your cursor on it and click on the filled diamond-shaped icon. This will delete the selected keyframe from the sequence.

Step 2 – Assign colors to keyframes

After creating keyframes, you can assign different colors to them, thereby adding vibrancy and expressiveness. To select a desired color, follow one of these actions:

• Double-click on a keyframe on the timeline to open the color palette.
• Go to the properties window and click on the small color square that represents the current tone of the keyframe. This will open the color palette.

From the palette, you can choose a color by clicking on it or by specifying its RGB or HEX value. You can also change colors by moving the keyframe up or down on the timeline while holding the Shift key. This allows you to select the desired position.

To select a color from the scene itself, use the Eyedropper tool located in the properties window. Click on the tool and then select a color from the scene. Please note that the Eyedropper tool is only visible when the timeline cursor aligns with a keyframe.

Each keyframe can have a different color, and the algorithm will ensure a smooth transition between them. The gradient line below the keyframes on the timeline will automatically update, showing how the effect color will change during playback.

If you want to adjust when a keyframe appears or disappears in the video, simply move it to the right or left on the timeline while holding the Shift key.

Above the timeline in the keyframe window, you will find a quick access panel for the main keyframe functions. Here, you can create and delete keyframes using the diamond-shaped and bin icons, and configure other keyframe parameters. Let's examine them in more detail.

If you want to assign one color to all keyframes, select the Constant parameter value option. It will remove all previously created keyframes except for the first and the last one. The color of the last keyframe will adapt to the color of the first one.

If you want to create a smooth transition between the colors of the first and the last keyframes, select the Linear parameter change option. You can assign different colors to the first and the last keyframes, and the algorithm will ensure a smooth transition between them.

If you want to go back to the mode with multiple keyframes of different colors, select the Linear parameter change along a trajectory function. All created keyframes except for the last one will be restored.

If you have already achieved the desired result, you can finish the lesson at this step. However, if you wish to change the weight of the color or add another effect, continue following the instructions.

Step 3 – Experiment with the color weight

If you want the color to last longer during the transition between keyframes, you can adjust its weight. Follow these steps:

• Place the cursor on the timeline at the keyframe you want to extend.
• Click on Parameter change along a Bezier curve.
• While holding down the Ctrl button, you can horizontally extend the vectors from the keyframe to the left or right. It's important to note that changing the vertical position of the vectors will not affect the color's weight.

These vectors represent the extension of the color of the keyframe. The longer the vector, the longer the color will remain constant without transitioning to another color. If the vector is not visible, it indicates a smooth transition between keyframes, as both colors have a similar weight.

By adjusting the weight of the color, you can emphasize the importance of a certain color and create the desired effect in your video.

Step 4 – Add effects and synchronize parameters

You can synchronize colors in keyframes when you have several identical effects applied to the object. For example, you can add one or more additional LensFlare effects to the object.

To synchronize the colors of the keyframes, follow these steps:

• Select two or more identical effects on the timeline.
• In the properties window, locate the Color tone parameter and find the synchronize icon. Click on it.

Now, all the keyframes of the second effect will have the same colors as the first one. Therefore, it is important to ensure that the first effect you select is the one from which you want the colors to be copied to the other effects.

Wrapping up

We hope that this lesson has helped you understand the new capabilities of VSDC and has inspired you to experiment with keyframes. Creating a dynamic color palette for your videos can greatly enhance the visual experience and add uniqueness to your projects.

We encourage you to explore and implement your artistic vision in your projects. Use the new tools, play with colors, create stunning transitions, and compose expressive visuals. The possibilities are endless.

If you encounter any issues or need assistance, please don't hesitate to reach out to our support team at This email address is being protected from spambots. You need JavaScript enabled to view it. or through our social media channels on Facebook or Twitter. We are here to help.

Good luck with your artistic projects!

VSDC 8.1 has brought curve lines to the graphic object toolbar, and it opens a lot of new possibilities for video creators.

You can use curve lines in your videos to outline objects, underline text, and even create beautiful animations. In this tutorial, we’ll walk you through the following:

• How to create a curve line in a video
• How to fill a curve line with a gradient
• How to use a curve line as a movement trajectory
• How to wrap text around a curve line
• How to make a curve line move in a video

After mastering all of these techniques, you'll be able to create incredible results by combining them with other effects or layering these lines on top of each other. For instance, check out our video below on how to create the Stream of Light Effect, or download the project file and start experimenting yourself. The possibilities are endless!

Without further ado, let’s get started.

How to add a curve line to the scene

To get started, create a new project and select Curve line from the toolbar (at the top or on the left). Then click OK in the pop-up window to confirm the default settings.

Like free shapes, curve lines consist of control points and splines. To start drawing the line, place two or more control points on the scene with mouse clicks.

To turn straight lines into smooth splines, select any control point, press and hold the Ctrl key and start dragging the point to the side. Two vectors will appear from the control point: red and green. Use them to continue fine-tuning the shape of the curve line until you achieve the desired look.

In the following sections, we’ll talk about curve line settings, and show you how to turn a curve line into a beautiful graphic object or animation.

To access the settings menu, double-click on the curve line layer and head over to the Properties window. There are two groups of settings available: Common settings and Curve line settings.

Common settings allow you to rename the object on the timeline, set up the exact time when the curve line will appear on the screen, and define how long it will remain in the video. You can also use this group of settings to adjust the position coordinates of the curve line on the screen.

Curve line settings allow you to set the thickness and the color of the line, choose fill type, create animation, and customize the object.

Let’s review the parameters from this group one by one.

Curve line settings

The first group of parameters allows you to adjust the basic characteristics of the curve line: its color, thickness, and fill type.

Pen

There are 5 fill types available under the Pen menu:

• Solid
• Gradient
• Point gradient
• Image pattern
• Path mode

Depending on the selected mode, you’ll be able to set up additional parameters. Let’s walk you through the settings of each mode.

Solid

Solid means solid color fill of the curve line. In this mode, you can select the fill color and the thickness of the line. Note that you can set the difference between the Initial and Final values, which means that the line will be getting thicker or thinner during the playback.

Gradient

Gradient mode creates a simple gradient fill between the first and the last points. For this mode, you can either select two colors or use one of the patterns from the Gradient settings menu.

Point gradient

The next mode is called Point gradient, and it creates a multicolor gradient fill by assigning individual colors to each control point.

In this mode, you need to select the desired control point, then click Add parameters, and proceed to Pen gradient settings.

From there, you can pick a color for the control point, adjust its weight (the spread of the color assigned to the point) and the opacity of the adjacent area.

Image pattern

The Image pattern mode allows you to import an image to the program and use it as a pattern to fill the curve line. We recommend using small PNG images with transparent backgrounds, however, it’s not a requirement. This is what the result looks like:

In this mode, you can also adjust the starting position and the visible length of the pattern. If you start changing these parameters, the image pattern will be disappearing from the start of the curve line or its end accordingly.

Path mode

Finally, the Path mode is designed to turn curve lines into movement paths. If you select this mode, the curve line will be invisible on the scene and serve as a trajectory for a moving object.

Here is how to use this mode.

Go back to the main timeline tab and make a right mouse-click on the curve line, then select Convert to movement path. In the conversion pop-up window click OK to confirm the default settings.

Once you convert the curve line into a movement path, select the Movement layer on the timeline and copy it:

Then go back to the main timeline tab and import or create the object you want to animate. For our example, we’ll be using a small image. Make a double-click on that object and paste the movement layer to the timeline. This is what the result will look like (remember that the curve line will be invisible in this mode):

Note that if you go back to the curve line settings, you can adjust the parameters named Starting position and Visible length. They define the point from the start of the line where the object starts moving and the point before the end of the line where the object stops. For example, if you set Starting point at 25%, the object will start moving 25% down the line; if you set Visible length at 25%, the object will stop moving 25% before the end of the line.

How to wrap text around a curve line

The Path mode also allows for wrapping text around the curve line while maintaining the line invisible. Here is how it works.

Make sure you’ve selected Path mode in the dropdown menu first, then go back to the main timeline tab and add a text object.

Make a double-click on the text object and go to the Properties window; open Binding to path options and select the curve line you created earlier. Your text will adjust accordingly:

Note that the original text object is only visible in the editing mode. As soon as you activate the playback, it will disappear.

There are a couple more parameters you can use to adjust the appearance of the wrapped text:

Mode allows you to place the text above, in the center, or below the curve line.

Stretch to length allows you to stretch the text to the length of the line or keep the original length.

Clipping allows you to create a clipping mask using the original text object frame.

Approximation allows you to smooth text curves.

How to animate curve lines

In the last section of this tutorial, we’ll show you how to animate curve lines. To do that, you’ll be using three parameters:

• Direction (clockwise or counterclockwise)
• Starting position
• Visible length

Let’s start with the basic concepts.

Starting position defines the point on the line where the fill starts being visible. Visible length defines the percentage of the line that is visible. For example, if you set 20% for the former and 70% for the latter, the gradient fill will not cover the first 20% and the last 30% of the line:

If you leave these settings as is, the curve line will remain still. However, if you expand the menus and set the Initial and Final values, you can create animation. For example, if you set the Initial value for Starting position at 0% and the Final value for Starting position at 50%, the fill will be slowly disappearing during the playback:

You’ll get a similar result if you set the following parameters for Visible length:

• Initial value: 100%
• Final value: 0%

The only difference is that the fill will be disappearing from the end of the curve line:

Finally, you can play around with the settings and select the desired values for both parameters. For example, you can create an effect of a moving line by setting the Visible length at 10% and the Starting point at 0;100%:

Note that if your curve line is closed, the movement will continue for as long as the curve line object is visible on the screen.

Curve lines are already available in the free version of VSDC

Now you know everything to get started with curve lines. Go ahead and try adding them to your videos! Curves are available in the free version of VSDC unless you choose to use a non-linear parameter change mode for the initial-final value change.

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