You click on each icon and you see the available items you have in each category. They streamlined everything it appears to me, and it just looks more modern, which is refreshing.Īnything you want to use in your video is represented by a row of icons down the left side of the screen: (starting from the top)… video, transitions, montages, titles, photos, menus, sound effects, and music. I am not trying to say that the interface has been completely revamped, but it does look cleaner in this version than previous versions. You have 3 steps to making a video and each is represented by a tab across the top…. The interface is simple, and it just makes sense. This is what makes Pinnacle such a joy to use. Pinnacle has always built ease-of-use into their products. Here are some pictures of what came in the box:
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Also in the box is a quick-start guide, some software on CD, a USB cable, a Firewire cable, and a green screen for doing green screen work. It just feels ‘quality’, whereas this one feels ‘cheap’. This converter box is ‘plastic-y’, whereas the converter box I have used for years from Pinnacle is made of brushed metal. My only gripe is that in the past the converter devices that I have received as part of the Pinnacle products were much ‘beefier’ and made of finer materials. It recognized anything I connected to it and the software recognized the devices just fine. I have used Pinnacle converter devices for years and this one performed good. This is the Pinnacle Studio MovieBox Ultimate edition, which means it comes with a converter device that you can use to attach to your computer and connect to other devices such as cameras, VCRs, etc. Let me start by talking about what comes in the box with this version. Is version 14 worth it enough to make you jump at the new version? Let’s go see… There is alot to love in version 14, but it isn’t all good news. I started using Pinnacle video software about 6 years ago and still stand by their products as good entry-level consumer video editors. The latest offering from Pinnacle Systems is Pinnacle Studio 14 MovieBox Ultimate, and there are some new goodies under the hood for those of you who are long-time Pinnacle users.
dates.)Įven from his seat, the elder Collins tackled some of his greatest hits, visually speaking: staring menacingly amid red lights during the laughing section of "Mama," pulling out a tambourine for the head-slapping interlude of "I Know What I Like (In Your Wardrobe)," twisting his face into a scowl while barking out " fuck up your life" on the neon-lit "Invisible Touch.The Gadgeteer is supported by readers like you! If you buy something through links on our site, we may earn an affiliate commission. (This surefootedness brought a sigh of relief, given that "positive COVID tests within the band" led to Genesis postponing their last four U.K.
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(As Collins noted onstage, "The last couple years have given new meaning.") More of that zeal came from the players themselves: Rutherford, playing his now-trusted entry-level Squier electric guitars, frequently kicked into "rocker guy" mode with his hard strums and whammy-bar textures the younger Collins consistently beat the daylights out of his kit (see: the instrumental section of "Firth of Fifth") even Banks, never a man for excess facial expressions, appeared to crack a smile between his breathtaking synth solos and tasteful piano patterns. No rock band brings a light/slide show more suited to the spectacle of arena performance: Take "Land of Confusion," where the animated images of stacked toilet paper and face-masked strangers nodded overtly to pandemic reality. The latter was the evening's clear low point - coming off as slightly under-rehearsed, though rescued by the falsetto backing of touring members Daniel Pearce and Patrick Smyth.) But even if there were a few hiccups (like some flubbed lyrics to Invisible Touch epic "Domino"), collective joy always won out. (The one switch-up: swapping out the dramatic Duke rarity "Duchess" for that album's much more famous pop hit "Misunderstanding," dusted off for the first time since 1984. That assessment applied to the whole performance: a versatile, 23-track set that stuck almost entirely to the earlier blueprint of their Last Domino? tour, with sweeping prog pieces butting up against candy-coated pop.
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