This restricts its use for Audio production, focusing the product on the post-production, Video NLE market only. One major omission of Vegas is that, although it started life as an Audio Multitrack NLE, it has no MIDI capability at all (apart from control-desk and synchronisation). Master output effects can also be controlled and manipulated over time by the use of Master Bus track automation envelopes. Effects can be applied at any stage of the visual signal flow- event level, track level and output level effects, much like reverb, delay and flange audio effects are applied in a digital audio system, like Pro Tools, Cubase or Sonar. Much of the visual effects processing in Vegas follows an audio-like paradigm. In areas of compositing and motion graphics, Vegas provides a broad tool set including 3D track motion compositing with control over z-depth, and spatial arrangement of visual planes including plane intersection. VEGAS does not require any specialized hardware to run properly, allowing it to operate on almost any standard Windows computer across a broad range of hardware. On, Sony announced that it had sold Vegas (and most of its 'Creative Software' line) to MAGIX, who would continue supporting and developing the software. Vegas features real-time multitrack video and audio editing on unlimited tracks, resolution-independent video sequencing, complex effects and compositing tools, 24-bit/192 KHz audio support, VST and DirectX plug-in effect support, and Dolby Digital surround sound mixing. Originally developed as audio editing software, it eventually developed into an NLE for video and audio from version 2.0. The software runs on the Windows operating system. Animating clips’ positions is just as problematic, with location, rotation and scale keyframes becoming clogged up with each other.Vegas Pro is a video editing software package for non-linear editing (NLE) originally published by Sonic Foundry, then by Sony Creative Software, and now by Magix. Adding a second mask area to a clip was impossible after we’d animated the first mask – we had to start again from scratch. After animating the position of our mask, we had to adjust the Feather settings separately for each keyframe – with lanes this would be far easier. Masks can be animated using keyframes, but the lack of keyframe lanes causes problems. And masks can now be reassigned to effects rather than clip opacity, where effects are applied to a limited portion of a clip – perfect for blurring faces or number plates. The controls for feathering the edges now appear next to the mask itself rather than buried among the other parameters.

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