To edit EDL that is included with your project as Clips, Nested
Clips, Referenced File, or Xml you can use the option \textit{Open
- EDL} in the Resources window for the highlighted media. Then with
-a simple button click you can return to your main timeline project.
+ EDL} in the Resources window for the highlighted media. Then
+with a simple button click you can return to your main timeline project.
For example, if you have a nested clip that originally had several
plugins added to it before it was nested, you can edit those plugin
parameter values. Previously to make any changes to these types of
-EDL you had to remake the whole clip from scratch.
+EDL you had to remake the whole clip from scratch. The program is
+actually "opening" the file as it currently exists for that particular
+media so that it can be edited separately from the project EDL.
Here is how this works. In the Clip or Media folder or on a timeline
EDL edit, the option \textit{Open EDL} for the highlighted clip or
\item Fullscreen / Windowed - will bring up a fullscreen display of that window or revert to the original size.
\item Resize Window - allows for resizing the window to a choice of different sizes.
\item Tile Mixers - makes it easy to get all of the mixers nicely tiled to a standard size.
- This is also available in the Window pulldown.
+ This is also available in the \textit{Window} pulldown.
\item Playable - enabled by default so that you will see a checkmark next to it in the
popup. The benefit of making a mixer window not playable is to save cpu time. When a specific
mixer window is unchecked, so not Playable, a white cross appears in the upper left hand corner
\subsection{Recover Mixer Windows}%
\label{sub:recover_mixer_windows}
-It is a hazard that you might accidentally \textit{undo} (\texttt{z}) too far and lose your mixer windows. Here are the steps to recover. It is recommended that you make a backup of your project before performing the recovery steps just in case there are other problems.
+It is a hazard that you might accidentally \textit{undo} (\texttt{z or Ctrl-z}) too far and lose your mixer windows. Here are the steps to recover. It is recommended that you make a backup of your project before performing the recovery steps just in case there are other problems.
In the patchbay box to the left of the main timeline, there is a right pointing arrow on the right side. This is called the \textit{Expander} (figure~\ref{fig:mixer-patchbay01}). When you click on each expander, another line appears below that expander arrow and the timeline track height is slightly increased. If you Shift-click on a single expander, the patchbay will expand for all of the tracks.
\begin{enumerate}
\item Expand all of the patchbay lines, either one by one, or Shift-click on one to do them all. This is so you can see the \textit{mixer} right pointing arrow on the second expanded line.
- \item Use the Window pulldown and choose \textit{Mixer Viewer} to bring up a new mixer window. Now you will be making an association between the mixer viewer and the track’s video.
+ \item Use the \textit{Window} pulldown and choose \textit{Mixer Viewer} to bring up a new mixer window. Now you will be making an association between the mixer viewer and the track’s video.
\item Click on the new mixer window to make sure it is highlighted with a white border. This designates it as the \textit{in use} mixer viewer.
\item Set your play to the beginning of the video using the \textit{Home} key or \textit{Home} transport button.
\item In the patchbay for a video track click on the \textit{mixer} arrow on the expanded $2^{nd}$ line which is a right facing arrow. Now the arrow will point up. If there are audio tracks with that video, click on each of its audio tracks \textit{mixer} arrow until they point up also.
\begin{figure}[htpb]
\centering \includegraphics[width=0.9\linewidth]{theme.png}
- \caption{Shows the Cakewalk theme (courtesy Olaf )on Preferences window with list of themes}
+ \caption{Shows the Cakewalk theme (courtesy Olaf) on Preferences window with list of themes}
\label{fig:theme}
\end{figure}
timeline and select the paste button. Assuming no In/Out points are
defined on the timeline this performs a cut and paste operation.
-Most editing operations are listed in the Edit pulldown. Some of
+Most editing operations are listed in the \textit{Edit} pulldown. Some of
them have a button on the program control toolbar as well as a
keyboard shortcut. The keyboard shortcut is in parenthesis here.
To simply get started, perform the following operations which are
useful for working in a drag and drop editing session. First load
-your media by using the main menu File pulldown and choose
+your media by using the main menu \textit{File} pulldown and choose
\textit{Load files}; make sure the insertion mode is set to
\textit{Create new resources only}. This loads the files into the
Resources window.
\begin{enumerate}
\item Create some video and audio tracks on the timeline using
- the Video and Audio pulldowns.
+ the \textit{Video} and \textit{Audio} pulldowns.
\item Open the Media folder in the Resources window. Make sure
the necessary tracks are armed and drag a media file from the
Resources window to the timeline. If the media has video, drag it
affected by the drag and drop operation will move to the right. This
will cause loss of synchronization. To restore it, disarm the tracks
affected by the drag and drop operation, highlight the just dropped
- edit and paste silence over it using the Edit pulldown,
+ edit and paste silence over it using the \textit{Edit} pulldown,
\textit{Paste Silence}.
\end{itemize}
selected area.
In/Out points can be used to perform Cut and Paste operations in
-Drag and Drop mode as well as in Cut and Paste mode. Use the Edit
+Drag and Drop mode as well as in Cut and Paste mode. Use the \textit{Edit}
pulldown to view the list and their keyboard shortcuts.
In addition if you attempt to paste edits consisting of more tracks
than what is available at that location it will not allowed.
-Attaching transitions to multiple selected edits via the Video or
-Audio pulldowns is also available. The new transitions are attached
+Attaching transitions to multiple selected edits via the \textit{Video} or
+\textit{Audio} pulldowns is also available. The new transitions are attached
at the start of the edits, and will replace any existing attached
transitions. As a side note, when in drag and drop mode the end
transition does not drag.
ready to see what is used or unused.
\item Make sure you are in any of the Preview modes in the
Resources window; you enable the mode using the pulldown to the left
- of the word Search. The option looks like this \quad
+ of the word \textit{Search}. The option looks like this \quad
\includegraphics[height=\baselineskip]{fullplay.png}.
\item Middle mouse click on a thumbnail in the Resources window and
a popup occurs of that media with a white colored bar at the top
$\leftarrow$ Keyframe $\rightarrow$ Plugin
\includegraphics[height=\baselineskip]{plugin.png}
-\section{Automation Keyframes,/\,Autos}%
+\section{Automation Keyframes /\,Autos}%
\label{sec:automation_keyframes_autos}
The \textit{autos} are created by clicking on an \textit{automation curve} to establish the time position for the new keyframe anchor point. The basic nature of these simple auto values make them primitive operations that are easy to apply when needed.
-There are many automation curve types, and most are not normally visible or clickable. To make them visible, use the \texttt{View} pulldown, or open the \texttt{Window $\rightarrow$ Show Overlays}. This window allows toggling of the parameters in the View pulldown but is more convenient because you can leave the window up to change values quickly. If all of the automation curves are turned on, the timeline will be quite cluttered, and so usually only the parameters of interest are enabled during use. When keyframes are selected, they are drawn on the timeline over the tracks to which they apply. The keyframe is represented on the timeline as a little square on the curve, for example as in fade, or as a symbol as in a mask. This square, timeline attachment point, can be used for positioning by clicking on a keyframe anchor and using drag and drop to set the new position.
+There are many automation curve types, and most are not normally visible or clickable. To make them visible, use the \texttt{View} pulldown, or open the \texttt{Window $\rightarrow$ Show Overlays}. This window allows toggling of the parameters in the \textit{View} pulldown but is more convenient because you can leave the window up to change values quickly. If all of the automation curves are turned on, the timeline will be quite cluttered, and so usually only the parameters of interest are enabled during use. When keyframes are selected, they are drawn on the timeline over the tracks to which they apply. The keyframe is represented on the timeline as a little square on the curve, for example as in fade, or as a symbol as in a mask. This square, timeline attachment point, can be used for positioning by clicking on a keyframe anchor and using drag and drop to set the new position.
The automation keyframes include:
Except for the mask auto, the values are all simple numbers. Mute is different from the other autos in that it is simply a toggle of either on or off. Mute keyframes determine where the track is processed but not rendered to the output. An example usage would be to use auto keyframes to fade in a clip by setting the transparency to $100\%$ at the first keyframe and adding another keyframe 5 seconds later in the timeline with a transparency of $0\%$.
-The Keyframes pulldown on the main timeline is used for Cut, Copy, Paste, Clear, Change to linear, Change to smooth, Create curve type of Smooth, Linear, Tangent, or Disjoint, Copy default keyframe or Paste default keyframe. If you right click on a curve keyframe on the timeline, a set of options popup including the choices \textit{keyframe type} (such as Fade, Speed, etc.), Hide keyframe type, Delete keyframe, Copy keyframe, smooth curve, linear segments, tangent edit, or disjoint edit.
+The \textit{Keyframes} pulldown on the main timeline is used for Cut, Copy, Paste, Clear, Change to linear, Change to smooth, Create curve type of Smooth, Linear, Tangent, or Disjoint, Copy default keyframe or Paste default keyframe. If you right click on a curve keyframe on the timeline, a set of options popup including the choices \textit{keyframe type} (such as Fade, Speed, etc.), Hide keyframe type, Delete keyframe, Copy keyframe, smooth curve, linear segments, tangent edit, or disjoint edit.
Usually, the use of the keyframe values are more pleasing when the data varies smoothly between keyframe anchors on the timeline. This is useful in many cases that are familiar, like a video fade in/out, or audio pan between channels. To make the auto value change smoothly as the media is played, the keyframes auto values are points on curves that are created according to the design of the effect. Most of the primitive types can create anchor points on curves that are piecewise linear, smooth, sloped, or broken at the keyframe anchor points.
keyframe on each of the tracks in the exact same position.
\item Left mouse click on a keyframe position will show the numerical value in a yellow tooltip-like box.
\item Right mouse click on the curve type line will bring up the option of \textit{Hide keyframe type}. This
- provides the same functionality as disabling the keyframe type in the View pulldown menu. Often it
+ provides the same functionality as disabling the keyframe type in the \textit{View} pulldown menu. Often it
helps to use this in order to be able to see other things on the timeline once it gets cluttered.
\item Fade and speed allow for setting a specific value for the keyframe using the following:
\begin{enumerate}
For plugins, there is a special hidden keyframe, called the \textit{default keyframe}, that is used when no previous keyframe exists. It is like keyframe zero on the timeline, and it is persistent and shared on
all sessions. The intent is to make a parameter set that is likely to be reused on all initial instances of the plugin. An example may be to color correct a set of media that was taken in low light, or needs resampling to be played correctly. The default keyframe is \textit{off the bar on the left side} of the plugin title bar and can not be seen. It is used when there is no \textit{previous} keyframe for its default values.
-It may be useful to create a default keyframe which has specific desirable values for later use. To do this, set the timeline to position 0 and be sure to disable \textit{generate keyframes while tweaking}. This will create a default keyframe at the beginning of the timeline which contains global parameters for the entire duration. Or if you have copied a non-default keyframe via Keyframes pulldown \textit{copy default keyframe}, it can be stored as the default keyframe by calling \texttt{keyframes $\rightarrow$ paste default keyframe}. After using paste default keyframe to convert a non-default keyframe into a default keyframe, you will not see the value of the default keyframe reflected until all the non-default keyframes are removed.
+It may be useful to create a default keyframe which has specific desirable values for later use. To do this, set the timeline to position 0 and be sure to disable \textit{generate keyframes while tweaking}. This will create a default keyframe at the beginning of the timeline which contains global parameters for the entire duration. Or if you have copied a non-default keyframe via \textit{Keyframes} pulldown \textit{copy default keyframe}, it can be stored as the default keyframe by calling \texttt{keyframes $\rightarrow$ paste default keyframe}. After using paste default keyframe to convert a non-default keyframe into a default keyframe, you will not see the value of the default keyframe reflected until all the non-default keyframes are removed.
The \texttt{keyframes $\rightarrow$ copy default keyframe} and \\
\texttt{keyframes $\rightarrow$ paste default keyframe} allow conversion of the default key-frame to a non-default keyframe.
\texttt{Keyframes $\rightarrow$ copy default keyframe} copies the default keyframe to the clipboard, no matter what region of the timeline is selected.
The \texttt{keyframes $\rightarrow$ paste} \texttt{keyframes} function may then be used to paste the clipboard as a non-default keyframe.
-\textit{Typeless keyframes} enabled under the Settings pulldown allow keyframes from any track to be pasted on either audio or video tracks. Ordinarily audio keyframes can only be pasted to another audio track and video keyframes can only be pasted to another video track.
+\textit{Typeless keyframes} enabled under the \textit{Settings} pulldown allow keyframes from any track to be pasted on either audio or video tracks. Ordinarily audio keyframes can only be pasted to another audio track and video keyframes can only be pasted to another video track.
\section{Keyframe \textit{Edit Params} for Plugins}%
\label{sec:keyframe_edit_params_plugin}
Tweaking is defined as changing a parameter while playing -- it can be small changes or small motion increments performed in a series. These changes are recorded as a series of new keyframes on the timeline. Enable automatic keyframe mode by enabling the automatic keyframe toggle, that is \textit{Generate keyframes while tweaking}. In automatic keyframe mode, every time you tweak a key-framable parameter it creates a keyframe on the timeline. Since keyframes affect playback, you should enable generate keyframes just before you need a keyframe and disable when your parameter changes are complete. So turn on when ready to make changes and turn off when done!
-Also, before making a change, be sure to check the View pulldown and make the desired parameter visible with the enable checkmark. The location where the automatic keyframe is generated is under the insertion point. If the timeline is playing back during a tweak, several automatic keyframes may be generated as you change the parameter. When automatic keyframe mode is disabled, adjusting a parameter adjusts the keyframe immediately preceding the insertion point. For example, if two fade keyframes exist and the insertion point is between them, changing the fader changes the first keyframe.
+Also, before making a change, be sure to check the \textit{View} pulldown and make the desired parameter visible with the enable checkmark. The location where the automatic keyframe is generated is under the insertion point. If the timeline is playing back during a tweak, several automatic keyframes may be generated as you change the parameter. When automatic keyframe mode is disabled, adjusting a parameter adjusts the keyframe immediately preceding the insertion point. For example, if two fade keyframes exist and the insertion point is between them, changing the fader changes the first keyframe.
\section{Compositor Keyframes}%
\label{sec:compositor_keyframes}
\section{Loading Files}%
\label{sec:loading_files}
-All data that you work with in \CGG{} is acquired either by loading from disk or recording from a device. This section describes loading. To bring up the Load window go to the File pulldown and choose Load Files (figure~\ref{fig:load}). Next \textit{Select files to load}, and click ok (the green checkmark) or \textit{Apply}. When you use the Apply button, the Load window remains active for easily loading more files later. Depending on the setting of the Insertion Strategy list box, your file will be either loaded directly on the Program window or in the Resources Media window. If the file is a still image, the project's attributes are not changed and the first frame of the track becomes the image. \CGG{} usually builds an index file if one does not already exist, in order to speed up drawing. You can edit and play the file while the index is being built.
+All data that you work with in \CGG{} is acquired either by loading from disk or recording from a device. This section describes loading. To bring up the Load window go to the \textit{File} pulldown and choose Load Files (figure~\ref{fig:load}). Next \textit{Select files to load}, and click ok (the green checkmark) or \textit{Apply}. When you use the Apply button, the Load window remains active for easily loading more files later. Depending on the setting of the Insertion Strategy list box, your file will be either loaded directly on the Program window or in the Resources Media window. If the file is a still image, the project's attributes are not changed and the first frame of the track becomes the image. \CGG{} usually builds an index file if one does not already exist, in order to speed up drawing. You can edit and play the file while the index is being built.
\begin{figure}[htpb]
\centering
\subsection{Sort within Sort in File Load Dialog}%
\label{sub:sort_within_sort_file_load_dialog}
-When you use the File pulldown to load files, you can do a sort within a sort when you click on the labeled header box (figure~\ref{fig:load-sort}). This is useful, for example, when you want to find the smallest file for a specific extension. In the screenshots below, the first illustrates the default \textit{File} sorted alphabetically; the second shows the \textit{Size} is now sorted; the third shows how after sorting on Size, you sort on Ext. The size sort is maintained within the extension sort so that \textit{c.d} comes before \textit{a.d} in the File header box because the size is smaller.
+When you use the \textit{File} pulldown to load files, you can do a sort within a sort when you click on the labeled header box (figure~\ref{fig:load-sort}). This is useful, for example, when you want to find the smallest file for a specific extension. In the screenshots below, the first illustrates the default \textit{File} sorted alphabetically; the second shows the \textit{Size} is now sorted; the third shows how after sorting on Size, you sort on Ext. The size sort is maintained within the extension sort so that \textit{c.d} comes before \textit{a.d} in the File header box because the size is smaller.
\begin{figure}[htpb]
\centering
\subsection{Saving Project Files}%
\label{sub:saving_project_files}
-Saving XML files is useful to save the current state of \CGG{} before quitting an editing session. \CGG{} saves projects as XML files. There are a few options you can use to save your work via the File pulldown menu: \textit{Save}, \textit{Save as\dots}, \textit{Export project}, \textit{Save backup}. You can either overwrite an existing file or enter a new filename. \CGG{} automatically concatenates \texttt{.xml} to the filename if no \texttt{.xml} extension is given.
+Saving XML files is useful to save the current state of \CGG{} before quitting an editing session. \CGG{} saves projects as XML files. There are a few options you can use to save your work via the \textit{File} pulldown menu: \textit{Save}, \textit{Save as\dots}, \textit{Export project}, \textit{Save backup}. You can either overwrite an existing file or enter a new filename. \CGG{} automatically concatenates \texttt{.xml} to the filename if no \texttt{.xml} extension is given.
When \CGG{} saves a file, it saves the EDL of the current project but does not save any media, instead just pointers to the original media files. For each media file, the XML file stores either an absolute path or just the relative path. If the media is in the same directory as the XML file, a relative path is saved. If it is in a different directory, an absolute path is saved.
\label{fig:export}
\end{figure}
-A File pulldown called \textit{Export Project\dots} is also available (figure~\ref{fig:export}). Although, it can be used in the same manner as the other \textit{save} options, it is very useful when it is necessary to move a project to another computer that may have a different top level directory structure or if you want to include subdirectories to better organize your files.
+A \textit{File} pulldown called \textit{Export Project\dots} is also available (figure~\ref{fig:export}). Although, it can be used in the same manner as the other \textit{save} options, it is very useful when it is necessary to move a project to another computer that may have a different top level directory structure or if you want to include subdirectories to better organize your files.
Originally, the easiest way to maintain a project for moving to another computer, was to put all of the files in a single directory with no subdirectories along with the EDL saved \texttt{.xml} file. This is commonly called a \textit{flat} file structure. So if the media was in the same directory as the XML file, a relative path was saved. If it was in a different directory, an absolute path was saved.
\begin{figure}[htpb]
\centering
\includegraphics[width=0.9\linewidth]{editing-effects.png}
- \caption{Screencast of the native Video plugins in the default Cinfinity icon set.}
+ \caption{Screencast showing the menu where Editing Effects behavior is changed.}
\label{fig:editing-effects}
\end{figure}
To edit effects, you can move the timeline cursor over the effect borders until it changes to a resize left or resize right icon. In this state, if you drag the end of the effect, it performs an edit just like dragging an edit edge. The five editing behaviors of track trimming apply to effect trimming and they are bound to the mouse buttons that you set in interface preferences as shown in the previous screencast. \textit{Trimming} simply means changes the duration dragging the edges.
-When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown Settings and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
+When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown \textit{Settings} and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
\item[Translation block size] For the translation operations, a block is compared to a number of neighboring blocks to find the one with the least difference. The size of the Match Box to search for is given by this parameter.
\item[Translation search radius] The size of the area to scan for the translation block.
\item[Translation search steps] Ideally the search operation would compare the translation block with every other pixel in the translation search radius. To speed this operation up, a subset of the total positions is searched. Then the search area is narrowed and re-scanned by the same number of search steps until the motion is known to $\frac{1}{4}$ pixel accuracy.
+ \item[Translation direction] Tracking translation is possible in any direction, or in horizontal or vertical direction only, depending on this selection.
\item[Block X, Y] These coordinates determine the center of the translation block based on percentages of the width and height of the image. The center of the block should be part of the image which is visible at all times.
\item[Maximum absolute offset] The amount of motion detected by the motion tracker is unlimited if this is $100$. If it is under $100$ the amount of motion is limited by that percentage of the image size.
- \item[Settling speed] The motion detected between every frame can be accumulated to form an absolute motion vector. Settling speed determines how fast the accumulated translation fades away, and the image resettles to its actual appearance. If the settling speed is 0\% the total absolute vector is added to the next frame. So every frame that is processed accumulates the whole motion of the past. If the settling speed is 100\% the absolute vector is cancelled completely, adding no past translation to the next frame. If the settling speed is intermediate between 0\% and 100\% the absolute vector is downscaled by (100 - settling amount) before being added to the next frame.
+ \item[Settling speed] The motion detected between every frame can be accumulated to form an absolute motion vector. Settling speed determines how fast the accumulated translation fades away, and the image resettles to its actual appearance. If the settling speed is 0\% the total absolute vector is added to the next frame. So every frame that is processed accumulates the whole motion of the past. If the settling speed is 100\% the absolute vector is cancelled completely, adding no past translation to the next frame. If the settling speed is intermediate between 0\% and 100\% the absolute vector is downscaled by (100 $-$ settling amount) before being added to the next frame.
\item[Track rotation] Enables rotation operations. The motion tracker tracks rotation in the master layer and adjusts rotation in the target layer.
- \item[Rotation block size] For rotation operations a single block is compared to equally sized blocks, each rotated by a different amount. This is the size of the rotation block.
+ \item[Rotation block size] For rotation operations a single block is compared to
+ equally sized blocks, each rotated by a different amount. This is the size
+ of the rotation block. In this implementation of the Motion plugin the same
+ block is used to track both translation and rotation, and this parameter is
+ not used. However, in some other implementations, like MotionCV, rotation
+ block size is specified explicitly via this extra parameter.
\item[Rotation search radius] This is the maximum angle of rotation from the starting frame the rotation scanner can detect. The rotation scan is from this angle counterclockwise to this angle clockwise. Thus the rotation search radius is half the total range scanned.
\item[Rotation search steps] Ideally every possible angle would be tested to get the rotation. To speed up the rotation search, the rotation search radius is divided into a finite number of angles and only those angles compared to the starting frame. Then the search radius is narrowed and an equal number of angles is compared in the smaller radius until the highest possible accuracy is achieved. Normally you need one search step for every degree scanned. Since the rotation scanner scans the rotation search radius in two directions, you need two steps for every degree in the search radius to search the complete range.
+ \item[Rotation center] Usually this parameter is zero, and the rotation search
+ range is $+/-$ \textit{Rotation search radius}. Otherwise, it shifts the rotation search range to the area of angles between (\textit{Rotation center} $-$ \textit{Rotation search radius}) and (\textit{Rotation center} $+$ \textit{Rotation search radius}).
+ \item[Maximum angle offset] The total accumulated amount of rotation is unlimited
+ if this is 90 degrees. If it is under 90, the total amount of rotation is
+ limited by the given maximum angle.
+ \item[Rotation settling speed] This parameter determines how fast the accumulated
+ rotation fades away. Analogously to the motion settling speed, if it is 0\%,
+ the total accumulated rotation is added to the next frame, and every frame
+ accumulates the whole rotation of the past. If the settling speed is 100\%,
+ no past rotation is added to the next frame. If the settling speed is
+ intermediate between 0\% and 100\%, the amount of accumulated rotation is
+ downscaled by (100 $-$ settling amount) before being added to the next frame.
+ \item[Motion noise level] This parameter allows to compensate such undesirable
+ behavior when motion tracker wildly springs away because some outlying area
+ of a noisy picture becomes accidentally more "similar" to the reference
+ picture than the right one. If noise level is set to 0\% (its normal value),
+ then it is not taken into account at all. When it is set to 100\%, then
+ similarity of the match block contents is totally ignored, and the current
+ motion vector will be zero. An intermediate value between 0\% and 100\%
+ defines the proportional noise level between minimum and maximum difference
+ of all examined match block positions. From all such positions whose
+ difference is found below noise level, that one is chosen which has the
+ shortest translation relative to the reference frame.
+ \item[Rotation noise level] This parameter has similar meaning to the motion noise level. It influences rotation tracking. If set to 0\% (its normal value),
+ it is not taken into account. The 100\% setting completely suppresses
+ rotation detection. An intermediate value between 0\% and 100\% defines the
+ proportional noise level between minimum and maximum difference of all
+ examined rotated match blocks from that of the reference picture. From all
+ rotation angles whose match block differences are found below noise level,
+ that one is chosen which has the minimum rotation angle relative to the
+ reference frame.
\item[Draw vectors] When translation is enabled, $2$ boxes are drawn on the frame. One box represents the translation block. Another box outside the translation block represents the extent of the translation search radius. In the center of these boxes is an arrow showing the translation between the $2$ master frames. When rotation is enabled, a single box the size of the rotation block is drawn rotated by the amount of rotation detected.
- \item[Track single frame] When this option is used the motion between a single starting frame and the frame currently under the insertion point is calculated. The starting frame is specified in the Frame number box. The motion calculated this way is taken as the absolute motion vector. The absolute motion vector for each frame replaces the absolute motion vector for the previous frame. Settling speed has no effect on it since it does not contain any previous motion vectors. Playback can start anywhere on the timeline since there is no dependence on previous results. We talk about \textit{Keep shape} and it is the most precise way to calculate the motion vector; but it only works well when the object to be traced does not change along the clip, remaining identical in shape, size and without rotation.
- \item[Track previous frame] Causes only the motion between the previous frame and the current frame to be calculated (\textit{Follow shape}). This is added to an absolute motion vector to get the new motion from the start of the sequence to the current position. After every frame processed this way, the block position is shifted to always cover the same region of the image. Playback must be started from the start of the motion effect in order to accumulate all the necessary motion vectors. This method is less precise because you have error propagation between frames. However, it is essential when the object changes shape or size or rotates.
+ \item[Two pass tracking] Although this parameter can be enabled at any time, it is useful only while simultaneous tracking both translation and rotation, when
+ the rotation amount is large. The normal tracking algorithm firstly
+ examines translation, then rotation. However, comparison of a strongly
+ tilted picture with the reference one can lead to rather inaccurate
+ determination of the translation vector. The subsequent determination of
+ rotation will also inexact because of the preceding translation error. The
+ second tracking pass, if enabled, refines translation and rotation.
+
+ If motion and/or rotation noise level is set above 0\% and two pass tracking
+ is enabled, then both noise levels affect the first tracking pass only.
+ During the second tracking pass of two pass tracking both noise levels are
+ ignored.
+
+ It should be noted that two pass tracking is not twice slower than the usual
+ single pass tracking. Actually it is only about 40\% slower. As the second
+ pass serves only for motion refinement, it starts from the reduced search
+ range for block positions and rotation angles. And, as the first pass only
+ yields an approximate position, which will be later refined during the
+ second pass, it skips subpixel position search and examines rotation angles
+ with the accuracy reduced to 1 degree.
+ \item[Track single frame] When this option is used the motion between a single
+ starting frame and the frame currently under the insertion point is
+ calculated. The starting frame is specified in the Frame number box. The
+ motion calculated this way is taken as the absolute motion vector. The
+ absolute motion vector for each frame replaces the absolute motion vector
+ for the previous frame. Settling speed has no effect on it since it does
+ not contain any previous motion vectors. Playback can start anywhere on the
+ timeline since there is no dependence on previous results. We talk about
+ Keep shape and it is the most precise way to calculate the motion vector;
+ but it only works well when the object to be traced does not change along
+ the clip, remaining identical in shape, size and luminance.
+
+ Strong rotation of the picture can also have a bad impact on the tracking
+ accuracy. If it is the case, accuracy can be significantly improved by
+ enabling two pass tracking.
+
+ Frame number The number of the reference frame used for motion tracking in
+ the \textit{Track single frame mode} is specified in this input field. Frame
+ number is set as the 0-based absolute number starting from the very
+ beginning of the whole timeline. Instead of manual calculating, it is
+ possible to get frame number directly from the current cursor position by
+ pressing the \textit{Get current} button.
+
+ Get current Pressing this handy button provides a convenient way to set the
+ Frame number parameter to the value of the current cursor position.
+
+ Add (loaded) offset from tracked frame This toggle can help when the tracked
+ object changes shape, leaves the screen area or becomes obscured by other
+ objects somewhere in the middle of the motion effect. Sometimes it can help
+ also if a strong rotation causes the motion tracker to miss the right
+ tracked object and wildly spring away.
+
+ To overcome this problem, one has to define two keyframes: the first one at
+ the start of the motion effect, the second shortly before the problematic
+ location in the clip. At the first keyframe one defines the motion effect
+ parameters as usual, the \textit{Add offset} toggle being switched off. At the
+ second keyframe the match block can be redefined to cover another region of
+ the picture which remains visible during the following part of the effect.
+ The \textit{Frame number} parameter should be set several frames before position of this second keyframe, and the \textit{Add offset} toggle switched on.
+
+ After defining the two keyframes (even more can be added in the similar way)
+ one switches at all the defined keyframes Calculation mode to \textit{Save coords
+ to tracking file}, Action mode to \textit{Do Nothing}, rewinds the timeline cursor
+ to the beginning of the motion effect, and starts playback. The determined
+ motion vectors will be written to the tracking file, the \textit{Add offset}
+ parameter having no effect during the save stage.
+
+ After playback finishes and all the relevant motion vectors are saved in the
+ tracking file, one switches at all the defined keyframes Calculation mode to
+ \textit{Load coords from tracking file}, Action mode to whatever one needs, rewinds again to the beginning of the motion effect and starts playback or
+ rendering. After reaching the second keyframe, where \textit{Add offset} was
+ switched on, the program continues to follow the second object adding the
+ total motion and rotation, accumulated so far.
+
+ Of course, the \textit{Add offset} toggle can be used in the \textit{Track single fram}e mode only. In the other tracking modi such a technics is unnecessary.
+ \item[Track previous frame] Causes only the motion between the previous frame and
+ the current frame to be calculated (Follow shape). This is added to an
+ absolute motion vector to get the new motion from the start of the sequence
+ to the current position. After every frame processed this way, the block
+ position is shifted to always cover the same region of the image. Playback
+ must be started from the start of the motion effect in order to accumulate
+ all the necessary motion vectors. This method is less precise because you
+ have error propagation between frames. However, it is essential when the
+ object changes shape, size or luminance. Possible inaccuracies caused by
+ rotation of the picture can partly be reduced by enabling two pass tracking
\item[Previous frame same block] This is useful for stabilizing jerky camcorder footage. In this mode the motion between the previous frame and the current frame is calculated. Instead of adjusting the block position to reflect the new location of the image, like Track Previous Frame does, the block position is unchanged between each frame. Thus a new region is compared for each frame.
- \item[Master layer] This determines the track which supplies the starting frame and ending frame for the motion calculation. If it is Bottom the bottom track of all the tracks sharing this effect is the master layer. The top track of all the tracks is the target layer.
- \item[Calculation] This determines whether to calculate the motion at all and whether to save it to disk. If it is \textit{Don't Calculate} the motion calculation is skipped. If it is \textit{Recalculate} the motion calculation is performed every time each frame is rendered. If it is \textit{Save} the motion calculation is always performed but a copy is also saved. If it is \textit{Load}, the motion calculation is loaded from a previous save calculation. If there is no previous save calculation on disk, a new motion calculation is performed.
+ \item[Master layer] This determines the track which supplies the frames for the
+ motion calculation. If it is Bottom the bottom track of all the tracks
+ sharing this effect is the master layer. Then the top track of all the
+ tracks is the target layer. And vice versa, if the master layer is Top,
+ then the target layer is bottom.
+ \item[Calculation] This determines whether to calculate the motion at all and
+ whether to save it to disk. If it is \textit{Don't Calculate} the motion calculation is skipped. If it is \textit{Recalculate} the motion calculation is performed every time each frame is rendered. If it is \textit{Load coords from tracking file}, the motion vectors are loaded from a previous save calculation. If the previous save calculation does not provide the data for the currently processed frames, a new motion calculation is performed for that frames. If the Calculation mode is \textit{Save coords to tracking file} the motion vectors can be still loaded from disk if the previously
+ calculated data exist. Otherwise, a new motion calculation is performed,
+ and the calculated motion vectors are saved. \textit{Load$\dots$}, the motion calculation is loaded from a previous save calculation. If there is no previous save calculation on disk, a new motion calculation is performed.
+ \item[Tracking file] This parameter determines the name of the file where the
+ motion data are saved and/or loaded from. By default it is \texttt{/tmp/motion}
+ but it can have any name and reside anywhere on the disk. Tracking file is
+ a text file where each line contains four numbers: the absolute frame number
+ (0-based integer), the X and Y translation displacements of subpixel
+ precision (a subpixel is $\frac{1}{4}$ pixel in size, and to give integer values of X and Y these subpixel coords are multiplied by 4), and the rotation angle in
+ degrees (as a floating point value). The user may have different tracking
+ files for different timeline regions, it is possible to do any manipulations
+ on them if necessary and even manually edit in a text editor.
+ \item[Generate tracking file name] This handy pushbutton suggests a tracking file
+ name based on the name of the current asset. It helps to maintain more
+ different tracking files with unique but predictable names used in the same
+ project. When tracking file name is changed (either via the pushbutton or
+ after entering it in the corresponding input field), the contents of that
+ files (both the old and the new ones) remains unchanged.
+ \item[Clear tracking file contents] The values and meaning of the saved motion data depend on such a bunch of parameters, they can be even edited manually, so
+ one can hardly predict whether the outdated motion vectors are to be reset
+ or left untouched. Therefore the existing motion data are never altered
+ implicitly (only newly calculated data may be added). And, should the user
+ need to reset them here and right now, it is possible to clear the given
+ tracking file contents explicitly by pressing this pushbutton.
+
+ As protection against accident clearing tracking file contents, right before
+ clearing the program ensures closing the current tracking file and renames
+ it to the same name with the suffix \texttt{.old}. This way, the user can undo an erroneous clearing action by manual restoring the saved file.
\item[Action] Once the motion vector is known this determines whether to move the target layer opposing the motion vector or following the motion vector. If it is \textit{Do Nothing} the target layer is untouched. If it is \textit{Track\dots} the target layer is moved by the same amount as the master layer. This is useful for matching titles to objects in the frame. If it is \textit{Stabilize\dots} the target layer is moved opposite to the motion vector. This is useful for stabilizing an object in the frame. The motion operations can be accurate to single pixels or subpixels by changing the action setting.
\end{description}
+As motion tracking works consistently only in the \textit{Play every frame} mode,
+the corresponding info on the current playback mode is shown in the bottom
+right edge of the effect dialog. The needed playback mode is defined in the
+Preferences dialog of \CGG{} main window.
+
\subsubsection*{Secrets of motion tracking}
\label{ssub:secrets_motion_tracking}
-Since it is a very slow effect, there is a method to applying the motion tracker to get the most out of it. First disable playback for the track to do motion tracking on. Then drop the effect on a region of video with some motion to track. Then rewind the insertion point to the start of the region. \textit{Set Action $\rightarrow$ Do Nothing}; \textit{Set Calculation $\rightarrow$ Don't calculate}; Enable \textit{Draw vectors}. Then enable playback of the track to see the motion tracking areas.
+Since it is a very slow effect, there is a method to applying the motion tracker to get the most out of it. First disable playback for the track to do motion tracking on. Then drop the effect on a region of video with some motion to track. Then rewind the insertion point to the start of the region. Set \textit{Action $\rightarrow$ Do Nothing}; set \textit{Calculation $\rightarrow$ Don't calculate}; Enable \textit{Draw vectors}. Then enable playback of the track to see the motion tracking areas.
Enable which of translation motion or rotation motion vectors you want to track. By watching the compositor window and adjusting the \textit{Block x,y} settings, center the block on the part of the image you want to track. It is advisable to choose elements that have evident edges in the $x$ and $y$ directions because the calculations are made on these coordinates. Then set \textit{search radius}, \textit{block size} and \textit{block coordinates} for translation and rotation.
Once this is configured, set the calculation to \textit{Save coords} and do test runs through the sequence to see if the motion tracker works and to save the motion vectors. Next, disable \textit{Draw vectors}, set the motion action to perform on the target layer and change the calculation to \textit{Load coords}.
-When using a single starting frame to calculate the motion of a sequence (Keep Shape), the starting frame should be a single frame with the least motion to any of the other frames. This is rarely frame $0$. Usually it is a frame near the middle of the sequence. This way the search radius need only reach halfway to the full extent of the motion in the sequence.
+When using a single starting frame to calculate the motion of a sequence (Keep Shape), the starting frame should be a single frame with the least motion to any of the other frames. This is rarely frame $0$. Usually it is a frame near the middle of the sequence. This way the search radius need only reach halfway to the full extent of the motion in the sequence. The suitable reference frame number can be defined conveniently via the \textit{Get current} pushbutton.
Summarizing:
If the motion tracker is used on a render farm, Save coords and previous frame mode will not work. The results of the save coords operation are saved to the hard drives on the render nodes, not the master node. Future rendering operations on these nodes will process different frames and read the wrong coordinates from the node filesystems. The fact that render nodes only visualize a portion of the timeline also prevents previous frame from working since it depends on calculating an absolute motion vector starting on frame $0$.
-\subsubsection*{2 pass motion tracking}
-\label{ssub:2_pass_motion_tracking}
+\subsubsection*{2 step motion tracking}
+\label{ssub:2_step_motion_tracking}
-The method described above is \textit{two-pass motion tracking}. One pass is used just to calculate the motion vectors. A second pass is used to apply the motion vectors to the footage. This is faster than a single pass because errors in the motion vector calculation can be discovered quickly. This also allows the motion tracking to use a less demanding colormodel like \textit{RGB888} in the scanning step and a more demanding colormodel like \textit{RGB Float} in the action step. The scanning step takes much longer than action. This has the disadvantage of not being practical for extremely long sequences where some error is acceptable and the picture quality is low to begin with, like stabilizing camcorder footage.
+The method described above is \textit{two-step motion tracking}. One pass is used just to calculate the motion vectors. A second pass is used to apply the motion vectors to the footage. This is faster than a single pass because errors in the motion vector calculation can be discovered quickly. This also allows the motion tracking to use a less demanding colormodel like \textit{RGB888} in the scanning step and a more demanding colormodel like \textit{RGB Float} in the action step. The scanning step takes much longer than action. This has the disadvantage of not being practical for extremely long sequences where some error is acceptable and the picture quality is low to begin with, like stabilizing camcorder footage.
The slower method is to calculate the motion vectors and apply them simultaneously. This method can use one track as the motion vector calculation track and another track as the target track for motion vector actions. This is useful for long sequences where some error is acceptable.
A histogram is almost always applied before motion tracking to clamp out noise in the darker pixels. Either save the motion vectors in a tracking pass and disable the histogram for the action pass or apply the histogram just to the master layer. Finally, you can use the histogram to increase contrast.
+\subsubsection*{Using two pass tracking to improve accuracy and stability}
+\label{ssub:two_pass_improve_accuracy}
+
+A common source of inaccuracy when tracking single frame is rotation of the
+picture. Ideally, the motion vectors should be determined by checking all
+possible rotation angles at every possible match block location. But such
+an algorithm would be unacceptably slow. Therefore the program finds for
+each frame the translation vector first, and then the rotation angle. A
+strong rotation can prevent motion tracker from finding accurate translation
+displacements. Then the subsequent rotation search will be also inaccurate
+because translation has been estimated not sufficiently well. In the two
+pass tracking algorithm the first, coarse estimation of translation and
+rotation is followed by the second, refinement step yielding more exact
+motion vectors.
+
+Sometimes, particularly if the amount of rotation is large, the translation
+tracker can lose its right object and wildly spring away. Then the
+following strategy may help.
+
+Firstly switch \textit{two pass tracking} off, \textit{Track rotation} off, set \textit{Motion noise level} to zero. Switch \textit{Draw vectors} on, \textit{Action: Do Nothing}, \textit{Calculation: Save coords to tracking file}. Start playback and watch if the motion tracker has problems finding the right displacements (you can also examine the tracking file afterwards on the existence of discontinuities in coordinates). If there are such, try to increase Motion noise level, let's say, to 10\% or 20\%, \textit{clear tracking file contents}, repeat playback and look if tracker does not spring away any more. A single pass translation tracking can be relatively fast, while tracking rotation is expensive.
+
+When a sufficient motion noise level is found, switch Track rotation on, Two
+pass tracking on, clear tracking file contents and perform the complete
+translation + rotation tracking pass. As the refinement step uses
+restricted search area and ignores the noise level parameters, the result
+should be more stable and accurate.
+
\subsubsection*{Possible sources of errors}
\label{ssub:possible_sources_errors}
\item To delete a section of video/audio is described next. Various ways to do that are available but the
easiest is to move your mouse and left click at the beginning of the section you want to delete on the
timeline and while holding down the left mouse button, drag to the end of the section to be deleted.
- When you do this, a white colored highlighted section becomes visible. Use the edit pulldown and
+ When you do this, a white colored highlighted section becomes visible. Use the \textit{Edit} pulldown and
choose the \textit{split/cut} option to cut out the highlighted area (note the shortcut of "x"). Remember if you
cut the wrong thing out you can always use the Edit pulldown to Undo that.
\item To add a transition where there is deleted section which may make your video look disjointed, do
hd\_h264.youtube & High Definition - “ “ \\
uhd\_u264.youtube & Ultra High Definition - “ “ \\
\end{tabular}
-\end{center}
\ No newline at end of file
+\end{center}
\begin{itemize}
\item From the main window use \texttt{File $\rightarrow$ Record} to request the \textit{Recording} application.
- \item In the \textit{Video In} window, press the down arrow on the left to see the channel pulldown.
+ \item In the \textit{Video In} window, press the down arrow on the left to see the \textit{Channel} pulldown.
\item Select the desirable channel, and watch TV. You will have to enable the audio by checking the \textit{Monitor audio} in the Recording window for sound.
\end{itemize}
The main menu pulldown, \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A} and \texttt{B} Tabs, must be properly configured in order to take advantage of the Dual Screen Mode capability.
-In the main menu Window pulldown there are \textit{Tile left} and \textit{Tile right} options for the 2 monitors. If you have only 1 monitor, you will see no change upon activating these options. Tiling is possible due to the existence of one long horizontal screen display buffer. Tile left takes \CGG{} and moves all of its windows to the $2^{nd}$ monitor/TV and Tile right puts it back to the $1^{st}$ monitor. The left and right monitors are the left part or right part of a Playback A/B Xwindow host referenced in the Video Config Playback A/B for separate X screens. Shortcuts for Tile left and Tile rights are the letters \texttt{a} and \texttt{b} on the keyboard once you have set \textit{Remote Control mode}. Below is a summary of the configuration letters:
+In the main menu \textit{Window} pulldown there are \textit{Tile left} and \textit{Tile right} options for the 2 monitors. If you have only 1 monitor, you will see no change upon activating these options. Tiling is possible due to the existence of one long horizontal screen display buffer. Tile left takes \CGG{} and moves all of its windows to the $2^{nd}$ monitor/TV and Tile right puts it back to the $1^{st}$ monitor. The left and right monitors are the left part or right part of a Playback A/B Xwindow host referenced in the Video Config Playback A/B for separate X screens. Shortcuts for Tile left and Tile rights are the letters \texttt{a} and \texttt{b} on the keyboard once you have set \textit{Remote Control mode}. Below is a summary of the configuration letters:
\begin{description}
\item[a] select \textit{playback a} and tile windows left (all on monitor or laptop)
\label{sub:use_case_easycap_model_dc60}
A very specific case using an Easy CAPture USB 2.0 Video Adapter with Audio, Model \#DC60 (supports
-NTSC and PAL) is shown here next. The setup for this device is seen in figure~\ref{fig:recording-usb}.
+NTSC and PAL) is shown here next. The setup for this device is seen in figure~\ref{fig:recording-05}.
A somewhat unusual choice to make note of in this image is the setting for the Video In, Record Driver
of Video4Linux2 JPEG.
\centering
\includegraphics[width=0.9\linewidth]{recording05.png}
\caption{Recording setup for EasyCap device}
- \label{fig:recording-usb}
+ \label{fig:recording-05}
\end{figure}
Output on startup window while playing:
\centering
\includegraphics[width=0.6\linewidth]{recording06.png}
\caption{Two possible capture devices using USB}
- \label{fig:recording-usb}
+ \label{fig:recording-06}
\end{figure}
\section{Single File Rendering}%
\label{sec:single_file_rendering}
-Use the File pulldown and select Render to start the render dialog
+Use the \textit{File} pulldown and select Render to start the render dialog
(figure~\ref{fig:render}). Then choose the desired parameters.
\begin{figure}[htpb] \centering
node, start \CGG{} by clicking on the icon or by typing the
following command on the terminal screen:
\texttt{/{cinelerra\_path}/cin}.
- \item Use the file pulldown \texttt{Settings $\rightarrow$
+ \item Use the \textit{File} pulldown \texttt{Settings $\rightarrow$
Preferences}, the Performance tab, to set up your Render Farm
options in the Render Farm pane.
\item Check the \textit{Use render farm} option. By default, once
There are some shortcuts to alleviate the dragging and dropping of transitions when you want to do a lot of them in various places on the timeline. After you have established the parameter values for a transition that you have dragged from the Resources window, you can use "U" and "u" keys to paste the same transition;
the "U" key pastes the last video transition while the "u" key pastes the last audio transition on all recordable tracks.
-Alternatively, you can add the same transition to multiple edits when in \textit{Arrow mode} (Drag and Drop editing), by selecting edits to add the transition to and use the Video/Audio pulldown to \textit{Attach transition}. Select the desired transition and then click the checkmark OK. You can set a default transition in the Attach transition popup box -- by highlighting your choice, then click on the button \textit{Set Default Transition}, and you will see that transition become the new default.
+Alternatively, you can add the same transition to multiple edits when in \textit{Arrow mode} (Drag and Drop editing), by selecting edits to add the transition to and use the \textit{Video/Audio} pulldown to \textit{Attach transition}. Select the desired transition and then click the checkmark OK. You can set a default transition in the Attach transition popup box -- by highlighting your choice, then click on the button \textit{Set Default Transition}, and you will see that transition become the new default.
The way that transitions work is that two edits overlap for some length of time and no edits are actually moved during the transitions.
Instead extra frames from the source file will be used to lengthen the first edit enough to make it overlap the second edit for the length of the transition. The transition takes effect exactly at the beginning of the second edit and lasts for the specific length of time you set into the second edit.
to try before abandoning your session.
\begin{enumerate}
- \item If your computer or the program crashed, you can use the File pulldown choice
+ \item If your computer or the program crashed, you can use the \textit{File} pulldown choice
of \textit{Load backup} to get back to the last automatically saved session. It will most
likely not include the last few operations that were done though. But if you forgot to
Load backup when you restarted Cinelerra, you have a second chance to use \texttt{File $\rightarrow$ Load} and
\textbf{Some Helpful User Readable Text Dumps}
-On the File pulldown, there is a \textit{Dumps} option with a submenu of dump EDL, Plugins, Assets, and Undo. In all cases, you will have to have started \CGG{} from a window instead of from an application icon and
+On the \textit{File} pulldown, there is a \textit{Dumps} option with a submenu of dump EDL, Plugins, Assets, and Undo. In all cases, you will have to have started \CGG{} from a window instead of from an application icon and
the text results will be shown in that window.
\begin{itemize}[nosep]
\label{menu_bar_shell_commands}
In order to provide some types of help, the Menu Bar Shell Commands are available for customization purposes. In the
-main window on the top line containing the File, Edit, {\dots} Window pulldown menus, all the way to the right hand
+main window on the top line containing the \textit{File}, \textit{Edit}, {\dots} \textit{Window} pulldown menus, all the way to the right hand
side is the \textit{shell cmds} icon. You might see a small gold-color bordered box with the $>\_.\_$ inside
and if you mouse over it, the tooltip says \textit{shell cmds}. This is a configurable popup which gives you the ability to
see a table of Shortcuts in html format, refer to the reference manual or execute a pre-defined script to perform a
The main window is called the \textit{Program} window and is often just referred to as the \textit{timeline}. Here is where you enter the main menu operations.
This timeline consists of a vertical stack of tracks with time represented horizontally on the track.
-It is the output of the rendering operations and this is what is saved when you run the File pulldown, Save command.
+It is the output of the rendering operations and this is what is saved when you run the \textit{File} pulldown, Save command.
Immediately to the left of the timeline is the patchbay. The patchbay contains options that affect each track.
These options are described in great detail in \nameref{sec:patchbay}.
is, if both In/Out points are set and there is a highlighted area also set, the highlighted area's
labels will be cleared and not those between the In/Out points.
-If you enable \emph{Edit labels} in the Settings pulldown menu or disable the \emph{Lock labels from moving}
+If you enable \emph{Edit labels} in the \textit{Settings} pulldown menu or disable the \emph{Lock labels from moving}
button on the Transport and Buttons bar, labels will be cut, copied or pasted along with the selected
area of the first armed track.
In the same manner, if a selected area of media is spliced from the viewer to the timeline in a position
before labels, the labels will be moved to the right on the timebar so that the label maintains its
relative position to its edit.
To prevent labels from moving on the timebar, enable the \emph{Lock labels from moving} icon or
-disable the \emph{Edit labels} option under the Settings pulldown.
+disable the \emph{Edit labels} option under the \textit{Settings} pulldown.
\subsection{Color Title Bars and Assets}%
\label{sub:color_title_bars_and_assets}
\label{sub:window_layouts}
If you like to use different window layouts than the default for certain scenarios, you can setup, save, and load 4 variations.
-First, position your \CGG{} windows where you want them to be and then use the Window pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight.
+First, position your \CGG{} windows where you want them to be and then use the \textit{Window} pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight.
To use the default name of \textit{Layout \#}, when the popup comes up, just click the green checkmark OK on the Layout popup menu.
If you would like a specific name for your layout so you can remember what its best use case is,
keyin 1-8 english characters that are meaningful to you (english characters mean you can not use the German umlaut, the French accent, or the Spanish ñ).
The files containing the coordinates for your layouts will automatically be saved in the \texttt{\$HOME/.bcast5} directory as \texttt{layout\#\_rc} or \texttt{layout\#\_8chars\_rc}.
-To use the desired layout, keyin the shortcut or use the Window pulldown and choose \emph{Load layout} and then make your choice. It is very beneficial to
+To use the desired layout, keyin the shortcut or use the \textit{Window} pulldown and choose \emph{Load layout} and then make your choice. It is very beneficial to
learn the the associated shortcut layouts (Ctrl+Shift+Fx where x is 1,2,3, or 4)
because they can be executed from any of the 4 windows instead of just the main
timeline window.
\subsection{Multi-Pane Support}%
\label{sub:multipane_support}
-The main \CGG{} edit window holds the Track Canvas which can be divided into 4 panes of track data: 1 or 2 vertical panes and/or 1 or 2 horizontal panes. To split the track, use the Window pulldown, and then click on \textit{Split X} or \textit{Split Y} depending on how you wish to split the track. Alternatively, the canvas pane types can be changed using keys \textit{<Ctrl-1>} for toggle split horizontal or \textit{<Ctrl-2>} for toggle split vertical. Or the track can be split into panes by using the \textit{+ widget} in the lower right hand corner of the track canvas. Once the track has been divided, you can use the + widget shortcut or the drag bars to change the size of the panes.
+The main \CGG{} edit window holds the Track Canvas which can be divided into 4 panes of track data: 1 or 2 vertical panes and/or 1 or 2 horizontal panes. To split the track, use the \textit{Window} pulldown, and then click on \textit{Split X} or \textit{Split Y} depending on how you wish to split the track. Alternatively, the canvas pane types can be changed using keys \textit{<Ctrl-1>} for toggle split horizontal or \textit{<Ctrl-2>} for toggle split vertical. Or the track can be split into panes by using the \textit{+ widget} in the lower right hand corner of the track canvas. Once the track has been divided, you can use the + widget shortcut or the drag bars to change the size of the panes.
Multi-Pane, or split screen, allows you to look at the first part of a movie at the same time as a part that is a long ways away on the timeline which would have been off the screen. By having multiple panes, you can see the 2 parts you want to look at simultaneously and drag/drop easily between the 2. Also, the \textit{X pane split} is extremely convenient for laptop users and computer monitors with small screens since it can be used with horizontal scrolling with the mouse wheel + Ctrl. The \textit{Y-pane split} makes it easy to see 2 simultaneous drag and drop zones when you have lots of tracks (figure~\ref{fig:multi-pane01}).
There are 4 shapes that are automatically available for usage as masks – square, circle, triangle, and oval. In addition, the next 3 symbols in this section are for the purpose of loading, saving, and deleting your own customized shapes. The first symbol, \textit{Load} preset, will bring up a list of your previously saved presets. Clicking on \textit{Save} preset brings up a popup window allowing you to provide a name used to identify the preset you want to save, along with a pulldown to see the names of your other saved presets. Clicking on \textit{Delete} preset also brings up a textbox with a pulldown to choose which one to delete. There is a file, called \texttt{mask\_rc}, in \texttt{\$HOME/.bcast5} that records your custom masks.
-When you click \textit{Load} preset, keep in mind that it will write the mask number that you have selected so if you already have a mask at that location, it will write over it – just \textit{Undo mask} under the main window Edit pulldown (shortcut `z') to revert to the previous if you made this mistake.
+When you click \textit{Load} preset, keep in mind that it will write the mask number that you have selected so if you already have a mask at that location, it will write over it – just \textit{Undo mask} under the main window \textit{Edit} pulldown (shortcut `z'or `Ctrl-z') to revert to the previous if you made this mistake.
\subsubsection*{Position \& Scale section}%
\label{ssub:position_scale_section}
\paragraph{Case 2, Negative Fade:} When the program computes the background color for any number of masks that includes negative
mask(s), it uses the largest transparency number as the determining factor for the background. Only 1 of the masks can be largest, and wins for the background transparency result.
-\vspace{3ex}\textit{Feather}: works in a similar manner to a \textit{gradient Fade} aligned on the mask boundary but is a logical function instead of a mathematical function so will be faster. The \textit{Gang feather} symbol also works in a similar fashion and is surrounded by a gold colored background when it is in effect.
+\vspace{3ex}\textit{Feather}: works in a similar manner to a \textit{gradient Fade} aligned on the mask boundary but is a logical function instead of a mathematical function so will be faster. The \textit{Gang feather} symbol also works in a similar fashion and is surrounded by a colored background when it is in effect.
\subsubsection*{Mask Points section}%
\label{ssub:masks_points_section}
The \textit{X:} and \textit{Y:} coordinates mark the value of the current \textit{Pivot Point} used for rotation, scaling, and translation. You can either directly key in numerical values or use the tumblers to change the values as long as the \textit{Focus} checkbox is checked.
-The \textit{Focus} checkbox is used in case you want to set a different point in the Compositor for pivoting instead. And the \textit{Gang} symbol for rotate/scale/translate means that these operations will be performed on all points of the enabled masks. The gang symbol is surrounded by a gold colored background when it is in effect. When performing a rotate operation on a mask with the mouse wheel, \textit{acceleration} is in effect -- this means the faster you wheel, the more space is covered so that you do not have to wheel dozens of time to make a full rotation. Then when you wheel around slower, you can fine tune the result.
+The \textit{Focus} checkbox is used in case you want to set a different point in the Compositor for pivoting instead. And the \textit{Gang} symbol for rotate/scale/translate means that these operations will be performed on all points of the enabled masks. The gang symbol is surrounded by a colored background when it is in effect. When performing a rotate operation on a mask with the mouse wheel, \textit{acceleration} is in effect -- this means the faster you wheel, the more space is covered so that you do not have to wheel dozens of time to make a full rotation. Then when you wheel around slower, you can fine tune the result.
Note that in order to be able to rotate/scale around pointer, the Focus checkbox must be unchecked.
\subsubsection*{Other sections}%
\label{sub:show_overlays}
Color Coded Keyframe Curves are a big feature in the \textit{Show Overlays} window because by changing the colors to suit the user, it helps to remove confusion from multiple curves on the track canvas.
-They can be viewed from the pulldown menu of \texttt{Window $\rightarrow$ Show overlays} but they will operate the same as when used from the View pulldown menu.
+They can be viewed from the pulldown menu of \texttt{Window $\rightarrow$ Show overlays} but they will operate the same as when used from the \textit{View} pulldown menu.
The \textit{Color Coded Keyframe Curves} have distinct colors associated with each type for ease of identification.
By clicking LMB on the \textit{Color Ball} to the right of any keyframe type in the \textit{Show overlays} menu you have the ability to change the colors to whatever works best for your video.
The color ball changes made will be retained across sessions.
Overlays Window Nuances:
-The Overlays window is an alternative to the main track canvas View pulldown, and thus the order is mostly maintained to match each other.
+The Overlays window is an alternative to the main track canvas \textit{View} pulldown, and thus the order is mostly maintained to match each other.
To make it easier to get a quick temporary look at a specific option, there is a shortcut of Shift-LMB (left mouse button) that can be used as opposed to having to uncheck everything that is currently checked and then having to recheck them on when done.
Here is a list of how they work. Keep in mind that if the Expander on the patchbay is enabled, you still see the track.
\begin{itemize}
\item Shift+LMB on a non-\textit{hot} spot will simply check or uncheck a box and there is no previous state.
- \item This all works in conjunction with the View pulldown menu which, of course, has no hot spots.
+ \item This all works in conjunction with the \textit{View} pulldown menu which, of course, has no hot spots.
\item Caveat \#1 - Shift+LMB on the top 4 choices of Assets, Titles, Transitions, Plugin Keyframes will turn
off all of the checkboxes below because it makes sense to do so.
\item Caveat \#2 - Shift+LMB on the Autos will not turn off Assets, Titles, Transitions, or Plugin Keyframes
\subsection{Sound Level Meters Window}%
\label{sub:sound_level_meters_window}
-An additional window, the levels window, can be brought up from the Window pulldown.
+An additional window, the levels window, can be brought up from the \textit{Window} pulldown.
The levels window displays the output audio levels after all mixing is done.
The visible range of the sound level meters is configurable in \texttt{Settings $\rightarrow$ Preferences, Interface tab} under the Operations section.
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