\listoffigures
\newpage
+\printindex
+
% \listoftodos
\end{document}
%\usepackage{tocvsec2}
\usepackage[intoc]{nomencl} % glossary package
\makenomenclature% make glossary
+\usepackage{makeidx}
+\makeindex
% eso-pic makes it easy to add some picture commands to every page
% at absolute positions:
\label{fig:proxy-02}
\end{figure}
-Screencast in figure~\ref{fig:proxy-02} shows the Use scaler checked so you can still use plugins and the original project size is kept. The Scale factor pull-down gives you available size options. Note the new media dimensions shown (partially covered). If the size is an odd number, 1 is added to make the dimensions both even numbers.
+Screencast in figure~\ref{fig:proxy-02} shows the use scaled checked so you can still use plugins and the original project size is kept. The Scale factor pull-down gives you available size options. Note the new media dimensions shown (partially covered). If the size is an odd number, 1 is added to make the dimensions both even numbers.
In the case of the scaler checkbox, it will retain that setting for ease of use.
\item When in \textit{Gang Channels} or \textit{Gang Media} mode, if the first audio track is not disarmed, but any of its connected channel tracks are, the disarm of those channels are ignored and all channels are treated as being armed. This is to be consistent with the purpose of using this mode; the purpose being that any edits to the first master track are automatically propagated to all other channels.
\item It may be better when using the \textit{Gang Channels} or \textit{Gang Media} mode to make any changes
to the first audio channel to be automatically duplicated before reverting to the \textit{Gang None} mode to make other changes. Once you start changing individual channels (that is, audio tracks) so that they are no longer coordinated in their edits/plugins, it may be more difficult to switch back to \textit{Gang Channels} mode and get the desired results since the channels may no longer be lined up.
+ \item Gang modes should not be used with Multi-camera/Mixers because they have very specific
+operational capabilities which are not compatible with the way that Ganging works.
\end{itemize}
\section{Two Screen Editing}%
ones that have the red lines
around them.\\
- Select Edits & Ctrl-Alt-a & Select all edits within an highlighted area of the timeline \\
+ Select Edits & Ctrl-Alt-' & Select all edits within a highlighted area of the timeline \\
+
+ Deselect Edits & & Deselect all edits within a highlighted area of the timeline \\
Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
There is also a faster way:
\begin{enumerate}
- \item Arm the tracks you want to be used
+ \item Arm the tracks you want to be used.
\item Highlight the area as usually you do with \textit{I-beam} mode (or use \textit{In/Out Points}; or position \textit{Insert Point} over the stack of edits). If you miss an edit that you want included, the same method can be used to add it. It is an additive operation. And, it will include the partial edits in the selected area, thus making it easy to disinclude ones you do not want.
It will include silence also but you can remove that or any other edit with CTRL + LMB.
\item Press MMB on a clip inside the highlight area and the PopUp menu is shown with the \textit{Select edits} option on the top.
- \item Choose the \textit{Select edits} option and the clips inside the highlight area will be selected.
+ \item Choose the \textit{Select or Deselect edits} option and the clips inside the highlight area will be selected or deselected.
+\end{enumerate}
+
+And there is a Drag mouse way (this requires that the cursor be on the first
+clip and from there you start the drag):
+\begin{enumerate}
+ \item To Drag Select edits, hold down Alt+Left Mouse Button (LMB) and drag over the selection area. Releasing the mouse results in selecting.
+ \item To Drag Deselect edits. hold down Alt+Ctrl+LMB and drag over the area to be desected. Releasing the mouse results in deselecting.
+\end{enumerate}
+
+If using certain operating systems (for example Ubuntu and Arch) that might field the Alt key before it gets to \CGG{}, you can use the following for both Select and Deselect instead:
+\begin{enumerate}
+ \item Press and hold down Ctrl+Alt+LMB on an edit
+ \item Drag on the edits you want to select
+ \item Release the Ctrl key
+ \item Release the LMB
+ \item Release the Alt key
\end{enumerate}
\section{Inter-View Mode\;/\;Identifying Source Targets}%
\nomenclature{\textbf{Concatenate}}{in File$\rightarrow$Load insertion strategy, means to load from disk or copy from the timeline edits belonging to different media onto the same set of tracks, one right after the other.}
-\nomenclature{\textbf{Compression}}{in \CGG{}’s dialogs means compression format. See Codec.}
+\nomenclature{\textbf{Compression}}{in \CGG{}’s dialogs means compression format. See Codec. The compression can be Lossless (without data loss) or Lossy (with data loss); it can be Intraframe (within each frame) or it can be about Groups Of Pictures (GOP and Long GOP) between frames, i.e. Interframe. Lossy and Interframe are also fine for editing, but for Color Correction, Chroma-Key and Rotoscoping Lossless and Intraframe compression is required.}
\nomenclature{\textbf{Context menu}}{a pop-up menu.}
\nomenclature{\textbf{DeSpill}}{process to remove background color contamination from the edges of the subject in foreground, during a chroma key.}
-\nomenclature{\textbf{Digital Intermediate (DI)}}{Over time it has taken on different meanings. For \CGG{} is meant as the creation of a high quality file that during the various stages of editing and color correction keeps as much information as possible. Being little or uncompressed its manipulation is also faster and more efficient.}
-
\nomenclature{\textbf{Dynamic range}}{is the ratio between the largest and smallest values (luminance) that an image can assume. The larger the size, the better we can distinguish details in the dark and light parts.}
\nomenclature{\textbf{Exposure}}{the exposure is the amount of light per unit area reaching an image sensor, as determined by shutter speed, lens aperture and scene luminance.}
\nomenclature{\textbf{HDTV}}{(high definition TV) standard characterized by a 16:9 aspect ratio, various frames rates and scan modes and with a resolution of at least 1080.}
+\nomenclature{\textbf{Intermediate}}{The production process of a movie in which you switch from film to a digital intermediate for the various stages of processing and then return to the film. (ADA = Analog, Digital, Analog). The most used formats are Cineon/DPX and OpenEXR. We also talk about DI= Digital Intermediate. Nowadays it is often used as a synonym for Mezzanine codec (see).}
+
\nomenclature{\textbf{Lanczos}}{algorithm for high quality resampling video signal. It is also used in case of upsampling, weak point of other similar filters.}
\nomenclature{\textbf{Letterbox}}{blacks bars on the top and bottom side of the frame. They are due to a smaller frame size than the one set in the project (see also Pillarbox).}
\nomenclature{\textbf{LUT, 3D LUT}}{(LookUp Table) used to map one color space to another. \CGG{} uses them through ffmpeg filters. There are downloadable collections or there are specific ones provided by hardware manufacturers.}
+\nomenclature{\textbf{Mezzanine codec}}{Transcode digital footage files into a high quality codec that is more efficient on the timeline and retains all initial information (is a DDD process, i.e. Digital, Digital, Digital). Generally such codecs are little or nothing compressed; if compressed they are lossless and intraframe and the chrominance is not less than 4:2:2. Very used codecs are DNxHD; ProRes; ffv1; HuffYUV; etc.}
+
\nomenclature{\textbf{Nearest neighbor}}{is the simplest method of resampling an image. It is fast and resources saving, but produces less smooth results.}
\nomenclature{\textbf{Panning}}{in video technology, panning refers to the horizontal scrolling of an image wider than the display. In \CGG{} it is done (together with other camera movements) with the camera tool.}
\subsection{1080 to 480}%
\label{sub:1080_to_480}
+\index{1080 to 480}
Most TV broadcasts are received with a $1920\times1080$ resolution but originate from a $720\times480$ source at the studio. It is a waste of space to compress the entire $1920\times1080$ if the only resolvable details are $720\times480$. Unfortunately resizing $1920\times1080$ video to $720\times480$ is not as simple as shrinking it.
\subsection{Aging TV}%
\label{sub:aging_tv}
+\index{Aging TV}
This effect is the one to use if you want to achieve an old movie or TV show look. It will put moving lines up and down the movie as well as putting snow on the video. Use it along with \textit{Brightness/Contrast} and \textit{Color Balance} to make your movie look like a really old black and white movie. This came from \url{https://effectv.com}.
\subsection{Alpha}%
\label{sub:alpha}
+\index{Alpha}
Allows you to apply an alpha value (transparency) to one or more tracks or one or more edits. Being also keyframable, it allows an excellent variety and possibility of use in the most disparate occasions.
\subsection{Motion51}%
\label{sub:motion51}
+\index{Motion51}
This plugin compensates for unwanted motion and stabilizes the picture. The \textit{Motion51} Plugin simplifies motion stabilization so that without a lot of tweaking you can easily achieve reasonable results, either by using the defaults or varying a single parameter. Since the motion in every clip is specific, there are some additional parameters useful to adjust the settings accordingly.
The Motion51 plugin uses different methods for tracking than the other motion plugins. Motion Stabilization is very useful if you have jittery video, for example when taken from a car window, or while walking.
\subsection{Motion}%
\label{sub:motion}
+\index{Motion}
The \textit{motion tracker} is almost a complete application in itself. The motion tracker tracks two types of motion: \textit{translation} and \textit{rotation}. It can track both simultaneously or one only. It can do $\frac{1}{4}$ pixel tracking or single pixel tracking. It can stabilize motion or cause one track to follow the motion of another track. Although the motion tracker is applied as a realtime effect, it usually must be rendered to see useful results. The effect takes a long time to precisely detect motion so it is very slow.
\subsection{Motion 2 Point}%
\label{sub:motion_2_point}
+\index{Motion 2 Point}
Motion plugin using 2 \textit{Match box} for tracking. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
\subsection{Motion Blur}%
\label{sub:motion_blur}
+\index{Motion Blur}
Uses X/Y camera automation vectors to apply a linear blur trailing camera direction due to movement.
\begin{description}
# /usr/lib/cinelerra/fonts
ttmkfdir && mv fonts.scale fonts.dir
\end{lstlisting}
-and restart \CGG{}. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work.
+and restart \CGG{}. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work. It is
+important to note that because there are checkboxes for both Bold and Italic, the pulldown will not include these specific fonts
+as an addition to a Regular font. They will be used via the checkboxes but not viewed in the pulldown.
If the video is displayed on a consumer TV, the outer border is going to be cropped by $5\%$ on each side. To avoid text which is too close to the edge looking bad, you may want to enable the \textit{title-safe} tool in the compositor window. The text should not cross the inner rectangle.
unset BC_FONT_DEBUG (to remove debug messages)
\end{lstlisting}
-Then start \CGG{} from a terminal window to see the fonts being loaded and previewed in the Titler. This should point out any issues. Another debug methodology is to remove all fonts from being used and subsequently add in the ones that you want. For example:
+Then start \CGG{} from a terminal window to see the fonts being loaded and previewed in the Titler. This should point out any issues. Another debug methodology is to remove all fonts from being used and subsequently add in the ones that you want.
+This not only speeds the load up, it ensures that the fonts you actually are using are the ones you expect because the order that
+\CGG{} finds various fonts makes a difference in which one of potential duplicates shows up in the
+pulldown. So you might not see the one you expect if it was written over by a system font.
\vspace{1ex}
\begin{lstlisting}[style=sh]
analysis.
\item [F\_smartblur]~\\Blurs the input video without impacting
the outlines. Through the settings you can select the radius, the
- strength and the threshold of luma and chroma.
+ strength and the threshold of luma and chroma. This plugin can be used to correct
+ over-sharpened footage. For example, on a DJI 3840x2160 D-cinelike footage using
+ these settings:
+\begin{itemize}
+ \item hluma radius: 3.247993
+ \item luma strength: 0.360153
+ \item luma threshold: -2
+\end{itemize}
+ the over-sharpened edges will be smoothed. All other settings are at default values.
\item [F\_smptebars]~\\Generate SMPTE color bars.
\item [F\_smptehdbars]~\\Generate SMPTE HD color bars.
\item [F\_sobel]~\\Applies sobel operator.
& Manual Goto & g & Jump to time selected by popup. \\
\midrule
\textcolor{CinBlueText}{Drag/Drop Edits} & Clear Select & Ctrl-Shift-A & Deselect all selected edits. \\
- & Select Edits & Ctrl-Alt-a & Add highlight to selected edits. \\
+ & Select Edits & Ctrl-Alt-' & Add highlight to selected edits. \\
& LMB & Alt + Drag & Drag select. \\
& LMB & Ctrl+Alt + Drag & Drag deselect. \\
& Copy & Ctrl-c & Copy selected edits into copy buffer. \\
The \textit{Manual Go To} menu is quite versatile as you can see in figure~\ref{fig:goto_menu}. The
options of \textit{=} represents goto the position indicated in the textbox; \textit{+} indicates
to goto forward the additional number in the textbox; and \textit{-} means to go in the reverse
-direction the number in the textbox. The pulldown arrow to the right of the textbox sets the
+direction the number in the textbox. If you use \textit{Enter} in the textbox, the menu will stay
+up so that you can use it without having to continuously pop it up. If you use the OK check instead,
+the menu will be taken down. The pulldown arrow to the right of the textbox sets the
\textit{Time Format} for the units to be used for position changing. This lets you change the units
without having to modify your Preference.
projects / goodguy / cin-manual-latex.git / commitdiff
