minor correction

diff --git a/parts/Advanced.tex b/parts/Advanced.tex
index a8e7080facc2e3007f284359a50c18fe00e1ac7f..5a0678ed45d4b8f4f9cda46e7ab9c0d5b7f8aeee 100644 (file)
--- a/parts/Advanced.tex
+++ b/parts/Advanced.tex
@@ -11,7 +11,7 @@ When we want to render the project, remember to remove the proxy to return to th
 
 To use the proxy in a classic way, i.e. as a scaling, select \texttt{Settings $\rightarrow$ Proxy settings} and change the Scale factor from Original size to your downsized choice.  You can choose ffmpeg as the File Format \index{file format} and a choice of various codecs associated with that.  A good choice is the default of mpeg which can usually be quite fast.  In addition, to modify values for that codec, click on the wrench icon.
 
-We can use the \textit{Proxy 1:1} in two ways: setting "1" as \textit{Scale factor}, or check the \textit{Rescaled to project size (FFMPEG only)}  button. In this mode we don't have scaling, i.e. downsize, but only variations of the codec parameters that allow to maintain the original resolution. The advantage is that you can use filters that require the original size to work well. NB: if we set any scaling, by activating the \textit{Rescaled to project size (FFMPEG only)} button we automatically lose scaling and enter Proxy 1:1 mode.
+We can use the \textit{Proxy 1:1} in two ways: setting "1" as \textit{Scale factor}, or check the \textit{Rescaled to project size (FFMPEG only)}  button. In this mode we don't have scaling, i.e. downsize, but only variations of the codec parameters that allow to maintain the original resolution. The advantage is that you can use filters that require the original size to work well. Please note that if we set any scaling, by activating the \textit{Rescaled to project size (FFMPEG only)} button we automatically lose scaling and enter Proxy 1:1 mode.
 
 When you have completed your choices, just click OK, and then the video tracks will be rendered. This may take some time, but previous proxy renders will be reused.
 

diff --git a/parts/Quickstart.tex b/parts/Quickstart.tex
index 16776c7e25434928f42b9e142b8cdd3affb813b6..93949e08790c824eece2400f11b6fbfed3da756c 100644 (file)
--- a/parts/Quickstart.tex
+++ b/parts/Quickstart.tex
@@ -480,7 +480,7 @@ there are not too many or too bad alterations. But if the basis that we have set
                \item The color space of the timeline: we can choose and set the color space on which to work.
                \item The color space of the output: we can choose the color space of the output (on other monitors or of the final rendering).
        \end{enumerate}
-       \textit{ACES} and \textit{OpenColorIO} have an SRC workflow. NB: the monitor must still be calibrated to avoid unwanted color shifts.
+       \textit{ACES} and \textit{OpenColorIO} have an SRC workflow. Please note that the monitor must still be calibrated to avoid unwanted color shifts.
        \item There is also a third type of CMS: the one through the \textbf{LUTs}. In practice, the SRC workflow is followed through the appropriate 3D LUTs, instead of relying on the internal (automatic) management of the program. The LUT combined with the camera used to display it correctly in the timeline and the LUT for the final output. Using LUTs, however, always involves preparation, selection of the appropriate LUT and post-correction. Also, as they are fixed conversion tables, they can always result in clipping and banding.
 \end{itemize}