\item Load your camera media with insertion strategy of \textit{resources only}
\item Highlight in the Resources window, all of the media you want to mix.
\item Right mouse button on one of the media and click on Open Mixers; all mixer windows come up.
- \item Provide a small target audio pattern on the Master Track for syncing by marking with the In/Out points ([ and ]).
- \item Make a selection on the timeline in which to look for the pattern. Left mouse click, then drag select and highlight a search time domain.
+ \item To arm the created mixer tracks and related audio tracks. They are automatically placed on the timeline disarmed. This is right for multi-cam but not for audio sync.
+ \item Provide a small target audio pattern on the Master Track for syncing by marking with the In/Out points ([ and ]). NOTE: When choosing between the audio tracks to align the one that will have to work as Master, we must rigorously use the one with the right-most synchronization peak. This is because the Master track will be started at the beginning of the timeline. If during alignment the other tracks should move further to the left than the Master, they will be truncated at 00:00:00:000, finding no more space available, and will be shortened with loss of footage for the next multi-cam
+ \item Make a selection on the timeline in which to look for the pattern. Left mouse click, then drag select and highlight a search time domain.
\item Use the \texttt{Window $\rightarrow$ Mixers$\dots$ $\rightarrow$ Align mixers} to bring up its dialog window.
\item Highlight in the first listbox, the Mixer number you want to align. Click on \textit{Match}. This will take a few seconds so watch the rendering time percentage on the lower right hand side zoom panel. The buttons will be ghosted out until finished. Now note the changed values in the Audio Tracks listbox.
\item If you are satisfied with the calculated Nudge values -- that is they are very close to $1.0$ -- in the Audio Tracks listbox and the audio track selected as the Master Track in the Master Track listbox, hit the \textit{Apply} button.
\item If you plan on performing more alignment tasks, click on Checkpoint so you can go back to a previous step in case you make a mistake.
\item Last, click on the OK green checkmark or to cancel click on the red X. Or just close the gui.
+ \item To disarm the mixer tracks and related audio tracks for the next multi-cam operations.
\end{enumerate}
\paragraph{Reset} is used to start over with the current session data, not an undo. This means you can use the match repeatedly to refine alignments. All of the Audio Tracks listbox values will be reset.
\begin{enumerate}
\item \textit{Mixers} lists the mixers that are active by highlighting them all initially. You can decide that you do
not want 1 or more mixers to be used in the correlation calculation by un-highlighting the one(s) that should not be used. In some cases you have to have at least 2 in order to align audio.
- \item \textit{Master Track} lists each of the audio tracks currently loaded for all of the mixers. You can decide to highlight a different audio track to be used as the master for correlation, but only 1 can be used.
+ \item \textit{Master Track} lists each of the audio tracks currently loaded for all of the mixers. You can decide to highlight a different audio track to be used as the master for correlation, but only 1 can be used. Remember to use the track with the right-most synchronization peak as the Master.
\item \textit{Audio Tracks} lists each of the mixer audio tracks. Again, you can highlight a different set of which
mixer audio tracks that you want to use for the waveform correlation. Any audio tracks that are not
highlighted, that is \textit{turned off}, will not be considered in the correlation calculation.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{mixer-align03.png}
+ \includegraphics[width=1.0\linewidth]{mixer-align03.png}
\caption{Match setup for aligning by audio. Note that [ ] are set over a sample waveform highlighted selection that includes that.}
\label{fig:mixer-align03}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{mixer-align04.png}
+ \includegraphics[width=1.0\linewidth]{mixer-align04.png}
\caption{An audio Match is complete. Note the waveform is aligned.}
\label{fig:mixer-align04}
\end{figure}
on top of an image which is commonly used in filmmaking. The concept
is that you align the key elements in the image using this grid at
the intersection of the lines or along and within the
- vertical/horizontal lines.
+ vertical/horizontal lines. In general the bottom and right sides of
+ the video will not be bordered by the grid. So for example, if you
+ only add the effect to the video, there will be a frame around the
+ video with the size of the \textit{thickness}
+ but the frame is only visible on the top and left and not on the bottom
+ or left side. You can get a line to show by using a larger thickness
+ and specifying a negative value for x and y of -2, -3, or more.
\item [F\_edgedetect]~\\Detects and draws edge.
\item [F\_elbg]~\\Apply posterize effect, using the ELBG
algorithm.
As usual, you can delete proxy files from the project or disk in the Resources window if you no longer want to retain them.
And you can save your project either as proxied or not.
+Because Proxy works on the original media in all circumstances, when you resize the
+media in the Resources window, it does not actually resize the media but puts it in
+a "buffer" in that format. This might lead to some confusion for the user who
+expects this resizing to be maintained when disabling Proxy for that media. However,
+that does not happen because the resize is only in a buffer and not in the original
+media. This result is different than in the case of media "edits", like cuts or
+adding plugins because this information is not in a buffer but rather part of the
+copy "Editing Decision List" (EDL).
+
You can also nest clips while in a proxied state, but you can not drag the proxied nested clips
to the viewer or the timeline.
If you create proxies for Nested clips they will be saved in \texttt{\$HOME/Videos} unless you modify that in
More specific information on which plugins need to use scaler is provided here next. If the keyframe data uses coordinate data that is absolute, then the scaler should be used. If the data is normalized (like always $0-100\%$) then the proxy can be done without the scaler. The session geometry format, shown in \texttt{Settings $\rightarrow$ Format} as $width \times height$, is changed if the scaler is not used to cause all of the data to be in the reduced format. If this affects the plugin operation, then scaler should be used. Examples of plugins that need the scaler are: Title, AutoScale, Scale, ScaleRatio, and Translate. Most others are safe to use without scaling.
- This makes its so that you can save your project
-either as proxied or not.
-
\textbf{Transcode}, an option under the Settings pulldown right next to the Proxy settings option, is a type of full resolution \textbf{1:1 Proxy}.
The process of transcoding works directly from the resource; it is independent of the timeline.
All of the loaded asset media will be converted, that is, rendered in the selected format and loaded onto the timeline.
\subsubsection*{Track and Output size}%
\label{ssub:track_size}
-The \textit{Track size} is used to define the temporary size with each track having a different size.
+The \textit{Track size} is used to define the temporary size with each track having a different size (viewports).
You can see or set the track size by RMB click on a track and then select \emph{Resize Track} to resize
the track to any size. Or select \emph{Match output size} to make the track the same size as the
output. When a track is resized what it looks like on the compositor changes. The relationship
The \textit{Output size} can be set in \texttt{File $\rightarrow$ New} when creating a new project,
or by using \texttt{Settings $\rightarrow$ Format}, or in the Resources window with RMB click on
a video asset and choosing \texttt{Match $\rightarrow$ Match project size}. When you \emph{Match project size}, you
-are conforming the output to the asset. Once you have set the output size in 1 of these 3 ways,
+are conforming the output to the asset. To change the size and aspect ratio of the output (Projector) we have to change the whole project, which will alter all the tracks in the timeline. Once you have set the output size in 1 of these 3 ways,
any newly created tracks will conform to the specified output size. When rendering, the project's
output size is the final video track size where the temporary pipeline is rendered into.
\subsubsection*{The Viewport}%
\label{ssub:viewport}
-The \textit{viewport} is a window on the camera that frames the area of source video. The size of
-the current track is used for the initial size of the viewport. A smaller viewport, for example
-($640\times480$), captures a smaller area; whereas a larger viewport of ($800\times600$) captures
-a larger area. If the captured area is larger than the source video, the empty spaces will be
-automatically filled with blanks. After the viewport is defined, the camera needs to be placed
-right above the area of interest in the source video. Operations to control the location of the
-camera are as follows:
+The \textit{viewport} is a window on the camera that frames the area of source video. The size of the current track is used for the initial size of the viewport. A smaller viewport, for example ($640\times480$), captures a smaller area; whereas a larger viewport of ($800\times600$) captures a larger area. If the captured area is larger than the source video, the empty spaces will be automatically filled with blanks. To change the size and aspect ratio of the viewport (Camera) of a single track, right-click on the track in the timeline and choose Resize Track. Here we can vary the height and base of the viewport in pixels or use the ratio between the sides. With OK we will see the change in the Compositor window with the new dimensions reflected in the green box. We can have different size viewports for each video track on the timeline. To go back, reset the viewport to the original value. After the viewport is defined, the camera needs to be placed right above the area of interest in the source video. Operations to control the location of the camera are as follows:
\begin{enumerate}
\item In the compositor window you should see the selected track.
projects / goodguy / cin-manual-latex.git / commitdiff
