\chapter{Plugins}%
\label{cha:plugins}
-There are realtime effects --- these are the most useful and probably all you will ever need --- and rendered effects.
+There are realtime effects -- these are the most useful and probably all you will ever need -- and rendered effects.
The rendered effects are discussed separately in the \nameref{sec:rendered_effects} section.
Effect plugins modify the track when played, according to how they are set, with no permanent storage of the output except when the project is rendered. There are many Plugins in Cinelerra-GG Infinity which are actually quite easy to use just by experimenting with them. The plugins are shown and selected from the \textit{Resources window} (figure~\ref{fig:video-plugins}). They are described in more detail later.
There is a choice of plugin icons which can be displayed.
-In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By --- \url{https://creativhecommons.org/licenses/by/3.0/}} --- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
+In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By -- \url{https://creativhecommons.org/licenses/by/3.0/}} -- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
Note that when you change the plugin icons, your session will automatically save the backup, stop, restart, and reload (figure~\ref{fig:plugin-icons}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/audio-plugins.png}
+ \includegraphics[width=0.6\linewidth]{images/audio-plugins.png}
\caption{Cinfinity2 audio plugins}
\label{fig:audio-plugins}
\end{figure}
\begin{figure}[htpb]
\centering
\begin{tikzpicture}[scale=1, transform shape]
- \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{images/plugin-icons.png}};
- \node [yshift=-10mm, xshift=-1cm,anchor=east] at (img1.north west) (Preferences) {Preferences Window};
- \node [yshift=-20mm, xshift=-1cm,anchor=east] at (img1.north west) (Tab) {Tab section};
- \node [yshift=-51mm, xshift=-1cm,anchor=east] at (img1.north west) (Icon) {Plugin icon choices};
- \draw [->, line width=1mm] (Preferences) edge ([yshift=-10mm] img1.north west);
- \draw [->, line width=1mm] (Tab) edge ([yshift=-20mm] img1.north west);
- \draw [->, line width=1mm] (Icon) edge ([yshift=-51mm] img1.north west);
+ \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.5\linewidth]{images/plugin-icons.png}};
+ \node [yshift=-8mm, xshift=-1cm,anchor=east] at (img1.north west) (Preferences) {Preferences Window};
+ \node [yshift=-17mm, xshift=-1cm,anchor=east] at (img1.north west) (Tab) {Tab section};
+ \node [yshift=-41mm, xshift=-1cm,anchor=east] at (img1.north west) (Icon) {Plugin icon choices};
+ \draw [->, line width=1mm] (Preferences) edge ([yshift=-8mm] img1.north west);
+ \draw [->, line width=1mm] (Tab) edge ([yshift=-17mm] img1.north west);
+ \draw [->, line width=1mm] (Icon) edge ([yshift=-41mm] img1.north west);
\end{tikzpicture}
\caption{Screencast showing the screen to change your plugin icons set}
\label{fig:plugin-icons}
Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on.
-Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \texttt{Attach effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
+Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
-After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass symbol on the right side of the effect bar - this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a Show option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
+After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
Besides the magnifying glass, for Show Controls, on the effect colored bar beneath the track, there are two more symbols.
\includegraphics[width=0.7\linewidth]{images/button-options.png}
\end{wrapfigure}
-The rightmost knob is used to \texttt{Turn Off/Turn On} the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
+The rightmost knob is used to Turn Off/Turn On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
\section{Editing Effects}%
\label{sec:editing_effects}
\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.
+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 \texttt{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 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 \textit{up} or \textit{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 \texttt{Move up} and \texttt{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.
+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.
Finally, there is dragging of effects. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track. The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards. It is recommended that you re-construct shared effect track references.
In the case of a shared track, there must be another track on the timeline of the same type as the track you are applying an effect to. If you right clicked on a video track to attach an effect, there will not be anything in the shared tracks column if no other video track exists. The same applies equally to audio tracks in that another audio track must exist. Shared tracks are often used as layers for titles, curves and keyframes.
-If shared effects or shared tracks are available, they appear in the shared effects and shared tracks columns when you used the \textit{Attach effect} option (\texttt{RMB} on a track). When the green colored checkmark is clicked \texttt{OK}, anything highlighted in the column is attached under the current track.
+If shared effects or shared tracks are available, they appear in the shared effects and shared tracks columns when you used the \textit{Attach effect} option (RMB on a track). When the green colored checkmark is clicked OK, anything highlighted in the column is attached under the current track.
Shared effects and shared tracks allow very unique things to be done. In the case of a shared effect, the shared effect is treated like a copy of the original effect, except that in the shared effect the GUI can not be brought up. All configuration of the shared effect is determined by the GUI of the original effect and only the GUI of the original effect can be brought up.
\centering
\begin{tikzpicture}[scale=1, transform shape]
\node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{images/preset02.png}};
- \node [yshift=-20mm, xshift=-1cm,anchor=east] at (img1.north west) (Green) {A user preset Green};
+ \node [yshift=-30mm, xshift=-1cm,anchor=east] at (img1.north west) (Green) {A user preset Green};
\node [yshift=-101mm, xshift=-1cm,anchor=south east,text width=10em, inner ysep=-3mm] at (img1.north west) (Textbox) {Textbox to type in the title for the chosen preset or name for a new preset.};
\node [yshift=-110mm, xshift=-1cm,anchor=north east,text width=10em,inner ysep=-3mm] at (img1.north west) (Save) {Use the Delete, Save or Apply button for operation.};
- \draw [->, line width=1mm] (Green) edge ([yshift=-20mm] img1.north west);
+ \draw [->, line width=1mm] (Green) edge ([yshift=-30mm] img1.north west);
\draw [->, line width=1mm] (Textbox.south east) -- ([yshift=-101mm] img1.north west);
\draw [->, line width=1mm] (Save.north east) -- ([yshift=-110mm] img1.north west);
\end{tikzpicture}
\subsection{How to see short Description of a Plugin}%
\label{sub:short_description_plugin}
-To get a short one or a few lines description of a plugin, right click on that plugin in the Resources window and when the popup menu appears, select \texttt{Info}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
+To get a short one or a few lines description of a plugin, right click on that plugin in the Resources window and when the popup menu appears, select \textit{Info}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
\begin{figure}[htpb]
\centering
\subsection{Delete Plugins to save Resources Space or make them Unavailable}%
\label{sub:delete_plugin_resouces_unavaible}
-Maybe you just don't ever use certain plugins or would prefer to only find the ones that are useful to you. To save space in the Resources Window so you don't have to scroll to find the plugins you want as much, a feature to delete others is available. If you have a System install, you will have to be root for this function to be usable. The plugins will be permanently deleted, but only until you rebuild or download a new set of Cinelerra binaries. To delete a plugin, highlight the plugin you no longer want in the Resources window then press \texttt{Ctrl-Shift-delete}. A small window will come up allowing you to change your mind and red-X out or check-OK to remove plugin. This feature may come in handy if you have personnel working on media for you and you only want them to exercise certain functions. Or maybe you can't remember which is the good \textit{deinterlace} plugin out of the available five or so and want to delete the extras so as not to be confused. The ffmpeg, \textit{ladspa}, and \textit{lv2} plugins can not be deleted in this manner but, of course, you can always turn them off from view by clicking on \textit{Visibility} and unchecking them (figure~\ref{fig:remove-effect}).
+Maybe you just don't ever use certain plugins or would prefer to only find the ones that are useful to you. To save space in the Resources Window so you don't have to scroll to find the plugins you want as much, a feature to delete others is available. If you have a System install, you will have to be root for this function to be usable. The plugins will be permanently deleted, but only until you rebuild or download a new set of Cinelerra binaries. To delete a plugin, highlight the plugin you no longer want in the Resources window then press Ctrl-Shift-delete. A small window will come up allowing you to change your mind and red-X out or check-OK to remove plugin. This feature may come in handy if you have personnel working on media for you and you only want them to exercise certain functions. Or maybe you can't remember which is the good \textit{deinterlace} plugin out of the available five or so and want to delete the extras so as not to be confused. The ffmpeg, \textit{ladspa}, and \textit{lv2} plugins can not be deleted in this manner but, of course, you can always turn them off from view by clicking on \textit{Visibility} and unchecking them (figure~\ref{fig:remove-effect}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/remove-effect.png}
+ \includegraphics[width=0.6\linewidth]{images/remove-effect.png}
\caption{Remove Deinterlace-CV plugin}
\label{fig:remove-effect}
\end{figure}
When running Cinelerra-GG Infinity builtin icons are loaded before the program starts. Png files in the path: \\ \texttt{<target\_directory>picon/picon\_set\_name} \\
are searched before the images loaded into memory. Override \texttt{icon.png} files must be put into the path: \\ \texttt{<target\_directory>/picon/picon\_set\_name} \\
-There are currently 4 sets of icons and their directory names are \textit{cinfinity} (the default) and \textit{cinfinity2}, \textit{original} (the long-time original set), and \textit{smoother} (generally was in use by some of the themes). An example, to replace the cinfinity icon of Blue Banana with a red apple instead, create your \texttt{.png} file as desired, and replace the file in: \\ \texttt{<target\_directory>/bin/plugins/picon/cinfinity/bluebanana.png}.
+There are currently 4 sets of icons and their directory names are \textit{cinfinity} (the default) and \textit{cinfinity2}, \textit{original} (the long-time original set), and \textit{smoother} (generally was in use by some of the themes). An example, to replace the cinfinity icon of Blue Banana with a red apple instead, create your .png file as desired, and replace the file in: \\
+\texttt{<target\_directory>/bin/plugins/picon/cinfinity/bluebanana.png}.
For most User installs, the \texttt{<plugin\_name>.png} file will be located at:
\texttt{/usr/lib/cin/plugins/picon/cinfinity}
-(or cinfinity2, original or smoother --- ubuntu distros)
+(or cinfinity2, original or smoother -- ubuntu distros)
\texttt{/usr/lib64/cin/plugins/picon/cinfinity}
-(or cinfinity2, original or smoother --- Leap distro)
+(or cinfinity2, original or smoother -- Leap distro)
\subsection{Details on where to put your own Plugin Icons}%
\label{sub:details_put_plugin_icons}
\begin{itemize}
\item All included icon images become part of open source, in the public domain, and not proprietary.
- \item The preferred format is $52 x 52$, $8\,bit$ /color RGB or RGBA, non-interlaced.
+ \item The preferred format is $52 \times 52$, $8\,bit$ /color RGB or RGBA, non-interlaced.
\item Since plugin icons are used by different themes, it is recommended that a \textit{transparent background} be used. Otherwise some color background that looks good for one theme may not for another.
\item In order to test a new icon, you have to have write permission in the: \\
\texttt{<cinlib\_path>/plugins} directory so you may have to become the root user to copy the .png file to the correct location.
\item If there is currently no theme-specific \texttt{.png} files present, it may be necessary to first create the theme directory in \texttt{<cinlib\_path>plugins} as \texttt{<theme\_name>} in order to put the \texttt{.png} files in that subdirectory.
\item Make sure that the \textit{ownership} and file \textit{permissions} match the existing directory and files.
- \item All ffmpeg icons must begin with \texttt{ff\_<plugin\_name>.png} (Resources window title will still be \texttt{F\_\dots})
+ \item All ffmpeg icons must begin with \texttt{ff\_<plugin\_name>.png} (Resources window title will still be F\_\dots)
\item For ladspa, check in the \texttt{<cin\_config>} directory (\texttt{\$HOME/.bcast5} normally) and look for the text file \texttt{\$HOME/.bcast5/ladspa\_plugins\dots} for the names of the ladspa libraries which correspond to plugin names where the needed name is the basename of the \texttt{.so} file.
For example \texttt{pha\-sers\_1217.so} would need to have a \texttt{phasers\_1217.png} file. There may be multiple plugins in a single “so” file which means that you can only have 1 icon to represent all of the plugins in that file; again as in phasers.
\item Once you have placed the .png file in the correct spot, you will have to restart Cinelerra to test it.
\subsection{Example of new Plugin Icon Testing}%
\label{sub:example_plugin_icon_testing}
-For a simple test just copy an existing \texttt{<plugin\_name>.png} file into the cinfinity directory with the name \texttt{bluebanana.png} to write over the existing file. This icon will now show up in cinelerra and still execute the Blue Banana function.
+For a simple test just copy an existing \texttt{<plugin\_name>.png} file into the cinfinity directory with the name \texttt{bluebanana.png} to write over the existing file. This icon will now show up in Cinelerra and still execute the Blue Banana function.
For an ffmpeg plugin, create \texttt{ff\_loop.png} and copy it to: \\
-\texttt{<cinlib\_path>/plugins/picon/original}. This icon will show up in cinelerra if original is selected and execute the \texttt{F\_loop} function.
+\texttt{<cinlib\_path>/plugins/picon/original}. This icon will show up in Cinelerra if original is selected and execute the \textit{F\_loop} function.
-For a ladspa plugin, the text line in \$HOME/.bcast5/ladspa\_plugins… as seen below:
+For a ladspa plugin, the text line in \texttt{\$HOME/.bcast5/ladspa\_plugins}$\dots$ as seen below:
2 \texttt{am\_pitchshift\_1433.so} \\
\texttt{AM pitchshifter} $1504922321\, 0\, 1\, 0\, 0\, 1\, 0\, 1\, 0\, 1\, 0\, 0$ indicates that you would create the icon: \\ \texttt{<cinlib\_path>/plugins/picon/cinfinity/am\_pitchshift\_1433.png} \\
-For your own personal plugins, you can create a directory on your system and put any plugin png files you like into that directory. For example, if you want a specialized picon for \texttt{F\_aeval}, create a picon named \texttt{ff\_aeval.png} in: \\ \texttt{<cinlib\_path>/plugins/picon/yournamehere.}
+For your own personal plugins, you can create a directory on your system and put any plugin png files you like into that directory. For example, if you want a specialized picon for \textit{F\_aeval}, create a picon named \texttt{ff\_aeval.png} in: \\ \texttt{<cinlib\_path>/plugins/picon/yournamehere.}
\begin{lstlisting}[language=Bash,numbers=none]
cd <cinlib>/plugins # go to the correct directory
\subsection{Plugins/Effects Visibility}%
\label{sub:plugins_effects_visibility}
-Cinelerra contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In Cinelerra-GG Infinity, the plugins have been categorized into the following subsets in the Visibility section of the Resources window to make it easier to locate a particular one:
+Cinelerra contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In Cinelerra-GG Infinity, the plugins have been categorized into the following subsets in the \textit{Visibility} section of the Resources window to make it easier to locate a particular one:
\textit{Audio Effects, \quad Video Effects, \quad Audio Transitions, \quad Video Transitions}
\label{fig:visibility01}
\end{figure}
-The Visibility tool in the Resources window (figure~\ref{fig:visibility01}) gives you the ability to turn off or on any of several sets of plugins. If you left-click the Visibility box, you will see the various categories of plugins, such as \textit{ladspa}, \textit{ffmpeg}, \textit{audio}, \textit{lv2}, and \textit{video} (figure~\ref{fig:visibility02}).
+The \textit{Visibility} tool in the Resources window (figure~\ref{fig:visibility01}) gives you the ability to turn off or on any of several sets of plugins. If you left-click the Visibility box, you will see the various categories of plugins, such as \textit{ladspa}, \textit{ffmpeg}, \textit{audio}, \textit{lv2}, and \textit{video} (figure~\ref{fig:visibility02}).
-Highlight the set you want to turn on and a check mark appears to show it is active. Highlight again to toggle it off. See the next screenshot which illustrates that all of the plugins are turned off (not visible) except for audio. There is also the ability to add your own personal directory of plugins which will show up here. All you have to do to have these plugins become visible is to create a directory, with some name that is meaningful to you, and put your \texttt{.png} files in your: \\
+Highlight the set you want to turn on and a check mark appears to show it is active. Highlight again to toggle it off. See the next screenshot which illustrates that all of the plugins are turned off (not visible) except for audio. There is also the ability to add your own personal directory of plugins which will show up here. All you have to do to have these plugins become visible is to create a directory, with some name that is meaningful to you, and put your .png files in your: \\
\texttt{cinelerra\_path bin/plugins/<your\_directory\_name>}.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/visibility02.png}
+ \includegraphics[width=0.6\linewidth]{images/visibility02.png}
\caption{Screenshot showing the Visibility categories of plugins with all toggled on and audio highlighted.}
\label{fig:visibility02}
\end{figure}
Cinelerra’s default setup is in the file \texttt{\$CIN\_DAT/expan\-ders.txt} but if the user wants their own specific setup and if the file in \texttt{\$HOME/.\\bcast5/expanders.txt} exists, it will take precedence.
If there are recommendations for other relevant categories, they can be added. The subtree structure is applicable to any of the \textit{Video Effects/Transitions} or \textit{Audio Effects/Transitions}. You can not sort once an expansion is in effect (figure~\ref{fig:expander}).
-The \texttt{expanders.txt} file has very specific requirements. The most specific is that there are no blanks --- you must use tabs only. A \# (pound sign) can be used in column 1 to indicate a comment. Here is a short example:
+The \texttt{expanders.txt} file has very specific requirements. The most specific is that there are no blanks -- you must use tabs only. A \# (pound sign) can be used in column 1 to indicate a comment. Here is a short example:
\begin{lstlisting}[language=Bash,numbers=none]
Video Effects
You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU. For a specific color-based example, Cinelerra uses 6 primary rendering color models. All of them have 3 components at full scale. Direct usage of a particular ffmpeg plugin from the ffmpeg command line might handle the planar at less than full scale chroma (yuv420), which means there is less data to manipulate. But when cinelerra loads a video it uses full scale color models. In other words:
\begin{itemize}[noitemsep]
- \item cinelerra uses \textit{yuv444}
+ \item Cinelerra uses \textit{yuv444}
\item ffmpeg uses \textit{yuv420}
\end{itemize}
-if using an ffmpeg plugin that uses filters and many passes over the data, the amount of data is a big factor. If you load a file in cinelerra with a
+if using an ffmpeg plugin that uses filters and many passes over the data, the amount of data is a big factor. If you load a file in Cinelerra with a
\texttt{same\_directory\_path\_and\_filename.opts}
ffmpeg -i /tmp/filename.mpeg -threads 15 -vf format=rgb24,xxxxxxs=threads=8 -acodec ac3 -vcodec libx265 - y /tmp/x.mp4
\end{lstlisting}
-This converts the input to \textit{rgb} before xxxxxx runs, and so it too is slower (because there is more color data). You would ordinarily avoid this conversion by omitting the \texttt{format=rgb24} parameter. An example ffmpeg plugin that could easily take advantage of an auxilliary opts file is \textit{nlmeans}.
+This converts the input to rgb before xxxxxx runs, and so it too is slower (because there is more color data). You would ordinarily avoid this conversion by omitting the \texttt{format=rgb24} parameter. An example ffmpeg plugin that could easily take advantage of an auxilliary opts file is \textit{nlmeans}.
\section{Audio Effects - Native}%
\label{sec:audio_effects_native}
\subsection{AudioScope}%
\label{sub:audioscope}
-Convert input audio to video output representing the audio power spectrum. Shows
+Effect rewritten and improved. Convert input audio to video output representing the audio power spectrum. Shows
% Yes
%\todo{It's OK to use Subsection every plugin?}%
you the sound wave.
-\subsection{Compressor}%
-\label{sub:compressor}
+\subsection{Chorus}%
+\label{sub:chorus}
+
+It is a multitrack effect, where each track is a channel. For example if you have 4 voices per channel and 2 channels, you will have a total of 8 tracks.
+It is an effect that modulates the signal, precisely the pitches (instead of modulating the phases as for example in the \textit{Flanger}) plugin and creates voices from the original signal and adds them to the Output. You then get a chorus effect, with multiple voices \textit{singing} the same \textit{song} but with slightly different modulations. Voices not only modulate the original signal but also start with a certain delay. There are two components of delay, \textit{constant delay} and \textit{oscillating delay} (figure~\ref{fig:chorus}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{images/chorus.png}
+ \caption{GUI of configuration for Chorus plugin}
+ \label{fig:chorus}
+\end{figure}
-The audio compressor reduces the dynamic range of the audio, not the amount of data required to store the audio. In Cinelerra the compressor actually performs the function of an expander and compressor.
+\begin{description}
+ \item[Voices per channel]: number of items we want to put in the effect. Using more than 4 voices creates sound artifacts that lose the feel of a human voice choir, but can still be used as an artificial sound effect.
+ \item[Phase offset] (ms): is the constant delay, i.e. the amount of delay of the voices compared to the original signal.
+ \item[Depth] (ms): is the oscillating delay, i.e. the delay in the oscillation of the various voices from the original signal.
+ \item[Rate] (Hz): is the speed at which we apply the oscillating delay. Practically the speed at which the oscillations occur.
+ \item[Wetnwss] (db): Indicates how much of the original (dry) signal is taken into account compared to delayed voices.
+\end{description}
-The compressor works by calculating the maximum sound level within a certain time period of the current position. The maximum sound level is taken as the input sound level. For every input sound level there is an output sound level specified by the user. The gain at the current position is adjusted so the maximum sound level in the time range is the user specified value (figure~\ref{fig:compressor}).
+\subsection{Compressor (Single Band)}%
+\label{sub:compressor}
+
+Effect rewritten and improved.
+The audio compressor reduces the dynamic range of the audio, not the amount of data required to store the audio. In Cinelerra the compressor actually performs the function of an expander and compressor of the signal's dynamic range. A third and more sophisticated use serves to highlight the voice with respect to the sound background. It is a multitrack effect and can also be applied as a Shared Effect. (figure~\ref{fig:compressor}).
\begin{figure}[htpb]
\centering
\label{fig:compressor}
\end{figure}
-The compressor has a graph which correlates every input sound level to an output level. The horizontal direction is the input sound level in dB. The vertical direction is the output sound level in dB. The user specifies output sound levels by creating points on the graph. Click in the graph to create a point. If two points exist, drag one point across another point to delete it. The most recent point selected has its values displayed in textboxes (\texttt{X}) for more precise adjustment.
+The compressor works by calculating the maximum sound level within a certain time period of the current position. The maximum sound level is taken as the input sound level. For every input sound level there is an output sound level specified by the user.
+The gain at the current position is adjusted so the maximum sound level in the time range is the user specified value.
+The compressor has a graph which correlates every input sound level to an output level. The horizontal direction is the input sound level in dB. The vertical direction is the output sound level in dB. The user specifies output sound levels by creating points on the graph. Click in the graph to create a point. If two points exist, drag one point across another point to delete it. Moving the point horizontally is equivalent to the \textit{makeup gain} parameter. Note that it is impossible to create a vertical curve; points would be deleted.
+Put a part of the curve in horizontal means clamping the signal to the same, unique value (as Limiter).
+The most recent point selected has its values displayed in textboxes (Output and Input) for more precise adjustment.
+To have the compressor reduce the dynamic range of the audio, make all the output values greater than the input values except 0\,dB. To make the compressor expand the dynamic range of the audio, make all the output values except 0\,dB less than the input values. The algorithm currently limits all sound levels above 0\,dB to 0\,dB, so to get an overloaded effect put a gain effect before the compressor to reduce all the levels and follow it with another gain effect to amplify all the levels back over 0\,dB.
+The volume (in Db) of the input signal is shown in the \textit{In meter} on the left. Next to it is the \textit{Gain meter} which indicates the gain added (green) or subtracted (red) to the original signal according to our settings.
+
+\begin{description}
+ \item[Attack secs]: determines where in relation to the current position the maximum sound level is taken and how fast the \textit{gain} is adjusted to reach that peak. It is in seconds. If the reaction time is negative the compressor reads ahead of the current position to get the future peak. The gain is ramped to that peak over one reaction time. This allows it to hit the desired output level exactly when the input peak occurs at the current position. If the reaction time is positive the compressor scans only the current position for the gain and ramps gain over one reaction time to hit the desired output level. It hits the output level exactly one reaction time
+ after detecting the input peak.
+ \item[Release secs]: if the peak is higher than the current level, the compressor ramps the gain up to the peak value. Then if a future peak is less than the current peak it ramps the gain down. The time taken to ramp the gain down can be greater than the time taken to ramp the gain up. This ramping down time is the decay seconds.
+ \item[Trigger type]: the compressor is a multi-channel effect. Several tracks can share one compressor. How the signal from many tracks is interpreted is determined by the \textit{trigger type}. The Trigger type uses the value supplied in the Trigger textbox as the number of the track to use as input for the compressor. This allows a track which is not even heard to determine the loudness of the other tracks. The maximum trigger takes the loudest track and uses it as the input for the compressor. The Total trigger type adds the signals from all the tracks and uses the total as the input for the compressor. This is the most natural sounding compression and is ideal when multiple tracks are averaged into single speakers.
+ \item[Trigger]: This parameter is used in conjunction with trigger type as described previously. Normally only one track is scanned for the input peak. This track is specified by the Trigger. By sharing several tracks and playing with the trigger value, you can make a sine wave on one track follow the amplitude of a drum on another track, for example.
+ \item[Smooth only]: for visualizing what the compressor is doing to the sound-level, this option causes it to replace the sound wave with just the current peak value. It makes it very easy to see how \textit{reaction secs} affects the detected peak values.
+ \item[Gain]: moves the curve in the vertical direction only, to change the gain of the Output.
+ \item[Clear] and \textbf{Reset}: Reset the parameters to the default values (no compression).
+\end{description}
+
+\subsection{Compressor Multi (Multi Band)}%
+\label{sub:compressor_multi}
+
+Refer to Compressor (Single Band) for common theory and options.
+The normal compressor acts over the entire frequency spectrum. The multi-band allows us to distinguish three frequency ranges (low, med and high) on which to intervene separately and in a more sophisticated way. In other plugins there are four bands instead of three, but we can make very precise adjustments so the three present are enough because they are not fixed. Finally the value of the three corrections are added together in the Output.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.7\linewidth]{images/compressorM.png}
+ \caption{GUI of configuration for Compressor Multi plugin}
+ \label{fig:compressorM}
+\end{figure}
+
+The three bands and their range (adjustable as desired) are shown in the frequency graph visible below (Bandwidth:).
+As a first step you choose the band and adjust its range in the Bandwidth graph, then you go to adjust the compression in the top level graph. In this graph we can copy/paste the curve in the other bands via RMB; so we have a similar basis on which to make the adjustments.
-To have the compressor reduce the dynamic range of the audio, make all the output values greater than the input values except $0$\,dB. To make the compressor expand the dynamic range of the audio, make all the output values except $0$\,dB less than the input values. The algorithm currently limits all sound levels above $0$\,dB to $0$\,dB, so to get an overloaded effect put a gain effect before the compressor to reduce all the levels and follow it with another gain effect to amplify all the levels back over $0$\,dB.
+In figure~\ref{fig:compressorM} we can see the three bands; the one currently active (\textit{Current band: 2}) presents the waveform of the sound signal. The interval goes roughly between 300\,Hz and 4000\,Hz, the edges are vertical because the \textit{stepness} is set to zero. So we have a clear separation between the bands, but by varying the slope we can have some overlapping of the bands for smoother effects. In the top level graph we can see the yellow curve of the active band, but we can also see in the violet the soft lines of the curves of band 1 and 2.
\begin{description}
- \item[Reaction secs] this determines where in relation to the current position the maximum sound level is taken and how fast the \textit{gain} is adjusted to reach that \textit{peak}. It is in seconds. If the reaction time is negative the compressor reads ahead of the current position to get the future peak. The gain is ramped to that peak over one reaction time. This allows it to hit the desired output level exactly when the input peak occurs at the current position. If the reaction time is positive the compressor scans only the current position for the gain and ramps gain over one reaction time to hit the desired output level. It hits the output level exactly one reaction time after detecting the input peak.
- \item[Decay secs] if the peak is higher than the current level, the compressor ramps the gain up to the peak value. Then if a future peak is less than the current peak it ramps the gain down. The time taken to ramp the gain down can be greater than the time taken to ramp the gain up. This ramping down time is the decay seconds.
- \item[Trigger type] the compressor is a \textit{multi-channel effect}. Several tracks can share one compressor. How the signal from many tracks is interpreted is determined by the \textit{trigger type}. The Trigger type uses the value supplied in the Trigger textbox as the number of the track to use as input for the compressor. This allows a track which is not even heard to determine the loudness of the other tracks. The maximum trigger takes the loudest track and uses it as the input for the compressor. The Total trigger type adds the signals from all the tracks and uses the total as the input for the compressor. This is the most natural sounding compression and is ideal when multiple tracks are averaged into single speakers.
- \item[Trigger] This parameter is used in conjunction with trigger type as described previously. Normally only one track is scanned for the input peak. This track is specified by the Trigger. By sharing several tracks and playing with the trigger value, you can make a sine wave on one track follow the amplitude of a drum on another track, for example.
- \item[Smooth only] for visualizing what the compressor is doing to the \textit{sound-level}, this option causes it to replace the sound wave with just the current \textit{peak value}. It makes it very easy to see how \textit{reaction secs} affects the detected peak values.
+ \item[Solo]: brings only the active band to the Output, silencing the others. So we can make more precise adjustments without listening to the whole effect.
+ \item[Bypass band]: In contrast to Solo, it only brings the sound signals of the two inactive bands to the Output.
+ \item[Freq range]: is used to set bandwidth limits. You act separately on the left and right edge.
+ \item[Stepness]: varies the slope of the edges of the band range. Creates some overlap in the band boundaries.
+ \item[Channel]: is the equivalent of the \textit{Trigger} option in Compressor (single band). Allows you to choose the channel or track to act on.
+ \item[Window size]: Determines the number of samples used in the compression calculation. The more they are, the higher the quality of the result, but the more CPU usage.
\end{description}
\subsection{DC Offset}%
\label{sub:dc_offset}
-Use this to remove \textit{DC Offset}, which is usually an undesirable characteristic of a recording normally caused by defective equipment. This effect works like a \textit{high pass filter} and has no controls. DC stands for Direct Current which is the average amplitude of the waveform. It sounds best when it is absent, represented by zero, so that there is no imbalance in the audio.
+Use this to remove \textit{DC Offset}, which is usually an undesirable characteristic of a recording normally caused by defective equipment. This effect works like a \textit{high pass filter} and has no controls. DC stands for \textit{Direct Current} which is the average amplitude of the waveform. It sounds best when it is absent, represented by zero, so that there is no imbalance in the audio.
\subsection{Delay Audio}%
\label{sub:delay_audio}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/equalizer.png}
+ \includegraphics[width=0.7\linewidth]{images/equalizer.png}
\caption{Graphic Equalizer audio plugin}
\label{fig:equalizer}
\end{figure}
\subsection{EQ Parametric}%
\label{sub:eq_parametric}
-Parametric equalizer shows and outputs levels for \textit{frequency}, \textit{quality}, \textit{level}, \textit{mode}, and \textit{wetness}.
+Parametric equalizer shows and outputs levels for \textit{frequency}, \textit{quality}, \textit{level}, \textit{mode}, and \textit{wetness} (figure~\ref{fig:eq_param}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.4\linewidth]{images/eq_param.png}
+ \caption{Graphic Equalizer audio plugin}
+ \label{fig:eq_param}
+\end{figure}
\subsection{Echo}%
\label{sub:echo}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/echo.png}
+ \includegraphics[width=0.4\linewidth]{images/echo.png}
\caption{The 3 dials of Echo plugin}
\label{fig:echo}
\end{figure}
\begin{description}
\item[Level] represents the volume adjustment.
- \item[Atten] is attenuation which is a general term that refers to any reduction in the echo reflection. Sometimes called loss, attenuation is a natural consequence of signal transmission over long distances.
+ \item[Atten] is attenuation which is a general term that refers to any reduction in the echo reflection. Sometimes called \textit{loss}, attenuation is a natural consequence of signal transmission over long distances.
\item[Offset] is the lag in the attenuated echo signal. Offset means adding a DC level to a signal. It offsets the signal up or down in a DC sense without changing the size of the AC part of the signal. When you add an audio clip to the Timeline, the clip plays back from the beginning of the source audio file. The point in the audio file where the clip starts playing is called the offset. By default, a clip’s offset is zero, the beginning of the source audio file. You can change the offset so that the clip starts playing from a later point in the source audio file.
\end{description}
\subsection{EchoCancel}%
\label{sub:echocancel}
-EchoCancel is the process of removing echos from audio in order to improve the quality. Echo cancel may be needed because an audio recording was done in a room that led to echo generation or there was some kind of unwanted feedback. There are many controls for the EchoCancel plugin which are defined here. However, the first thing you will see when you bring up the plugin, is the top portion that is black which will show a + in the middle when you mouse over it. Once you start playing audio, you will see the cepstrum spectral data inside the window. A cepstrum results from taking the inverse Fourier transform (IFT) of the logarithm of the estimated spectrum of a signal. It is used to identify the period of the echo in the audio. It is recommended to just set the Mode to On but the below defined parameters can be utilized by professionals (figure~\ref{fig:echo-cancel}).
+EchoCancel is the process of removing echos from audio in order to improve the quality. Echo cancel may be needed because an audio recording was done in a room that led to echo generation or there was some kind of unwanted feedback. There are many controls for the EchoCancel plugin which are defined here. However, the first thing you will see when you bring up the plugin, is the top portion that is black which will show a + in the middle when you mouse over it. Once you start playing audio, you will see the cepstrum spectral data inside the window. A cepstrum results from taking the inverse Fourier transform (IFT) of the logarithm of the estimated spectrum of a signal. It is used to identify the period of the echo in the audio. It is recommended to just set the \textit{Mode} to On but the below defined parameters can be utilized by professionals (figure~\ref{fig:echo-cancel}).
\begin{figure}[htpb]
\centering
\end{figure}
\begin{description}
- \item[Normalize:] audio normalization adds variable amounts of gain to an audio recording to bring the average or peak amplitude to a target level (the normal amount), on an ongoing buffer by buffer basis. This is to make the cepstrum graphical data appear between 0 and 1. Checkmark appears if \texttt{ON}.
+ \item[Normalize:] audio normalization adds variable amounts of gain to an audio recording to bring the average or peak amplitude to a target level (the normal amount), on an ongoing buffer by buffer basis. This is to make the cepstrum graphical data appear between 0 and 1. Checkmark appears if ON.
\item[Level:] scale factor used to draw the cepstrum output when normalize is not in effect.
\item[History:] number of previous cepstrum outputs redrawn as fading graphical data.
\item[X Zoom:] X axis scale factor to magnify low frequency cepstrum graphical output.
\item[Offset:] echo period setting determined by manual selection. The $Hz$ (frequency), $ms$ (millisecond duration), and sample offset (audio samples) as determined by manual selection.
\end{description}
+\subsection{Flanger}%
+\label{sub:flanger}
+
+It's a single-track effect. If you apply it to multiple tracks each will work on its own track independently of the others.
+It consists of making a copy of the original sound wave and then playing it over the original one with a certain delay. The resulting signal (Output) will then be the sum of the two waves and will have peaks where the two values add up and gaps where the two values compensate each other. The result is a more \textit{evanescent} and \textit{metallic} sound. Much, however, depends on the intensity of the effect.
+The delay introduced consists of two distinct components: The \textit{constant delay} and the \textit{oscillating delay}. Their sum constitutes the total delay of the effect (figure~\ref{fig:flanger}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{images/flanger.png}
+ \caption{GUI of configuration for Flanger plugin}
+ \label{fig:flanger}
+\end{figure}
+
+\begin{description}
+ \item[Phase Offset]: it is the constant delay. Once set, its value does not change (unless we change it voluntarily, maybe with keyframes) for the duration of the effect.
+ \item[Starting phase] \%: is the point of oscillation where we start the oscillating delay; basically it is the attack value at which the effect starts the calculations. Not to be confused with the point on the timeline where we apply the effect. It only matches this for the 0\% value. The position on the timeline where we want to start the flanger at a given starting phase value can be chosen using keyframes.
+ \item[Depth]: It is the oscillating delay. This value determines the amplitude variation of the delayed (wet) signal phase. this oscillation will be maintained for the entire duration of the effect unless we change it voluntarily.
+ \item[Rate]: is the speed at which we apply the oscillating delay. Low values indicate a lower oscillation frequency, a high value a rapid succession of oscillations.
+ \item[Wetness]: indicates how much of the original (dry) signal is taken into account compared to the delayed (wet) signal.
+\end{description}
+
\subsection{Freeverb}%
\label{sub:freeverb}
\subsection{Live Audio}%
\label{sub:live_audio}
-The Live Audio effect reads audio directly from the sound card input. It replaces any audio on the track so it is normally applied to an empty track. To use Live Audio, highlight a horizontal region of an audio track or define \textit{in} and \textit{out points}. Then drop the Live Audio effect into it. Create extra tracks and attach shared copies of the first Live Audio effect to the other tracks to have extra channels recorded. Live Audio uses the sound driver selected in \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Playback$\rightarrow$ Audio Out for recording}, but unlike recording it uses the playback buffer size as the recording buffer size and it uses the project sample rate as the sampling rate. These settings are critical since some sound drivers can not record in the same sized buffer they play back in.
+The Live Audio effect reads audio directly from the sound card input. It replaces any audio on the track so it is normally applied to an empty track. To use Live Audio, highlight a horizontal region of an audio track or define In and Out points. Then drop the Live Audio effect into it. Create extra tracks and attach shared copies of the first Live Audio effect to the other tracks to have extra channels recorded. Live Audio uses the sound driver selected in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A $\rightarrow$ Audio Out for recording}, but unlike recording it uses the playback buffer size as the recording buffer size and it uses the project sample rate as the sampling rate. These settings are critical since some sound drivers can not record in the same sized buffer they play back in.
Live audio has been most reliable when ALSA is the recording driver and the playback fragment size is $2048$. Drop other effects after Live Audio to process sound card input in realtime. With live audio there is no read-ahead, so effects like compressor will either delay if they have read-ahead enabled or playback will under-run. A potential problem is that sometimes the recording clock on the sound card is slightly slower than the playback clock. The recording eventually falls behind and playback sounds choppy. Live Audio does not work in reverse.
\subsection{Pitch Shift}%
\label{sub:pitch_shift}
-Like the time stretching methods, there are three pitch shifting methods: \textit{Pitch shift}, \textit{Resample}, and \textit{Asset info} dialog. Pitch shift is a realtime effect which can be dragged and dropped onto recordable audio tracks. Pitch shift uses a fast Fourier transform (FFT) to try to change the pitch without changing the duration, but this introduces windowing artifacts. Because the windowing artifacts are less obtrusive in audio which is obviously pitch shifted, Pitch Shift is mainly useful for extreme pitch changes. For mild pitch changes, use Resample instead. Another way to change pitch slightly is to go to the Resources window, highlight the media folder, right click on an audio file, click on \texttt{Info}, then adjust the sample rate in the Info dialog to adjust the pitch. This method also requires left clicking on the right boundary of the audio tracks and dragging left or right to correspond to the length changes.
+Like the time stretching methods, there are three pitch shifting methods: \textit{Pitch shift}, \textit{Resample}, and \textit{Asset info} dialog. Pitch shift is a realtime effect which can be dragged and dropped onto recordable audio tracks. Pitch shift uses a fast Fourier transform (FFT) to try to change the pitch without changing the duration, but this introduces windowing artifacts. Because the windowing artifacts are less obtrusive in audio which is obviously pitch shifted, Pitch Shift is mainly useful for extreme pitch changes. For mild pitch changes, use Resample instead. Another way to change pitch slightly is to go to the Resources window, highlight the media folder, right click on an audio file, click on \textit{Info}, then adjust the sample rate in the Info dialog to adjust the pitch. This method also requires left clicking on the right boundary of the audio tracks and dragging left or right to correspond to the length changes.
\subsection{Remove Gaps}%
\label{sub:remove_gaps}
\subsection{Reverb}%
\label{sub:reverb}
-Reflections of sound to add depth and fullness. Simulates creation of a large number of reflections (lots of walls) which build up and then decay. You can use the reverb plugin to mix tracks together to simulate ambiance.
+Effect rewritten and improved.
+Reflections of sound to add depth and fullness; the sound will seem to come from a space that can go from a small bare room to large natural valleys, cathedrals, etc. The reverb is made up of a group of echoes that occur at the same time and feel, therefore, like a single effect. Basically simulates creation of a large number of reflections (lots of walls) which build up and then decay. You can use the reverb plugin to mix tracks together to simulate ambiance, because it is a multitrack effect.
+The configuration window (figure~\ref{fig:reverb}) shows a graph of the full band pass filter frequencies.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{images/reverb.png}
+ \caption{GUI of configuration for Reverb plugin}
+ \label{fig:reverb}
+\end{figure}
+
+\begin{description}
+ \item[Initial signal level](db): Allows you to set the level of the reflected signal. At 0 you start from its maximum level, decreasing the signal volume will give more presence to the original signal.
+ \item[ms before reflections]: indicates when to start the reflected sounds in relation to the original sound (delay).
+ \item[First reflection level] (db): the sound level of the reflection that starts first.
+ \item[Last reflection leve] (db): the level of the last reflection. It is weaker than the first.
+ \item[numbers of refelctions]: the number of reflections can be set as desired, CPU permitting. With a few reflections you get closer to the Chorus effect. You can start from values of 100 - 150, up to a maximum of 255.
+ \item[ms of refelction]: Sets the action time of the effect. With high values you have more incisiveness
+ \item[Low freq of bandpass] and \textbf{High freq of bandpass}: allow you to set the frequency limits (range) on which the effect acts.
+ \item[Stepness of bandpass]: allows you to adjust the slope of the frequency range limits imposed by the previous items. With the value 1.00 we have a vertical edge that clearly separates the range of frequencies on which to act from the remaining ones (as you can see in figure~\ref{fig:reverb}). By sloping the edge we have a certain overlap and a smoother effect.
+ \item[Window]: determines the number of frequency samples taken into account by the effect for its calculations. The higher the number, the smoother the effect; but the CPU is engaged more.
+\end{description}
\subsection{Reverse Audio}%
\label{sub:reverse_audio}
\subsection{SoundLevel}%
\label{sub:soundlevel}
-Displays the Max/RMS sound level in decibels.
+Effect rewritten and improved to handle fragments. Displays the Max/RMS sound level in decibels.
\subsection{Spectrogram}%
\label{sub:Spectrogram}
-Visual representation of the sound levels at specified frequencies as they vary with time.
+Effect rewritten and improved. Visual representation of the sound levels at specified frequencies as they vary with time.
\subsection{Synthesizer}%
\label{sub:Synthesizer}
-Generate synthesizer sounds; to set key data, turn on Generate keyframes while tweaking (figure~\ref{fig:synthesizer}).
+Effect rewritten and improved. Generate synthesizer sounds; to set key data, turn on Generate keyframes while tweaking (figure~\ref{fig:synthesizer}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/synthesizer.png}
+ \includegraphics[width=1.0\linewidth]{images/synthesizer.png}
\caption{GUI for Synthesizer}
\label{fig:synthesizer}
\end{figure}
Change the speed of an audio signal without affecting its pitch.
+\subsection{Tremolo}%
+\label{sub:tremolo}
+
+It serves to give flavors and vitality to the sound by modulating the amplitude of the sound signal and the delay (figure~\ref{fig:tremolo}).
+
+NOTE: There is often confusion between Tremolo and Vibrato, but the vibrato is the periodic variation of the height of a note (frequency) while the tremolo is the periodic variation of the height (amplitude) of the sound wave.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{images/tremolo.png}
+ \caption{GUI of configuration for Tremolo plugin}
+ \label{fig:tremolo}
+\end{figure}
+
+\begin{description}
+ \item[Phase offset] (\%): is where the oscillation effect begins. At 0\% we are at maximum volume; increasing the percentage we start at a lower volume.
+ \item[Depth] (dB): is the oscillation damping value. You can only decrease the level, you cannot increase it.
+ \item[Rate] (Hz): is the speed at which the oscillations are repeated.
+ \item[Waveform]: you can choose waveform algorithms to use in effect calculations. We have: \textit{Sine}; \textit{Sawtooth}; \textit{Rev Sawtooth}; \textit{Square} and \textit{Triangle}.
+\end{description}
+
\section{Audio Ladspa Effects}%
\label{sec:audio_ladspa_effects}
\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins\protect\footnote{Optional Feature - OS dependent}}%
\label{sec:audio_lv2_calf_plugins}
-LV2 is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to Cinelerra audio without having to change Cinelerra every time. Because the LV2 plugins are separate from Cinelerra-GG Infinity, if one fails or does not perform as expected, cinelerra should stay running and you will have to contact the programmers responsible for that plugin for a fix.
+LV2 is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to Cinelerra audio without having to change Cinelerra every time. Because the LV2 plugins are separate from Cinelerra-GG Infinity, if one fails or does not perform as expected, Cinelerra should stay running and you will have to contact the programmers responsible for that plugin for a fix.
-Typically, a user OS has specialized package groups installed. It is difficult to create one build of cinelerra to accommodate all potential LV2 plugins. Specifically for the \textit{Calf-Studio LV2 plugins}, you should install the Calf Plugins package. The user’s computer must have \texttt{gtk-2-runtime} installed, which seems to be automatically done already for most distros. For users doing their own builds, you can build cinelerra without LV2 support by including \texttt{--without-lv2} in the configure step. The default build is \texttt{--with-lv2=yes} and requires that \texttt{GTK-2-devel} must be installed or the build will fail and notify you.
+Typically, a user OS has specialized package groups installed. It is difficult to create one build of Cinelerra to accommodate all potential LV2 plugins. Specifically for the \textit{Calf-Studio LV2 plugins}, you should install the \textit{Calf Plugins} package. The user’s computer must have \textit{gtk-2-runtime} installed, which seems to be automatically done already for most distros. For users doing their own builds, you can build Cinelerra without LV2 support by including \texttt{-{}-without-lv2} in the configure step. The default build is \texttt{-{}-with-lv2=yes} and requires that \textit{GTK-2-devel} must be installed or the build will fail and notify you.
-LV2 plugins have their own category in the \textit{Audio Plugins Visibility} as lv2. There is a simple text interface which is available via the usual \texttt{Show controls} button when the plugin is attached to the audio track. This window has a Reset button to get back to the default settings. To change a value of one of the parameters, highlight that parameter and type in the new value in the topmost text box and then hit \texttt{apply} to take effect --- the reason for requiring hitting apply is so that the audio is not moving all over the place while you are still typing a value. More easily, you can just move the \textit{pot dial} or the \textit{slider} bar which take effect automatically.
+LV2 plugins have their own category in the \textit{Audio Plugins Visibility} as lv2. There is a simple text interface which is available via the usual \textit{Show controls} button when the plugin is attached to the audio track. This window has a Reset button to get back to the default settings. To change a value of one of the parameters, highlight that parameter and type in the new value in the topmost text box and then hit Apply to take effect -- the reason for requiring hitting apply is so that the audio is not moving all over the place while you are still typing a value. More easily, you can just move the \textit{pot dial} or the \textit{slider} bar which take effect automatically.
Cinelerra’s buffer size setting may cause a delay in activation of the changes you make taking effect, so you can lessen the time by using a small buffer. Notice that $1024$ samples at $48000$ samples per sec is only $\frac{1}{50}^{th}$ a second. This is not a lot of time to shuffle a bunch of stuff. Short buffers produce low latency, but no time for complex programs or lots of stacked effects. Bigger buffers allow for more complex setups.
To set the buffer size:
-\texttt{Settings$\rightarrow$Preferences$\rightarrow$ tab Playback A$\rightarrow$ section Audio Out $\rightarrow$ \\
-variable Playback buffer samples}
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ tab Playback A $\rightarrow$ section Audio Out $\rightarrow$ variable Playback buffer samples}
-However, be forewarned that due to variability in the lv2 plugin programming code, some of the plugins only work with the minimum buffer size of $1024$. In these cases, what you will see is the main track canvas cursor just bounces back and forth over a very small area in the timeline. This does not crash cinelerra but you will have to remove the plugin to continue working.
-You can specify a certain set of LV2 plugins to use by setting \texttt{LV2\_PATH} as shown below before starting cinelerra --- include a colon ($:$) separator for multiple paths. The default path for most operating systems is \texttt{/usr/lib64/lv2}. To list the system installed lv2 plugins key in: \texttt{lv2ls}.
+However, be forewarned that due to variability in the lv2 plugin programming code, some of the plugins only work with the minimum buffer size of $1024$. In these cases, what you will see is the main track canvas cursor just bounces back and forth over a very small area in the timeline. This does not crash Cinelerra but you will have to remove the plugin to continue working.
+You can specify a certain set of LV2 plugins to use by setting \texttt{LV2\_PATH} as shown below before starting Cinelerra -- include a colon ($:$) separator for multiple paths. The default path for most operating systems is \texttt{/usr/lib64/lv2}. To list the system installed lv2 plugins key in: \texttt{lv2ls}.
\begin{lstlisting}[language=Bash,numbers=none]
export LV2_PATH=/tmp/j/balance.lv2/usr/local/lib/lv2/:/usr/local/lv2
If there is no default \texttt{LV2\_PATH} set automatically, the value will be \texttt{\$CIN\_DAT/\\lv2}, which is a placeholder only so that no lv2 plugins will be loaded. When there is no system \texttt{LV2\_PATH} set it is important to note, that if you do want lv2 plugins loaded, you must set the correct path in:
-\texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$ Default LV2$\rightarrow$ direc\-tory
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Default LV2 $\rightarrow$ direc\-tory
path name}
When you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via:
-\texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Interface tab$\rightarrow$ Reload plugin in\-dex}
-or else before you bring up cinelerra, delete \texttt{\$HOME/.bcast5/Cinelerra\_\\plugins} so that the plugins get properly reloaded.
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin in\-dex}
+or else before you bring up Cinelerra, delete \texttt{\$HOME/.bcast5/Cinelerra\_\\plugins} so that the plugins get properly reloaded.
There are some lv2 plugins that display a \textit{glitzy} UI (User Interface); for example the \textit{Calf plugins}. For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified UI interface, there is a flag to enable that. It is at:
-\texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Operations} tab
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Operations} tab
-then check the \texttt{Auto start lv2 gui} Flag
+then check the \textit{Auto start lv2 gui} Flag
-Below is a screencast showing the auto start gui flag and the \texttt{LV2\_PATH} default directory path on the bottom line. Note the highlighted \texttt{Reload plugin index} which will be executed if OKed (figure~\ref{fig:reload}).
+Below is a screencast showing the auto start gui flag and the \texttt{LV2\_PATH} default directory path on the bottom line. Note the highlighted \textit{Reload plugin index} which will be executed if OKed (figure~\ref{fig:reload}).
\begin{figure}[htpb]
\centering
\label{fig:reload}
\end{figure}
-There is also a blacklist that prevents known problematic-for-cinelerra lv2 plugins from loading to avoid crashes. If others are found to have problems, once informed about them, they will be added to this blacklist. In order to determine which lv2 plugin causes a SEGV on cinelerra startup, you can start from a terminal window and you will see each plugin that is being loaded and the last one shown before the crash is a bad plugin. However, many of the plugins causing a crash are due to not having been compiled on your current system with the current compiler so may actually work correctly on other user systems and so will not be added to the cinelerra-wide blacklist. You can either recompile the problematic plugin, or modify your own blacklist which you will have to maintain and save so as not to be written over when loading a new build.
+There is also a blacklist that prevents known problematic-for-Cinelerra lv2 plugins from loading to avoid crashes. If others are found to have problems, once informed about them, they will be added to this blacklist. In order to determine which lv2 plugin causes a SEGV on Cinelerra startup, you can start from a terminal window and you will see each plugin that is being loaded and the last one shown before the crash is a bad plugin. However, many of the plugins causing a crash are due to not having been compiled on your current system with the current compiler so may actually work correctly on other user systems and so will not be added to the Cinelerra-wide blacklist. You can either recompile the problematic plugin, or modify your own blacklist which you will have to maintain and save so as not to be written over when loading a new build.
-Note the UI button in the upper right hand corner above the Reset button (figure~\ref{fig:calf}). If you click this button, a glitzy interface window comes up (if available) for changing variable values. It is possible that a bug in the LV2 plugin causes the glitzy window to appear as blank and then die, but in that case the original simple text window might still work --- in either case, if the timeline movement hangs, just detach the plugin to continue your current session. There is an environment variable that you can set, \texttt{BC\_TRAP\_LV2\_SEGV}, to get a dump of the failure which may be helpful for debugging.
+Note the UI button in the upper right hand corner above the Reset button (figure~\ref{fig:calf}). If you click this button, a glitzy interface window comes up (if available) for changing variable values. It is possible that a bug in the LV2 plugin causes the glitzy window to appear as blank and then die, but in that case the original simple text window might still work -- in either case, if the timeline movement hangs, just detach the plugin to continue your current session. There is an environment variable that you can set, \texttt{BC\_TRAP\_LV2\_SEGV}, to get a dump of the failure which may be helpful for debugging.
\begin{figure}[htpb]
\centering
\label{fig:calf}
\end{figure}
-When the glitzy ui is up, the simple text window remains up also since it is the cinelerra side and keeps track of the value changes so they remain in effect for further usage of the plugin. Changes to one or the other will occur in both with the exception of certain features in the glitzy window which are not communicated correctly back to cinelerra; for example a reset button --- the simple interface Reset button must be used instead. To change values in the glitzy window you use the mouse and move up or down unlike a knob that turns! (Figure~\ref{fig:calf02})
+When the glitzy ui is up, the simple text window remains up also since it is the Cinelerra side and keeps track of the value changes so they remain in effect for further usage of the plugin. Changes to one or the other will occur in both with the exception of certain features in the glitzy window which are not communicated correctly back to Cinelerra; for example a reset button -- the simple interface Reset button must be used instead. To change values in the glitzy window you use the mouse and move up or down unlike a knob that turns! (Figure~\ref{fig:calf02})
-In order to test a particular plugin without bringing up cinelerra, especially for ones that do not operate, it is possible to manually display an lv2ui gui with: \\
+In order to test a particular plugin without bringing up Cinelerra, especially for ones that do not operate, it is possible to manually display an lv2ui gui with: \\
\texttt{/cin-path/lv2ui <lv2-uri>} \\
For example:
\label{fig:calf02}
\end{figure}
-\section[Video Effects --- Native]{Video Effects --- Native\protect\footnote{credit to Andrea Paz for reviewing and numerous plugin descriptions and figures}}%
+\section[Video Effects --- Native]{Video Effects -- Native}}%
\label{sec:video_effects_native}
\subsection{1080 to 480}%
At the TV station the original $720\times480$ footage was first converted to fields of $720\times240$. Each field was then scaled up to $1920\times540$. The two $1920\times540$ fields were finally combined with interlacing to form the $1920\times1080$ image. This technique allows a consumer TV to display the re-sampled image without extra circuitry to handle $720\times480$ interlacing in a $1920\times1080$ image.
-If you merely deinterlace the $1920\times1080$ images, you would end up with resolution of $720\times240$. The \texttt{1080 to 480} effect properly extracts two $1920\times540$ size fields from the image, resizes them separately, and combines them again to restore a $1920\times480$ interlaced image. The scale effect must then be applied to reduce the horizontal size to $960$ or $720$ depending on the original aspect ratio.
+If you merely deinterlace the $1920\times1080$ images, you would end up with resolution of $720\times240$. The \textit{1080 to 480} effect properly extracts two $1920\times540$ size fields from the image, resizes them separately, and combines them again to restore a $1920\times480$ interlaced image. The scale effect must then be applied to reduce the horizontal size to $960$ or $720$ depending on the original aspect ratio.
-The tracks to which \texttt{1080 to 480} is applied need to be at $1920\times1080$ resolution. The project settings in \texttt{settings$\rightarrow$ format} should be at least $720\times480$ resolution. The effect does not know if the first row in the $1920\times1080$ image belongs to the first row of the $720\times480$ original. You have to specify what the first row is in the effect configuration. The output of this effect is a small image in the middle of the original $1920\times1080$ frame. Use the projector to center the output image in the playback.
+The tracks to which \textit{1080 to 480} is applied need to be at $1920\times1080$ resolution. The project settings in \texttt{settings $\rightarrow$ format} should be at least $720\times480$ resolution. The effect does not know if the first row in the $1920\times1080$ image belongs to the first row of the $720\times480$ original. You have to specify what the first row is in the effect configuration. The output of this effect is a small image in the middle of the original $1920\times1080$ frame. Use the projector to center the output image in the playback.
-Finally, once you have $720\times480$ interlaced video you can either apply \texttt{Frames to Fields} or \texttt{Inverse Telecine} to further recover original progressive frames.
+Finally, once you have $720\times480$ interlaced video you can either apply \textit{Frames to Fields} or \textit{Inverse Telecine} to further recover original progressive frames.
\subsection{1080 to 540}%
\label{sub:1080_to_540}
\subsection{Aging TV}%
\label{sub: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 \texttt{Brightness/Contrast} and \texttt{Color Balance} to make your movie look like a really old black and white movie. This came from \url{https://effectv.com}.
+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}
+
+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{Auto Scale}%
\label{sub:auto_scale}
\subsection{Blue Banana\protect\footnote{credit to Monty Montgomery programmer}}%
\label{sub:blue_banana}
-Blue Banana is an \textit{HSL Qualifier} (HSL= hue, saturation, lightness), one of the basic tools of any grading software that are based on circumscribing a zone of the frame by extracting a chromatic key and producing a \textit{matte} in the alpha channel. Blue Banana differs not by creating a real matte, but by creating a \textit{selection mask} exclusively for use within the plugin. The BlueBanana plugin has a couple of useful purposes. It can be used for color transformation or remapping --- by isolating a specific color and then performing color change/correction on only that color. Another useful purpose is for chroma-key filtering, using multiple BlueBanana plugins on the same track. Also, it can be used in conjunction with the mask operation of the Compositor. Usage of BlueBanana may seem complicated at first, but it is necessarily so in order to get enough control to produce the desired effect simply and quickly. Just changing a single color is actually quite easy. BlueBanana is keyframable (figure~\ref{fig:bluebanana}).
+Blue Banana is an \textit{HSL Qualifier} (HSL= hue, saturation, lightness), one of the basic tools of any grading software that are based on circumscribing a zone of the frame by extracting a chromatic key and producing a \textit{matte} in the alpha channel (Secondary Color Correction). Blue Banana differs not by creating a real matte, but by creating a \textit{selection mask} exclusively for use within the plugin. The BlueBanana plugin has a couple of useful purposes. It can be used for color transformation or remapping -- by isolating a specific color and then performing color change/correction on only that color (or color ranges). Another useful purpose is for chroma-key filtering, using multiple BlueBanana plugins on the same track. Also, it can be used in conjunction with the mask operation of the Compositor. Usage of BlueBanana may seem complicated at first, but it is necessarily so in order to get enough control to produce the desired effect simply and quickly. Just changing a single color is actually quite easy. BlueBanana is keyframable (figure~\ref{fig:bluebanana}).
The basic strategy for BlueBanana is to:
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/bluebanana.png}
+ \includegraphics[width=1.0\linewidth]{images/bluebanana.png}
\caption{Screencast showing the BlueBanana plugin control}
\label{fig:bluebanana}
\end{figure}
\subsubsection*{Just a Warning Note:}
\label{ssub:warning_note}
-May use a lot of CPU and Memory because it is doing a lot of work. If you turn off the plugin on the plugin bar below the video track in the main track canvas it will stop using cpu when not in use. Or once you uncheck \texttt{Mark Selected Area}, it will no longer be using the cpu to mark the selected color area in realtime while drawing the diagonal animated pattern in the compositor window.
+BlueBanana may use a lot of CPU and Memory because it is doing a lot of work. If you turn off the plugin on the plugin bar below the video track in the main track canvas it will stop using cpu when not in use. Or once you uncheck \textit{Mark Selected Area}, it will no longer be using the cpu to mark the selected color area in realtime while drawing the diagonal animated pattern in the compositor window.
\subsubsection{Example Usage\protect\footnote{from original message by Rebecca}}
\label{sssec:example_usage}
\subsubsection*{Pane 1}
\label{ssub:pane1}
-This section is used to select the target color domain. First, a short explanation about \textit{alpha}. The alpha channel used in BlueBanana is not transparency (\textit{matte}); it is used as the \textit{Selection mask}. Alpha plane is the alpha channel of the current image. So that:
+This section is used to select the target color domain. First, a short explanation about alpha. The alpha channel used in BlueBanana is not transparency (\textit{matte}); it is used as the \textit{Selection mask}. Alpha plane is the alpha channel of the current image. So that:
RGBA = red/green/blue color planes, alpha data plane.
YUVA = luma/Cb/Cr color values, alpha data plane.
where $A$ is the input alpha plane as a mask, $1$=selected, $0.4$=partially selected, and $0$=not selected; $B$ is the color selection of trims and feathers made by varying the sliders.
- The result is a new alpha plane, which will be output (if End Mask is not set). The $0\dots1$ selection values are used to weight the color transformation filters if/when they are active and operate a change. The color adjustment filters available in Pane \#$2$ can change \textit{red}, \textit{green}, \textit{blue}, and remap \textit{hue}, \textit{saturation}, \textit{value} in the pane. There is also \textit{fade} which applies to the color channels and \textit{alpha} which applies to the resulting alpha plane.
+ The result is a new alpha plane, which will be output (if \textit{End Mask} is not set). The $0\dots1$ selection values are used to weight the color transformation filters if/when they are active and operate a change. The color adjustment filters available in Pane \#$2$ can change red, green, blue, and remap hue, saturation, value in the pane. There is also \textit{fade} which applies to the color channels and \textit{alpha} which applies to the resulting alpha plane.
The basic plan is to either:
\begin{description}
\item[End Mask as used in Color Transformation/Remapping:] In many use cases \\
where you are just remapping color, you are still interested in seeing all of the picture. If this is the case, then checking End Mask on the last BlueBanana plugin will show you the entire picture. The alpha plane may be in use as a selection mask, but it may not be wanted as part of the result.
- \item[End Mask as used in Chroma-key Filtering:] In cases where the selection is for a chroma-key, you are interested in the alpha channel for blending, like \texttt{Normal} or \texttt{SrcOver}. So for this usage of the BlueBanana, don't check the End Mask.
+ \item[End Mask as used in Chroma-key Filtering:] In cases where the selection is for a chroma-key, you are interested in the alpha channel for blending, like \textit{Normal} or \textit{SrcOver}. So for this usage of the BlueBanana, don't check the End Mask.
\end{description}
\item[Invert Selection] reverse target color domain, which is 1 minus selection.
\item[Mark Selected Areas] when this box is checked, the chosen colors are presented in an animated
\item[Hue] select a hue domain; click on the Pick button to select or check the box to the left of hue or uncheck to ignore.
\item[Saturation] select a saturation domain; click on the Pick button to select or check the box to the left.
\item[Value] select a value domain; click on the Pick button to select or check the box to the left.
- \item[Fill] will fill more area or less area of your selected region. This describes how it works. Fill control is an automated way of doing grow and shrink on the selected area, to fill in small holes, or get rid of scattered speckles. If none of the Hue, Saturation, or Value sliders are active --- meaning that the whole frame is selected --- the Fill slider will have no effect even when enabled. The word fill will appear ghosted to indicate this.
+ \item[Fill] will fill more area or less area of your selected region. This describes how it works. Fill control is an automated way of doing grow and shrink on the selected area, to fill in small holes, or get rid of scattered speckles. If none of the Hue, Saturation, or Value sliders are active -- meaning that the whole frame is selected -- the Fill slider will have no effect even when enabled. The word fill will appear ghosted to indicate this.
- The three lower handles in the fill slider correspond to \texttt{Shrink} (the left hand slider), \texttt{Final} (the middle slider), and \texttt{Grow} (the right hand slider). These are used in combination to alter the selection by first growing it by the amount specified by the right hand Grow slider, shrinking it to the amount specified by the left hand Shrink slider, and then growing it again to the final size specified by the middle Final slider. The top slider then feathers the resulting selection.
+ The three lower handles in the fill slider correspond to \textit{Shrink} (the left hand slider), \textit{Final} (the middle slider), and \textit{Grow} (the right hand slider). These are used in combination to alter the selection by first growing it by the amount specified by the right hand Grow slider, shrinking it to the amount specified by the left hand Shrink slider, and then growing it again to the final size specified by the middle Final slider. The top slider then feathers the resulting selection.
Growing the selection and then shrinking it has the effect of filling small holes in the selected area. Similarly, shrinking and then growing tends to remove small flecks of unwanted selection. The Final slider specifies the overall desired shrinkage or growth of the selection when finished. To specify a pure Grow or Shrink operation, set the Final slider and the Grow/Shrink slider to the same value and leave the other slider at zero.
\item[Pre-erode] this control reverses the order of operation to Shrink, then Grow, then Final. The change is subtle on most images, but overall removes more small features because it first removes flecks before filling in holes.
\end{description}
\begin{itemize}
\item Load a video track, and add the BlueBanana plugin to your video. The alpha channel is usually all opaque. This serves as an initial full screen selection mask.
- \item Open the controls, and start with all boxes unchecked. Now reduce the selection using the top pane in intersection mode (that is \texttt{Combine Selection} is unchecked) to begin the effect.
+ \item Open the controls, and start with all boxes unchecked. Now reduce the selection using the top pane in intersection mode (that is \textit{Combine Selection} is unchecked) to begin the effect.
\item Use the \textit{eyedropper} on the compositor window to choose a particular color.
\item Click on the 3 plugin Pick boxes on the right side of each line of HSV to get the color selection.
\item Check \textit{Mark Selected Area}. The affected zones will be identified on the composer.
\item Adjust the selection using the HSV and Fill sliders of the top pane. The selection mark will be updated as you operate the controls. The composer mask striping will be strongest as the mask is nearer full selection.
- \item Now uncheck \texttt{Mask selected area} \& check \texttt{Filter Active} to begin Color Adjustment.
+ \item Now uncheck \textit{Mask selected area} \& check \textit{Filter Active} to begin Color Adjustment.
\item Enable any needed colorspace modifiers, RGB / HSV sliders, and setup the color changes by moving the sliders. The current output may be the desired output.
- \item Enable \texttt{Mask Selection} and the alpha output will pass the selection mask to the image alpha channel. This can be used as a very flexible chroma-key filter. It also allows more plugins to be stacked and more selection information to be added, either by intersections or unions with other selections.
- \item \texttt{End Mask} simply sets the output image alpha to opaque. This is normally used to end a stack of BlueBanana plugins, and render the entire image with a complex selection.
+ \item Enable \textit{Mask Selection} and the alpha output will pass the selection mask to the image alpha channel. This can be used as a very flexible chroma-key filter. It also allows more plugins to be stacked and more selection information to be added, either by intersections or unions with other selections.
+ \item \textit{End Mask} simply sets the output image alpha to opaque. This is normally used to end a stack of BlueBanana plugins, and render the entire image with a complex selection.
\end{itemize}
\subsubsection*{BlueBanana Use Case \#2:}
This case uses stacked BlueBanana plugins working like \textit{chroma-key} filters. It assumes you have already learned how to operate the plugin.
\begin{itemize}
- \item Bring up 2 tracks of video media --- one for foreground and one for background.
+ \item Bring up 2 tracks of video media -- one for foreground and one for background.
\item Add 2 BlueBanana plugins on the first track. Turn off all checkboxes in both plugins.
- \item On the top plugin, use the top pane to create a selection mask, using \texttt{Mark Selected Areas}.
- \item Turn off top plugin \texttt{Mark Selected Areas}, and disable the top plugin via the plugin title bar on/off.
- \item Create another selection using the second plugin's mask, using \texttt{Mark Selec\-ted Areas}.
- \item Turn on the top plugin. Make sure both plugins \texttt{Mark Selected Areas} is off.
- \item Check \texttt{Mask Selection} and \texttt{Filter Active} in both.
- \item Check \texttt{Combine Selection} on second BlueBanana to see the final results.
+ \item On the top plugin, use the top pane to create a selection mask, using \textit{Mark Selected Areas}.
+ \item Turn off top plugin \textit{Mark Selected Areas}, and disable the top plugin via the plugin title bar on/off.
+ \item Create another selection using the second plugin's mask, using \textit{Mark Selec\-ted Areas}.
+ \item Turn on the top plugin. Make sure both plugins \textit{Mark Selected Areas} is off.
+ \item Check \textit{Mask Selection} and \textit{Filter Active} in both.
+ \item Check \textit{Combine Selection} on second BlueBanana to see the final results.
\end{itemize}
You will see that there is intersection of the full plane with the first chosen regions, so the $alpha = 0$ everywhere but the area you picked and you see through. And $alpha = 1$, where the intersection selection was 1. The Normal blend shows you the track on top in these regions (the foreground track where $alpha = 1$).
\subsection{Blur}%
\label{sub:blur}
-This is a Gaussian type blur. Other blur plugins --- \textit{Linear}, \textit{Motion}, \textit{Radial}, and \textit{Zoom} ---are described later. This plugin is keyframable. Blur is used to blur a video track via the following parameters:
+This is a Gaussian type blur. Other blur plugins -- \textit{Linear}, \textit{Motion}, \textit{Radial}, and \textit{Zoom} --are described later. This plugin is keyframable. Blur is used to blur a video track via the following parameters:
\begin{description}
\item[Horizontal and vertical] values are used to tell which one of the fields blurring affects; can be both.
\item[Radius] use this dial to define the amount of blur to apply.
\label{sub:brightness_contrast}
To brighten a dark shot, or add light, use this plugin. Do not overuse the effect or you risk degrading your video quality.
-The \texttt{Brightness} slider moves up or down the values of the entire channel and corresponds to the \textit{Master Offset} of the various grading programs.
-The \texttt{Contrast} slider expands or narrows the brightness values of the entire channel; corresponds to the use of the \textit{cursors} (small triangles) in the \textit{Histogram} plugin.
-Use the effect along with keyframing to brighten a long shot that is dark at the beginning but bright at the end. Generally you will want to change the brightness and contrast about the same amount (for example - darkness $28$, contrast $26$) so that your original colors are kept intact. This effect is also keyframable (figure~\ref{fig:brightness}).
+The \textit{Brightness} slider moves up or down the values of the entire channel and corresponds to the \textit{Master Offset} of the various grading programs.
+The \textit{Contrast} slider expands or narrows the brightness values of the entire channel; corresponds to the use of the \textit{cursors} (small triangles) in the \textit{Histogram} plugin. Clear icons are present to reset its slider to default without affecting others.
+Use the effect along with keyframing to brighten a long shot that is dark at the beginning but bright at the end. Generally you will want to change the brightness and contrast about the same amount (for example -- brightness $28$, contrast $26$) so that your original colors are kept intact. This effect is also keyframable (figure~\ref{fig:brightness}).
\begin{figure}[htpb]
\centering
The C41 plugin takes a $16\,bit C41$ digital intermediate negative film as input and outputs a positive image. It became necessary because $C-41$ negatives can fade or color-shift over time which was a problem early on. It is still important today because there is a large amount of documentaries, video clips, and other media out there that was shot on super $16$ film. This works for RGB-float, RGB, and also YUV variations.
-There are two sets of data --- the scanned input values and your corrected values. Simple functionality of the plugin is to compute the data, transform to get corrected values, then apply that.
+There are two sets of data -- the scanned input values and your corrected values. Simple functionality of the plugin is to compute the data, transform to get corrected values, then apply that.
Basic usage strategy:
\begin{enumerate}
\item first time the controls come up, nothing is checked and everything is set to $0$
- \item check the box \texttt{Compute negfix values} to see the current media input values
- \item check \texttt{Activate processing} and you see a $1-colored$ screen in the Compositor due to zero values
- \item check the \texttt{Apply values} box to see the input values on the left side propagate to the right side
- \item check \texttt{Apply default box} if you want to make sure that the borders of the image are not used
+ \item check the box \textit{Compute negfix values} to see the current media input values
+ \item check \textit{Activate processing} and you see a $1-colored$ screen in the Compositor due to zero values
+ \item check the \textit{Apply values box} to see the input values on the left side propagate to the right side
+ \item check \textit{Apply default box} if you want to make sure that the borders of the image are not used
\item correct the output values as desired on the applied right side
\end{enumerate}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/chroma-key.png}
+ \includegraphics[width=0.5\linewidth]{images/chroma-key.png}
\caption{Chroma Key control window}
\label{fig:chroma-key}
\end{figure}
Chroma key uses either the \textit{lightness} or the \textit{hue} to determine what is erased. Use value singles out only the lightness to determine transparency.
-Select a center color to erase using the \texttt{Color} button. Alternatively a color can be picked directly from the output frame by first using the \textit{color picker} in the compositor window and then selecting the \texttt{Use color picker} button. This sets the chroma key color to the current color picker color.
+Select a center color to erase using the \textit{Color} button. Alternatively a color can be picked directly from the output frame by first using the \textit{color picker} in the compositor window and then selecting the \textit{Use color picker} button. This sets the chroma key color to the current color picker color.
Be aware that the output of the chroma key is fed back to the compositor, so selecting a color again from the compositor will use the output of the chroma key effect. The chroma key should be disabled when selecting colors with the color picker.
-If the lightness or hue is within a certain \texttt{threshold} it is erased. Increasing the threshold determines the range of colors to be erased. It is not a simple on/off switch. As the color approaches the edge of the threshold, it gradually gets erased if the \texttt{slope} is high or is rapidly erased if the slope is low. The slope as defined here is the number of extra values flanking the threshold required to go from opaque to transparent.
+If the lightness or hue is within a certain \textit{threshold} it is erased. Increasing the threshold determines the range of colors to be erased. It is not a simple on/off switch. As the color approaches the edge of the threshold, it gradually gets erased if the \textit{slope} is high or is rapidly erased if the slope is low. The slope as defined here is the number of extra values flanking the threshold required to go from opaque to transparent.
Normally threshold is very low when using a high slope. The two parameters tend to be exclusive because slope fills in extra threshold. The slope tries to soften the edges of the chroma key but it does not work well for compressed sources. A popular softening technique is to use a maximum slope and chain a blur effect below the chroma key effect to blur just the alpha.
-\subsection[Chroma Key (HSV)]{Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet http://jcornet.free.fr/linux/chromakey.html}}%
+\subsection[Chroma Key (HSV)]{Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet \url{http://jcornet.free.fr/linux/chromakey.html}}}%
\label{sub:chroma_key_hsv}
-Chroma Key (HSV) (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: \url{http://en.wikipedia.org/wiki/Chromakey}
+Chroma Key (HSV) (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: {\small \url{http://en.wikipedia.org/wiki/Chromakey}}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/chroma-key-hsv.png}
+ \includegraphics[width=0.55\linewidth]{images/chroma-key-hsv.png}
\caption{Keying a green screen with Chroma Key (HSV)}
\label{fig:chroma-key-hsv}
\end{figure}
\label{ssub:requirements}
The subject in the movie should have a good background. The lighting is crucial and good lighting during production will save you time with much less effort than in post-production.
-Here we assume that we have a good video, filmed on green (or blue) screen that we want to use. Important: Make sure you are using a color model that has an alpha channel, such as \textit{RGBA8}, \textit{RGBAFloat}, \textit{YUVA8}. To change color model, go to \texttt{Settings$\rightarrow$ Format$\rightarrow$ Color Model}.
+Here we assume that we have a good video, filmed on green (or blue) screen that we want to use. Important: Make sure you are using a color model that has an alpha channel, such as \textit{RGBA8}, \textit{RGBAFloat}, \textit{YUVA8}. To change color model, go to \texttt{Settings $\rightarrow$ Format $\rightarrow$ Color Model}.
\subsubsection*{Usage}
\label{ssub:usage}
As in any other effect, add it to the timeline in the main window. You can tweak each parameter in order to improve the keying.
-Start with \texttt{Hue Tolerance} at $10\%$, \texttt{Min Bright\-ness} at $0$, \texttt{Max bright\-ness} at $100\%$, \texttt{Saturation offset} at $0$, \texttt{Min Saturation} at $0$, \texttt{In Slope} at $0$, \texttt{Out Slope} at $0$, \texttt{Alpha Offset} at $0$ (that’s mid-way through), \texttt{Spill Threshold} at $0$, \texttt{Spill Compensation} at $100\%$. At any time, you can check what the Mask looks like by clicking on \texttt{Show Mask}. This will output a black and white image of the mask (\textit{matte}).
+Start with \textit{Hue Tolerance} at $10\%$, \textit{Min Bright\-ness} at $0$, \textit{Max bright\-ness} at $100\%$, \textit{Saturation offset} at $0$, \textit{Min Saturation} at $0$, \textit{In Slope} at $0$, \textit{Out Slope} at $0$, \textit{Alpha Offset} at $0$ (that’s mid-way through), \textit{Spill Threshold} at $0$, \textit{Spill Compensation} at $100\%$. At any time, you can check what the Mask looks like by clicking on \textit{Show Mask}. This will output a black and white image of the mask (\textit{matte}).
\begin{description}
- \item[Key color:] Select the key color (green, blue, etc) using the color wheel or the color picker. Remember, only the Hue matters, not Saturation or Value. To use the color picker, click on the \texttt{color picker} icon in the Compositor window, then click on the color you want in the Compositor window. Finally in the Chromakey (HSV) parameters window, click on \texttt{Use Color Picker}.
+ \item[Key color:] Select the key color (green, blue, etc) using the color wheel or the color picker. Remember, only the Hue matters, not Saturation or Value. To use the color picker, click on the \textit{color picker} icon in the Compositor window, then click on the color you want in the Compositor window. Finally in the Chromakey (HSV) parameters window, click on \textit{Use Color Picker}.
\item[Hue Tolerance:] Because there are slight variations in lighting, the background will not be in a uniform key color hue. Increase or decrease the Hue tolerance to mask out the background. If there are dark spots that are keyed out that shouldn’t be, it can be corrected later.
- \item[Brightness:] ncrease \texttt{Min Brightness} so that only the background is masked out, and not parts of the foreground. You can also reduce \texttt{Max Brightness} if some clear areas are keyed out (useful for very dark backgrounds).
- \item[Saturation:] Increase \texttt{Min Saturation} so that only the background is masked out, and not parts of the foreground. \texttt{Saturation Offset} can be used to change this, but for now leave it set to $0$.
+ \item[Brightness:] ncrease \textit{Min Brightness} so that only the background is masked out, and not parts of the foreground. You can also reduce \textit{Max Brightness} if some clear areas are keyed out (useful for very dark backgrounds).
+ \item[Saturation:] Increase \textit{Min Saturation} so that only the background is masked out, and not parts of the foreground. \textit{Saturation Offset} can be used to change this, but for now leave it set to $0$.
\end{description}
-Check what it looks like at this stage, your mask should be pretty clean. Toggle \texttt{Show Mask} to check what it looks like, it should be \texttt{OK}. If not, repeat steps $1 to 4$ to get a better key. The rest of the controls are useful to smear the mask to help compositing later on. They will help you to make your key look much cleaner.
+Check what it looks like at this stage, your mask should be pretty clean. Toggle \textit{Show Mask} to check what it looks like, it should be OK. If not, repeat steps $1 to 4$ to get a better key. The rest of the controls are useful to smear the mask to help compositing later on. They will help you to make your key look much cleaner.
\begin{description}
- \item[Slope:] For now, the mask is a full on/ full off mask that can be really harsh and not necessarily what you are looking for. \texttt{In Slope} and \texttt{Out Slope} will help you to smooth that key. In Slope leaves more colors in the mask, Out Slope takes more colors out of the mask. The colors that are borderline in the mask will see their alpha channel reduced by half instead of being completely on or off.
+ \item[Slope:] For now, the mask is a full on/ full off mask that can be really harsh and not necessarily what you are looking for. \textit{In Slope} and \textit{Out Slope} will help you to smooth that key. In Slope leaves more colors in the mask, Out Slope takes more colors out of the mask. The colors that are borderline in the mask will see their alpha channel reduced by half instead of being completely on or off.
\item[Alpha Offset] This control offsets the whole alpha channel by some amount. Be sure to know what you are doing if you change it from the default value of $0$.
- \item[spill light control:] This step helps you remove the green or blue halo around the edges of the mask. It does so by removing the saturation of pixels that have a similar hue to the key color (turning them into grey instead of green or blue). \texttt{Spill Compensation} controls the amount of de-saturation. If you start with Spill Compensation at $100\%$, slowly increase the \texttt{Spill Threshold} until the remaining green or blue areas turn grey. Then reduce Spill Compensation until the image looks good.
+ \item[spill light control:] This step helps you remove the green or blue halo around the edges of the mask. It does so by removing the saturation of pixels that have a similar hue to the key color (turning them into grey instead of green or blue). \textit{Spill Compensation} controls the amount of de-saturation. If you start with Spill Compensation at $100\%$, slowly increase the \textit{Spill Threshold} until the remaining green or blue areas turn grey. Then reduce Spill Compensation until the image looks good.
\end{description}
Now the mask is probably still very harsh, so just below the Chromakey (HSV) plugin, add a \textit{Blur} effect, and select only the \textit{Alpha channel}, with a radius of $2$ or $3$ (more if you really want to soften the edges). This will significantly help the keying.
\item Allows you to automate the \textit{white balance} by simply choosing a neutral color in the output of the Compositing window using the Color Picker and pressing the corresponding button in the plugin.
\item Allows you to vary the \textit{Saturation} with sliders in the same manner as contrast was varied by the Value slider. For istance, to decrease the incidence of color dominants present in the shadows or in the highlights, vary the Saturation.
\item With the \textit{color wheels} you can make very sophisticated adjustments to the shades of the images, in each of the three main areas of shadows, midtones and highlights.
- \item Allows you to copy exactly the setting of one zone to the other two zones using \texttt{Copy to all} button.
+ \item Allows you to copy exactly the setting of one zone to the other two zones using \textit{Copy to all} button.
+ \item In addition to the three reset buttons, each slider and each wheel has its own Clear button, to return it to the default value without affecting the others.
\end{itemize}
This plugin allows maximum control over the result and maximum precision of adjustments when used simultaneously with the control monitors, i.e. \textit{Waveform}, \textit{RGB Parade} and \textit{Vectorscope}. It is important to keep in mind that the three zones are not clearly separated, but slightly overlapping. This results in less precision but looks better for more smooth shades. By varying the values on the color wheels all RGB channels are affected simultaneously, which can result in unwanted color dominance. Saturation is also affected and must therefore be monitored.
-To use more precisely, drag the \textit{crosshair} with the mouse in the desired area and then adjust in steps of $0.001$ using the \texttt{up/down} and \texttt{right/left arrows} on the keyboard.
+To use more precisely, drag the \textit{crosshair} with the mouse in the desired area and then adjust in steps of $0.001$ using the up/down and right/left arrows on the keyboard.
The most common use cases (but can be adapted to virtually any situation) of the plugin are:
\begin{itemize}
Video Color Balance is a great effect to use along with Brightness/Contrast and Hue/saturation to try to compensate for possible errors in filming (low lighting, for example). It can do so much without greatly lowering the quality of the video. With it you can change the colors being sent to output \textit{CMY} (Cyan, Magenta, Yellow) or \textit{RGB} (Red, Green, Blue). Color Balance is also keyframable.
-Since \textit{complementary colors} are neutralized, to eliminate a \textit{color cast}, the pertinent slider is moved in the direction of the complementary color. If you \texttt{Lock parameters} you get the same \textit{Color Offset}, that is the fourth color wheel in the grading programs. The parameters of the plugin are:
+Since \textit{complementary colors} are neutralized, to eliminate a \textit{color cast}, the pertinent slider is moved in the direction of the complementary color. Clear buttons are present to reset its slider to default without affecting others. If you \textit{Lock parameters} you get the same \textit{Color Offset}, that is the fourth color wheel in the grading programs. The parameters of the plugin are:
\begin{description}
\item[CMY/RGB sliders:] allows you to adjust the colors.
\label{fig:crikey}
\end{figure}
-To start, if not already checked, turn on drag. In the composer window select an area of a certain color by clicking on that point with the \texttt{right mouse button} and check to see that it is enabled with an $*$ in the \texttt{E} field. The color of the area is used to define the region of interest and then you can use the \texttt{threshold} slider to designate the tolerance variation. This creates a region that is the chroma key selection and a fill will be performed in that area, but only within that region. So, say for example, a red colored area was chosen, only the red color inside the region is selected --- not that color red in the entire image. The drag capability makes it easy to check a point before right clicking it to see the effect. You will want to turn off drag when you are finished with CriKey so that it does not interfere with other compositor functions.
+To start, if not already checked, turn on drag. In the composer window select an area of a certain color by clicking on that point with the \textit{right mouse button} and check to see that it is enabled with an $*$ in the "E" field. The color of the area is used to define the region of interest and then you can use the \textit{threshold} slider to designate the tolerance variation. This creates a region that is the chroma key selection and a fill will be performed in that area, but only within that region. So, say for example, a red colored area was chosen, only the red color inside the region is selected -- not that color red in the entire image. The drag capability makes it easy to check a point before right clicking it to see the effect. You will want to turn off drag when you are finished with CriKey so that it does not interfere with other compositor functions.
\begin{description}
\item[Draw mode:] options let you use \textit{Alpha} for see-thru, \textit{Edge} to just outline the edges of the region, or \textit{Mask} to block. The pixels which match the selected color are replaced by black if Mask is chosen or see-thru/transparent if Alpha.
\item[X, Y:] points coordinate.
\item[Buttons:] \textit{New} to create a new point, \textit{Up/Dn} to move highlighted point up or down \textit{Del} to delete the highlighted point.
- \item[Threshold:] slider goes from $0\, to\, 1$. Increasing the threshold, increases the area to be filled or masked. You can also use the \textit{mouse wheel} to scroll the slider.
+ \item[Threshold:] slider goes from $0\, to\, 1$. Increasing the threshold, increases the area to be filled or masked. You can also use the mouse wheel to scroll the slider.
\item[Drag:] for ease of use.
\item[Reset:] button to revert to only the default middle point with all others being deleted.
- \item[ListBox:] \texttt{E} for Enabled with $*$ marking that; \texttt{X} is the point’s $x$ coordinate; \texttt{Y} is the point’s $y$ coordinate; \texttt{T} is the threshold value of $X,Y$ point; \texttt{Tag} represents the \# of the selected
+ \item[ListBox:] "E" for Enabled with $*$ marking that; "X" is the point’s $x$ coordinate; "Y" is the point’s $y$ coordinate; "T" is the threshold value of $X,Y$ point; \textit{Tag} represents the \# of the selected
point.
\item[Hints:] for usage shortcuts.
\end{description}
\item Finally, turn off \textit{drag} so as not to interfere with other compositor functions
\end{enumerate}
+\subsection{Crop \& Position}%
+\label{sub:crop_position}
+
+It allows you to obtain a rectangle from the frame, whose dimensions are fully adjustable by four sliders for the four sides of the frame. You can also place this rectangle in the canvas using two other sliders for right/left and up/down scrolling. With the Clear buttons we can bring the slider to default values without affecting the other parameters. Unlike the \textit{Crop} tool, the original frame size is not altered and being keyframable allows a wide variety of uses. In figure~\ref{fig:crop_position} the Crop \& Position plugin is compared with the \textit{Crop} tool.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=1.0\linewidth]{images/crop_position.png}
+ \caption{Crop tool and Crop \& Position plugin compared}
+ \label{fig:crop_position}
+\end{figure}
+
\subsection{DeScratch}%
\label{sub:descratch}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/descratch01.png}
+ \includegraphics[width=0.6\linewidth]{images/descratch01.png}
\caption{DeScratch control window}
\label{fig:descratch01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/descratch02.png}
+ \includegraphics[width=0.8\linewidth]{images/descratch02.png}
\caption{Various parameters of DeScratch}
\label{fig:descratch02}
\end{figure}
\item[asymmetry] maximum asymmetry of surrounding
pixels.
\item[Mode] \textit{None}; \textit{Low}=black; \textit{High}=white; \textit{All}=both;
- \textit{y} --- processing mode for \textit{luma} plane;
- \textit{u}--- processing mode for \textit{chroma u} plane;
- \textit{v} --- processing mode for \textit{chroma v} plane.
+ \textit{y} -- processing mode for \textit{luma} plane;
+ \textit{u}-- processing mode for \textit{chroma u} plane;
+ \textit{v} -- processing mode for \textit{chroma v} plane.
\item[width min/max] minimal scratch width in pixels and maximum scratch width in pixels.
\item[len min/max] percent minimal scratch length and percent maximum scratch length.
\item[len blur] scaled radius of vertical blur for frame
\subsection{Decimate}%
\label{sub:decimate}
-This is used to decrease the frame rate of a video. Changing the frame rate means eliminating a frame for any given number of frames ($1 in N$); but if frames that are important for visual continuity are deleted, temporal artifacts arise: flickering, slowdowns, accelerations, etc. The Decimate filter maintains a higher quality because it first eliminates duplicate frames or frames that are most similar, thus limiting the appearance of artifacts. It is often used after the \texttt{Invert Telecine} plugin to make the video more smooth.
+This is used to decrease the frame rate of a video. Changing the frame rate means eliminating a frame for any given number of frames ($1 in N$); but if frames that are important for visual continuity are deleted, temporal artifacts arise: flickering, slowdowns, accelerations, etc. The Decimate filter maintains a higher quality because it first eliminates duplicate frames or frames that are most similar, thus limiting the appearance of artifacts. It is often used after the \textit{Invert Telecine} plugin to make the video more smooth.
One use of the decimate effect can be applied to a DVD to convert the 29.97\,\emph{fps} video to the 23.97\,\emph{fps} film rate, but the effect can take any input rate and convert it to any lower output rate. The output rate of decimate is the project frame rate. The input rate is set in the decimate user interface. To convert 29.97\,\emph{fps} progressive video to 23.97\,\emph{fps} film, apply a decimate effect to the track. Set the decimate input rate to 29.97 and the project rate to 23.97.
\subsection{Deinterlace}%
\label{sub:deinterlace}
-The deinterlace effect has evolved over the years to deinterlacing and a whole lot more. In fact two of the deinterlacing methods, \texttt{Inverse Telecine} and \texttt{Frames to Fields}, are separate effects. The deinterlace effect offers several variations of line replication to eliminate comb artifacts in interlaced video. It also has some line swapping tools to fix improperly captured video or make the result of a reverse effect display fields in the right order.
+The deinterlace effect has evolved over the years to deinterlacing and a whole lot more. In fact two of the deinterlacing methods, \textit{Inverse Telecine} and \textit{Frames to Fields}, are separate effects. The deinterlace effect offers several variations of line replication to eliminate comb artifacts in interlaced video. It also has some line swapping tools to fix improperly captured video or make the result of a reverse effect display fields in the right order.
\subsection{Deinterlace-CV}%
\label{sub:deinterlace_cv}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/deinterlace.png}
+ \includegraphics[width=0.6\linewidth]{images/deinterlace.png}
\caption{Pulldown menu}
\label{fig:deinterlace}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/denoise.png}
+ \includegraphics[width=0.4\linewidth]{images/denoise.png}
\caption{Control window of the DeNoise plugin}
\label{fig:denoise}
\end{figure}
\subsection{Difference key}%
\label{sub:difference_key}
-The difference key creates transparency in areas which are similar between two frames. The Difference key effect must be applied to two tracks. One track contains the action in front of a constant background and another track contains the background with nothing in front of it. Apply the difference key to the track with the action and apply a \texttt{shared effect} of it to the track with the background. The track with the background should be \texttt{muted} and underneath the track with the action and the color model should have an alpha channel. It’s hard to get good results.
+The difference key creates transparency in areas which are similar between two frames. The Difference key effect must be applied to two tracks. One track contains the action in front of a constant background and another track contains the background with nothing in front of it. Apply the difference key to the track with the action and apply a \textit{shared effect} of it to the track with the background. The track with the background should be muted and underneath the track with the action and the color model should have an alpha channel. It’s hard to get good results.
-Pixels which are different between the background and action track are treated as opaque. Pixels which are similar are treated as transparent. Change \texttt{threshold} in the difference key window to make more pixels which are not the same color transparent. Change \texttt{slope} to change the rate at which the transparency tapers off as pixels get more different. The slope as defined here is the number of extra values flanking the threshold required to go from opaque to transparent. A high slope is more useful with a low threshold because slope fills in extra threshold.
-\texttt{Use value} causes the intensity of pixels (\textit{luma}) to be compared instead of the color. Applying a \texttt{blur} to the top track with just the alpha channel blurred can soften the transparency border (figure~\ref{fig:diff-key}).
+Pixels which are different between the background and action track are treated as opaque. Pixels which are similar are treated as transparent. Change \textit{threshold} in the difference key window to make more pixels which are not the same color transparent. Change \textit{slope} to change the rate at which the transparency tapers off as pixels get more different. The slope as defined here is the number of extra values flanking the threshold required to go from opaque to transparent. A high slope is more useful with a low threshold because slope fills in extra threshold.
+\textit{Use value} causes the intensity of pixels (\textit{luma}) to be compared instead of the color. Applying a \textit{blur} to the top track with just the alpha channel blurred can soften the transparency border (figure~\ref{fig:diff-key}).
\begin{figure}[htpb]
\centering
\subsection{DotTV}%
\label{sub:dottv}
-Puts various size dots over the picture to simulate TV effect. This came from: \url{https://effectv.com}.
+Puts various size dots over the picture to simulate TV effect. This came from: {\small \url{https://effectv.com}}.
\subsection{Downsample}%
\label{sub:downsample}
\subsection{Fields to frames}%
\label{sub:fields_to_frames}
-See the theory description in the \texttt{Frames to Fields} plugin. This effect reads frames at twice the project framerate, combining two input frames into a single interlaced output frame. Effects preceding fields to frames process frames at twice the project frame rate. Each input frame is called a field.
+See the theory description in the \textit{Frames to Fields} plugin. This effect reads frames at twice the project framerate, combining two input frames into a single interlaced output frame. Effects preceding fields to frames process frames at twice the project frame rate. Each input frame is called a field.
-Fields to frames needs to know what field corresponds to what lines in the output frame. The easiest way to figure it out is to try both options in the window. If the input fields are the result of a line doubling process like frames to fields, the wrong setting results in blurrier output. If the input fields are the result of a standards conversion process like \texttt{1080 to 480}, the wrong setting will not make any difference.
+Fields to frames needs to know what field corresponds to what lines in the output frame. The easiest way to figure it out is to try both options in the window. If the input fields are the result of a line doubling process like frames to fields, the wrong setting results in blurrier output. If the input fields are the result of a standards conversion process like \textit{1080 to 480}, the wrong setting will not make any difference.
\subsection{Flip}%
\label{sub:flip}
This effect flips a video track either vertically or horizontally.
+\subsection{Foreground}%
+\label{sub:foreground}
+
+Whatever the visual content of the frame, the Foreground plugin application applies a uniform color that can be chosen by color picker; color wheel; color presets; the various HSV, RGB, YUV sliders or by entering the hexadecimal value. The alpha slider is not missing either.
+
\subsection{Frames to fields}%
\label{sub:frames_to_fields}
\begin{enumerate}
\item upload an interlaced video to the Timeline and Resources and play it for viewing.
\item The video presents visual artifacts because PC monitors are progressive.
- \item In the Resources window, open the media \texttt{Info} with the right mouse button. Below you can see that the \texttt{Fix interlacing checkbox} is active. It has four options that try to deinterlace the video automatically: \textit{Unknown}, \textit{Top Fields first}, \textit{Bottom Fields first}, and \textit{Not interlaced}.
- \item If \texttt{Fix interlacing} is deactivated, \texttt{Interlacing correction} becomes active with three options: \textit{Do
- nothing}, \textit{Shift up 1 pixel} and \textit{Shift down 1 pixel}. These are manual settings and are more effective
- than automatic interlacing fixes.
- \item If we want to use the \texttt{Frames to Fields} plugin we have to configure it and act manually.
+ \item In the Resources window, open the media \textit{Info} with the right mouse button. Below you can see that the \textit{asset's interlacing} is active. It has four options for settings interlacing type: \textit{Unknown}, \textit{Top Fields first}, \textit{Bottom Fields first}, and \textit{Not interlaced}. If the file is (H)DV type, recognition and configuration is done automatically. All other media types will be set \textit{unknown}. We need to set the type of interlacing, so we have to manually set the interlacing.
+ \item Now we can to use the \textit{Frames to Fields} plugin, but we have to configure it and act manually.
\end{enumerate}
-Now for the practical use of this plugin which applies the operation reverse to the \texttt{Fields to Frames} plugin. It extracts the two interlaced fields stored in alternating lines of interlaced source footage and outputs them as separate full frames. The alternating lines missing on each output frame are interpolated.
+Now for the practical use of this plugin which applies the operation reverse to the \textit{Fields to Frames} plugin. It extracts the two interlaced fields stored in alternating lines of interlaced source footage and outputs them as separate full frames. The alternating lines missing on each output frame are interpolated.
This plugin is only useful if its output is pulled with doubled framerate with respect to the source footage. One typical usage scenario is to do \textit{masking}, \textit{scaling} and \textit{translating} on interlaced footage without the need to destroy the additional temporal information contained in such source material. This is helpful if your intended target format is interlaced. If on the other hand, you just want to target a progressive display (for example, you create video for display on a computer monitor solely) then it is much more convenient to de-interlace the source material prior to any further processing.
\begin{enumerate}
\item Create a new project with doubled frame rate. That is, make it $50\,fps$ if your source footage is $25i$.
- In \texttt{Resources$\rightarrow$ Media$\rightarrow$ Info} \\ uncheck \texttt{Fix Interlacing} and set \texttt{Interlace Correction} to \textit{Do nothing}.
+ In \texttt{Resources $\rightarrow$ Media $\rightarrow$ Info} set the interlaced type (or unknown)
\item Insert your source footage onto a video track in the timeline. Now, Cinelerra will playback each
frame of your footage twice. There will be visual artifacts because the video is interlaced and the
monitor is progressive.
- \item Apply the \texttt{Frames to Fields} effect. Be sure to choose the correct field order. If we know or believe that the original video is \textit{Top First} let's try it first, but it doesn't have to be the right solution. The only way is to playback and look for visual artifacts.
+ \item Apply the \textit{Frames to Fields} effect. Be sure to choose the correct field order. If we know or believe that the original video is \textit{Top First} let's try it first, but it doesn't have to be the right solution. The only way is to playback and look for visual artifacts.
\item Then apply any further effects afterwards, including translations, scaling, slow motion, precise
frame-wise masking or use of the motion tracker plugin.
\item Render your project to an intermediate clip. Be sure to choose a rather lossless video codec, for
example \textit{Motion-JPEG-A} or even \textit{uncompressed YUV} if you have plenty of storage.
\item Insert the intermediate clip into your original project. Make sure the doubled framerate has been
- detected correctly by Cinelerra (by looking in the clip's media \texttt{info} in the media resources folder).
- \item Apply the \texttt{Fields to frames} effect to the intermediate clip. This will combine two adjacent fields
+ detected correctly by Cinelerra (by looking in the clip's media \textit{info} in the media resources folder).
+ \item Apply the \textit{Fields to frames} effect to the intermediate clip. This will combine two adjacent fields
into one interlaced field with the original frame rate.
\item Do the final render on your original project. Now there will be no visual artifacts on the monitor.
\end{enumerate}
\subsection{Gamma}%
\label{sub:gamma}
-\textit{Raw}/\textit{Log} camera images store colors in a $logarithmic$ scale. The blacks in these images are nearly $0$ and the whites are supposed to be infinity. The graphics card and most video codecs store colors in a $linear$ scale but Cinelerra keeps raw/log camera images in their original logarithmic scale when it renders them. This is necessary because the raw image parser can not always decode the proper gamma ($\gamma$) values for the images. It also does its processing in $16\,bit$ integers, which takes away a lot of information.
+\textit{Log} camera images store colors in a $logarithmic$ scale. The blacks in these images are nearly $0$ and the whites are supposed to be infinity. The graphics card and most video codecs store colors in a $linear$ scale but Cinelerra keeps log camera images in their original logarithmic scale when it renders them. This is necessary because the raw image parser can not always decode the proper gamma ($\gamma$) values for the images. It also does its processing in $16\,bit$ integers, which takes away a lot of information.
Mathematically, the gamma function is exponential ($output = input^{\gamma}$) and therefore the inverse of the logarithmic function [$output = \log(input)$]. Actually the formula used by the Cinelerra-gg plugin is: $output = input^{\frac{1}{\gamma}}$ which allows for a range of values $0 \div 1.0$. The gamma effect converts the logarithmic colors to linear colors through a \textit{gamma value} and a \textit{maximum value}. The gamma value determines how steep the output curve is (i.e. the value of the gamma parameter; for color space Rec709 is $2.4$ ($\frac{1}{\gamma} =0.41\dots$), for sRGB is $2.2$ ($\frac{1}{\gamma} =0.45\dots$), etc.). The maximum value is where $1.0$ in the output corresponds to maximum brightness in the input. It serves to avoid clipped values because it allows you to set the maximum value of the output, $1.0$, whenever range adjustment is done (see figure~\ref{fig:gamma01}). It is important to adjust the two parameters accurately in order to avoid undesired and unexpected effects, such as excessive values, unbalanced image, incorrect linearization, etc.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/gamma01.png}
+ \includegraphics[width=1.0\linewidth]{images/gamma01.png}
\caption{settting \textit{Maximun} to $0.5900$}
\label{fig:gamma01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/gamma02.png}
+ \includegraphics[width=1.0\linewidth]{images/gamma02.png}
\caption{Setting \textit{Maximun} to $0.6100$ and \textit{Gamma} to $0.3300$}
\label{fig:gamma02}
\end{figure}
\subsection{Gradient}%
\label{sub:gradient}
-The \texttt{gradient} effect overlays a smooth color gradient on top of every video frame. It is useful for all sorts of background fills, for partially filtering, adding depth to the image, or for adding moving highlights. The Gradient effect can generate linear or circular color fills / shape. For linear fills, you can choose the \texttt{angle}, for circular fills the \texttt{center $(X,Y)$} of the created gradient pattern. You can control the \texttt{slope} of the color transition by selecting a transition function ($linear$, $logarithmic$, $squared$) and by changing the start (\texttt{inner}) and stop (\texttt{outer}) radius. Note that both colors used in this color transition can contain an arbitrary \texttt{Alpha} value (transparency). All parameters can be keyed and will be interpolated between keyframes.
+The \textit{gradient} effect overlays a smooth color gradient on top of every video frame. It is useful for all sorts of background fills, for partially filtering, adding depth to the image, or for adding moving highlights. The Gradient effect can generate linear or circular color fills / shape. For linear fills, you can choose the \textit{angle}, for circular fills the \textit{center $(X,Y)$} of the created gradient pattern. You can control the \textit{slope} of the color transition by selecting a transition function ($linear$, $logarithmic$, $squared$) and by changing the start (\textit{inner}) and stop (\textit{outer}) radius. Note that both colors used in this color transition can contain an arbitrary \textit{Alpha} value (transparency). All parameters can be keyed and will be interpolated between keyframes.
The first time you use the plugin it may seem complicated, but if you understand that we have to adjust the gradient from an inner spot we choose to an outer spot we also choose, the work will become easy and fast.
\label{fig:histeq}
\end{figure}
-Histeq equalizes the colorspace through use of a \textit{histogram equalization algorithm} --- a technique for adjusting image intensities to enhance contrast. Parameters are:
+Histeq equalizes the colorspace through use of a \textit{histogram equalization algorithm} -- a technique for adjusting image intensities to enhance contrast. Parameters are:
\begin{description}
\item[Gain:] when set to $1$, the colorspace is best effort. If the gain is set to $0$, the result is the entire regression line of the color map.
\label{fig:histogram}
\end{figure}
-The Histogram is always performed in floating point RGB regardless of the project color space. The histogram has two sets of transfer parameters: the \textit{input transfer} and the \textit{output transfer}. The input transfer has value on the horizontal axis of $x$; it is a scale of values ranging from $0 to 255$ in the case of an $8\,bit$ image, or it can have normalized values in the range ($0-1.0$) or even be a scale in percentage ($0-100\%$). In the output transfer (the $y\,axis$) is represented the number of times (that is, $y$) a given value $x$ appears. A higher column ($y$ greater) indicates that many pixels have the corresponding value $x$; a lower column indicates that fewer pixels have that value. On the left we have the minimum value $0$, which is the black point. On the right we have the maximum value $1.0$ which is the white point. The intermediate values pass smoothly from one extreme to the other. The three important points (including the midtones, i.e. the Master Offset) are indicated by cursors (small triangles) at the base of the histogram. You can adjust them to change the values of the three points if you want.
+The Histogram is always performed in floating point RGB regardless of the project color space. The histogram has two sets of transfer parameters: the \textit{input transfer} and the \textit{output transfer}. The input transfer has value on the horizontal axis of $x$; it is a scale of values ranging from 0 to 255 in the case of an $8\,bit$ image, or it can have normalized values in the range ($0-1.0$) or even be a scale in percentage ($0-100\%$). In the output transfer (the $y\,axis$) is represented the number of times (that is, $y$) a given value $x$ appears. A higher column ($y$ greater) indicates that many pixels have the corresponding value $x$; a lower column indicates that fewer pixels have that value. On the left we have the minimum value $0$, which is the black point. On the right we have the maximum value $1.0$ which is the white point. The intermediate values pass smoothly from one extreme to the other. The three important points (including the midtones, i.e. the Master Offset) are indicated by cursors (small triangles) at the base of the histogram. You can adjust them to change the values of the three points if you want.
There are 4 possible histograms in the histogram viewer. The red, green, blue histograms show the input histograms for red, green, blue and multiply them by an input transfer to get the output red, green, blue. Then the output red, green, blue is scaled by an output transfer. The scaled red, green, blue is converted into a value and plotted on the value histogram. The value histogram thus changes depending on the settings for red, green, blue. The value transfers are applied uniformly to R, G, B after their color transfers are applied. Mathematically, it is said that the values of $x$ are linked to the values of $y$ by a transfer function. This function is represented by a line that leaves the values of $x$ and $y$ unchanged, but we can intervene by modifying this line with the cursors.
After the input transfer, the image is processed by the output transfer. The output transfer is simply a minimum and maximum to scale the input colors to. Input values of $100\%$ are scaled down to the output's maximum. Input values of $0\%$ are scaled up to the output minimum. Input values below $0$ are always clamped to $0$ and input values above $100\%$ are always clamped to $100\%$. Click and drag on the output gradient's triangles to change it. It also has textboxes to enter values into.
-Enable the \texttt{Automatic} toggle to have the histogram calculate an automatic input transfer for the red, green, and blue but not the value. It does this by scaling the middle $99\%$ of the pixels to take $100\%$ of the histogram width. The number of pixels permitted to pass through is set by the \texttt{Threshold} textbox. A threshold of $0.99$ scales the input so $99\%$ of the pixels pass through. Smaller thresholds permit fewer pixels to pass through and make the output look more contrasty.
-\texttt{Plot histogram} is a checkbox that enables plotting the histogram.
-\texttt{Split output} is a checkbox that enables a diagonal split showing in the compositor.
-\texttt{Reset} returns the four curves to their initial state (neutral) as well as the Value/RGB histogram buttons.
+Enable the \textit{Automatic} toggle to have the histogram calculate an automatic input transfer for the red, green, and blue but not the value. It does this by scaling the middle $99\%$ of the pixels to take $100\%$ of the histogram width. The number of pixels permitted to pass through is set by the \textit{Threshold} textbox. A threshold of $0.99$ scales the input so $99\%$ of the pixels pass through. Smaller thresholds permit fewer pixels to pass through and make the output look more contrasty.
+\textit{Plot histogram} is a checkbox that enables plotting the histogram.
+\textit{Split output} is a checkbox that enables a diagonal split showing in the compositor.
+\textit{Reset} returns the four curves to their initial state (neutral) as well as the Value/RGB histogram buttons.
\subsection{Histogram Bezier / Curves}%
\label{sub:histogram_bezier_curves}
\item \textit{Interpolation:} type of algorithm for the parametric curves; linear, polynomial and Bezier.
\end{itemize}
-Curves are used by introducing \textit{control points} simply with the left mouse button and adjusting the value by dragging and dropping. If you drag along the horizontal line only, you change the value of $x$ and you can read this value in the input $x$ textbox. If you drag along the vertical line only, you change the value of $y$ and you can read the value in the input $y$ textbox. This is the output value. The newly clicked control point becomes active and is full green in color. To delete a point we have to make it active and then press the \texttt{Del} key, or we can drag the point beyond the position of another control point to its right or left or, finally, pressing \texttt{RMB}. The control points corresponding to the black point and the white point are automatically created from the beginning, to fix their values and prevent clipping.
+Curves are used by introducing \textit{control points} simply with the left mouse button and adjusting the value by dragging and dropping. If you drag along the horizontal line only, you change the value of $x$ and you can read this value in the input $x$ textbox. If you drag along the vertical line only, you change the value of $y$ and you can read the value in the input $y$ textbox. This is the output value. The newly clicked control point becomes active and is full green in color. To delete a point we have to make it active and then press the Del key, or we can drag the point beyond the position of another control point to its right or left or, finally, pressing RMB. The control points corresponding to the black point and the white point are automatically created from the beginning, to fix their values and prevent clipping.
Curves are generally adjusted by introducing several control points, some to be kept fixed (as anchors) to prevent curve modification beyond them, and others to be dragged to make the desired correction. The power of the curves lies in being able to circumscribe a small interval at will and intervene only on this without involving the remaining parts of the frame. The precision with which you can work is such that you can almost arrive at a secondary color correction.
\end{figure}
-The most used type of modification is to create a \textit{S curve}. There can be a lot of shapes that use the S curve; the simplest is to create a control point in the shadows, one in the midtones (anchors) and one in the highlights. Moving the highlight point upwards and the shadow point downwards increases the contrast, making the image sharper and improving the color rendering. With the type of \textit{linear} curve you can make hard adjustments, similar to the result of the use of \texttt{Color 3 Way}, even if this acts on the color wheel (Hue) while the curves act on individual RGB channels.
+The most used type of modification is to create a \textit{S curve}. There can be a lot of shapes that use the S curve; the simplest is to create a control point in the shadows, one in the midtones (anchors) and one in the highlights. Moving the highlight point upwards and the shadow point downwards increases the contrast, making the image sharper and improving the color rendering. With the type of \textit{linear} curve you can make hard adjustments, similar to the result of the use of \textit{Color 3 Way}, even if this acts on the color wheel (Hue) while the curves act on individual RGB channels.
The \textit{Polynomial} and \textit{Bézier} types introduce \textit{control handles} that allow for more sophisticated and smoother adjustments. The quality of the result is much better, but they require more experience for their optimal use. Extending the handles away from the control point increases the \textit{radius} of the curve at that point. By varying the angle of the handles we change the \textit{tangent} and thus the curvature of the curve below. The difference between Polynomial and Bézier lies in the underlying mathematics, but for practical purposes the use is similar.
Incoming objects are projected like holovision seen in the movie Stars Wars as in R2-D2's video message projector of the Princess Leia. You need a movie or background image and above it a track containing the figure on which to apply the effect. This must have a transparent background. There are no configuration parameters; it only has to be applied to the upper track (figure~\ref{fig:holographictv}).
-This effect originated from \url{https://effectv.com}.
+This effect originated from {\small \url{https://effectv.com}}.
\begin{figure}[htpb]
\centering
\subsection{Hue saturation}%
\label{sub:hue_saturation}
-With this effect you can change hue, saturation and value. The parameters are modified using 3 simple sliders. The \texttt{hue} control shifts the colors circularly in the color plane, normally resulting in false colors. The \texttt{saturation} control can be used to reduce color footage to black and white. The \texttt{value} control makes any given colors more bright or more subdued.
+With this effect you can change hue, saturation and value. The parameters are modified using 3 simple sliders. The \textit{hue} control shifts the colors circularly in the color plane, normally resulting in false colors. The \textit{saturation} control can be used to reduce color footage to black and white. The \textit{value} control makes any given colors more bright or more subdued. Clear buttons are present to reset its slider to default without affecting others.
\subsection{Interpolate Bayer}%
\label{sub:interpolate_bayer}
\subsubsection*{Theory}
\label{ssub:theory}
-Each video has its own framerate. If we want to change it (for \textit{timelapse} or \textit{slowmotion}) the best thing is to shoot the scene with suitable framerate. But even in post production we can do something. The simplest method is to remove some frames to speed up the movie or add some to slow it down (from now on, for simplicity we will consider only the timelapse). Needless to say, the result is not smooth and the viewer will notice it immediately. A better method is to use the interpolation, mediating the pairs of frames that alternate. For example, if we have a sequence of frames $1, 2, 3, 4, 5, 6, 7, 8\dots$ we can make a timelapse mixing frames $1$ and $2$, $3$ and $4$, $5$ and $6$, $7$ and $8$ and so on. So we will have a new sequence of $4$ frames instead of the initial $8$: $\underline{12, 34, 56, 78}\dots$ We will get $50\%$ acceleration but it will always be of bad quality because of the too rough blending between the pairs of frames. Blending can be improved by weighing it differently by $50\% frame 1 + 50\% frame 2$, but the result is still unsatisfactory. Further improvements can be achieved by using $logarithmic$ or $exponential$ interpolation instead of $linear$ interpolation. But the most sophisticated methods that lead to better results are based on \textit{optical flow analysis}. These analyses the movement of circumscribed areas over a given period of time. With this method the intermediate frames do not derive from an approximate blending, but from the calculation of the \textit{vector} of the motion between two frames that determines the displacement (\textit{warping}) of the moving figure in the new intermediate frame. \texttt{Interpolate Video} works this way.
+Each video has its own framerate. If we want to change it (for \textit{timelapse} or \textit{slowmotion}) the best thing is to shoot the scene with suitable framerate. But even in post production we can do something. The simplest method is to remove some frames to speed up the movie or add some to slow it down (from now on, for simplicity we will consider only the timelapse). Needless to say, the result is not smooth and the viewer will notice it immediately. A better method is to use the interpolation, mediating the pairs of frames that alternate. For example, if we have a sequence of frames $1, 2, 3, 4, 5, 6, 7, 8\dots$ we can make a timelapse mixing frames $1$ and $2$, $3$ and $4$, $5$ and $6$, $7$ and $8$ and so on. So we will have a new sequence of $4$ frames instead of the initial $8$: $\underline{12, 34, 56, 78}\dots$ We will get $50\%$ acceleration but it will always be of bad quality because of the too rough blending between the pairs of frames. Blending can be improved by weighing it differently by $50\% frame 1 + 50\% frame 2$, but the result is still unsatisfactory. Further improvements can be achieved by using $logarithmic$ or $exponential$ interpolation instead of $linear$ interpolation. But the most sophisticated methods that lead to better results are based on \textit{optical flow analysis}. These analyses the movement of circumscribed areas over a given period of time. With this method the intermediate frames do not derive from an approximate blending, but from the calculation of the \textit{vector} of the motion between two frames that determines the displacement (\textit{warping}) of the moving figure in the new intermediate frame. \textit{Interpolate Video} works this way.
\subsubsection*{Practice}
\label{ssub:practice}
-The practical use of \texttt{Interpolate Video} is a little different than the theory. The interpolate effect tries to create the illusion of a higher frame rate from source footage of very low framerates by averaging frames over time. It averages two input frames for each output frame. You choose a zone to be evaluated (\texttt{macroblock size}) and a radius (\texttt{search radius}) where you can search for this macroblock in the following frames. The \texttt{Use optic flow} button is activated and playback starts. The plugin will calculate the motion vector (which can be made visible by the \texttt{draw motion vectors} button) and apply it to intermediate frames. This operation is CPU intensive. Once the analysis is done, we can scroll the video by unchecking the two buttons and obtaining the desired result. There are two ways of specifying the input frames. You can specify an input frame rate which is lower than the project frame rate (\texttt{imput frames per seconds}). This causes input frames to be taken at even intervals. You can also specify keyframe locations as the positions of the input frames (\texttt{use keyframes as input}). In this mode the output frame rate is used as the input frame rate and you just create keyframes wherever you want to specify an input frame.
+The practical use of \textit{Interpolate Video} is a little different than the theory. The interpolate effect tries to create the illusion of a higher frame rate from source footage of very low framerates by averaging frames over time. It averages two input frames for each output frame. You choose a zone to be evaluated (\textit{macroblock size}) and a radius (\textit{search radius}) where you can search for this macroblock in the following frames. The \textit{Use optic flow} button is activated and playback starts. The plugin will calculate the motion vector (which can be made visible by the \textit{draw motion vectors} button) and apply it to intermediate frames. This operation is CPU intensive. Once the analysis is done, we can scroll the video by unchecking the two buttons and obtaining the desired result. There are two ways of specifying the input frames. You can specify an input frame rate which is lower than the project frame rate (\textit{imput frames per seconds}). This causes input frames to be taken at even intervals. You can also specify keyframe locations as the positions of the input frames (\textit{use keyframes as input}). In this mode the output frame rate is used as the input frame rate and you just create keyframes wherever you want to specify an input frame.
\subsection{Inverse Telecine}%
\label{sub:inverse_telecine}
\texttt{Automatic}
-The first two options are fixed patterns and affected by the pattern \textit{offset} and \textit{odd field first} parameters. The last option creates several combinations of lines for each frame and picks the most progressive combination. It is a brute force algorithm that is trying to resample the lines. This technique does not rely on a pattern like other techniques and is less destructive but the timing is going to be jittery because of the lack of a frame rate reduction. In order to smooth out the timing, you need to follow \texttt{inverse telecine} with a \texttt{decimate} effect.
+The first two options are fixed patterns and affected by the pattern \textit{offset} and \textit{odd field first} parameters. The last option creates several combinations of lines for each frame and picks the most progressive combination. It is a brute force algorithm that is trying to resample the lines. This technique does not rely on a pattern like other techniques and is less destructive but the timing is going to be jittery because of the lack of a frame rate reduction. In order to smooth out the timing, you need to follow \textit{inverse telecine} with a \textit{decimate} effect.
\subsection{Invert Video}%
\label{sub:invert_video}
-Invert video is a method of reversing the colors of a video track. The four parameters refer to channels - \texttt{Red}, \texttt{Blue}, \texttt{Green}, \texttt{Alpha}. A very common use is to invert the alpha channel to change transparency.
+Invert video is a method of reversing the colors of a video track. The four parameters refer to channels -- \textit{Red}, \textit{Blue}, \textit{Green}, \textit{Alpha}. A very common use is to invert the alpha channel to change transparency.
\subsection{Lens}%
\label{sub:lens}
\item[R, G, B, A Field of View:] quantity of deformation of the relative fields. Often used with \texttt{Lock} to simultaneously affect the 4 fields.
\item[Aspect Ratio:] determines the aspect ratio that you intentionally set.
\item[Radius:] radius of curvature of the distortion. At minimum, it is a sphere (\textit{fish eye}) and at maximum, it is a rectangle (no distortion).
- \item[Center X, Y:] determines the coordinates of the center of the sphere. It can be made visible with \texttt{Draw Center}.
+ \item[Center X, Y:] determines the coordinates of the center of the sphere. It can be made visible with \textit{Draw Center}.
\item[Mode:] determines the type of distortion. The choice is between \textit{sphere shrink}, \textit{sphere stretch}, \textit{rectilinear shrink} and \textit{rectlinear stretch}.
\item[Interpolation] determines the interpolation algorithm; from the fastest and least precise \textit{Nearest}, passing through \textit{BiLinear} to the better \textit{BiCubic}.
\end{description}
\subsection{Linear Blur}%
\label{sub:linear_blur}
-This effect acts only in one direction which can vary up to an angle of $180°$ with these parameters:
+This effect acts only in one direction which can vary up to an angle of $180\degree$ with these parameters:
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{images/linear.png}
+ \caption{For clarity of presentation only 2 fields are shown}
+ \label{fig:linear}
+\end{figure}
\begin{description}
\item[Lenght:] distance between original image and final blur step; corresponds to the distance of the fields.
\item[Angle:] angle of motion in one direction for linear blur
\item[Steps:] number of blur steps to be used in the calculation. Increasing the number takes more CPU.
\item[Channels:] R,G,B,A.
+ \item[Clear] With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\end{description}
Figure~\ref{fig:linear} shown here has the parameters: $Length=19$, $Angle=25$, and $Steps=2$.
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{images/linear.png}
- \caption{For clarity of presentation only 2 fields are shown}
- \label{fig:linear}
-\end{figure}
-
\subsection{Live Video}%
\label{sub:live_video}
-This effect reads video directly from the capture card input. It replaces any video on the track so it is normally applied to an empty track. Only one \texttt{Live Video} effect can exist at any time on the timeline. It can not be shared by more than one track. The configuration for the capture card is taken from the recording preferences. Go to \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Recording} to set up the capture card.
+This effect reads video directly from the capture card input. It replaces any video on the track so it is normally applied to an empty track. Only one \textit{Live Video} effect can exist at any time on the timeline. It can not be shared by more than one track. The configuration for the capture card is taken from the recording preferences. Go to \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Recording} to set up the capture card.
-In the \texttt{Video In} section where it says \texttt{Record driver}, it should be set to either \textit{Video4Linux2} or \textit{IEC 61883}. Other video drivers have not been tested with Live Video and probably will not work. For live video, the selection for \textit{File} Format and \textit{Video} needs to be set to a format the timeline can use. The file format must be \texttt{Quicktime} for Linux and video recording must be enabled for it. Click on the wrench to set the video compression.
+In the \textit{Video In} section where it says \textit{Record driver}, it should be set to either \textit{Video4Linux2} or \textit{IEC 61883}. Other video drivers have not been tested with Live Video and probably will not work. For live video, the selection for \textit{File} Format and \textit{Video} needs to be set to a format the timeline can use. The file format must be Quicktime for Linux and video recording must be enabled for it. Click on the wrench to set the video compression.
-The video compression depends on the recording driver. For the \textit{Video4Linux2} recording driver, the compression must be \textit{Motion JPEG A}. For the \textit{IEC 61883} driver, the compression must be \textit{DV}. This gets the driver to generate output in a color model that the timeline can use. Some cards provide color and channel settings. Live video takes the color settings from the values set in the Video In window. Go to \texttt{File$\rightarrow$ Record} to bring up the recording interface and the Video In window. Values set in the Video in window are used by Live Video. Any channels the capture card supports need to be configured in the Video In interface since the same channels are used by the Live Video effect.
+The video compression depends on the recording driver. For the \textit{Video4Linux2} recording driver, the compression must be \textit{Motion JPEG A}. For the \textit{IEC 61883} driver, the compression must be \textit{DV}. This gets the driver to generate output in a color model that the timeline can use. Some cards provide color and channel settings. Live video takes the color settings from the values set in the Video In window. Go to \texttt{File $\rightarrow$ Record} to bring up the recording interface and the Video In window. Values set in the Video in window are used by Live Video. Any channels the capture card supports need to be configured in the Video In interface since the same channels are used by the Live Video effect.
-With the video recording configured, highlight a horizontal region of a video track or define in and out points. Then drop the Live Video effect into it. Drop other effects after Live Video to process the live video in realtime. For best results, you should use OpenGL and a video card which supports GL shading language. Go to \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Playback$\rightarrow$ Video Out} to enable the OpenGL driver.
+With the video recording configured, highlight a horizontal region of a video track or define in and out points. Then drop the Live Video effect into it. Drop other effects after Live Video to process the live video in realtime. For best results, you should use OpenGL and a video card which supports GL shading language. Go to \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback $\rightarrow$ Video Out} to enable the OpenGL driver.
\subsection{Loop video}%
\label{sub:loop_video}
-Sections of video can be looped by dropping a loop effect on them. Contrary to the \texttt{settings$\rightarrow$ loop playback} option, the loop effects can be rendered where the \texttt{settings$\rightarrow$ loop playback} option can not be. The loop effects are also convenient for short regions.
+Sections of video can be looped by dropping a loop effect on them. Contrary to the \texttt{settings $\rightarrow$ loop playback} option, the loop effects can be rendered where the \texttt{settings $\rightarrow$ loop playback} option can not be. The loop effects are also convenient for short regions.
-The loop effects have one option: the \texttt{number of frames} or \texttt{samples} to loop. This specifies the length of the region to loop starting from either the beginning of the effect or the latest keyframe. The region is replicated for the entire effect.
+The loop effects have one option: the \textit{number of frames} or \textit{samples} to loop. This specifies the length of the region to loop starting from either the beginning of the effect or the latest keyframe. The region is replicated for the entire effect.
Every time a keyframe is set in a loop effect, the keyframe becomes the beginning of the region to loop. Setting several keyframes in succession causes several regions to loop. Setting a single keyframe causes the region after the keyframe to be looped throughout the effect, no matter where the keyframe is. The end of an effect can be looped from the beginning by setting the keyframe near the end.
\subsection{Motion51}%
\label{sub:motion51}
-This plugin compensates for unwanted motion and stabilizes the picture. The \texttt{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. Alternatively, the \texttt{MotionCV} and \texttt{MotionHV} plugins can still be used as the originals, if more control over specific parameters is needed. 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.
+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. Alternatively, the \textit{MotionCV} and \textit{MotionHV} plugins can still be used as the originals, if more control over specific parameters is needed. 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.
-The better results require more samples. Setting the \texttt{sample set size} is probably the most important setup change. Also, when computing motion compensation, the entire history of the image motion is important, and so it is desirable to enable the playback setting \texttt{play every frame} in order to get good results. When every frame has to be processed, it can be time-consuming. Reasonable results are possible with small sample sets. After setup, the sample size can be increased to produce a high quality rendered result.
+The better results require more samples. Setting the \textit{sample set size} is probably the most important setup change. Also, when computing motion compensation, the entire history of the image motion is important, and so it is desirable to enable the playback setting \textit{play every frame} in order to get good results. When every frame has to be processed, it can be time-consuming. Reasonable results are possible with small sample sets. After setup, the sample size can be increased to produce a high quality rendered result.
\subsubsection*{Description of what the program is doing}
\label{ssub:description_program_doing}
-The motion is detected by \textit{sampling} the video image in a circular field. This size and placement of the sample region defaults to most of the image area. When the \texttt{draw vectors} feature is enabled, the outer line trace encloses the searched region. The dotted circles define the target pixel set as the reference sample. The image is sampled using the circle pattern in a grid search. The best match is used to find the center and amount of rotation to transform the current image so that the reference area motion is canceled.
+The motion is detected by \textit{sampling} the video image in a circular field. This size and placement of the sample region defaults to most of the image area. When the \textit{draw vectors} feature is enabled, the outer line trace encloses the searched region. The dotted circles define the target pixel set as the reference sample. The image is sampled using the circle pattern in a grid search. The best match is used to find the center and amount of rotation to transform the current image so that the reference area motion is canceled.
-The amount of sampling does not significantly change for smaller or larger search areas. This means that a wide area can be searched just as easily as smaller areas. The main parameter which determines how hard it looks at the image is the \texttt{samples} parameter. It represents the number of possible rotations, as well as the search precision. More samples mean more precision, and less jitter, but the program will run more slowly (figure~\ref{fig:motion51}).
+The amount of sampling does not significantly change for smaller or larger search areas. This means that a wide area can be searched just as easily as smaller areas. The main parameter which determines how hard it looks at the image is the \textit{samples} parameter. It represents the number of possible rotations, as well as the search precision. More samples mean more precision, and less jitter, but the program will run more slowly (figure~\ref{fig:motion51}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/motion51.png}
+ \includegraphics[width=0.9\linewidth]{images/motion51.png}
\caption{Motion51 plugin window with its default options set.}
\label{fig:motion51}
\end{figure}
\begin{description}
\item[X11-OpenGL:] setting can speed up the computation significantly in some cases when hardware OpenGL is available.
- \item[Samples:] is the number of pixels which the software will examine to stabilize the picture. The sample set is arranged in 4 equal concentric circular sets. Each sample dot represents content and position for a pattern matching test. Setting the samples to larger values improves the match by adding lots of placement possibilities. The samples/pixels that will be utilized are distributed throughout the selected area --- this is seen within the circles drawn when Draw Vectors is enabled. See figure~\ref{fig:motion51}.
+ \item[Samples:] is the number of pixels which the software will examine to stabilize the picture. The sample set is arranged in 4 equal concentric circular sets. Each sample dot represents content and position for a pattern matching test. Setting the samples to larger values improves the match by adding lots of placement possibilities. The samples/pixels that will be utilized are distributed throughout the selected area -- this is seen within the circles drawn when Draw Vectors is enabled. See figure~\ref{fig:motion51}.
\item[Draw vectors:] demonstrates the search operation of motion stabilization. When enabled, the outer search boundary (oval), the search grid area (rectangle), and the reference sample (circles) are visible. 4 concentric circles show the reference sample set (target). You will also see an arrow in the center of the circle which shows each image displacement from frame to frame. When you render the video using the motion plugin, these dots/lines/circles are drawn into the rendered output. Draw vectors helps to visualize the meaning of the parameters to aid in setup. You should disable Draw Vectors before the final rendering.
\item[Sample Radius:] is the radius of a circle that denotes the area of the sample locations. It is expressed as a percentage of the smallest image edge. For example, if it is set to $50\%$, then the circle will overlap about $\frac{1}{2}$ of the image. This does not change the number of samples. It does change the area from where the samples are gathered. If you have Draw vectors on, you can see the faint outline of a circle used for the radius.
\item[Center X/Y:] is the center position of the sample circle, as a percentage of image width and height.
\item[Tracking file:] is the name of the file which will contain the calculated values to be saved. Note that the default is \texttt{/tmp/motion51} which can be hazardous, since a system crash or a reboot can delete \texttt{/tmp} files.
\item[Reset Defaults:] button is used to revert to the initial defaults built into the program.
\item[Reset Tracking:] will delete the current Tracking file and disables tracking so that any previously calculated values are no longer available. However, because motion stabilization can often be cpu intensive, if the default file already exists, it will create a file name from the loaded asset.
- \item[Play Every Frame:] shows if you are Currently using: Play every frame. For best results, set play every frame. This can be set in \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Playback A} Tab in the \texttt{Video out} section.
+ \item[Play Every Frame:] shows if you are Currently using: Play every frame. For best results, set play every frame. This can be set in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A} Tab in the \textit{Video out} section.
\end{description}
\subsection{Motion}%
\label{sub:motion}
-The \texttt{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.
+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.
Motion tracker works by using one region of the frame as the region to track (Match Box). It compares this region between $2$ frames to calculate the motion. This region can be defined anywhere on the screen. Once the motion between $2$ frames has been calculated, a number of things can be done with that \textit{motion vector}. It can be scaled by a user value and clamped to a maximum range. It can be thrown away or accumulated with all the motion vectors leading up to the current position.
\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. \texttt{Set Action$\rightarrow$ Do Nothing}; \texttt{Set Calculation$\rightarrow$ Don't calculate}; Enable \texttt{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. \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.
-Enable which of translation motion or rotation motion vectors you want to track. By watching the compositor window and adjusting the \texttt{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 \texttt{search radius}, \texttt{block size} and \texttt{block coordinates} for translation and rotation.
+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 \texttt{Save coords} and do test runs through the sequence to see if the motion tracker works and to save the motion vectors. Next, disable playback for the track, disable \texttt{Draw vectors}, set the motion action to perform on the target layer and change the calculation to \texttt{Load coords}. Finally enable playback for the track.
+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 playback for the track, disable \textit{Draw vectors}, set the motion action to perform on the target layer and change the calculation to \textit{Load coords}. Finally enable playback for the track.
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.
This is an explanation of how to stabilize a video as in the case of a video taken from a vehicle.
-First select on the timeline the part of the footage you want to stabilize, using the in and out points. Then apply the motion effect on that part of the video. Select the \texttt{Previous frame same block} option. That option is recommended for stabilizing jerky camcorder footage. Its goal is not to \textit{follow} an object. The block stays exactly at the same place during all the effect length.
+First select on the timeline the part of the footage you want to stabilize, using the in and out points. Then apply the motion effect on that part of the video. Select the \textit{Previous frame same block} option. That option is recommended for stabilizing jerky camcorder footage. Its goal is not to \textit{follow} an object. The block stays exactly at the same place during all the effect length.
-Enlarge the block and select almost half the size of the video. Select the \texttt{Stabilize subpixel} option as it will give a finer stabilization. Reduce the \texttt{Maximum absolute offset} value to limit the stabilization amplitude. You probably prefer to get a non-perfect stabilization on some places on the video rather than having a very large black border on one side of the picture during big shakes. Set the \texttt{Translation search steps} value to $128$. Increasing that value will not give a better result and only considerably increases the rendering time. Make sure the \texttt{Draw vectors} option is selected, and render the part of the video where the motion effect is applied.
+Enlarge the block and select almost half the size of the video. Select the \textit{Stabilize subpixel} option as it will give a finer stabilization. Reduce the \textit{Maximum absolute offset} value to limit the stabilization amplitude. You probably prefer to get a non-perfect stabilization on some places on the video rather than having a very large black border on one side of the picture during big shakes. Set the \textit{Translation search steps} value to $128$. Increasing that value will not give a better result and only considerably increases the rendering time. Make sure the \textit{Draw vectors} option is selected, and render the part of the video where the motion effect is applied.
-If the result is good, deselect the \texttt{Draw vectors} option so that the block and vectors are not drawn anymore on the video. Then, render your video to a \texttt{.dv} file, and import it into your project. You will notice the video is stabilized but there are black borders which appear on sides of the frame. You have to \texttt{zoom in} and define projector keyframes to move the projector around the screen, in order to remove those black borders. The more your footage is jerky, the more you have to zoom in to discard the black borders. That is why the result is better with HDV footage than with DV footage.
+If the result is good, deselect the \textit{Draw vectors} option so that the block and vectors are not drawn anymore on the video. Then, render your video to a \texttt{.dv} file, and import it into your project. You will notice the video is stabilized but there are black borders which appear on sides of the frame. You have to \textit{zoom in} and define projector keyframes to move the projector around the screen, in order to remove those black borders. The more your footage is jerky, the more you have to zoom in to discard the black borders. That is why the result is better with HDV footage than with DV footage.
-An interesting side note about \texttt{add offset} usage is explained next\protect\footnote{credit Pierre Marc Dumuid}
+An interesting side note about \textit{add offset} usage is explained next\protect\footnote{credit Pierre Marc Dumuid}
To stabilize video, the motion plugin uses a \textit{tracking frame} to which to track to and a region within that frame to track (generally an object in the background) in the current frame. When the region is obscured, often by something in the foreground or by leaving the screen, then the motion compensation would fail, and the video jumps all over the place.
-You set a second region to track, and then \texttt{add offset}.
+You set a second region to track, and then \textit{add offset}.
This shows how it is used. It works very well:
\subsection{Motion 2 Point}%
\label{sub:motion_2_point}
-Motion stabilization using 2 pass tracking.
+Motion stabilization using 2 pass tracking. For theory and explanations refer to the \href{sub:motion}{Motion} plugin.
\subsection{Motion Blur}%
\label{sub:motion_blur}
\subsection{MotionCV}%
\label{sub:motioncv}
-Motion tracking/stabilization from the community version of cinelerra.
+Motion tracking/stabilization from the community version of Cinelerra. For theory and explanations refer to the \href{sub:motion}{Motion} plugin.
\subsection{MotionHV}%
\label{sub:motionhv}
-Updated motion tracking/stabilization of 2017 from the original author of cinelerra.
+Updated motion tracking/stabilization of 2017 from the original author of Cinelerra. For theory and explanations refer to the \href{sub:motion}{Motion} plugin.
\subsection{Oil painting}%
\label{sub:oil_painting}
-This effect makes video tracks appears as a painting. It can be controlled by \texttt{Radius} slider and \texttt{intensity of colors} can be chosen as an option.
+This effect makes video tracks appears as a painting. It can be controlled by \textit{Radius} slider and \textit{intensity of colors} can be chosen as an option.
\subsection{Overlay}%
\label{sub:overlay}
-This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by Cinelerra GG Infinity to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a bottom layer. It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Additive}, \textit{Subtractive}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list refer to the on \nameref{cha:overlays} chapter --- PorterDuff.
+This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by Cinelerra GG Infinity to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a bottom layer. It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Additive}, \textit{Subtractive}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list refer to the on \nameref{cha:overlays} chapter -- PorterDuff.
-The \texttt{overlay} plugin enables the use of this Overlayer device in the middle of any plugin stack, opening endless filtering and processing possibilities. It is only useful as a \textit{shared plugin} (i.e. a multitrack plugin). To use the overlay plugin:
+The \textit{overlay} plugin enables the use of this Overlayer device in the middle of any plugin stack, opening endless filtering and processing possibilities. It is only useful as a \textit{shared plugin} (i.e. a multitrack plugin). To use the overlay plugin:
\begin{enumerate}
\item Add the effect to Track A.
\subsection{Perspective}%
\label{sub:perspective}
-The \texttt{perspective} plugin (aka Corner Pinning) allows you to change the perspective of an object and is used to make objects appear as if they are fading into the distance. Basically, you can get a different view. A transformation is used which preserves points, lines, and planes as well as ratios of distances between points lying on a straight line.
+The \textit{perspective} plugin (aka Corner Pinning) allows you to change the perspective of an object and is used to make objects appear as if they are fading into the distance. Basically, you can get a different view. A transformation is used which preserves points, lines, and planes as well as ratios of distances between points lying on a straight line.
In (figure~\ref{fig:perspective}) you can see that there are four options for the endpoints used for the edges.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.4\linewidth]{images/perspective.png}
+ \includegraphics[width=0.5\linewidth]{images/perspective.png}
\caption{perspective control window}
\label{fig:perspective}
\end{figure}
Key Presses for using the Perspective plugin:
-\begin{longtable}{l l}
+\begin{tabular}{l l}
\toprule
Left mouse button & drags the corner that is closest to current location \\
Alt key + left mouse & translates the perspective; drags the whole image \\
Shift key + left mouse & zooms the perspective \\
Alt+Shift + left mouse & translates view but does not change output \\
\bottomrule
-\end{longtable}
+\end{tabular}
Note that the red color lines in the box show the composer boundary.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.7\linewidth]{images/perspective01.png}
+ \includegraphics[width=0.8\linewidth]{images/perspective01.png}
\caption{Clockwise: Nearest; Linear; OpenGL and Cubic}
\label{fig:perspective01}
\end{figure}
\subsection{Polar}%
\label{sub:polar}
-The \texttt{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse.
+The \textit{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{RGB-601}%
\label{sub:rgb-601}
For analog video or MPEG (including DVD) output, the maximum range for R,G,B is $[16,235]$ ($8\,bit$). For YUV, the maximum range for intensity (\textit{Y}) is $[16, 235]$ ($8\,bit$). This range corresponds to gray levels from $6\%$ to $92\%$. When rendering, values outside of these ranges will be clipped to these limits.
-To render to MPEG, add the \texttt{RGB-601} effect to all video tracks where material uses the full intensity scale ($0-100\%$), and enable \texttt{RGB$\rightarrow$ 601} compression. Consider adding the \texttt{Videoscope} effect after RGB-601 to see how RGB-601 affects your dynamic range. To preview how your rendered MPEG would look without \texttt{RGB$\rightarrow$ 601} compression, instead enable \texttt{601$\rightarrow$ RGB} expansion and you will observe a noticeable contrast increase. Although RGB-601 will reduce contrast in your video tracks, the contrast will be restored during MPEG playback.
+To render to MPEG, add the \textit{RGB-601} effect to all video tracks where material uses the full intensity scale ($0-100\%$), and enable \textit{RGB$\rightarrow$601} compression. Consider adding the \textit{Videoscope} effect after RGB-601 to see how RGB-601 affects your dynamic range. To preview how your rendered MPEG would look without \textit{RGB$\rightarrow$601} compression, instead enable \textit{601$\rightarrow$RGB} expansion and you will observe a noticeable contrast increase. Although RGB-601 will reduce contrast in your video tracks, the contrast will be restored during MPEG playback.
\subsection{RGBShift}%
\label{sub:rgb-shift}
-Most cameras take the light coming into the lens, and convert that into $3$ sets of numbers, one for Red (R), one for Green (G), and one for Blue (B). Some of the older cameras were composed of $3$ sensors and originally the RGB sensors were on $3$ separate planes and had to be aligned. If they were misaligned in the video, you can use \texttt{RGBShift} to get them realigned. To move a specific color up/down, modify the \texttt{dy} value using the slider bar in the RGBShift window. To move a color left/right, modify the corresponding \texttt{dx} value. Note that the current values of the RGBShift are maintained in the \texttt{.bcast5} defaults file and will be retained across sessions. If using the YUV color space, you will want to use \texttt{YUVShift} instead. Figure~\ref{fig:rgbshift} showing RGB shift before and after.
+Most cameras take the light coming into the lens, and convert that into $3$ sets of numbers, one for Red (R), one for Green (G), and one for Blue (B). Some of the older cameras were composed of $3$ sensors and originally the RGB sensors were on $3$ separate planes and had to be aligned. If they were misaligned in the video, you can use \textit{RGBShift} to get them realigned. To move a specific color up/down, modify the \textit{dy} value using the slider bar in the RGBShift window. To move a color left/right, modify the corresponding \textit{dx} value. Clear buttons are present to reset its slider to default without affecting others. Note that the current values of the RGBShift are maintained in the \texttt{.bcast5} defaults file and will be retained across sessions. If using the YUV color space, you will want to use \textit{YUVShift} instead. Figure~\ref{fig:rgbshift} showing RGB shift before and after.
\begin{figure}[hbtp]
\centering
\item[X,Y] center of the circle of movement.
\item[Angle] angle of motion in one direction.
\item[Steps] number of blur steps to be used in the calculation; increasing this number uses more CPU.
+ \item[Clear] to reset its slider to default without affecting others.
\end{description}
Figure~\ref{fig:radial} has the parameters: $Angle=-35$ and $Steps=2$.
\subsection{ReframeRT}%
\label{sub:reframert}
-ReframeRT changes the number of frames in a sequence of video directly from the timeline. The faster method for getting the same results as this plugin is to use the \texttt{speed curve} which was a later addition. But if you need very precise results, \texttt{ReframeRT} is most useful. There are two ways to do this, which can be selected from the checkboxes in the configuration GUI. The first \texttt{Stretch} mode changes the number of frames in the sequence, and therefore its length, but not the framerate. The \texttt{Downsample} mode instead keeps the length of the movie by varying the framerate.
-It is important to understand that the plugin works by varying the frames, the possible change of \texttt{fps} is only a side effect of the creation of new frames due to interpolation.
+ReframeRT changes the number of frames in a sequence of video directly from the timeline. The faster method for getting the same results as this plugin is to use the \textit{speed curve} which was a later addition. But if you need very precise results, \textit{ReframeRT} is most useful. There are two ways to do this, which can be selected from the checkboxes in the configuration GUI. The first \textit{Stretch} mode changes the number of frames in the sequence, and therefore its length, but not the framerate. The \textit{Downsample} mode instead keeps the length of the movie by varying the framerate.
+It is important to understand that the plugin works by varying the frames, the possible change of \textit{fps} is only a side effect of the creation of new frames due to interpolation.
\subsubsection*{Stretch}%
\label{ssub:stretch}
\vspace{1ex} \texttt{Scale factor = Input frames / Output frames}
-\[\frac{1}{8} \Rightarrow scale\, factor = 0.125 \quad (slowmotion)\]
+\[\frac{1}{8} \Rightarrow scale\, factor = 0.125 \qquad (slowmotion)\]
That is, one input frame of the original movie corresponds to $8$ new output frames originated by interpolation. It is the opposite with regard to \textit{fast play}.
\begin{itemize}
\item ReframeRT uses the fps indicated in \texttt{Settings$\rightarrow$ Format$\rightarrow$ fps} project and not the \texttt{fps} of the assets.
\item It can be associated with Nested Clips.
- \item As an alternative to ReframeRt you can use the \textit{speed curve}, or change the framerate in \texttt{Resources$\rightarrow$ info} and in the \texttt{Project}.
+ \item As an alternative to ReframeRT you can use the \textit{speed curve}, or change the framerate in \texttt{Resources$\rightarrow$ info} and in the \texttt{Project}.
\item It is keyframmable.
\end{itemize}
\subsection{Reroute}%
\label{sub:reroute}
-The \texttt{Reroute} plugin enables you to selectively transfer the Alpha channel or the Components (RGB or YUV) or both from a \textit{source} track to a \textit{target} track, partially overwriting the target's contents. It works as a \textit{shared plugin}. The typical usage scenario is to build up a possibly animated Mask in one track and then to transfer the Alpha channel to another content track.
+The \textit{Reroute} plugin enables you to selectively transfer the Alpha channel or the Components (RGB or YUV) or both from a \textit{source} track to a \textit{target} track, partially overwriting the target's contents. It works as a \textit{shared plugin}. The typical usage scenario is to build up a possibly animated Mask in one track and then to transfer the Alpha channel to another content track.
\subsection{Reverse video}%
\label{sub:reverse_video}
\subsection{Rotate}%
\label{sub:rotate}
-The \texttt{Rotate} filter can rotate the video in $90$ degree increments or by any number of degrees through use of the \textit{wheel} and about any \textit{pivot point}. It can also reverse and flip the video.
+The \textit{Rotate} filter can rotate the video in $90$ degree increments or by any number of degrees through use of the \textit{wheel} and about any \textit{pivot point}. It can also reverse and flip the video.
\subsection{Rumbler}%
\label{sub:rumbler}
-The \texttt{Rumbler} plugin can be used to create dream-like or earthquake-like noise in the video. It creates noise by jiggling the corners through use of perspective transformation at the corners. The algorithm used is:
+The \textit{Rumbler} plugin can be used to create dream-like or earthquake-like noise in the video. It creates noise by jiggling the corners through use of perspective transformation at the corners. The algorithm used is:
\[Rumbler\,(value) = (value\, at\, time) + amplitude \times (random\, generator)\]
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.6\linewidth]{images/rumbler.png}
+ \includegraphics[width=0.45\linewidth]{images/rumbler.png}
\caption{Rumbler control window}
\label{fig:rumbler}
\end{figure}
\subsection{SVG via Inkscape}%
\label{sub:svg_via_inkscape}
-This plugin allows the user to manipulate an SVG (scalable vector graphics) image with \textit{Inkscape} without having to leave the program. The associated cinelerra window provides the ability to change the DPI, the Out $x/y$ coordinates, and the Out w/h values. For more information on use of inkscape, refer to: \url{https://inkscape.org/develop/about-svg/}
+This plugin allows the user to manipulate an SVG (scalable vector graphics) image with \textit{Inkscape} without having to leave the program. The associated Cinelerra window provides the ability to change the DPI, the Out $x/y$ coordinates, and the Out w/h values. For more information on use of inkscape, refer to: {\small \url{https://inkscape.org/develop/about-svg/}}
\begin{description}
- \item[DPI] is Dots per inch and it represents the resolution of the SVG image. Since the image is scaled with interpolation mode linear, the edges will look blurry when the input resolution is lower than the output resolution. You can either set the desired \texttt{DPI value} in the window or use the tumbler on the integer text box, then use the \texttt{update dpi} button to have the change take effect. Changing DPI causes the entire image to be re-exported via inkscape. DPI changes cause adjustments in the resolution, speed of re-import, and storage needed for the image data.
+ \item[DPI] is Dots per inch and it represents the resolution of the SVG image. Since the image is scaled with interpolation mode linear, the edges will look blurry when the input resolution is lower than the output resolution. You can either set the desired \textit{DPI value} in the window or use the tumbler on the integer text box, then use the \textit{update dpi} button to have the change take effect. Changing DPI causes the entire image to be re-exported via inkscape. DPI changes cause adjustments in the resolution, speed of re-import, and storage needed for the image data.
\item[Out\_x/Out\_y] allow for changing the location of the SVG via the $x$ or $y$ coordinates.
\item[Out\_w/Out\_h] The scaling is controlled by width and height as they are normal parameters to overlay.
\end{description}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/svg.png}
+ \includegraphics[width=1.0\linewidth]{images/svg.png}
\caption{Control window and Inkscape}
\label{fig:svg}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.6\linewidth]{images/scaleratio.png}
+ \includegraphics[width=0.5\linewidth]{images/scaleratio.png}
\caption{Many parameters of scale ratio}
\label{fig:scaleratio}
\end{figure}
-\texttt{In R} and \texttt{Out R} representing the current input and output aspect ratios. Use the arrows to change to your desired values. Next you have the \texttt{In W/H} and the \texttt{Out W/H} for Width and Height. In the middle of the plugin on the right-hand side, you can set the Scale type of \textit{None}, \textit{Scaled}, \textit{Cropped}, \textit{Filled}, \textit{Horiz edge} and \textit{Vert edge}. The top part (aspect ratio data) is used to compute the bottom part when the \texttt{Apply} button is pressed. The bottom part allows you to reposition the image input or output to customize the results. When the in/out aspect ratios are different, the output must be cropped or filled to fit the output and maintain pixel square appearance. Left and right sides of the bottom portion show the \texttt{Source} and the \texttt{Destination X, Y, W, H} values. As you change the values on the left side, you can see how this will affect the output as you observe the results in the compositor window. For example, as you change the values for \texttt{SrcY} in a \texttt{cropped} Scale scenario, you see up/down movement.
+\textit{In R} and \textit{Out R} representing the current input and output aspect ratios. Use the arrows to change to your desired values. Next you have the \textit{In W/H} and the \textit{Out W/H} for Width and Height. In the middle of the plugin on the right-hand side, you can set the Scale type of \textit{None}, \textit{Scaled}, \textit{Cropped}, \textit{Filled}, \textit{Horiz edge} and \textit{Vert edge}. The top part (aspect ratio data) is used to compute the bottom part when the Apply button is pressed. The bottom part allows you to reposition the image input or output to customize the results. When the in/out aspect ratios are different, the output must be cropped or filled to fit the output and maintain pixel square appearance. Left and right sides of the bottom portion show the \textit{Source} and the \textit{Destination X, Y, W, H} values. As you change the values on the left side, you can see how this will affect the output as you observe the results in the compositor window. For example, as you change the values for \textit{SrcY} in a \textit{cropped} Scale scenario, you see up/down movement.
\subsection{Selective Temporal Averaging}%
\label{sub:selective_temporal_averaging}
\textit{Denoise} is generally done on a spatial basis, mediating the values of a group of adjacent pixels to achieve greater uniformity. The effectiveness of Denoise can be increased by also introducing a \textit{time average} between a group of successive frames. The union of these two phases is the basis of the plugin. In fact the smoothing is performed by averaging the color component for each pixel across a number of frames. The smoothed value is used if both the standard deviation and the difference between the current component value and the average component value are below a threshold. The standard deviation is a mathematical index used to estimate the variance of a group of pixels: at high values corresponds more variation of the pixels and therefore more noise.
-The \texttt{Selective Temporal Averaging} plugin plays on the homogenization of the values of a group of pixels in a group of frames, based on a threshold below which the original values are left and above which the average is performed and then the noise reduction.
+The \textit{Selective Temporal Averaging} plugin plays on the homogenization of the values of a group of pixels in a group of frames, based on a threshold below which the original values are left and above which the average is performed and then the noise reduction.
-The \texttt{average} and \texttt{standard deviation} are calculated for each of the components of the video. The type of components averaged is determined by the color model of the entire project. The average and standard deviation of the frames can be examined by selecting the specific radio button in the plugin options window.
-The region over which the frames are averaged is determined by either a \texttt{fixed offset} or a \texttt{restart marker system}. In a restart marker system, certain keyframes are marked as beginning of sections. Then for each section, the frames surrounding the current frame are used as the frames to average over, except when approaching the beginning and end of a section, where the averaging is performed over the $N$ beginning or ending frames respectively.
+The \textit{average} and \textit{standard deviation} are calculated for each of the components of the video. The type of components averaged is determined by the color model of the entire project. The average and standard deviation of the frames can be examined by selecting the specific radio button in the plugin options window.
+The region over which the frames are averaged is determined by either a \textit{fixed offset} or a \textit{restart marker system}. In a restart marker system, certain keyframes are marked as beginning of sections. Then for each section, the frames surrounding the current frame are used as the frames to average over, except when approaching the beginning and end of a section, where the averaging is performed over the $N$ beginning or ending frames respectively.
An example of common usage is to select the number of frames you wish to average.
\begin{enumerate}
\item Enter a reasonable number of frames to average (for example, $10$).
- \item Select the \texttt{Selective Temporal Averaging} method and enter $1$ and $10$ for all the \texttt{Av. Thres.} and \texttt{S.D. Thres.} respectively. This basically causes all pixels to use the average value.
- \item Turn the \texttt{mask} for the first component on. This should make the whole frame have a solid color of that specific component.
- \item Slowly reduce the \texttt{S.D. Thres.} value. As you do so, you will notice that the regions vastly different from the average will have a flipped mask state. Continue to reduce the threshold until you reach the point at which non-moving regions of the video have a flipped masked state. This value is known as the \textit{noise-floor} and is the level of natural noise generated by the CCD in the camera.
- \item Repeat the same procedure for the \texttt{Av. Thres.}
- \item Turn off the \texttt{mask}.
+ \item Select the \textit{Selective Temporal Averaging} method and enter $1$ and $10$ for all the \textit{Av. Thres.} and \textit{S.D. Thres.} respectively. This basically causes all pixels to use the average value.
+ \item Turn the \textit{mask} for the first component on. This should make the whole frame have a solid color of that specific component.
+ \item Slowly reduce the \textit{S.D. Thres.} value. As you do so, you will notice that the regions vastly different from the average will have a flipped mask state. Continue to reduce the threshold until you reach the point at which non-moving regions of the video have a flipped masked state. This value is known as the \textit{noise-floor} and is the level of natural noise generated by the CCD in the camera.
+ \item Repeat the same procedure for the \textit{Av. Thres.}
+ \item Turn off the \textit{mask}.
\item Repeat this for all channels.
\end{enumerate}
\subsection{Sharpen}%
\label{sub:Sharpen}
-Sharpen the video, either the \texttt{luminance}, \texttt{horizontal}, or \texttt{interlace}.
+Sharpen the video, either the \textit{luminance}, \textit{horizontal}, or \textit{interlace}. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{Shift Interlace}%
\label{sub:shift_interlace}
-Shift the interlace lines using \texttt{odd} or \texttt{even}.
+Shift the interlace lines using \textit{odd} or \textit{even}. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{Sketcher}%
\label{sub:Sketcher}
-Now you can sketch \textit{lines}, \textit{curves} or \textit{shapes}, on your video in different colors using various pen widths and pen type with the \texttt{sketcher} plugin. You can even fill them. Getting started is fairly easy --- simply hold down the \texttt{shift key} while using the \texttt{left mouse button} to create a bunch of points in the compositor window. However, to do more than that you will need to understand the buttons and options or you may end up with unexpected results.
+Now you can sketch \textit{lines}, \textit{curves} or \textit{shapes}, on your video in different colors using various pen widths and pen type with the \texttt{sketcher} plugin. You can even fill them. You can do rotations and scaling and apply two Antialiasing modes; single and double. Getting started is fairly easy -- simply hold down the \textit{shift key} while using the \textit{left mouse button} to create a bunch of points in the compositor window. However, to do more than that you will need to understand the buttons and options or you may end up with unexpected results.
(figure~\ref{fig:sketcher}) shows the Sketcher gui and the sketch lines/curves created in the Compositor.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/sketcher.png}
+ \includegraphics[width=1.0\linewidth]{images/sketcher.png}
\caption{Sketcher control window and sketch on Compositor}
\label{fig:sketcher}
\end{figure}
-In the screencast, note the Sketcher window gui \textit{Curve top section} and the \textit{Point bottom section}. The pink circle sketch is $id\, \#1$ in the curve section. Since $id\, \#3$ is highlighted in the Curve section, the X/Y coordinates in the Point section below show the points used to create the blue shape. Point 6 is selected so we see a red crosshair (\textit{Drag point}) inside the rectangle. Finally, the yellow arrow on the image is $id\, \#2$ curve.
+In the screencast, note the Sketcher window gui \textit{Curve top section} and the \textit{Point bottom section}. The pink circle sketch is $id\,\#1$ in the curve section. Since $id\,\#2$ is highlighted in the Curve section, the X/Y coordinates in the Point section below show the points used to create the blue shape. Point 6 is selected so we see a red crosshair (\textit{Drag point}) inside the rectangle. The yellow arrow on the image is $id\,\#3$ curve. Finally the cursor shows Double antialiasing.
\subsubsection*{Some basic rules}%
\label{ssub:some_basic_rules}
-Uncheck \texttt{Drag} before rendering; if you do not uncheck, the drag points will show in your output.
-Drag must be checked on to edit the data. Drag must be checked off to use \texttt{Click to play}.
+Uncheck \textit{Drag} before rendering; if you do not uncheck, the drag points will show in your output.
+Drag must be checked on to edit the data. Drag must be checked off to use \textit{Click to play}.
If the drag button flickers when clicked then another window has drag focus. Un-focus it first.
Turn drag off to see what the sketcher figure will look like when rendered.
Curves can be any number of points or just a single point.
-You must create a \texttt{new} curve if you want a new string of points not connected to the current curve.
-Highlight the curve $id\, \#$ for a specific curve to modify its values.
-\texttt{Left mouse click} or \texttt{right mouse click} on an existing point on the highlighted line/curve $id\, \#$ will automatically highlight the selected point in the Point section of the gui and turn red in the image.
+You must create a \textit{new} curve if you want a new string of points not connected to the current curve.
+Highlight the curve $id\,\#$ for a specific curve to modify its values.
+{Left mouse click or right mouse click on an existing point on the highlighted line/curve $id\,\#$ will automatically highlight the selected point in the Point section of the gui and turn red in the image. We can drag this point to the desired position using CTRL + LMB; or we can translate the entire selected curve using CTRL + RMB.
+
+With the mouse wheel we can rotate our curves; the center of rotation is given by the position of the cursor. Normally the scroll is slow to be more precise. If you make a fast scroll you have an acceleration that allows you to make complete rotations in a short time. Using the mouse wheel with the SHIFT key we can instead scale the size of the curve; the fixed scaling point is still given by the mouse position.
There will always be $1$ empty curve automatically defined when you start or even reset.
You can not delete the empty default curve but you can use it for a curve.
LMB click almost anywhere on the compositor screen will automatically show, in the currently highlighted curve, the closest point by turning it red.
-There is no \textit{undo} recorded between gui updates. Recommend using the option \texttt{b} to save a backup if you get to a place where you want to make sure you do not lose your sketch.
+There is no \textit{undo} recorded between gui updates. Recommend using the option "b" to save a backup if you get to a place where you want to make sure you do not lose your sketch.
-\begin{table}[ht]
- \caption{Shortcuts for Sketcher}
- \small
- \label{tabular:sketcher}
- \begin{center}
- \begin{tabular}{m{12em}m{12em}m{12em}}
- \toprule
- \textbf{Compositor: Mouse usage} &
- \textbf{Compositor: Action} &
- \textbf{Plugin GUI}\\\midrule
- shift+left mouse button &
- create a new line point &
- New button in Point (line)\\\midrule
- shift+right mouse button &
- create a new arc (curve) point &
- New button in Point (curve)\\\midrule
- left mouse button &
- select a single line point &
- Click point listbox item \\\midrule
- right mouse button &
- select a single arc (curve) point &
- Click curve listbox item \\\midrule
- ctrl+left mouse button &
- drag point & \\\midrule
- ctrl+right mouse button &
- drag curve & \\\midrule
- alt+left mouse button &
- drag all of the curves together & \\\midrule
- alt+right mouse button &
- create a new curve &
- New button in Curve section \\\midrule
- ctrl+shift+left mouse button &
- create a new fill point &
- New button in Point (fill) \\\midrule
- ctrl+shift+right mouse button &
- create a new off point &
- New button in Point (off) \\\midrule
- delete key &
- deletes highlighted points &
- Del button in Point section \\\midrule
- delete key+shift &
- deletes highlighted curves &
- Del button in Curve section \\
- \bottomrule
- \end{tabular}
- \end{center}
-\end{table}
+\begin{center}
+ \small
+ \begin{longtable}{{m{15em}m{13em}m{12em}}}
+ \caption{Titler attributes}
+ \label{tabular:titler} \\ % note that double backslash is mandatory here
+ \toprule
+ \textbf{Compositor: Mouse usage} &
+ \textbf{Compositor: Action} &
+ \textbf{Plugin GUI}\\\midrule
+ shift+left mouse button &
+ create a new line point &
+ New button in Point (line)\\\midrule
+ shift+right mouse button &
+ create a new arc (curve) point &
+ New button in Point (curve)\\\midrule
+ left mouse button &
+ select a single line point &
+ Click point listbox item \\\midrule
+ right mouse button &
+ select a single arc (curve) point &
+ Click curve listbox item \\\midrule
+ ctrl+left mouse button &
+ drag point & \\\midrule
+ ctrl+right mouse button &
+ drag curve & \\\midrule
+ alt+left mouse button &
+ drag all of the curves together & \\\midrule
+ alt+right mouse button &
+ create a new curve &
+ New button in Curve section \\\midrule
+ ctrl+shift+left mouse button &
+ create a new fill point &
+ New button in Point (fill) \\\midrule
+ ctrl+shift+right mouse button &
+ create a new off point &
+ New button in Point (off) \\\midrule
+ Wheel mouse &
+ rotate curve &
+ \\ \midrule
+ Whell mouse + shift &
+ scale curve &
+ \\ \midrule
+ delete key &
+ deletes highlighted points &
+ Del button in Point section \\\midrule
+ delete key+shift &
+ deletes highlighted curves &
+ Del button in Curve section \\
+ \bottomrule
+ \end{longtable}
+\end{center}
\subsubsection*{Other Button and Label Descriptions}%
\label{ssub:other_button_label_description}
\begin{description}
+ \item[Anti-Aliasing] You can set Off; On or Double. Default is On.
\item[Color] refers to the current curve pen color. Click on the \textit{Color rectangle} to bring up the Color window to change any of the color values, including alpha.
\item[Drag] check to create curves and to be able to see any Off type curves. Uncheck for render/viewing.
- \item[Reset] --- in the \textit{Curve section}, all of the curve lines will be deleted except for an empty default curve.
- --- in the \textit{Point section}, all points for the highlighted curve in the Curve section will be deleted.
+ \item[Reset] -- in the \textit{Curve section}, all of the curve lines will be deleted except for an empty default curve.
+ -- in the \textit{Point section}, all points for the highlighted curve in the Curve section will be deleted.
\item[Width] integer width of line; width of $1$ is the default; width of $0$ is the smallest size of $1$ pixel.
\item[ID] is the label number of the curve or point.
\item[Pen] value can be set with the pulldown to \textit{box} (a square), \textit{+}, \textit{/}, \textit{x} or \textit{off}. The default is \textit{x}.
\subsection{Swap Frames}%
\label{sub:swap_frames}
-Swap frames with $0-1 2-3 4-5\dots$ or $1-2, 3-4, 5-6\dots$
+Swap the position of two consecutive frames. There are two modes of exchange:
+
+\qquad \textit{swap: 0-1, 2-3, 4-5\dots} \qquad or \qquad \textit{swap: 1-2, 3-4, 5-6\dots}
\subsection{Swap channels}%
\label{sub:swap_channels}
\subsection{Threshold}%
\label{sub:threshold}
-\texttt{Threshold} converts the image to pure luminance, and replaces pixels with one of three colors based on the luminance. Pixels with luminance values in the low range are replaced with black, pixels in the middle range are replaced with white, and pixels in the high range are replaced with black. \texttt{Color} and \texttt{alpha} (transparency) for each range are configurable with the buttons and interpolate according to keyframes.
+\textit{Threshold} converts the image to pure luminance, and replaces pixels with one of three colors based on the luminance. Pixels with luminance values in the low range are replaced with black, pixels in the middle range are replaced with white, and pixels in the high range are replaced with black. \textit{Color} and \textit{alpha} (transparency) for each range are configurable with the buttons and interpolate according to keyframes.
-The threshold window shows a \textit{histogram} of luminance values for the current frame. \texttt{Click dragging} inside the histogram creates a range (blue) to convert to white. \texttt{SHIFT-clicking} extends one border of this range. Values for the threshold range can also be specified in the \texttt{text boxes}.
+The threshold window shows a \textit{histogram} of luminance values for the current frame. Click dragging inside the histogram creates a range (blue) to convert to white. SHIFT-clicking extends one border of this range. Values for the threshold range can also be specified in the \textit{text boxes}.
This effect is basically a primitive \textit{luminance key} to produce a \textit{matte}. A second track above the track with the threshold effect can be \textit{multiplied}, resulting in only the parts of the second track within the threshold being displayed.
\label{sub:time_average}
Time average is one effect which has many uses besides creating trail patterns of moving objects (figure~\ref{fig:timeaverage}).
-The main use is reducing noise in still images (or in the motionless parts of a video). Merely point a video camera at a stationary subject for $30$ frames, capture the frames, and average them using time average and you will have a high quality print. In floating point colormodels, time average can increase the dynamic range of low quality cameras.
+The main use is reducing noise in still images (or in the motionless parts of a video). Merely point a video camera at a stationary subject for $30$ frames, capture the frames, and average them using time average and you will have a high quality print. In floating point color models, time average can increase the dynamic range of low quality cameras.
Inside the time average effect is an accumulation buffer and a divisor. A number of frames are accumulated in the \textit{accumulation} buffer and divided by the divisor to get the average (for $10$ accumulated frames the divisor is $10$). Because the time average can consume large amounts of memory, it is best applied by first disabling playback for the track, dropping the time average in it, configuring time average for the desired number of frames, and re-enabling playback for the track.
\begin{description}
\item[Frames count] this determines the number of frames to be accumulated in the accumulation buffer. Ranges from $1 to 1024$ frames.
\item[Accumulate] this outputs the accumulation buffer without dividing it.
- \item[Average] this causes the accumulation buffer to be divided before being output. This results is the average of all the frames. The result is similar to \texttt{Selective Temporal Averaging}, but not configurable.
+ \item[Average] this causes the accumulation buffer to be divided before being output. This results is the average of all the frames. The result is similar to \textit{Selective Temporal Averaging}, but not configurable.
\item[Replace] (\textit{Threshold}, \textit{Border}): causes the accumulation buffer to be replaced by any pixels which are not transparent. In combination with motion tracking it allows entire sequences to be combined to form panoramas.
\item[Restart for every frames] if an effect before the time average is adjusted the time average normally does not reread the accumulation buffer to get the change. This forces it to reread the accumulation buffer when other effects change.
\item[Don’t buffer frames] in order to represent the accumulation of only the specified number of frames, the time average retains all the previous frames in memory and subtracts them out as it plays forward. It would run out of memory if it had to accumulate thousands of frames. By disabling subtraction the previous frames are not stored in memory and only the average function is affected by the frame count.
\end{wrapfigure}
This plugin divides the frame into segments (bands) whose type, position and size can be configured at will. Each segment will move with a different speed from the others, greater than the band that precedes it and less than the band that follows.
-\texttt{Type} allows you to choose a \textit{Linear} or \textit{Radial} segmentation; or to make it depend on the alpha channel or on another track (with \textit{Shared Effect}). In the case of Linear you can choose the orientation of the strips (\texttt{Angle}); in the case of Radial you can choose the coordinates (\texttt{X,Y}) of the center. For a more precise adjustment we can make the bands visible with the button \texttt{Show Grayscale} (for tuning).
+\textit{Type} allows you to choose a \textit{Linear} or \textit{Radial} segmentation; or to make it depend on the alpha channel or on another track (with \textit{Shared Effect}). In the case of Linear you can choose the orientation of the strips (\textit{Angle}); in the case of Radial you can choose the coordinates (\textit{X,Y}) of the center. For a more precise adjustment we can make the bands visible with the button \textit{Show Grayscale} (for tuning).
-With \texttt{Inner} and \texttt{Outer Radius} we can position the beginning and end of the bands in the frame (similar to the \texttt{Gradient} plugin), so you can choose the spatial range in which to apply the effect.
+With \textit{Inner} and \textit{Outer Radius} we can position the beginning and end of the bands in the frame (similar to the \texttt{Gradient} plugin), so you can choose the spatial range in which to apply the effect.
-With \texttt{Time Range} we decide the size (and therefore the number) of the bands.
+With \textit{Time Range} we decide the size (and therefore the number) of the bands.
-\texttt{Rate} allows you to choose the type of algorithm to use when switching between the start and end bands. You can reverse the direction with the \texttt{Invers} button. The three modes are: \textit{Linear}, \textit{Log} or \textit{Quadratic} (exponential). This is a warping framework plugin based on this article: \url{http://www.vision.huji.ac.il/videowarping/HUJI-CSE-LTR-2005-10_etf-tr.pdf}
+\textit{Rate} allows you to choose the type of algorithm to use when switching between the start and end bands. You can reverse the direction with the \textit{Invers} button. The three modes are: \textit{Linear}, \textit{Log} or \textit{Quadratic} (exponential). This is a warping framework plugin based on this article: {\small \url{http://www.vision.huji.ac.il/videowarping/HUJI-CSE-LTR-2005-10_etf-tr.pdf}}
\subsection{Title}%
\label{sub:title}
-The \texttt{Titler} allows you to add text from within Cinelerra GG. The titler has standard options for font, size, and style plus many options as described next (figure~\ref{fig:title01}).
+The \textit{Titler} allows you to add text from within Cinelerra GG. The titler has standard options for font, size, and style plus many options as described next (figure~\ref{fig:title01}).
\begin{description}
\item[Justify] justifies the text relative to the entire frame. Once justified, the $X$ and $Y\, offset$ is applied. This allows text to be justified while at the same time letting you push it within the title safe region.
\item[Motion type] scrolls the text in any of the four directions. When using this, the text may disappear. Make sure the speed is set to a reasonably high value (for example $150$) and move the insertion point along the timeline until the text is far enough along the animation to reappear. The text scrolls on and scrolls off. Setting \texttt{loop} causes the text to scroll completely off and repeat. Without loop the text scrolls off and never reappears. The speed of the animation is determined by speed in pixels per second. Set it higher to speed up the animation.
- \item[Smooth] with \texttt{Chroma Key}, a shadow may show; remove by enabling this to add/remove the shadow.
+ \item[Smooth] with \textit{Chroma Key}, a shadow may show; remove by enabling this to add/remove the shadow.
\item[Drop shadow] draws a black copy of the text to the bottom right of the original text. This is useful when drawing text over changing video to keep the border always visible.
\item[Fade in/Fade out] are a second type of animation. If the fade seconds are $0$, no fading is done.
\item[Color and Outline] allows you to pick the color for using to draw the text or its outline.
To create special effects for your title you can place it on a dedicated track and insert other realtime video effects just under the title effect and/or use camera and projector. With keyframing you can animate your title and make it change position, size, color, transparency, texture, or shape over time.
-For improving playback performances of titles with effects, you can reduce the size of the dedicated track. Right click on the track and select \texttt{Resize track\dots} Enter the smallest resolution that still keeps the title visible.
+For improving playback performances of titles with effects, you can reduce the size of the dedicated track. Right click on the track and select \textit{Resize track\dots} Enter the smallest resolution that still keeps the title visible.
To include graphical elements like \textit{logos}, you may want to import your title as a PNG image (alpha channel transparency is possible), move it with camera and projector or add effects.
\end{lstlisting}
and restart Cinelerra. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work.
-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 \texttt{title-safe} tool in the compositor window. The text should not cross the inner rectangle.
+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.
\subsubsection*{Some recently added options}%
\label{ssub:some_recently_added_options}
\begin{description}
- \item[Drag] initial default checkbox is \texttt{off} so that the Title plugin will work as it always has.
+ \item[Drag] initial default checkbox is \textit{off} so that the Title plugin will work as it always has.
\begin{description}
\item[Anchors] When you turn on the Drag feature, nine different anchors/handles will appear on compositor window. The \textit{middle anchor} allows you to drag your title wherever you want in the compositor window ($X, Y$ coordinates). The other 8 handles, drawn as arrows in each corner and in the middle of each side, let you change the size of the drag area box so that your title is within that area if it fits and as it is directed.
\item[W/H] the values in these 2 boxes specify the size of the drag area box measured in pixels as shown in the compositor window. You can set these manually and if you can't see the location of your box or find your handles, set them to zero because $0$ sets it to the same as the width/height of the media.
\end{longtable}
\end{center}
-These attributes stay in effect until you change them or reset them. Additional cpu time is needed for the \textit{blink} attribute because it requires redrawing every frame and for the background option described below. Note that some Title window controls can not be set, such as Justify and Outline color. The lines below are examples for testing purposes. The accompanying screenshot displays the corresponding cinelerra output.
+These attributes stay in effect until you change them or reset them. Additional cpu time is needed for the \textit{blink} attribute because it requires redrawing every frame and for the background option described below. Note that some Title window controls can not be set, such as Justify and Outline color. The lines below are examples for testing purposes. The accompanying screenshot displays the corresponding Cinelerra output.
\vspace{1ex} Examples of Title line keyins:
\paragraph{Special Characters (< > / \textbackslash \#)} Besides the previously described <, >, and / characters, there are two special characters: backslash “\textbackslash”, and the pound sign “\#”. The backslash character is used for two things. With the advent of the attribute name and value, your line may become quite long so you can use “\textbackslash” followed by the carriage return to continue on the next line as if it is just a single line. It also can be used to designate that the following character does not represent the beginning of an attribute. For example, if you want to use the opening angle character “<“ as a title character, precede it with the backslash character. The pound sign, “\#”, designates the whole line as a comment or if in the middle of the line, then the rest of the line is a comment (this includes the carriage return).
\begin{description}
- \item[Background] in this box you can keyin the name of a file of the type that cinelerra accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \texttt{on} and \texttt{off} to see what it looks like. Next to the background box is a \texttt{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video.
- \item[Stroker] to add \textit{pen strokes} to the text letters, adjust the stroke width numerically. This looks particularly nice on certain fonts and with a negative adjustment of the \texttt{Drop shadow}.
- \item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. Press \texttt{Ctrl-Shift-U} followed by $2022$ and a carriage return is an example of the bullet. Refer to section \hyperref[sec:textbox_non_std_character_unicode]{17.5} for details.
+ \item[Background] in this box you can keyin the name of a file of the type that Cinelerra accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \textit{On} and \textit{Off} to see what it looks like. Next to the background box is a \textit{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video.
+ \item[Stroker] to add \textit{pen strokes} to the text letters, adjust the stroke width numerically. This looks particularly nice on certain fonts and with a negative adjustment of the \textit{Drop shadow}.
+ \item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. Press Ctrl-Shift-U followed by $2022$ and a carriage return is an example of the bullet. Refer to section \hyperref[sec:textbox_non_std_character_unicode]{17.5} for details.
\item[Popup Helper] put your cursor where you want to add an attribute, then right mouse will bring up a list of the available attributes for you to choose, along with a submenu to choose from. The program will insert that attribute for you and all you have to add is a value when required! (see figure~\ref{fig:title02}).
\end{description}
\begin{enumerate}
\item The hex value of the color you choose shows in the textbox and you can also keyin a value there.
\item A small square next to the hex text box, is a green \textit{eyedropper} color picker. Use the left mouse button to click on the square to enable picking and you will see it turn red to designate that it is enabled. Your cursor will switch to a two-colored reticle. You can now move the mouse around to choose a color anywhere on the screen and then click there to have it picked. If you hold down the right or left mouse button while moving, you can see the color changing in the vertical bar in the color palette area as you move to give you a bigger view of the actual color. The eyedropper square is seen in figure~\ref{fig:title04}.
- \item A history of $16$ of your last chosen colors is available to easily use again. Any time you choose a new color in any methodology, it will become the latest choice in the history either immediately or after checking \texttt{OK}/and leaving. History shows latest color starting left to right.
+ \item A history of $16$ of your last chosen colors is available to easily use again. Any time you choose a new color in any methodology, it will become the latest choice in the history either immediately or after checking OK/and leaving. History shows latest color starting left to right.
\item Besides HSV, RGB, there is also a YUV color model to choose from.
\item Several of these items may have associated \textit{Tool Tips}.
\end{enumerate}
\subsubsection*{Font Addition / Font Subtraction}%
\label{ssub:font_addition_subtraction}
-Some of the system fonts are automatically included in the set of fonts being used by cinelerra. The easiest way to add additional fonts for the Title plugin's set, is to use ones available in specific directories on your computer as long as they have a \texttt{fonts.scale} file already set up. You can run \texttt{mkfontscale} to create this file within that directory. In order to include a specific directory you set an environment variable before starting cinelerra which stays in effect until it is unset or until the next reboot. Below is the method and an example.
+Some of the system fonts are automatically included in the set of fonts being used by Cinelerra. The easiest way to add additional fonts for the Title plugin's set, is to use ones available in specific directories on your computer as long as they have a \texttt{fonts.scale} file already set up. You can run \texttt{mkfontscale} to create this file within that directory. In order to include a specific directory you set an environment variable before starting Cinelerra which stays in effect until it is unset or until the next reboot. Below is the method and an example.
\vspace{1ex}
\begin{lstlisting}[language=Bash,numbers=none]
export BC_FONT_PATH=/usr/share/fonts
\end{lstlisting}
-The current set of fonts in cinelerra's directory will be automatically included and will be the default set if this environment variable is not set. Keep in mind that if you add a lot of fonts, it will considerably slow down the startup every time you bring up the Title plugin.
+The current set of fonts in Cinelerra's directory will be automatically included and will be the default set if this environment variable is not set. Keep in mind that if you add a lot of fonts, it will considerably slow down the startup every time you bring up the Title plugin.
-If you want to only have a limited number of fonts set up, you can manipulate the cinelerra directory directly at \texttt{<cinelerra\_install\_path> /bin/plug\-ins/fonts}.
-Here you will find the default set of fonts that come with the install. Copy any other fonts you would like to include here with read permission, delete any fonts you do not want to have, then execute \texttt{mkfontscale} which creates the file \texttt{fonts.scale} that cinelerra will read. However, the next time you install a new version of cinelerra GG, your changes will be written over so you will have to make sure to save them elsewhere and then re-establish.
+If you want to only have a limited number of fonts set up, you can manipulate the Cinelerra directory directly at \texttt{<cinelerra\_install\_path> /bin/plug\-ins/fonts}.
+Here you will find the default set of fonts that come with the install. Copy any other fonts you would like to include here with read permission, delete any fonts you do not want to have, then execute \texttt{mkfontscale} which creates the file \texttt{fonts.scale} that Cinelerra will read. However, the next time you install a new version of Cinelerra GG, your changes will be written over so you will have to make sure to save them elsewhere and then re-establish.
-If you have problems with a specific font or set of fonts, there is a debug option available to determine which font is an issue. When starting cinelerra, you should set up the variable:
+If you have problems with a specific font or set of fonts, there is a debug option available to determine which font is an issue. When starting Cinelerra, you should set up the variable:
\vspace{1ex}
\begin{lstlisting}[language=Bash,numbers=none]
unset BC_FONT_DEBUG (to remove debug messages)
\end{lstlisting}
-Then start cinelerra 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 Cinelerra 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:
\vspace{1ex}
\begin{lstlisting}[language=Bash,numbers=none]
-export BC_FONT_PATH=: #(the : "colon" removes all automatic system and cinelerra fonts)
+export BC_FONT_PATH=: #(the : "colon" removes all automatic system and Cinelerra fonts)
export BC_FONT_PATH=:/usr/share/fonts #(remove all fonts and then add /usr/shar/fonts)
\end{lstlisting}
One last item of information about fonts that may lead to some confusion. The checkbox for Bold and Italic will occasionally be ghosted out if no bold or italic version of the selected font is available. This is no guarantee, but currently as good as it can get due to inconsistency in the creation of fonts. It is mostly just a hint. If boxes are checkmarked, but ghosted, you can not uncheck until you change to a font that does not ghost out the boxes. If you use the popup helper with the boxes checked, and attempt to keyin a font that does not have the bold/italic attribute as checked, the font will be considered illegal.
-Text: chars is output and updated to indicate the number of characters already used. The only limit to the number of characters based on a count of single $8\, bit$ characters is the available resources on the user computer available for cinelerra use. Keep in mind that unicode or other special characters may consist of $2$ to $4$ $8\,bit$ bytes. Also, newlines are a character and any of the attributes you use count in the total. There is now a horizontal scroll bar as well as the vertical one in the textbox and they only appear when there are more lines or characters that can fit in the original sized textbox.
+Text: chars is output and updated to indicate the number of characters already used. The only limit to the number of characters based on a count of single $8\, bit$ characters is the available resources on the user computer available for Cinelerra use. Keep in mind that unicode or other special characters may consist of $2$ to $4$ $8\,bit$ bytes. Also, newlines are a character and any of the attributes you use count in the total. There is now a horizontal scroll bar as well as the vertical one in the textbox and they only appear when there are more lines or characters that can fit in the original sized textbox.
\subsubsection*{Kerning}%
\label{ssub:kerning}
\label{fig:title05}
\end{figure}
+\subsection{Tracer}%
+\label{sub:tracer}
+
+Tracer creates an outline around an object after a few points are designated, so it traces the object. Its operation recalls Gimp's \textit{magic wand}. You can then Fill the alpha channel with a mask, like with a gradient or another object on another track or Invert that fill. Although it works best for still images or objects that stay in the same place on a video like a logo, you can also add keyframes. To limit the mis-tracking that occurs when working on a moving object, we can increase the number of points so that the tracking is more accurate and relies on a solid foundation. Rather than \textit{points} as in a mask, tracer is based on \textit{edges} to form an outline (figure~\ref{fig:tracer-01}). Frequently it will be desirable to use either RGB or YUV as the color model without the -A for Alpha.
+
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.55\linewidth]{images/tracer-01.png}
+ \caption{Gui for Tracer plugin}
+ \label{fig:tracer-01}
+\end{figure}
+
+\begin{description}
+ \item[New] to create a new point.
+ \item[Up/Dn] to move highlighted point up or down.
+ \item[Del] to delete the highlighted point.
+ \item[X, Y] are the point’s $x/y$ coordinate.
+ \item[Invert] to change the mask to outside.
+ \item[Feather] to sort of blur the edges (inward and outward). Feather influences the softness of the edge. The more Feather is set, the softer the edge becomes.
+ \item[Radius] for varying the size a little. Radius extends the area further in or out to cover more or less area.
+ \item[Drag] to enable or disable moving.
+ \item[Draw] to draw the outline for visual.
+ \item[Fill] to black out the object (no alpha); figure~\ref{fig:tracer-02}.
+ \item[Mouse wheel] rotate the outline, centered on cursor. Note that rotates the outline around the nearest point. Normally the scroll is slow to be more precise. If you make a fast scroll you have an acceleration that allows you to make complete rotations in a short time.
+ \item[Mouse wheel + shift] scale the outline, centered on cursor.
+\end{description}
+
+Be sure to uncheck \textit{Draw} and \textit{Drag} before rendering so that the lines do not show in the video output.
+
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.7\linewidth]{images/tracer-02.png}
+ \caption{Rug in the top picture is traced in order to black it out or replace later}
+ \label{fig:tracer-02}
+\end{figure}
+
\subsection{Translate}%
\label{sub:translate}
-This effect allows displacing, cropping, and/or scaling the source video horizontally and/or vertically. The \texttt{In} and \texttt{Out} parameters operate similar to the \textit{camera} and \textit{projector} functions in the Compositor:
+This effect allows displacing, cropping, and/or scaling the source video horizontally and/or vertically. The \textit{In} and \textit{Out} parameters operate similar to the \textit{camera} and \textit{projector} functions in the Compositor:
\begin{description}
\item[In X/Y] specifies how many pixels from the left/top of the source you want to start (camera).
\item[Out W/H] defines how many pixels on the screen you want that source to take up.
\end{description}
-Identical values for both \texttt{In} and \texttt{Out} that are less than the source dimension will simply crop the source. Different values will stretch (or compress if \textit{Out > In}) the source in that direction (and crop if \texttt{In} is less than the source dimension).
+Identical values for both \textit{In} and \textit{Out} that are less than the source dimension will simply crop the source. Different values will stretch (or compress if \textit{Out > In}) the source in that direction (and crop if \textit{In} is less than the source dimension).
This effect supports keyframes so these parameters can change smoothly over time. You can use this effect for many things such as having a cropped insert clip move across the screen, or have it change size or stretch while doing so. Be forewarned though, that for interlaced footage horizontal displacements are likely to destroy the field order, resulting in all sort of flickering and jumping movements.
\item[Amount] moving the slider to the right makes dark areas get darker and light areas get lighter.
\item[Radius] this slider controls how much blurring is used in the \textit{edge-finding} stage. The practical effect of this is to specify how large a region is darkened or lightened.
\item[Threshold] this slider controls how big a difference between a pixel in the blurred copy and the original copy is needed before any darkening or lightening will be applied.
+ \item[Clear] to reset its slider to default without affecting others.
\end{description}
\subsection{Videoscope}%
\label{sub:videoscope}
-Videoscope summarizes intensity and color on a calibrated display. The Videoscope can be used in conjunction with other Cinelerra plugins such as \textit{Color 3 Way}, \textit{YUV}, \textit{Brightness}, \textit{Color Balance} or \textit{Histogram} to accurately correct video for contrast, clarity, conformance (to normalize various videos shot under different light settings), or for cinematic purposes. The human eye is not specialized to match precise level of light and color, but Videoscope is. Videoscope contains two displays: the waveform scope and the vectorscope, plus the histograms (figure~\ref{fig:videoscope01}).
+Videoscope summarizes intensity and color on a calibrated display. The Videoscope can be used in conjunction with other Cinelerra plugins such as \textit{Color 3 Way}, \textit{YUV}, \textit{Brightness}, \textit{Color Balance} or \textit{Histogram} to accurately correct video for contrast, clarity, conformance (to normalize various videos shot under different light settings), or for cinematic purposes. The human eye is not specialized to match precise level of light and color, but Videoscope is. Videoscope contains three displays: the waveform scope and the vectorscope, plus the histograms (figure~\ref{fig:videoscope01}).
\begin{figure}[hbtp]
\centering
\begin{figure}[hbtp]
\centering
\includegraphics[width=0.9\linewidth]{images/videoscope02.png}
- \caption{Colortest 75\% with RGB Parade and Waveform}
+ \caption{Colortest 75\% with RGB Parade (left) and Waveform (right)}
\label{fig:videoscope02}
\end{figure}
\label{ssub:adjusting_luminance}
\begin{enumerate}
- \item Insert the \textit{Brightness/Contrast}, \textit{Histogram}, \textit{Color 3 Way} or another video adjustment effect on your track.
- \item Insert the Videoscope effect on the track below. Make sure that it is placed below so it can see the adjustment effect's results. If it is not, right-click and move it down.
+ \item Add the \textit{Brightness/Contrast}, \textit{Histogram}, \textit{Color 3 Way} or another video adjustment effect on your track/edit.
+ \item Add the Videoscope effect on the track below. Make sure that it is placed below so it can see the adjustment effect's results. If it is not, right-click and move it down.
\item Show both the effect and Videoscope.
\item Adjust the contrast while observing the waveform to match the desired light level.
- \item Precise adjustments can be made by measuring the values on the waveform with the crosshair (by click with \texttt{LMB}, and reading numeric values on top left of the window) and reporting these numbers in the effects window (\textit{Histogram Bézier/Curves}, for example).
+ \item Precise adjustments can be made by measuring the values on the waveform with the crosshair (by click with LMB, and reading numeric values on top left of the window) and reporting these numbers in the effects window (\textit{Histogram Bézier}, for example).
\end{enumerate}
-For instance, if you are looking for maximum contrast range, adjust the \texttt{Bright\-ness/Contrast} levels to align the darkest point on the scope with the $0\%$ level and the brightest portion with $100\%$. Anything above $100\%$ is over saturated. Limits which may be highlighted with checkbox controls.
+For instance, if you are looking for maximum contrast range, adjust the \textit{Brightness/Contrast} levels to align the darkest point on the scope with the $0\%$ level and the brightest portion with $100\%$. Anything above $100\%$ is over saturated. Limits which may be highlighted with checkbox controls.
\subsubsection*{HDTV or sRGB (ITU-R BT.709)}%
\label{ssub:hdtv_srgb_bt709}
\subsubsection*{MPEG or Analog video (ITU-R BT.601)}%
\label{ssub:mpeg_analog_video_bt601}
-For analog video or MPEG (including DVD), the maximum range for RGB is $[16, 235]$ ($8\, bit$). For YUV, the maximum range for intensity (Y) is $[16, 235]$ ($8\, bit$). This range corresponds to gray levels from $6\%$ to $92\%$. Reference \texttt{RGB-601} plugin.
+For analog video or MPEG (including DVD), the maximum range for RGB is $[16, 235]$ ($8\, bit$). For YUV, the maximum range for intensity (Y) is $[16, 235]$ ($8\, bit$). This range corresponds to gray levels from $6\%$ to $92\%$. Reference \textit{RGB-601} plugin.
\subsubsection*{NTSC Television broadcast}%
\label{ssub:ntsc_television_broadcast}
-If you are producing a video for NTSC television broadcast, keep the intensity between $7.5\%$ and $100\%$. The minimum black value which can be broadcast is IRE $7.5\%$ (indicated by the \texttt{7.5 level}), and values below this level are no darker.
+If you are producing a video for NTSC television broadcast, keep the intensity between $7.5\%$ and $100\%$. The minimum black value which can be broadcast is IRE $7.5\%$ (indicated by the \textit{7.5 level}), and values below this level are no darker.
\subsubsection*{Vectorscope}%
\label{ssub:Vectorscope}
\label{fig:videoscope04}
\end{figure}
-In figure~\ref{fig:videoscope04}, the top image is white balanced. Vectorscope shows many pixels in the yellow region and few in the white region. To remove the yellow tint, the Color Balance effect is used to first shift the vectorscope plot towards magenta (Mg), and then towards blue (B) until the region previously near the center surrounds the center. In the bottom image, yellow highlights have become white highlights (arrows). Note that the corresponding features in waveform also appear whiter (arrows).
+In figure~\ref{fig:videoscope04}, the top image is white balanced. Vectorscope shows many pixels in the yellow region and few in the white region. To remove the yellow tint, the Color Balance effect is used to first shift the vectorscope plot towards magenta (Mg), and then towards blue (B) until the region previously near the center surrounds the center. In the bottom image, yellow highlights have become white highlights (green triangles). Note that the corresponding features in waveform also appear whiter (green triangles).
The Vectorscope can also be used to verify that the video output will display properly on various monitors. Any points along the inner radius will be displayed as pure white and any points above the $100\%$ radius, will probably not be correctly displayed on the screen.
\subsubsection*{Histogram}%
\subsection{Wave}%
\label{sub:wave}
-The \texttt{wave} effect adds waves on the image. \textit{Amplitude}, \textit{Phase}, and \textit{Wavelength} parameters can be adjusted.
+The \textit{wave} effect adds waves on the image. \textit{Amplitude}, \textit{Phase}, and \textit{Wavelength} parameters can be adjusted. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{Whirl}%
\label{sub:whirl}
-Creates a whirl (spiral) of the video around the center.
+Creates a whirl (spiral) of the video around the center. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{YUV}%
\label{sub:yuv}
-Modify the Y, U, V settings.
+Modify the Y, U, V settings. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\subsection{YUV411}%
\label{sub:yuv411}
-Modify the 411 yuv to look like 420 color space instead.
+Modify the 411 yuv to look like 420 color space instead. If the edit to which the effect is applied is not YUV type, a red warning message will appear.
\subsection{YUVShift}%
\label{sub:yuvshift}
-This effect is used for YUV input video from older cameras using $3$ sensors. It is possible to have misalignment of the $3$ sets of numbers: \textit{Y}, which represents the luminance or brightness component, and for \textit{U} and \textit{V} representing the chrominance (color) components. If they were misaligned in the video, you can use \texttt{YUVShift} to realign. To move a specific component up/down, modify the \texttt{dy} value using the slider bar in the RGBShift window. To move a component left/right, modify the corresponding \texttt{dx} value. If you are using an RGB color space, you will want to use the \texttt{RGBShift} effect instead.
+This effect is used for YUV input video from older cameras using $3$ sensors. It is possible to have misalignment of the $3$ sets of numbers: \textit{Y}, which represents the luminance or brightness component, and for \textit{U} and \textit{V} representing the chrominance (color) components. If they were misaligned in the video, you can use \textit{YUVShift} to realign. To move a specific component up/down, modify the \textit{dy} value using the slider bar in the RGBShift window. To move a component left/right, modify the corresponding \textit{dx} value. With the Clear buttons we can bring the slider to default values without affecting the other parameters. If you are using an RGB color space, you will want to use the \textit{RGBShift} effect instead.
-Figure~\ref{fig:yuvshift} (top) shows the blue \textit{U} component aligned too far to the left. And the red \textit{V} component is misaligned too far to the right. Note the \texttt{U\_dx} current slider bar set to $0$ as shown by the yellow box value in the YUVShift plugin window. All components are currently at zero.
-A corrected video image is shown in the bottom. Now the red and blue colors are correctly aligned. Note how \texttt{U\_dx} is now at $+20$ and \texttt{V\_dx} is now negative to realign the image.
+Figure~\ref{fig:yuvshift} (top) shows the blue \textit{U} component aligned too far to the left. And the red \textit{V} component is misaligned too far to the right. Note the \textit{U\_dx} current slider bar set to $0$ as shown by the yellow box value in the YUVShift plugin window. All components are currently at zero.
+A corrected video image is shown in the bottom. Now the red and blue colors are correctly aligned. Note how \textit{U\_dx} is now at $+20$ and \textit{V\_dx} is now negative to realign the image.
\begin{figure}[hbtp]
\centering
\item[X,Y] center of the origin field.
\item[Radius] Zoom on the fields.
\item[Steps] number of blur steps to be used in the calculation. Increasing the number takes more CPU.
+ \item[Clear] With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\end{description}
Figure~\ref{fig:zoom} shows the parameters: Radius=21 and Steps=3.
\section{OpenCV plugins}%
\label{sec:opencv_plugins}
-The \texttt{Find Object} plugin searches a Scene for an Object, and the Object can be overlayed with a Replacement object. It requires the thirdparty \textit{OpenCV} (Open Computer Vision) library and you will have to do your own build. Also, be aware that the two useful algorithms of \textit{Sift} and \textit{Surf} have been removed from versions of OpenCV after version $4$.
+The \textit{Find Object} plugin searches a Scene for an Object, and the Object can be overlayed with a Replacement object. It requires the thirdparty \textit{OpenCV} (Open Computer Vision) library and you will have to do your own build. Also, be aware that the two useful algorithms of \textit{Sift} and \textit{Surf} have been removed from versions of OpenCV after version $4$.
There are some potential pitfalls with using this to include:
\item internally the colormodel is converted to greyscale, which means the color information is not used
\end{enumerate}
-Because of the build size of opencv, it is not normally included in the thirdparty directory. Building opencv adds a lot of storage demand ($4\,GB$) to the cinelerra build tree, and the opencv compile time is significant. For these reasons, \texttt{findobject} is not normally built. You can however invoke a build which adds findobject to the cinelerra plugin library. Building findobject will configure and build opencv into the thirdparty library build area if needed (it does not rebuild if already done). System builds are possible, but the system compatibility of the newer opencv interfaces can vary between distros. The opencv interface is rapidly changing; we recommend the static library build and link to avoid problems.
+Because of the build size of opencv, it is not normally included in the thirdparty directory. Building opencv adds a lot of storage demand ($4\,GB$) to the Cinelerra build tree, and the opencv compile time is significant. For these reasons, \textit{findobject} is not normally built. You can however invoke a build which adds findobject to the Cinelerra plugin library. Building findobject will configure and build opencv into the thirdparty library build area if needed (it does not rebuild if already done). System builds are possible, but the system compatibility of the newer opencv interfaces can vary between distros. The opencv interface is rapidly changing; we recommend the static library build and link to avoid problems.
\subsection{How to Build OpenCV Plugins}%
\label{sub:how_build_opencv_plugins}
git clone -depth 1 "git://git.cinelerra-gg.org/goodguy/cinelerra.git" cinelerra5
\end{lstlisting}
-then configure the build, but add the \texttt{- -with-opencv} configure parameter.
+then configure the build, but add the \texttt{-{}-with-opencv} configure parameter.
\begin{lstlisting}[language=Bash,numbers=none]
cd <path>/cinelerra-5.1
\begin{enumerate}
\item do your package install of the current build for your distro as usual;
- \item look in \url{https://cinelerra-gg.org/download/tars} to see your distro name's static tar;
+ \item look in {\small \url{https://cinelerra-gg.org/download/tars}} to see your distro name's static tar;
\item download the corresponding distro static tarball;
for example for arch:
\end{enumerate}
- \url{https://cinelerra-gg.org/download/tars/cinelerra-5.1-arch-{date}-x86_64-static.txz}
+ {\small \url{https://cinelerra-gg.org/download/tars/cinelerra-5.1-arch-{date}-x86_64-static.txz}}
\begin{enumerate}[resume]
\item create a temporary directory on your computer;
\item \texttt{cd} that-directory;
\item \texttt{tar -xf} location-of-the-tarball-you-downloaded;
\item \texttt{cp plugins/*obj.plugin <see below for your location>/.} (note the period on the end!)
- \item Start cinelerra and look for the six plugins in Video Effects;
+ \item Start Cinelerra and look for the six plugins in Video Effects;
\item To reverse this, simply delete the six plugin files (eg.
\texttt{rm /usr/lib*/cin*/*obj.plugin}).
\item[ORB] Oriented fast and Rotated Brief
\item[AKAZE] Accelerated Keypoint detector And descriptor Extractor
\item[BRISK] Binary Robust Invariant Scalable Keypoin
- \item Don’t Calculate
+ \item [Don’t Calculate] Do nothing
\end{description}
-The cinelerra plugin has several additional features for ease of use and more flexibility. A description of parameters is outlined below.
+The Cinelerra plugin has several additional features for ease of use and more flexibility. A description of parameters is outlined below.
\begin{description}
- \item[Mode:]
+ \item[Mode:]
\begin{itemize}[noitemsep]
\item Square
\item Rhombus
After matching, the resulting projection corners are used to do reshaping. The general procedure is:
\begin{itemize}[noitemsep]
- \item Calculate centroid, translate center to $0,0$, check for bowties and rotation direction.
+ \item Calculate centroid, translate center to $0,0$; check for bowties and rotation direction.
\item Calculate replacement object corners using \textit{mode}, \textit{central angles}, \textit{scale}, and \textit{aspect} of the projection.
\item Using the replacement, apply the inverse aspect, rotation, scaling, and translation as specified.
\end{itemize}
Once the replacement corners are calculated, the replacement object is overlayed to the scene frame.
\begin{description}
- \item[Scene/Object/Replace Drag] only 1 can be checked on at a time (and that includes counting the \texttt{Title}
+ \item[Scene/Object/Replace Drag] only 1 can be checked on at a time (and that includes counting the \textit{Title}
plugin \textit{drag box}). The Drag boxes are faster alternatives to using the column dials.
\item[Scene/Object/Replace columns of X/Y/W/H] $x$ and $y$ positions along with width and height; $0\div100\%$ + Replace $\Delta X$ and $\Delta Y$ deltas for the Replace column.
\item[Draw keypoints] when enabled shows the detection points created by the feature detection and used in the matcher Algorithm calculation.
The following steps were used to set up the example in figure~\ref{fig:findobj}.
\begin{enumerate}
- \item For best results, set \textit{Play every frame} in \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Play\-back A}.
+ \item For best results, set \textit{Play every frame} in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Play\-back A}.
\item Load 3 tracks of png/jpg files – this is one of the more useful working cases:
\begin{itemize}
\item $1^{st}$ track should be the \textit{scene}; that is the output
\item $2^{nd}$ track is the \textit{object} to find
\item $3^{rd}$ track is the \textit{replacement} object
\end{itemize}
- \item Drag the Find Object plugin onto track \#1.
- \item On each of other $2$ tracks, click the right mouse button; choose \textit{attach effect}, highlight \texttt{Find Object} in the \textit{shared effect} column, and click \texttt{OK}. All three tracks should now have a findobj plugin effect bar. One, (probably the first one) is the master plugin and the others are attached input tracks.
+ \item Drag the \textit{Find Object} plugin onto track \#1.
+ \item On each of other $2$ tracks, click the right mouse button; choose \textit{attach effect}, highlight \textit{Find Object} in the \textit{shared effect} column, and click OK. All three tracks should now have a findobj plugin effect bar. One, (probably the first one) is the master plugin and the others are attached input tracks.
\item Check the plugin show icon on the master track to bring up the controls for the FindObj plugin. You will see that \textit{Use FLANN} is checked for using nearest neighbors.
\item Set \textit{Output scene}, \textit{Object}, and \textit{Replacement object} layers’ track number accordingly (numbered from zero).
\item Check \textit{Draw scene} border and you will see a white border in the compositor window surrounding the whole image of the scene. This assumes default settings for \textit{Scene center X,Y}(at $50\%$), and area \textit{W,H} ($100\%$). Adjust these however you need to via the dials or more simply by checking \textit{Drag} and dragging any of the $9$ drag points. As shown above this in the controls, units are in $0-100\%$.
\subsection{MoveObj, FlowObj, GaborObj, StylizeObj, PuzzleObj}%
\label{sub:move_flow_gabor_stylize_puzzle}
-\texttt{MoveObj} plugin moves an object and stabilizes it.
+\textit{MoveObj} plugin moves an object and stabilizes it.
-\texttt{FlowObj} plugin retards image motion as shown with optical flow. You can turn on/off draw vectors.
+\textit{FlowObj} plugin retards image motion as shown with optical flow. You can turn on/off draw vectors.
-\texttt{GaborObj} creates an interesting fractalius-like image effect using the Gabor filter.
+\textit{GaborObj} creates an interesting fractalius-like image effect using the Gabor filter.
-\texttt{PuzzleObj} makes a puzzle out of an image. You can make the puzzle pieces smaller or larger with the Pixels slider bar. The Iterations slider bar allows for varying morphing distance (figure~\ref{fig:opencv}).
+\textit{PuzzleObj} makes a puzzle out of an image. You can make the puzzle pieces smaller or larger with the Pixels slider bar. The Iterations slider bar allows for varying morphing distance (figure~\ref{fig:opencv}).
\begin{figure}[htpb]
\centering
\label{fig:opencv}
\end{figure}
-The \texttt{StylizeObj} plugin can be used to create some interesting edge effects using various options (figure~\ref{fig:stylizeobj01}).
+The \textit{StylizeObj} plugin can be used to create some interesting edge effects using various options (figure~\ref{fig:stylizeobj01}).
We can apply 6 different styles:
\subsubsection*{Edge Smooth / Edge Recursive}%
\label{ssub:edge_smooth_recursive}
-There are two edge preserving methods available – one to smooth the image edges, and the other to not smooth the edges/color boundaries, but instead replace the color values at a pixel by the average of the pixels around the area which have color similar to that pixel.
+There are two edge preserving methods available -- one to smooth the image edges, and the other to not smooth the edges/color boundaries, but instead replace the color values at a pixel by the average of the pixels around the area which have color similar to that pixel.
\subsubsection*{Detail Enhance}%
\label{ssub:detail_enhance}
\subsubsection*{Pencil Sketch / Color Sketch}%
\label{ssub:pencil_color_sketch}
-Pencil like line drawings – either applied to a grayscale version of the images, which can give you thin pencil to charcoal like results, or applied to the color input image, which will look like a colored pencil drawing. For best results you can vary the Smooth-ing (the size of the surrounding area), the Edges (how dissimilar colors in the surroundings will be averaged; a larger value results in large regions of constant color) and the shading (simple scaling of the output image intensity with the higher the value, the brighter the result).
+Pencil like line drawings -- either applied to a grayscale version of the images, which can give you thin pencil to charcoal like results, or applied to the color input image, which will look like a colored pencil drawing. For best results you can vary the Smoothing (the size of the surrounding area), the Edges (how dissimilar colors in the surroundings will be averaged; a larger value results in large regions of constant color) and the shading (simple scaling of the output image intensity with the higher the value, the brighter the result).
\subsubsection*{Stylization}%
\label{ssub:stylization}
\section[FFmpeg Audio and Video Plugins]{FFmpeg Audio and Video Plugins\protect\footnote{credit to WPfilmmaker for the Ffmpeg info description lines taken from his contributed pdf}}%
\label{sec:ffmpeg_audio_video_plugins}
-Cinelerra GG Infinity currently comes with more than $140$ of the video plugins and $55$ of the audio plugins developed by the FFmpeg project \url{www.ffmpeg.org}. These plugins do not have a GUI with buttons like the rest of plugins, therefore to change settings it is necessary to change the variables by hand by highlighting the \textit{option}, typing a value in the \textit{Range} box, and then hitting the \textit{Apply} button. Many of these plugins provide tooltips at the bottom right corner of the window when the option is highlighted. A \textit{slider} bar and a \textit{dial} for numerical values can be used to easily vary the values which take effect immediately.
+Cinelerra GG Infinity currently comes with more than $140$ of the video plugins and $55$ of the audio plugins developed by the FFmpeg project {\small \url{www.ffmpeg.org}}. These plugins do not have a GUI with buttons like the rest of plugins, therefore to change settings it is necessary to change the variables by hand by highlighting the \textit{option}, typing a value in the \textit{Range} box, and then hitting the \textit{Apply} button. Many of these plugins provide tooltips at the bottom right corner of the window when the option is highlighted. A \textit{slider} bar and a \textit{dial} for numerical values can be used to easily vary the values which take effect immediately.
Figure~\ref{fig:ffchromakey} shows what an FFmpeg video plugin looks like; example is \texttt{F\_chromakey}.
\subsection{How to Use FFmpeg Audio/Video Plugins}%
\label{sub:use_ffmpeg_audio_video_plugins}
-Simply drag and drop the plugin on the timeline. To enter the settings option, once you have added the plugin to the timeline, \texttt{right click} on the colored bar that appears below the timeline track of the plugin and highlight the \textit{show} option. Alternatively, you can \texttt{left click} the \textit{magnifying glass} icon that appears on the right side of the colored bar. For the audio plugins, if the plugin is not working at all, you will hear a trouble tone waveform to indicate that. If the value is unspecified, it uses default. If you specify the default, the value becomes unspecified which means that nothing gets sent into the program.
+Simply drag and drop the plugin on the timeline. To enter the settings option, once you have added the plugin to the timeline, right click on the colored bar that appears below the timeline track of the plugin and highlight the \textit{show} option. Alternatively, you can left click the \textit{magnifying glass} icon that appears on the right side of the colored bar. For the audio plugins, if the plugin is not working at all, you will hear a trouble tone waveform to indicate that. If the value is unspecified, it uses default. If you specify the default, the value becomes unspecified which means that nothing gets sent into the program.
+
+Some of the ffmpeg plugins are not usable with Cinelerra GG Infinity due to input/output requirements. Also, some do not come with legal initial supplied values for the parameters (ffmpeg works on filtergraph, while Cinelerra works on stack). These plugins get tested at least once and if they crash, cause problems, or are deemed unusable, they are commented out in the \texttt{plugin.opts} file in the Cinelerra ffmpeg subdirectory. Generally they are not retested so if the ffmpeg software changes them making them usable, they will still not be accessible until the \texttt{plugin.opts} file is changed. You can easily retest these, by temporarily uncommenting the copy of the \texttt{plugin.opts} file in the \texttt{bin} subdirectory and using \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index}
-Some of the ffmpeg plugins are not usable with cinelerra GG Infinity due to input/output requirements. Also, some do not come with legal initial supplied values for the parameters (ffmpeg works on filtergraph, while Cinelerra works on stack). These plugins get tested at least once and if they crash, cause problems, or are deemed unusable, they are commented out in the \texttt{plugin.opts} file in the cinelerra ffmpeg subdirectory. Generally they are not retested so if the ffmpeg software changes them making them usable, they will still not be accessible until the \texttt{plugin.opts} file is changed. You can easily retest these, by temporarily uncommenting the copy of the \texttt{plugin.opts} file in the \texttt{bin} subdirectory and using \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Interface tab$\rightarrow$ Reload plugin index}.
FFmpeg’s plugin guide is at the link:
-\url{https://ffmpeg.org/ffmpeg-filters.html}
+{\small \url{https://ffmpeg.org/ffmpeg-filters.html}}
\subsection{FFmpeg Audio Plugins}%
\label{sub:ffmpeg_audio_plugins}
\section[Rendered Effects]{Rendered Effects\protect\footnote{This capability is going to be deleted in the future unless receive notification of need to keep}}%
\label{sec:rendered_effects}
-Besides the Realtime effects, as has been described in the previous sections, another type of effect is performed on a section of the track and the result stored somewhere before it is played back. The result is usually pasted into the track to replace the original data. The rendered effects are not listed in the resources window but instead are accessed through the \texttt{Audio$\rightarrow$ Render effect and Video$\rightarrow$ Render effect} menu options. Each of these menu options brings up a dialog for the rendered effect. In the Select an effect dialog is a list of all the realtime and all the rendered effects. The difference here is that the realtime effects are rendered to disk and not applied under the track. Rendered effects apply to only one type of track, either audio or video. If no tracks of the type exist, an error pops up.
+Besides the \textit{Realtime} effects, as has been described in the previous sections, another type of effect is performed on a section of the track and the result stored somewhere before it is played back. The result is usually pasted into the track to replace the original data. The rendered effects are not listed in the resources window but instead are accessed through the \texttt{Audio $\rightarrow$ Render effect and Video $\rightarrow$ Render effect} menu options. Each of these menu options brings up a dialog for the rendered effect. In the Select an effect dialog is a list of all the realtime and all the rendered effects. The difference here is that the realtime effects are rendered to disk and not applied under the track. Rendered effects apply to only one type of track, either audio or video. If no tracks of the type exist, an error pops up.
-A region of the timeline to apply the effect to must be defined before selecting \texttt{Render effect}. If no in/out points and no highlighted region exist, the entire region after the insertion point is treated as the affected region. Otherwise, the region between the in/out points or the highlighted region is the affected region. The tracks to apply the rendered affect to, need to be armed, other tracks are ignored. The rendered effect processes certain track attributes when it reads its input data but not others. Transitions in the affected track are applied, but nudge and effects are not. This allows the new data to be pasted into the existing position without changing the nudge value.
+A region of the timeline to apply the effect to must be defined before selecting \textit{Render effect}. If no in/out points and no highlighted region exist, the entire region after the insertion point is treated as the affected region. Otherwise, the region between the in/out points or the highlighted region is the affected region. The tracks to apply the rendered affect to, need to be armed, other tracks are ignored. The rendered effect processes certain track attributes when it reads its input data but not others. Transitions in the affected track are applied, but nudge and effects are not. This allows the new data to be pasted into the existing position without changing the nudge value.
\subsubsection*{How to use a rendered effect}%
\label{ssub:how_use_rendered_effect}
\begin{itemize}
- \item Highlight an effect in the list (\texttt{Select an effect}) to designate it as the one being used.
+ \item Highlight an effect in the list (\textit{Select an effect}) to designate it as the one being used.
\item Define a file to render the effect to in the \texttt{Select a file to render to} box. The magnifying glass allows file selection from a list.
- \item Select a file format which can handle the track type. The \texttt{wrench} allows configuration specific to the file format.
+ \item Select a file format which can handle the track type. The \textit{wrench} allows configuration specific to the file format.
\item There is also an option for creating a new file at each label. For example, if you have a CD rip on the timeline which you want to divide into different files, the labels would become dividing points between the files if this option were selected. When the timeline is divided by labels, the effect is re-initialized at every label. Normalize operations take the peak in the current file and not in the entire timeline.
- \item Finally there is an \texttt{insertion strategy} just like in the render dialog. It should be noted that even though the effect applies only to audio or video, the insertion strategy applies to all tracks just like a clipboard operation.
- \item When you click \texttt{OK} in the effect dialog, it calls the GUI of the effect. If the effect is also a realtime effect, a second GUI appears to prompt for acceptance or rejection of the current settings.
+ \item Finally there is an \textit{insertion strategy} just like in the render dialog. It should be noted that even though the effect applies only to audio or video, the insertion strategy applies to all tracks just like a clipboard operation.
+ \item When you click OK in the effect dialog, it calls the GUI of the effect. If the effect is also a realtime effect, a second GUI appears to prompt for acceptance or rejection of the current settings.
\item After accepting the settings, the effect is processed.
\end{itemize}
\subsubsection*{Reframe}%
\label{ssub:reframe}
-This does exactly the same thing as \texttt{ReframeRT} in \textit{Stretch} mode. It multiplies the output frame number by the scale factor to arrive at the input frame number and changes the length of the sequence. Unlike \texttt{ReframeRT}, this must run from the Video menu and render its output. Be aware Reframe does not write the scaled frame rate as the frame rate of the rendered file. It produces a file of scaled length and equal frame rate as the project. The new length is $\frac{1}{scale factor}$ as big as the original sequence.
+This does exactly the same thing as \textit{ReframeRT} in \textit{Stretch} mode. It multiplies the output frame number by the scale factor to arrive at the input frame number and changes the length of the sequence. Unlike \textit{ReframeRT}, this must run from the Video menu and render its output. Be aware Reframe does not write the scaled frame rate as the frame rate of the rendered file. It produces a file of scaled length and equal frame rate as the project. The new length is $\frac{1}{scale factor}$ as big as the original sequence.
To create a slow-motion of fast moving video:
\begin{itemize}
\item Select the video clip you wish to reframe and put it on a video track.
\item Select the area you wish to reframe.
- \item From the \texttt{Video} menu, select the \texttt{Render Effect} option.
- \item From the effect list, select \texttt{Reframe}.
+ \item From the \texttt{Video} menu, select the \textit{Render Effect} option.
+ \item From the effect list, select \textit{Reframe}.
\item Enter the output format and insertion strategy for the new clip to be created.
- \item Press \texttt{OK}.
+ \item Press OK.
\item At the popup menu, enter the \textit{scale factor} $2$ to run twice as fast, and $0.5$ to run at half speed.
\end{itemize}
projects / goodguy / cin-manual-latex.git / commitdiff
