From: Good Guy Date: Wed, 16 Dec 2020 03:17:41 +0000 (-0700) Subject: Andrea continues adding index entries + revisions as needed X-Git-Tag: 2021-05~42 X-Git-Url: https://cinelerra-gg.org/git/?a=commitdiff_plain;h=067f1aad605061073ba9b5dc6f81705b2a4429d3;p=goodguy%2Fcin-manual-latex.git Andrea continues adding index entries + revisions as needed --- diff --git a/images/alt-ctrl.png b/images/alt-ctrl.png index ea3ffd2..7753c6c 100644 Binary files a/images/alt-ctrl.png and b/images/alt-ctrl.png differ diff --git a/images/auto.png b/images/auto.png index d6ee48e..aedd6c7 100644 Binary files a/images/auto.png and b/images/auto.png differ diff --git a/images/capture01.png b/images/capture01.png index 4288880..8b5cc8c 100644 Binary files a/images/capture01.png and b/images/capture01.png differ diff --git a/images/channels01.png b/images/channels01.png index 8bb64f1..f155c1e 100644 Binary files a/images/channels01.png and b/images/channels01.png differ diff --git a/images/channels02.png b/images/channels02.png index 238a6e7..d7a65c4 100644 Binary files a/images/channels02.png and b/images/channels02.png differ diff --git a/images/channels03.png b/images/channels03.png index 0b5cc49..89ab9cb 100644 Binary files a/images/channels03.png and b/images/channels03.png differ diff --git a/images/hue_wheel.png b/images/hue_wheel.png index fb883d3..9e3939d 100644 Binary files a/images/hue_wheel.png and b/images/hue_wheel.png differ diff --git a/images/info_asset_details.png b/images/info_asset_details.png index 2e20d0d..d316b9c 100644 Binary files a/images/info_asset_details.png and b/images/info_asset_details.png differ diff --git a/images/mixers-pulldown.png b/images/mixers-pulldown.png new file mode 100644 index 0000000..e65140a Binary files /dev/null and b/images/mixers-pulldown.png differ diff --git a/images/overlays_list2.png b/images/overlays_list2.png index 353b50a..7aa131e 100644 Binary files a/images/overlays_list2.png and b/images/overlays_list2.png differ diff --git a/images/plugin.png b/images/plugin.png index 6f53886..f605e72 100644 Binary files a/images/plugin.png and b/images/plugin.png differ diff --git a/images/recording04.png b/images/recording04.png index 8b6ede0..5c006b5 100644 Binary files a/images/recording04.png and b/images/recording04.png differ diff --git a/images/remote01.png b/images/remote01.png index 96af450..ae24c24 100644 Binary files a/images/remote01.png and b/images/remote01.png differ diff --git a/images/remote03.png b/images/remote03.png index a490a36..890cacb 100644 Binary files a/images/remote03.png and b/images/remote03.png differ diff --git a/images/scale01.png b/images/scale01.png index 636534f..f32c60a 100644 Binary files a/images/scale01.png and b/images/scale01.png differ diff --git a/images/title05.png b/images/title05.png index c4cf499..d6a2f0e 100644 Binary files a/images/title05.png and b/images/title05.png differ diff --git a/images/two-monitors02.png b/images/two-monitors02.png index 17886a3..29e951b 100644 Binary files a/images/two-monitors02.png and b/images/two-monitors02.png differ diff --git a/images/two-monitors03.png b/images/two-monitors03.png index 3513956..3090df2 100644 Binary files a/images/two-monitors03.png and b/images/two-monitors03.png differ diff --git a/images/videoscope04.png b/images/videoscope04.png index 7731420..31127b5 100644 Binary files a/images/videoscope04.png and b/images/videoscope04.png differ diff --git a/images/volume_meter.png b/images/volume_meter.png index 5c7fbb4..653031f 100644 Binary files a/images/volume_meter.png and b/images/volume_meter.png differ diff --git a/parts/Advanced.tex b/parts/Advanced.tex index 6143e54..ac76b92 100644 --- a/parts/Advanced.tex +++ b/parts/Advanced.tex @@ -798,6 +798,25 @@ and choose one of the options as described here. \end{verbatim} \end{enumerate} +\subsubsection*{Mixers pulldown}% +\label{ssub:mixers_pulldown} + +From Program windows menu we can access the \texttt{windows $\rightarrow$ mixers...} there are several entries available (see figure~\ref{fig:mixers-pulldown}): + +\begin{figure}[htpb] + \centering + \includegraphics[width=0.5\linewidth]{mixers-pulldown.png} + \caption{Mixers... pulldown} + \label{fig:mixers-pulldown} +\end{figure} + +\begin{description} + \item[Mixer Viewer:] (Shift-M) opens a new empty \textit{Mixer 1} window, which will then be associated with a track. We can open as many Mixers as we like. + \item[Drag Tile mixers:] (Alt-t) the default size of a mixer window is related to the std size of the \textit{Viewer} window. If we want to modify it at our convenience, we can build a window of the desired size with the \textit{Drag Tile mixers} function and then automatically order our mixers within it with the right click of the mouse. + \item[Align mixers:] see \nameref{sub:audio_video_sync_waveform} + \item[Mix masters:] this feature makes it very easy to get into the multi-camera mixer mode after tracks have already been set up and edited. Before this addition, you could only \textit{Open Mixers} from original media assets in the \textit{Resources} window. + \item[Entries:] If the mixers of several sources have been opened, the entries of each assets will appear, useful for recalling a specific mixer window. +\end{description} \subsection{Recover Mixer Windows}% \label{sub:recover_mixer_windows} diff --git a/parts/Editing.tex b/parts/Editing.tex index 076f0fc..a3a69f5 100644 --- a/parts/Editing.tex +++ b/parts/Editing.tex @@ -4,14 +4,14 @@ Editing comprises both time and track space. The timeline consists of the time certain media appear on the track going left to right and a set of tracks from the top to the bottom. There are 2 methods -of timeline editing -- drag and drop editing, also called -\textit{arrow mode}, and cut and paste editing or \textit{I-beam - mode}. Cut and Paste is the default editing mode. An additional, +of timeline editing -- drag and drop editing \index{drag and drop}, also called +\textit{arrow mode} \index{arrow}, and cut and paste editing \index{cut and paste} or \textit{I-beam + mode} \index{i-beam}. Cut and Paste is the default editing mode. An additional, but not often considered editing method is called \textit{two-screen - editing} where the Viewer is used to view media and then the + editing} \index{two-screen} (or 3 point editing) where the Viewer is used to view media and then the desired clip from the media is transferred to the timeline. -The timeline is where all editing decisions are made +The timeline \index{timeline} is where all editing decisions are made (figure~\ref{fig:timeline}). This is a stack of tracks in the center of the main window. It can be scrolled up, down, left and right with the scrollbars on the right and bottom. It can also be @@ -25,11 +25,11 @@ holding down the Ctrl key and using the mouse wheel. \label{fig:timeline} \end{figure} -The active region is the range of time which is affected by editing +The active region \index{active region} is the range of time which is affected by editing commands on the timeline. The active region is determined first by -the presence of in/out points on the timeline. +the presence of in/out points \index{in/out point} on the timeline. % -If those do not exist the highlighted region is used. To reiterate, +If those do not exist the highlighted region \index{highlighted region} is used. To reiterate, \emph{highlighting} is done in \emph{cut and paste mode} by moving the insertion point with the mouse in the timeline to where you want to start. Then hold down the LMB\@, drag the mouse to where you want @@ -38,7 +38,7 @@ the end point to be and release the LMB\@. In \emph{drag and drop down the Ctrl key and double click with the LMB with the mouse over that column. -If no highlighted region exists, the insertion point is used as the +If no highlighted region exists, the insertion point \index{insertion point} is used as the start of the active region. Some commands treat all the space to the right of the insertion point as active while others treat the active length as 0 (zero) if no end point for the active region is @@ -52,7 +52,7 @@ affects pointers to source material, so if you want to have a new modified media file at the end of your editing session which represents the editing decisions, you need to render it. Saving and loading your edit decisions is explained in the Load, Save and the -EDL section and rendering is explained in the section on Rendering. +EDL \index{EDL} section and rendering is explained in the section on Rendering. In the following editing sections, references to common operations are scattered within any of the modes where they seem pertinent. @@ -61,6 +61,7 @@ However, many of the editing operations work in different modes. \section{The Patchbay}% \label{sec:patchbay} +\index{patchbay} On the left of the timeline is a region known as the patchbay. The patchbay enables features specific to each track as described next. @@ -112,7 +113,7 @@ other tracks. Or you can: The 7 \textit{attributes} are described here next followed by the other available feature icons and their description. \begin{description} -\item[Play Track] determines whether the track is rendered or +\item[Play Track] \index{play track} determines whether the track is rendered or not. If it is off, the track is not rendered. For example if you turn it off in all the video tracks, the rendered media file will have only audio tracks. If the track is chained to any other tracks @@ -120,7 +121,7 @@ The 7 \textit{attributes} are described here next followed by the other availabl in this shared track, regardless of play status of the shared track that in this particular case affects the media output but not fade and effects. -\item[Arm Track] determines whether the track is armed or not. +\item[Arm Track] \index{arm track} determines whether the track is armed or not. Only the armed tracks are affected by editing operations. Make sure you have enough armed destination tracks when you paste or splice material or some tracks in the material will get left out. In @@ -132,11 +133,11 @@ The 7 \textit{attributes} are described here next followed by the other availabl \end{description} \begin{description} -\item[Draw Media] determines if picons or waveforms are drawn on +\item[Draw Media] determines if picons \index{picons} or waveforms \index{waveform} are drawn on the asset in the track. You may want to disable this if you know that the media/format takes a long time to draw on the timeline. By default it is set to on in order to see picons on the timeline. -\item[Don’t send to output] -- more commonly called +\item[Don’t send to output] \index{mute} -- more commonly called \textit{mute} -- causes the output to be thrown away once the track is completely rendered. This happens whether or not \textit{Play track} is on. For example if you mute all the video tracks, the rendered @@ -151,7 +152,7 @@ The 7 \textit{attributes} are described here next followed by the other availabl Mute track is used to keep the track with the shared track effect from overlapping the output of the source track (the shared track) where the shared track effect is not present. -\item[Gang Fader] cause the fader to track the movement of +\item[Gang Fader] \index{gang fader} cause the fader to track the movement of whatever other fader you are adjusting by dragging either the fader or the curve on the track. It doesn't affect the editing made with menu controls. A fader is only ganged if the arm track is also on. @@ -159,11 +160,11 @@ The 7 \textit{attributes} are described here next followed by the other availabl simultaneously. Gang also causes Nudge parameters to synchronize across all the ganged tracks. \item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged} -\item[Track Data Height] this up/down toggle symbol to the immediate right +\item[Track Data Height] \index{track height} this up/down toggle symbol to the immediate right of the 5 attributes, is used to individually resize each track. This makes it very easy to temporarily expand or contract the size of that track either by clickin with the left mouse button or using the middle wheel up/down. -\item[Fader slider] fade values are represented on the timeline +\item[Fader slider] \index{fader slider} fade values are represented on the timeline with a pink (default color) curve that is keyframable. All tracks have a fader, but the units of each fader depend on whether it is audio or video. Audio fade values are in dB. They represent relative levels, where 0 @@ -181,12 +182,12 @@ by clickin with the left mouse button or using the middle wheel up/down. with the arm option enabled, the other faders should follow. Hold down the Shift key and drag a fader to center it on the original source value (0 for audio, 100 for video). -\item[Mixer] in the expanded patchbay for that track designates +\item[Mixer] \index{mixer toggle} in the expanded patchbay for that track designates the multi-camera mixer mode. -\item[Overlay mode] in the expanded patchbay is used for +\item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for porter-duff operations and is full explained in \nameref{cha:overlays} chapter. -\item[Nudge] is in the expanded patchbay. The nudge value is +\item[Nudge] \index{nudge} is in the expanded patchbay. The nudge value is the amount the track is shifted left or right during playback. The track is not displayed shifted on the timeline, but it is shifted when it is played back. This is useful for synchronizing audio with @@ -208,7 +209,7 @@ by clickin with the left mouse button or using the middle wheel up/down. sensitive menu. Nudge settings are ganged with the Gang faders toggle and the Arm track toggle. Use the mouse wheel over the nudge textbox to increment and decrement the value. -\item[Pan] is available in the expanded patchbay for audio +\item[Pan] \index{panning box} is available in the expanded patchbay for audio tracks via a panning box. Position the pointer in the panning box and click/drag to reposition the audio output among the speaker arrangement. The loudness of each speaker is printed on the relative @@ -222,18 +223,18 @@ Press the Tab key while the cursor is anywhere over a track to toggle the track arming status. Press Shift-Tab while the cursor is over a track to toggle the arming status of every other track. -\paragraph{Automatic audio mappings} Several convenience functions +\paragraph{Automatic audio mappings} \index{audio map} Several convenience functions are provided for automatically setting the panning to several common standards. They are listed in the Audio menu. These functions only affect armed audio tracks. They are: \begin{description} -\item[Audio~$\rightarrow$~Map 1:1] This maps every track to +\item[Audio~$\rightarrow$~Map 1:1] \index{audio map 1:1} This maps every track to its own channel and wraps around when all the channels are allocated. It is most useful for making 2 tracks with 2 channels map to stereo and for making 6 tracks with 6 channels map to a 6 channel sound card. -\item[Audio~$\rightarrow$~Map 5.1:2] This maps 6 tracks to 2 +\item[Audio~$\rightarrow$~Map 5.1:2] \index{audio map 5.1:2} This maps 6 tracks to 2 channels. The project should have 2 channels when using this function. Go to \texttt{Settings $\rightarrow$ Format} to set the output channels to 2. This is most useful for down-mixing 5.1 audio @@ -261,6 +262,7 @@ not store high frequencies in most cases. \section{Manipulating Tracks}% \label{sec:manipulating_tracks} +\index{tracks pulldowns} Tracks in \CGG{} either contain audio or video. There is no special designation for tracks other than the type of media they contain. @@ -276,7 +278,9 @@ are armed. \begin{description} \item[Move tracks up | Move tracks down] shift all the armed tracks up or down the stack. +\item[Roll tracks up | Roll tracks down] wheel motion of the tracks up or down. \item[Delete tracks] deletes the armed tracks. +\item[Delete first track] deletes the first track, whether it is armed or not. \item[Delete last track] deletes the last track, whether it is armed or not. \item[Concatenate tracks] operation copies all the assets of @@ -292,13 +296,14 @@ are armed. track. The destination track wraps around until all the disarmed tracks are concatenated. Disarmed tracks that are not playable are not concatenated. +\item[Align timecodes] see \nameref{sub:align_timecodes} \item[Append to project] allows for creating new tracks after any existing tracks. \item[Add subttl] will add a track for subtitles at the top of the other tracks. \end{description} -The \textbf{Audio} and \textbf{Video pulldowns} each contain an +The \textbf{Audio} \index{audio pulldowns} and \textbf{Video pulldowns} \index{video pulldowns} each contain an option to add a track of their specific type. In the case of audio, the new track is put on the bottom of the timeline and the output channel of the audio track is incremented by one. In the case of @@ -308,10 +313,11 @@ on top of old tracks. \subsection{Displaying tracks: Ganged mode}% \label{sub:displaying_tracks_ganged} +\index{tracks: ganged mode} Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group. -To get this capability, there is a \textit{Gang Tracks} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. Group masters are marked by the \textit{Master Track} toggle in the patchbays. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are: +To get this capability, there is a \textit{Gang Tracks} \index{gang tracks toggle} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. Group masters are marked by the \textit{Master Track} \index{master track} toggle in the patchbays \index{patchbay}. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are: \begin{enumerate} \item \textbf{Gang None:} this is the default mode and is the traditional way Cinelerra operates. If you never toggle the "Gang Tracks" button, everything operates normally as it always has. In this mode, the button icon looks like 3 tracks with $\dots$ on the end and all tracks are visible on the timeline. See figure~\ref{fig:gang-track-01} @@ -370,6 +376,7 @@ operational capabilities which are not compatible with the way that Ganging work \section{Two Screen Editing}% \label{sec:two_screen_editing} +\index{two-screen} This is a fast way to construct a program out of movie files (in other programs is called \textit{three points editing}). The idea @@ -383,12 +390,12 @@ showing what key is bound to that button. To begin a two screen editing session, load your media resources by using the main menu \textbf{File pulldown} and choose \textit{Load - files}; make sure the insertion mode is set to \textit{Create new - resources only}. This insertion strategy is to ensure that the + files} \index{load media files}; make sure the insertion mode is set to \textit{Create new + resources only}. This insertion strategy \index{insertion strategy} is to ensure that the timeline stays unchanged while new resources are brought in. Go to -the Resources window and select the Media folder. The newly loaded +the Resources window \index{resources window} and select the Media folder. The newly loaded resources will appear. Double click on a resource or drag it from -the media side of the window over to the Viewer window. +the media side of the window over to the Viewer window \index{viewer window}. Check to make sure there are enough armed tracks on the timeline to put the subsections of source material that you want. Usually this @@ -407,14 +414,14 @@ clip from the media file: bracket. \item You will see a colored bar inside the brackets for easier viewing. -\item Drag the In/Out point with the mouse to conveniently +\item Drag the In/Out point \index{in/out point} with the mouse to conveniently change their position. \end{enumerate} -These In/Out points define a clip. You can now use this in a couple +These In/Out points define a clip \index{clip}. You can now use this in a couple of different ways. -\paragraph{Splice} The splice icon, or shortcut letter “\texttt{v}”, +\paragraph{Splice} \index{splice} The splice icon, or shortcut letter “\texttt{v}”, inserts the selected area in the timeline after the insertion point. After the splice has taken effect, the insertion point moves to the end of the edit ready to be used as the next splice location. This @@ -425,7 +432,7 @@ are set on the timeline, the clip is inserted after the In point. If there are edits after your chosen splice location on the timeline, they will be moved to the right. -\paragraph{Overwrite} The overwrite icon, or shortcut letter +\paragraph{Overwrite} \index{overwrite} The overwrite icon, or shortcut letter “\texttt{b}”, overwrites the region of the timeline after the insertion point with the clip. If an In point or an Out point exists on the timeline the clip is overwritten after the In point or after @@ -465,8 +472,9 @@ copies the selection into the copy buffer. \subsection{Use Case – Working with Sequences} \label{sub:use_case_working_sequences} +\index{sequences} -\textit{From the Viewer to the Timeline with the sequences imported +\textit{From the Viewer to the Timeline \index{timeline} with the sequences imported in a Master Project.} A convenient methodology for working on a Master project along with @@ -526,10 +534,11 @@ can use the Nest feature as described in the Nesting section \section{Cut and Paste Editing}% \label{sec:cut_paste_editing} +\index{cut and paste} This is the more traditional method of editing in \CGG{} and therefore is the default. To enable the cut and paste editing mode -on the timeline, select the I-beam toggle on the control bar at the +on the timeline, select the I-beam \index{i-beam} toggle on the control bar at the top of the main program window. You can copy edits in the same track, copy from different tracks in the same instance, start a second instance of \CGG{} and copy from one instance to the other or @@ -541,7 +550,7 @@ button to cut it. Move the insertion point to another point in the timeline and select the paste button. Assuming no In/Out points are defined on the timeline this performs a cut and paste operation. -Most editing operations are listed in the \textit{Edit} pulldown. Some of +Most editing operations are listed in the \textit{Edit} pulldown \index{edit pulldown}. Some of them have a button on the program control toolbar as well as a keyboard shortcut. The keyboard shortcut is in parenthesis here. @@ -567,7 +576,7 @@ keyboard shortcut. The keyboard shortcut is in parenthesis here. \item[Select All] (a) Select the whole timeline. \end{description} -In Cut and Paste editing mode you can \textit{edit labels} as +In Cut and Paste editing mode you can \textit{edit labels} \index{label} as well. By enabling Edit labels in the \textbf{Settings pulldown}, or by disabling the Lock labels from moving button on the Program Control Tool Bar, labels will be cut, copied or pasted along with @@ -579,10 +588,10 @@ set labels for the destination region of the destination waveform. Perform a cut, clear the In/Out points, select the region between the labels, and perform a paste. -\paragraph{In / Out Points} The In and Out bracket placement is +\paragraph{In / Out Points} \index{in/out point} The In and Out bracket placement is explained here to illustrate their usage. Because of the shape of the markers [ and ] you may assume that they are inclusive -- that -everything placed in between would be included in the clip, such as +everything placed in between would be included in the clip \index{clip}, such as in the case of being transferred to the timeline from the Viewer. In reality, one of the two markers will not include the frame that was visible at the time the marker was affixed. Depending on whether @@ -606,7 +615,7 @@ account in its calculations whether the \textit{Always show next reference of the markers is in the middle of the icon, you will avoid confusion. -\paragraph{Overwrite} To perform overwriting within the timeline +\paragraph{Overwrite} \index{overwrite} To perform overwriting within the timeline paste on a selected region (highlighted or between In/Out points). The selected region will be overwritten. If the clip pasted from the clipboard is shorter than the selected region, the selected @@ -622,7 +631,7 @@ concatenates it by pasting those assets at the end of the first set of armed tracks. They are pasted one after the other, keeping the same order they have on the stack. -\paragraph{Split -- blade cut and hard edges:} You can cut the +\paragraph{Split -- blade cut and hard edges:} \index{split} You can cut the tracks into 2 pieces on the timeline by putting the hairline cursor on the place you want to do a cut and then using the character “x” or the scissors tool (figure~\ref{fig:cut}). @@ -644,9 +653,9 @@ is split at the location of the In/Out point since it has priority over the cursor location. A blade cut simply splits the edit into two edits. In order to have the video and audio aligned, it works best to have \texttt{Settings $\rightarrow$ Align cursor on - frames}. When a blade cut occurs, the edges are created as -\textit{hard edges}. These are edges that cannot be deleted by -track optimizations. + frames} \index{align cursor on frames}. When a blade cut occurs, the edges are created as +\textit{hard edges}. \index{hard edge} These are edges that cannot be deleted by +track optimizations \index{timeline optimization}. % \CGG{} has built-in optimization on the timeline. So that whenever two parts on the timeline are sequential frames, it automatically @@ -670,12 +679,13 @@ simultaneously. \section{Drag and Drop Editing}% \label{sec:drag_drop_editing} +\index{drag and drop} To enable the drag and drop editing mode on the timeline, select the -arrow toggle on the control bar at the top of the main program +arrow toggle \index{arrow} on the control bar at the top of the main program window. Drag and drop editing is a quick and simple way of working in \CGG{}, using mostly only the mouse. The basic idea is to create -a bunch of clips, then drag them in order into the timeline, thus +a bunch of clips \index{clip}, then drag them in order into the timeline, thus building prototype media that you can watch in the compositor. If after watching it, you wish to re-arrange your clips, set effects, add transitions or insert/delete material, just drag and drop them @@ -683,17 +693,17 @@ on the timeline. To simply get started, perform the following operations which are useful for working in a drag and drop editing session. First load -your media by using the main menu \textit{File} pulldown and choose -\textit{Load files}; make sure the insertion mode is set to -\textit{Create new resources only}. This loads the files into the -Resources window. +your media by using the main menu \textit{File} pulldown \index{file pulldown} and choose +\textit{Load files} \index{load media files}; make sure the insertion mode is set to +\textit{Create new resources only} \index{insertion strategy}. This loads the files into the +Resources window \index{resources window}. \begin{enumerate} \item Create some video and audio tracks on the timeline using - the \textit{Video} and \textit{Audio} pulldowns. + the \textit{Video} \index{video pulldown} and \textit{Audio} \index{audio pulldown} pulldowns. \item Open the Media folder in the Resources window. Make sure the necessary tracks are armed and drag a media file from the - Resources window to the timeline. If the media has video, drag it + Resources window to the timeline \index{timeline}. If the media has video, drag it onto a video track or if just audio, drag it onto an audio track. For a still image, drag it onto a video track. \end{enumerate} @@ -746,7 +756,7 @@ When you drag and drop edits within the timeline: \item If you have more armed tracks on the timeline than in the asset you are dragging, only the following edits of the tracks affected by the drag and drop operation will move to the right. This - will cause loss of synchronization. To restore it, disarm the tracks + will cause loss of synchronization \index{sync}. To restore it, disarm the tracks affected by the drag and drop operation, highlight the just dropped edit and paste silence over it using the \textit{Edit} pulldown, \textit{Paste Silence}. @@ -754,7 +764,7 @@ When you drag and drop edits within the timeline: Labels sometimes work differently in Drag and Drop editing mode in that you can't drag and drop them. They might be locked to the -timebar, even with the Edit labels option enabled. Although with +timebar \index{timebar}, even with the Edit labels option enabled. Although with the Edit labels option enabled, if a selected area of a resource is spliced from the Viewer to the timeline in a position before labels, these labels will be pushed to the right for the length of the @@ -767,12 +777,13 @@ pulldown to view the list and their keyboard shortcuts. \subsection{Copy/Paste Behavior}% \label{sub:copy_paste_behavior} +\index{drag and drop: MMB options} There are many options for moving, copying, pasting, inserting, and deleting selected \textit{edits}, more commonly referred to by the user as \textit{clips}, when in the Drag and Drop (arrow) editing mode. This makes it easier to avoid constantly having to disarm/arm -tracks. To create a selection move the cursor over the clip and +tracks. To create a selection \index{edits selection} move the cursor over the clip and just click the left mouse button; remove a selection by left mouse button click again. This will mark your selection with a colored border which contains some red. The easiest way to initially use @@ -782,7 +793,7 @@ However, for those users who prefer the addition of the Ctrl key to add multiple selections as is commonly done for listbox operations, there is a preference in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Appearance} tab, called \textit{Clears before - toggle} that changes the behavior. + toggle} \index{clears before toggle} that changes the behavior. When an edit is marked as selected, it can be cut/copied into the paste clip buffer. The constructed clip buffer will begin with the @@ -894,8 +905,9 @@ transition does not drag. \subsection{Snapping while Cutting and Dragging}% \label{syb:snapping_cutting_dragging} +\index{snap} -\paragraph{Cutting/Snapping edits} cuts from an edit handle to the +\paragraph{Cutting/Snapping edits} \index{edits: cut with snap} cuts from an edit handle to the insert point. There are Edit Panel buttons which normally are used to move to the previous or next edit handle/label. @@ -927,7 +939,7 @@ following keyboard shortcuts to perform the same functions: \end{tabular} \end{center} -\paragraph{Drag Snapping} if you hold down the Ctrl + Alt keys while +\paragraph{Drag Snapping} \index{edits: drag with snap} if you hold down the Ctrl + Alt keys while dragging using the mouse, once the clip gets near to an edit, a label, an in/out pointer or the start/end of the timeline, the dragged clip will snap next to that marker. The 2 will now be @@ -940,6 +952,7 @@ plugin while dragging so that it will be the same length as the edit. \subsection{Copy/Paste clips/medias across Multiple Instances}% \label{sub:copy_paste_multiple_instances} +\index{multiple instances: copy/paste} It is easy to copy/paste clips/media within a single instance of \CGG{} or across multiple instances. The reason this works is @@ -960,6 +973,7 @@ Steps to copy from a source timeline and paste to a target timeline: \subsection{Grouping edits}% \label{sub:grouping_edits} +\index{edits: grouping} \CGG{} recognizes as a group, the edits of different armed tracks that have aligned beginnings, regardless of whether they have the @@ -970,7 +984,7 @@ same positions the edit the mouse pointer is currently over. Another method of Grouping of edits is performed as follows: \begin{enumerate} -\item Select each of the clips you would like to be part of a +\item Select \index{edits selection} each of the clips you would like to be part of a group. \item Use the desired Copy mode as described above to get into the buffer. @@ -1011,9 +1025,10 @@ different Group Id and a different color. \subsection{Dragging Groups}% \label{sub:dragging_groups} +\index{edits: dragging group} Dragging while in \textit{Drop and Drag editing mode} (arrow mode) -is really easy. Just select the clip or clips you want to drag +is really easy. Just select \index{edits selection} the clip or clips you want to drag using the left mouse button, then put your cursor over one of them and drag while holding down the left mouse button. Keyframes, autos, labels, and plugins will also be dragged. Dragging honors @@ -1038,13 +1053,13 @@ Remember: With the \texttt{Shift} key on, it will always \textit{overwrite}. Without the \texttt{Shift} key enabled, it always \textit{inserts} only. -The original (older) method of dragging while in Arrow mode, lets +The original (older) method of dragging while in Arrow \index{arrow} mode, lets you just left mouse click on a single clip or aligned clips and just drag. This older method of dragging does not move any of its effects with it at this time. There will only be a white outline while dragging and it will let you drop only if it fits. You can also perform some dragging and grouping while in the \textit{Cut and - Paste editing mode} (ibeam mode) by taking advantage of the Ctrl + Paste editing mode} (ibeam mode \index{i-beam}) by taking advantage of the Ctrl button in conjunction with the left mouse button. \begin{itemize} @@ -1056,7 +1071,7 @@ button in conjunction with the left mouse button. \end{itemize} This last section on Dragging, outlines the difference -between \textit{column selection} and \textit{marking selection}. +between \textit{column selection} \index{column selection} and \textit{marking selection} \index{marking selection}. Column selection is available to make it easy to still be able to do some dragging in I-beam mode whereas Marking selection makes it easy to drag clips together that are not columnated. @@ -1064,6 +1079,7 @@ to drag clips together that are not columnated. \subsection{Selection Methods}% \label{sub:selection_method} +\index{edits selection} Concerning \textit{Selection} methods, the following information is partially pertinent to all editing, but is most important to keep in @@ -1089,7 +1105,7 @@ have a position on the timeline which can be used for editing. This is input for the vertical style cut/paste drag/drop editing. More recently, in addition to the column oriented timeline drag -selection, there is now \textit{group} capabilities which have +selection, there is now \textit{group} \index{edits: grouping} capabilities which have various \textit{edit} selections. These are created in the Drag and Drop editing mode by clicking edits to toggle select/deselection. These groups are input to a different (more @@ -1101,7 +1117,7 @@ shown. They are more like text editor commands to include and so on \dots The keyboard Delete key is not hooked to these operations, and is hooked to the original editing methods. -In this \textit{group} mode, if there are In/Out markers set, they +In this \textit{group} mode, if there are In/Out \index{in/out point} markers set, they enter the selection priority queue between the column selection and the cursor only. You can see the In/Out markers selected region colored line across the timebar (slightly underneath where the time, @@ -1139,9 +1155,10 @@ If using certain operating systems (for example Ubuntu and Arch) that might fiel \section{Inter-View Mode\;/\;Identifying Source Targets}% \label{sec:inter-view_identifying_source_target} +\index{inter-view} Inter-View mode provides a mapping of a particular media file to its -timeline usages. It is somewhat similar to Two Screen Editing in +timeline \index{timeline} usages. It is somewhat similar to Two Screen Editing in that you make use of the Viewer. It makes it possible to precisely trace and indicate in the media the origin of a particular segment of the timeline and visually indicate the use and distribution that @@ -1171,8 +1188,8 @@ next. \begin{itemize} \item Do your editing as usual on the timeline until you are ready to see what is used or unused. -\item Make sure you are in any of the Preview modes in the - Resources window; you enable the mode using the pulldown to the left +\item Make sure you are in any of the Preview modes \index{preview mode} in the + Resources window \index{resources window}; you enable the mode using the pulldown to the left of the word \textit{Search}. The option looks like this \quad \includegraphics[height=\baselineskip]{fullplay.png}. \item Middle mouse click on a thumbnail in the Resources window and @@ -1226,9 +1243,11 @@ not for Proxy. \section{Edit Tools}% \label{sec:edit-tools} +\index{edit tools} \subsection{Edit Length}% \label{sub:edit-lenght} +\index{edit lenght} To set the length of an edit in the timeline, select the region which contains the edit to be modified. Now select the menu bar @@ -1247,6 +1266,7 @@ edits (in armed tracks) to the specified length. \subsection{Align Edits}% \label{sub:align_edits} +\index{align edits} When loading media, a common problem is that the various audio/video tracks do not always have exactly the same lengths. For example, you @@ -1303,6 +1323,7 @@ second section as noted in red letters. \subsection{Reverse Edits}% \label{sub:reverse_edits} +\index{reverse edits} The Reverse Edits can be useful to change the order of 2 edits in the case where you would like to put a \textit{teaser} section that @@ -1336,6 +1357,7 @@ Figure~\ref{fig:reverse02} shows the results of executing \subsection{Shuffle Edits}% \label{sub:shuffle_edits} +\index{shuffle edits} The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will randomly exchange the location of the edits. This feature can be @@ -1359,12 +1381,14 @@ permutation of the fragments resulting in 0002 now being first, then \section{Multi-Session}% \label{sec:multi_session} +\index{multi-session} You can run as many sessions of \CGG{} as your computer resources allow. However, if you are using the same \texttt{\$HOME/.bcast5}, changes you make for one may impact the others. You can always create and rename a new \texttt{.bcast5} from:\\ \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface $\rightarrow$ Index files:} and press \textit{Index files go here} \section{Multi-Viewer Window Support}% \label{sec:multi_viewer_window_support} +\index{multi-viewer window} You can create as many Viewer windows as you want in \CGG{}. These are handy for users who are adept at working with a lot of different clips simultaneously. By bringing up multiple Viewer windows, each clip can be edited in its own area, making it easy to see all of the separate pieces. After you have loaded some media files, to start another Viewer window, right click on one of the pieces of media in the Resources window. This brings up a menu of several options, one of which is \textit{view in new window}. Choose this option and that media will come up in a new Viewer window for you to work (figure~\ref{fig:multi-view01}). @@ -1377,6 +1401,7 @@ You can create as many Viewer windows as you want in \CGG{}. These are handy fo \section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing\protect\footnote{programmatic specifications from Eric Messick}}% \label{sec:shuttle_jog_wheels_editing} +\index{shuttle pro v2 and shuttlexpress} The ShuttlePROv2 and ShuttleXpress are affordable jog wheels which can be useful for working with Cin, especially if you do a lot of diff --git a/parts/Loadandsave.tex b/parts/Loadandsave.tex index 8ff2d05..62df619 100644 --- a/parts/Loadandsave.tex +++ b/parts/Loadandsave.tex @@ -1,5 +1,8 @@ \chapter{Load, Save, and the EDL}% \label{cha:load_save_and_the_EDL} +\index{load media files} +\index{save media files} +\index{EDL} There are many supported file formats that can be loaded and rendered to, that is to say, imported and exported. The format of the file affects what \CGG{} does with it. @@ -9,7 +12,7 @@ Drawing video thumbnails, picons, on the timeline can be very slow. (You can di \section{EDL --- Edit Decision List}% \label{sec:edl_edit_decision_list} -When \CGG{} saves a file, it saves the EDL, Edit Decision List, of the current project but does not save any media. +When \CGG{} saves a file, it saves the EDL, Edit Decision List, of the current project but does not save any media (Non-Destructive Editing). Edit decision lists, more commonly referred to as the EDL, are generated by \CGG{} for storing projects. The EDL contains all the project settings and locations of every edit. Instead of media, the file contains pointers to the original media files on disk. @@ -21,6 +24,7 @@ When the \texttt{.xml} file is loaded, changes to the attributes of the current \section{Supported File Formats}% \label{sec:supported_file_formats} +\index{file format} There are basically 2 kinds of supported file formats, native and ffmpeg. With the addition of ffmpeg, the majority of the supported file formats you will be using comes via this thirdparty package. There are hundreds of ffmpeg file format and codec combinations. This set of possibilities includes qt (quicktime), avi (audio-video interleave), mp4, mp3, mov, mpeg, m2ts, ts, wmv, mts, mpg, flv, mkv, webm, webp, ProRes and many more. @@ -40,6 +44,7 @@ What is an MPEG file? A very common file format is MPEG because it works with m \subsection{Working with Still Images}% \label{sub:working_with_still_images} +\index{still image} Still images are played from 1 to any number of times, over and over; they have no duration. You can load still images on video tracks just like you do for any video file. When loaded on the track, use the down arrow on the timeline so you can see the single frame. To extend the length of the image, drag its boundaries just as you would do with regular video media. You can drag the boundaries of a still image as much as you want. Images in \CGG{} have the ability to be dragged to an infinite length. Alternatively, you can define the initial length of the loaded images. The parameter is set in the Images section of the \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Recording} window. @@ -49,6 +54,7 @@ Rendering a video to a single image causes the final image file to be overwritte \subsection{Timelapse Sequence of Images, and Animation}% \label{sub:timelaps_sequence_images_animation} +\index{image sequence} The next areas covered in this section are the following: \nameref{ssub:filelist_format} such as jpeglist and \nameref{ssub:image2ffmpeg}. @@ -106,6 +112,7 @@ JPEGLIST \subsubsection{Image2ffmpeg}% \label{ssub:image2ffmpeg} +\index{image sequence} Image2file format is an alternative method to open an image sequence via ffmpeg. To do this, create 2 files in the same directory as the \texttt{DSC*.jpg} files named: \texttt{DSC0\%04d.opts}, and \texttt{DSC0\%04d.jpg}. \texttt{DSC0\%04d.opts} should contain the following lines which have to be modified to fit your exact requirements for duration, start\_number, and frame\_rate. @@ -128,6 +135,7 @@ This will access the media using ffmpeg which is slower so be patient. \subsection{Raw Image Format of Some Digital Cameras \& Probe Order}% \label{sub:raw_image_format_digital_camera_probe_order} +\index{raw image} \textit{Note: requires some expert knowledge.} Raw digital camera images are a special kind of image file that \CGG{} can load. Dcraw, as used by \CGG{}, is Dave Coffin’s open-source computer program which reads many raw-image formats typically produced by many earlier and current digital cameras. Currently over 700 of the types of cameras it recognizes are listed at: @@ -150,6 +158,7 @@ The final screenshot showing the Resources Asset Info displaying the File format \section{Loading Files}% \label{sec:loading_files} +\index{load media files} All data that you work with in \CGG{} is acquired either by loading from disk or recording from a device. This section describes loading. To bring up the Load window go to the \textit{File} pulldown and choose Load Files (figure~\ref{fig:load}). Next \textit{Select files to load}, and click ok (the green checkmark) or \textit{Apply}. When you use the Apply button, the Load window remains active for easily loading more files later. Depending on the setting of the Insertion Strategy list box, your file will be either loaded directly on the Program window or in the Resources Media window. If the file is a still image, the project's attributes are not changed and the first frame of the track becomes the image. \CGG{} usually builds an index file if one does not already exist, in order to speed up drawing. You can edit and play the file while the index is being built. @@ -179,7 +188,7 @@ All data that you work with in \CGG{} is acquired either by loading from disk or \noindent Let's now see in detail the options of loading files. \begin{description} - \item[Insertion Strategy] + \item[Insertion Strategy] \index{insertion strategy} \CGG{} lets you change what happens when you load a file. In the Load dialog window go to the Insertion strategy box and select one of the options in the drop down menu. Each of these options loads the file a different way. \begin{description} @@ -191,7 +200,7 @@ All data that you work with in \CGG{} is acquired either by loading from disk or \item[Append in new tracks:] the current project is not deleted and new tracks are created for the source, one set of tracks for each file. New resources are created in the Resources Window. Files go down tracks. \item[Concatenate to existing tracks:] the current project is not deleted and new files are concatenated to the existing armed tracks, inserted in the same set of tracks of the current project, one after another, in alphanumeric order, starting at the end of the tracks. If the current project has more tracks than the source, the source file will be inserted in the first set of armed tracks. If no tracks are armed, no files will be inserted. New resources are created in the Resources Window. \item[Paste at insertion point:] the file is pasted into the timeline at the insertion point, on the first set of armed tracks. If multiple files are selected for loading, they will be inserted on the same set of tracks, one after the other. New resources are created in the Resources Window. - \item[Create new resources only:] the timeline is unchanged and new resources are created in the Resources Window only. + \item[Create new resources only:] the timeline is unchanged and new resources are created in the Resources Window only. This is default. \item[Nest sequence:] nested assets are added to the timeline by using the Nest sequence insertion strategy. The file will be pasted into the timeline over the current selection or at the insertion point. A nested sequence is media that had already been saved as an EDL earlier. Nesting is described more fully in section \ref{sec:nesting_clips_and_assets}. \end{description} @@ -207,9 +216,9 @@ This behavior is available in most listboxes. It is an especially useful metho \item[Loading files from the command prompt] Another way to load files is to pass the filenames as arguments on the command line. This starts the program with all the arguments loaded and creates new tracks for every file. For example: \texttt{\{your\_cinelerra\_program\_path\} video1.mp4 video2.mp4} - \item[Finding Files by Extension, Sub-list, or with Search] If there are too many files in your media directory, it can be difficult to find the file you want. For this reason, the Load window allows you to filter which files are displayed in the list box by extension name. Click the dropdown box on the right side of the \textit{Specify filter} list box below the file name text box, and select the file extension of your media (for example: mp4, mov, mp3, avi, jpg, etc). The file list now shows only files with the selected extension. Perhaps even easier is to use the Search box on the top underneath the \textit{Select files to load} listbox. Here you can keyin a character or string to look for. \\ + \item[Finding Files by Extension, Sub-list, or with Search] \index{media files filter/search} If there are too many files in your media directory, it can be difficult to find the file you want. For this reason, the Load window allows you to filter which files are displayed in the list box by extension name. Click the dropdown box on the right side of the \textit{Specify filter} list box below the file name text box, and select the file extension of your media (for example: mp4, mov, mp3, avi, jpg, etc). The file list now shows only files with the selected extension. Perhaps even easier is to use the Search box on the top underneath the \textit{Select files to load} listbox. Here you can keyin a character or string to look for. \\ You can also get a sub-list of potential files to choose from. For example, you know that the file you are looking for begins with the capital letter "C". If you keyin "C" into the selection box immediately below the list of files, and then click the left mouse button, a sub-list of files beginning with the "C" shows up under the selection box. Clicking the right mouse button cancels this sub-list. - \item[Loading the backup] There is one special XML file on disk at all times. + \item[Loading the backup] \index{backup} There is one special XML file on disk at all times. After every editing operation, \CGG{} saves the current project to a backup in \texttt{\$HOME/.bcast/backup.xml}. In the event of a crash, the first thing you should do after restarting \CGG{} is select \texttt{File $\rightarrow$ Load backup} in order to load the backup. @@ -221,6 +230,7 @@ This behavior is available in most listboxes. It is an especially useful metho \subsection{Sort within Sort in File Load Dialog}% \label{sub:sort_within_sort_file_load_dialog} +\index{sort media files} When you use the \textit{File} pulldown to load files, you can do a sort within a sort when you click on the labeled header box (figure~\ref{fig:load-sort}). This is useful, for example, when you want to find the smallest file for a specific extension. In the screenshots below, the first illustrates the default \textit{File} sorted alphabetically; the second shows the \textit{Size} is now sorted; the third shows how after sorting on Size, you sort on Ext. The size sort is maintained within the extension sort so that \textit{c.d} comes before \textit{a.d} in the File header box because the size is smaller. @@ -253,6 +263,7 @@ There are several icon buttons at the top on the right hand side of the Load win \subsection{Probe Order when Loading Media}% \label{sub:probe_order_loading_media} +\index{probe order} Why is this mentioned here? So many programs have been written whose functionalities overlap and you may want to ensure that the one you wish to use is actually used. Over time which one matches first may vary. Ffmpeg is so generic that if your setting is \textit{Try ffmpeg first} it will almost certainly get used and it leaves little chance that other methods will even get a chance. Some of the codec file drivers can open a variety of media, and some of the more common methods may have more than one file driver which could be useful to decode your media file, for example Tiff. For expert specialized usage, when you want to guarantee that a certain method is used, you can change the \textit{probe order}. Use the pulldown \texttt{Settings $\rightarrow$ Preferences} to get to the \textit{Interface tab} where you will see a box in the \textit{Operation} section on the left side called \textit{Probe Order}. Click on the box and use the up/down/enabled boxes to change the order of the item you have highlighted (figure~\ref{fig:probe}). @@ -278,6 +289,7 @@ The order change will not take effect until you click on the checkmark in both t \subsection{Program Selection Support after Load}% \label{sub:program_selection_support_load} +\index{program streams selection} Some kinds of media have \textit{program} streams, like captured mpeg broadcast stream data. For example, you may be able to \textit{tune} to channel 9, but be able to see 9-1, 9-2, and 9-3 on your TV\@. If you open a capture of this kind of media, all of the channels are present in the timeline. To select and view just one program, you can use Alt-1 to select program 1, or Alt-2 to select program 2, etc.\ up to Alt-8. This will remove all of the other unrelated tracks and reset the format. This feature can be used even if there is only one program, by pressing Alt-1, and the effect will be to reset the session format to the parameters from the media probe. Note that there may be several audio \textit{programs} associated to a video stream; for example, there may be dialog in another language or some kind of descriptive dialog. Since the first associated audio is always selected, this may not produce the intended results. @@ -293,15 +305,17 @@ Below are screenshots illustrating multiple program streams (figure~\ref{fig:str \section{Saving Your Work}% \label{sec:saving_your_work} +\index{save media files} You can save your work as a project, which is what is loaded in \CGG{} now, or as an export, which is all the media it takes to reproduce your project space. \subsection{Saving Project Files}% \label{sub:saving_project_files} +\index{project save} Saving XML files is useful to save the current state of \CGG{} before quitting an editing session. \CGG{} saves projects as XML files. There are a few options you can use to save your work via the \textit{File} pulldown menu: \textit{Save}, \textit{Save as\dots}, \textit{Export project}, \textit{Save backup}. You can either overwrite an existing file or enter a new filename. \CGG{} automatically concatenates \texttt{.xml} to the filename if no \texttt{.xml} extension is given. -When \CGG{} saves a file, it saves the EDL of the current project but does not save any media, instead just pointers to the original media files. For each media file, the XML file stores either an absolute path or just the relative path. If the media is in the same directory as the XML file, a relative path is saved. If it is in a different directory, an absolute path is saved. +When \CGG{} saves a file, it saves the EDL \index{EDL} of the current project but does not save any media, instead just pointers to the original media files. For each media file, the XML file stores either an absolute path or just the relative path \index{absolute/relative path}. If the media is in the same directory as the XML file, a relative path is saved. If it is in a different directory, an absolute path is saved. You have to be careful when moving files around to avoid breaking the media linkages. You can keep the media and the XML file in the same directory forever and freely move the whole directory, since relative paths are saved. Alternatively you can save the XML file in a different directory than the media but then you can't move the media. In this case you can freely move your XML file around, since absolute paths are saved. If you saved your XML file in the same directory as your media but you would like to move location, you can change the paths from relative to absolute by going to \texttt{File $\rightarrow$ Save as}$\dots$ and entering the new location. Similarly if you saved your project outside your media directory but you would like to move your media to another location, you can change the paths from absolute to relative by going to \texttt{File $\rightarrow$ Save as}\dots and saving your XML file in the same directory as the media. @@ -313,6 +327,7 @@ Real-time effects in an XML file have to be re-created every time you play it ba \subsection{Export Project – Save or Moving Project to another Computer}% \label{sub:export_project} +\index{project export} \begin{figure}[htpb] \centering @@ -348,6 +363,8 @@ Originally, the easiest way to maintain a project for moving to another computer \subsection{Information about Backups and Perpetual Session}% \label{sub:information_backups_perpetual_session} +\index{backup} +\index{perpetual session} In an effort to minimize loss of work due to user, hardware, or software issues, \CGG{} has some automatic backup capabilities. diff --git a/parts/Windows.tex b/parts/Windows.tex index 8614b43..6499f39 100644 --- a/parts/Windows.tex +++ b/parts/Windows.tex @@ -18,7 +18,7 @@ and pointers to the media so that the media is not modified. The EDL is describe \label{sec:program_window} \index{program window} -The main window is called the \textit{Program} window and is often just referred to as the \textit{timeline}. Here is where you enter the main menu operations. +The main window is called the \textit{Program} window and is often just referred to as the \textit{timeline} \index{timeline}. Here is where you enter the main menu operations. This timeline consists of a vertical stack of tracks with time represented horizontally on the track. It is the output of the rendering operations and this is what is saved when you run the \textit{File} pulldown, Save command. Immediately to the left of the timeline is the patchbay \index{patchbay}. The patchbay contains options that affect each track.