4 Editing comprises both time and track space. The timeline consists
5 of the time certain media appear on the track going left to right
6 and a set of tracks from the top to the bottom. There are 2 methods
7 of timeline editing -- drag and drop editing, also called
8 \textit{arrow mode}, and cut and paste editing or \textit{I-beam
9 mode}. Cut and Paste is the default editing mode. An additional,
10 but not often considered editing method is called \textit{two-screen
11 editing} where the Viewer is used to view media and then the
12 desired clip from the media is transferred to the timeline.
14 The timeline is where all editing decisions are made
15 (figure~\ref{fig:timeline}). This is a stack of tracks in the
16 center of the main window. It can be scrolled up, down, left and
17 right with the scrollbars on the right and bottom. It can also be
18 scrolled up and down with a mouse wheel, or left and right while
19 holding down the Ctrl key and using the mouse wheel.
23 \includegraphics[width=1.0\linewidth]{timeline.png}
24 \caption{Timeline editing session}
28 The active region is the range of time which is affected by editing
29 commands on the timeline. The active region is determined first by
30 the presence of in/out points on the timeline.
32 If those do not exist the highlighted region is used. To reiterate,
33 \emph{highlighting} is done in \emph{cut and paste mode} by moving
34 the insertion point with the mouse in the timeline to where you want
35 to start. Then hold down the LMB\@, drag the mouse to where you want
36 the end point to be and release the LMB\@. In \emph{drag and drop
37 mode}, the method to create a highlighted selection is to hold
38 down the Ctrl key and double click with the LMB with the mouse over
41 If no highlighted region exists, the insertion point is used as the
42 start of the active region. Some commands treat all the space to
43 the right of the insertion point as active while others treat the
44 active length as 0 (zero) if no end point for the active region is
47 Most importantly, editing decisions never affect source material
48 meaning that it is non-destructive editing. So not only does your
49 original media stay completely untouched, it is much faster than if
50 you had to copy all the media affected by an edit. Editing only
51 affects pointers to source material, so if you want to have a new
52 modified media file at the end of your editing session which
53 represents the editing decisions, you need to render it. Saving and
54 loading your edit decisions is explained in the Load, Save and the
55 EDL section and rendering is explained in the section on Rendering.
57 In the following editing sections, references to common operations
58 are scattered within any of the modes where they seem pertinent.
59 However, many of the editing operations work in different modes.
62 \section{The Patchbay}%
65 On the left of the timeline is a region known as the patchbay. The
66 patchbay enables features specific to each track as described next.
70 \item[Textbox] for naming the track. The default names will usually
71 be Video \#, Audio \#, or Mixer \# if using the multi-camera/mixer
72 operations. A \# will be designated for subsequent tracks as in 1,
74 \item[Expander] which is a down arrow on the right side, is for
75 viewing more options on the patchbay and for viewing the effects
76 represented on the track. You can just click on the expander to
77 expand or collapse the patchbay and the track. If it is pointing
78 sideways, the track is collapsed. If it is pointing down, the track
79 is expanded. Existing effects appear below the media for the track.
82 Below the textbox name are several toggles referred to as
83 \textit{attributes} for different features (currently there are 5 as
84 shown in figure~\ref{fig:patchbay01}). If the toggle button is
85 shadowed by a color, the feature is enabled. If the toggle is the
86 background color of most of the window, it is disabled. Click on the
87 toggle to enable/disable the feature.
89 \begin{wrapfigure}[16]{O}{0.3\linewidth}
92 \includegraphics[width=0.79\linewidth]{patchbay01.png}
94 \label{fig:patchbay01}
97 Several mouse operations speed up the configuration of several
98 tracks at a time. Click on an attribute and drag the cursor across
99 adjacent tracks to copy the same attribute to those tracks. Hold
100 down Shift while clicking a track's attribute to enable the
101 attribute in the current track and toggle the attribute in all the
102 other tracks. Or you can:
105 \item hold down Shift while clicking an attribute,
106 \item click until all the tracks except the selected one are
108 \item then drag the cursor over the adjacent track to enable the
109 attribute in the adjacent track.
112 The 5 \textit{attributes} are described here next followed by the other available feature icons and their description.
115 \item[Play Track] determines whether the track is rendered or
116 not. If it is off, the track is not rendered. For example if you
117 turn it off in all the video tracks, the rendered media file will
118 have only audio tracks. If the track is chained to any other tracks
119 by a shared track effect, the other tracks perform all the effects
120 in this shared track, regardless of play status of the shared track
121 that in this particular case affects the media output but not fade
123 \item[Arm Track] determines whether the track is armed or not.
124 Only the armed tracks are affected by editing operations. Make sure
125 you have enough armed destination tracks when you paste or splice
126 material or some tracks in the material will get left out. In
127 addition to restricting editing operations, the armed tracks in
128 combination with the active region determine where material is
129 inserted when loading files. If the files are loaded with one of
130 the insertion strategies which do not delete the existing project,
131 the armed tracks will be used as destination tracks.
135 \item[Gang Fader] cause the fader to track the movement of
136 whatever other fader you are adjusting by dragging either the fader
137 or the curve on the track. It doesn't affect the editing made with
138 menu controls. A fader is only ganged if the arm track is also on.
139 This is often used to adjust audio levels on all the tracks
140 simultaneously. Gang also causes Nudge parameters to synchronize
141 across all the ganged tracks.
142 \item[Draw Media] determines if picons or waveforms are drawn on
143 the asset in the track. You may want to disable this if you know
144 that the media/format takes a long time to draw on the timeline. By
145 default it is set to on in order to see picons on the timeline.
146 \item[Don’t send to output] -- more commonly called
147 \textit{mute} -- causes the output to be thrown away once the track is
148 completely rendered. This happens whether or not \textit{Play track}
149 is on. For example if you mute all the video tracks, the rendered
150 media file will have a blank video track. Mute track is represented
151 on the timeline with a line that has the default color of a
152 pinkish-orange. Use the pulldown \texttt{View $\rightarrow$ Mute} to
153 have the line displayed. It is a keyframable attribute, but Mute
154 track keyframing is a toggle and it has only the two values of on or
155 off. If a track is part of a shared track effect, the output of the
156 track with the shared track effect is overlaid on the final output
157 even though it is routed back to another track (the shared track).
158 Mute track is used to keep the track with the shared track effect
159 from overlapping the output of the source track (the shared track)
160 where the shared track effect is not present.
161 \item[Track Data Height] this up/down toggle symbol to the immediate right
162 of the 5 attributes, is used to individually resize each track. This makes
163 it very easy to temporarily expand or contract the size of that track either
164 by clickin with the left mouse button or using the middle wheel up/down.
165 \item[Fader slider] fade values are represented on the timeline
166 with a pink (default color) curve that is keyframable. All tracks have a fader, but
167 the units of each fader depend on whether it is audio or video.
168 Audio fade values are in dB. They represent relative levels, where 0
169 is the unaltered original sound level, -40 is silence, -80 the
170 minimum value set by default. You can move fader and keyframes down
171 to -80 but the parameter's curve won't go below -40. For your
172 convenience you can set a different fade range with the curve zoom.
173 Audio fader’s main purpose is to \textit{fade out} sound or to lower
174 the sound level smoothly to silence, or \textit{fade in} to make
175 sounds appear gradually instead of suddenly. Video fade values are
176 the percentage of opacity of the image in normal overlay mode, the
177 percentage of the layer that is mixed into the render pipeline in
178 the other overlay modes. Click and drag the fader to fade the track
179 in and out. If it is ganged to other tracks of the same media type,
180 with the arm option enabled, the other faders should follow. Hold
181 down the Shift key and drag a fader to center it on the original
182 source value (0 for audio, 100 for video).
183 \item[Mixer] in the expanded patchbay for that track designates
184 the multi-camera mixer mode.
185 \item[Overlay mode] in the expanded patchbay is used for
186 porter-duff operations and is full explained in
187 \nameref{cha:overlays} chapter.
188 \item[Nudge] is in the expanded patchbay. The nudge value is
189 the amount the track is shifted left or right during playback. The
190 track is not displayed shifted on the timeline, but it is shifted
191 when it is played back. This is useful for synchronizing audio with
192 video, creating fake stereo, or compensating for an effect which
193 shifts time, all without altering any edits
194 (figure~\ref{fig:overlay}).
196 \begin{figure}[htpb] \centering
197 \includegraphics[width=0.65\linewidth]{overlay.png}
198 \caption{Video Overlay, audio Pan and Nudge.}
202 Enter the amount of time to shift to instantly shift the
203 track. Negative numbers make the track play later. Positive numbers
204 make the track play sooner. The nudge units are either seconds or
205 the native units for the track (frames or samples). Select the units
206 by right clicking on the nudge textbox and using the context
207 sensitive menu. Nudge settings are ganged with the Gang faders
208 toggle and the Arm track toggle. Use the mouse wheel over the nudge
209 textbox to increment and decrement the value.
210 \item[Pan] is available in the expanded patchbay for audio
211 tracks via a panning box. Position the pointer in the panning box
212 and click/drag to reposition the audio output among the speaker
213 arrangement. The loudness of each speaker is printed on the relative
214 icon during the dragging operation. The panning box uses a special
215 algorithm to try to allow audio to be focused through one speaker or
216 branched between the nearest speakers when more than 2 speakers are
220 Press the Tab key while the cursor is anywhere over a track to
221 toggle the track arming status. Press Shift-Tab while the cursor is
222 over a track to toggle the arming status of every other track.
224 \paragraph{Automatic audio mappings} Several convenience functions
225 are provided for automatically setting the panning to several common
226 standards. They are listed in the Audio menu. These functions only
227 affect armed audio tracks. They are:
230 \item[Audio~$\rightarrow$~Map 1:1] This maps every track to
231 its own channel and wraps around when all the channels are
232 allocated. It is most useful for making 2 tracks with 2 channels map
233 to stereo and for making 6 tracks with 6 channels map to a 6 channel
235 \item[Audio~$\rightarrow$~Map 5.1:2] This maps 6 tracks to 2
236 channels. The project should have 2 channels when using this
237 function. Go to \texttt{Settings $\rightarrow$ Format} to set the
238 output channels to 2. This is most useful for down-mixing 5.1 audio
239 to stereo (for more information refer to Configuration, Settings and
240 Preferences section~\ref{sub:audio_out_section}).
243 \paragraph{Standard audio mappings} Although \CGG{} lets you map any
244 audio track to any speaker, there are standard mappings you should
245 use to ensure the media can be played back elsewhere. Also, most
246 audio encoders require the audio tracks to be mapped to standard
247 speaker numbers or they will not work.
249 In the channel position widget, the channels are numbered to
250 correspond to the output tracks they are rendered to. For stereo,
251 the source of channel 1 needs to be the left track and the source of
252 channel 2 needs to be the right track. For 5.1 surround sound, the
253 sources of the 6 channels need to be in the order of center, front
254 left, front right, back left, back right, low frequency effects. If
255 the right tracks are not mapped to the right speakers, most audio
256 encoders will not encode the right information if they encode
257 anything at all. The low frequency effects track specifically can
258 not store high frequencies in most cases.
261 \section{Manipulating Tracks}%
262 \label{sec:manipulating_tracks}
264 Tracks in \CGG{} either contain audio or video. There is no special
265 designation for tracks other than the type of media they contain.
266 When you create a new project, it contains three default tracks: one
267 video track and two audio tracks. You can still add and delete
268 tracks from the menus. The Tracks menu contains a number of options
269 for dealing with multiple tracks simultaneously. Each track itself
270 has a popup menu which affects one track.
272 Operations in the \textbf{Tracks pulldown} affect only tracks which
276 \item[Move tracks up | Move tracks down] shift all the armed
277 tracks up or down the stack.
278 \item[Delete tracks] deletes the armed tracks.
279 \item[Delete last track] deletes the last track, whether it is
281 \item[Concatenate tracks] operation copies all the assets of
282 every disarmed but playable track and concatenates it by pasting
283 those assets at the end of the first set of armed tracks. They are
284 pasted one after the other, keeping the same order they have on the
285 stack. If there are two armed tracks followed by two disarmed
286 tracks, the concatenate operation copies the assets of the two
287 disarmed tracks and pastes them after the assets of the two armed
288 tracks. If there are three disarmed tracks instead, the assets of
289 two tracks are pasted after the assets of the armed tracks and the
290 assets of the third track are pasted at the end of the first armed
291 track. The destination track wraps around until all the disarmed
292 tracks are concatenated. Disarmed tracks that are not playable are
294 \item[Append to project] allows for creating new tracks after
296 \item[Add subttl] will add a track for subtitles at the top of
300 The \textbf{Audio} and \textbf{Video pulldowns} each contain an
301 option to add a track of their specific type. In the case of audio,
302 the new track is put on the bottom of the timeline and the output
303 channel of the audio track is incremented by one. In the case of
304 video, the new track is put on the top of the timeline. This way,
305 video has a natural compositing order. New video tracks are overlaid
306 on top of old tracks.
309 \section{Two Screen Editing}%
310 \label{sec:two_screen_editing}
312 This is a fast way to construct a program out of movie files (in
313 other programs is called \textit{three points editing}). The idea
314 consists of viewing a movie file in one window and viewing the
315 program in another window. Subsections of the movie file are defined
316 in the viewer window and transferred to the end of the program in
317 the program window. Two screen editing can be done simply by using
318 keyboard shortcuts. To get familiar with which keys to use, move
319 the mouse pointer over the transport panel and a tooltip appears,
320 showing what key is bound to that button.
322 To begin a two screen editing session, load your media resources by
323 using the main menu \textbf{File pulldown} and choose \textit{Load
324 files}; make sure the insertion mode is set to \textit{Create new
325 resources only}. This insertion strategy is to ensure that the
326 timeline stays unchanged while new resources are brought in. Go to
327 the Resources window and select the Media folder. The newly loaded
328 resources will appear. Double click on a resource or drag it from
329 the media side of the window over to the Viewer window.
331 Check to make sure there are enough armed tracks on the timeline to
332 put the subsections of source material that you want. Usually this
333 would be one video track and two audio tracks, but if there are not
334 enough, just create new tracks or arm more tracks.
336 Now to start your 2 screen editing, in the viewer window, define a
337 clip from the media file:
340 \item Set the starting point with the In pointer button. You
341 will see a left hand bracket on the timebar.
342 \item Move your cursor to the ending point of the clip you want
344 \item Set the ending point with the Out pointer right hand
346 \item You will see a colored bar inside the brackets for easier
348 \item Drag the In/Out point with the mouse to conveniently
349 change their position.
352 These In/Out points define a clip. You can now use this in a couple
355 \paragraph{Splice} The splice icon, or shortcut letter “\texttt{v}”,
356 inserts the selected area in the timeline after the insertion point.
357 After the splice has taken effect, the insertion point moves to the
358 end of the edit ready to be used as the next splice location. This
359 way you can continuously build up the program by splicing. If an In
360 point or an Out point exists on the timeline the clip is inserted
361 after the In point or after the Out point. If both In and Out points
362 are set on the timeline, the clip is inserted after the In point. If
363 there are edits after your chosen splice location on the timeline,
364 they will be moved to the right.
366 \paragraph{Overwrite} The overwrite icon, or shortcut letter
367 “\texttt{b}”, overwrites the region of the timeline after the
368 insertion point with the clip. If an In point or an Out point exists
369 on the timeline the clip is overwritten after the In point or after
370 the Out point. If both In and Out points are set on the timeline,
371 the clip is inserted after the In point. If a region is highlighted
372 or both In and Out points exist they limit the region of the
373 overwriting and the clip may therefore be shortened. Here is a
374 detailed explanation to take advantage of this method.
376 To overwrite exactly on a precise region of the timeline:
378 \begin{enumerate} [noitemsep]
379 \item Arm only tracks to change.
380 \item Define the destination region on the timeline with [ and
381 ], the In and Out points.
382 \item You can achieve maximum precision by setting the active
383 region in the zoom panel.
384 \item Define the clip you want to use in the viewer with [ and
385 ], the In and Out points.
386 \item Overwrite from Viewer to the timeline.
389 If the destination region is shorter than the clip defined in the
390 viewer, the portion of the clip longer than the destination region
391 won't be inserted and on the timeline the following edits won't
392 move. If the destination region is longer than the clip defined in
393 the viewer, the destination region will shrink and on the timeline
394 the following edits will move to the left.
396 \paragraph{Clip} The clip icon, or shortcut letter “\texttt{i}”,
397 generates a new clip for the resource window containing the affected
398 region but does not change the timeline. Every clip has an
399 optional/default title and description.
401 \paragraph{Copy} The copy icon, or shortcut letter “\texttt{c}”,
402 copies the selection into the copy buffer.
404 \subsection{Use Case – Working with Sequences}
405 \label{sub:use_case_working_sequences}
407 \textit{From the Viewer to the Timeline with the sequences imported
408 in a Master Project.}
410 A convenient methodology for working on a Master project along with
411 1 or more previously saved Sub projects or \textit{sequences} use
412 case is described here. A sequence is an edited assembly of audio
413 and video clips generally consisting of a series of videos that
414 relate to the same activity. This use case explains how to work this
415 way and some things you need to be aware of.
418 \item First load your Master project, which you worked on and
419 saved earlier as an \texttt{.xml} file, using an Insertion strategy
420 of \textit{Replace current project}. Generally this Master project
421 consists of media with any of the attributes of clips, autos,
422 possibly keyframes, and effects. You will see your project on the
423 main timeline and the Media files that are part of this Master
424 project will be displayed in the Resources window in the Media
426 \item Previously you may have also saved a Sub project, which
427 will now be referred to as a Sequence, as an \texttt{.xml} file that
428 may contain any of the same such things: media, clips, autos,
429 keyframes, effects. Second you will want to load the Sequence using
430 an Insertion strategy of \textit{Create new resources only}. When
431 you do the load, this Sequence will show as a file in the Resources
432 window in the Clips folder. The actual media will show in the Media
434 \item Now Drag and Drop the Sub project from the Clips folder to
436 \item Set In and Out Pointers in the Viewer to the region of
437 interest in the Sub project and in the Timeline of the Main window
438 of your Master project, move the cursor position to where you would
439 like to insert this In/Out section.
440 \item Click on the \textit{Splice (v)} button in the Viewer to
441 insert this section into the Master project timeline. All of the
442 attributes of the selected Sub project section will now be inserted
443 in the main timeline to include the autos, keyframes, effects, and
445 \item Alternatively, if you click on the \textit{Overwrite (b)}
446 button in the Viewer, you can see the Sub project In/Out section in
447 the timeline, but without its autos, effects, keyframes, etc. If in
448 the timeline there were some autos, effects, and keyframes in that
449 Master project, they will be in effect for the new section.
452 You can see the advantages of using Splice versus Overwrite to
453 either insert (splice) with all of the attributes of a specific
454 section of your Sequence or to overwrite without the attributes to
455 allow for the smooth operation on the timeline by retaining the
456 timeline’s attributes at that point.
458 NOTE: for correct operation of this use case, you should have the
459 same (or more) number of tracks in the Master project as you do in
460 the Sequence. To avoid having to know how many tracks you need, you
461 can use the Nest feature as described in the Nesting section
465 \section{Cut and Paste Editing}%
466 \label{sec:cut_paste_editing}
468 This is the more traditional method of editing in \CGG{} and
469 therefore is the default. To enable the cut and paste editing mode
470 on the timeline, select the I-beam toggle on the control bar at the
471 top of the main program window. You can copy edits in the same
472 track, copy from different tracks in the same instance, start a
473 second instance of \CGG{} and copy from one instance to the other or
474 load a media file into the Viewer and copy from there.
476 To start editing, load some files onto the timeline. Select a
477 region of the timeline by click dragging on it and select the cut
478 button to cut it. Move the insertion point to another point in the
479 timeline and select the paste button. Assuming no In/Out points are
480 defined on the timeline this performs a cut and paste operation.
482 Most editing operations are listed in the Edit pulldown. Some of
483 them have a button on the program control toolbar as well as a
484 keyboard shortcut. The keyboard shortcut is in parenthesis here.
487 \item [Split | Cut] (x) Delete the selected area and put it in
488 the cut buffer for future pasting.
489 \item[Copy] (c) Copy the selected area and put it in the cut
490 buffer for future pasting.
491 \item[Paste] (v) Paste the material that is in the cut buffer.
492 \item[Clear] (Del) Clear the selected area. If the insertion
493 point is over an edit boundary and the edits on each side of the
494 edit boundary are the same resource, the edits are combined into one
495 edit comprised by the resource. The start of this one edit is the
496 start of the first edit and the end of this one edit is the end of
497 the second edit. This either results in the edit expanding or
499 \item[Paste silence] (Shift+Space) Paste blank audio/video for
500 the length of the selected area. Following edits will be pushed to
502 \item[Mute Region] (m) Overwrite blank audio/video on the
503 selected area. Following edits don't move.
504 \item[Trim Selection] Delete everything but the selected region.
505 \item[Select All] (a) Select the whole timeline.
508 In Cut and Paste editing mode you can \textit{edit labels} as
509 well. By enabling Edit labels in the \textbf{Settings pulldown}, or
510 by disabling the Lock labels from moving button on the Program
511 Control Tool Bar, labels will be cut, copied or pasted along with
512 the selected regions of the armed tracks.
514 Using labels and In/Out points are useful in editing audio. You can
515 set In/Out points for the source region of the source waveform and
516 set labels for the destination region of the destination
517 waveform. Perform a cut, clear the In/Out points, select the region
518 between the labels, and perform a paste.
520 \paragraph{In / Out Points} The In and Out bracket placement is
521 explained here to illustrate their usage. Because of the shape of
522 the markers [ and ] you may assume that they are inclusive -- that
523 everything placed in between would be included in the clip, such as
524 in the case of being transferred to the timeline from the Viewer.
525 In reality, one of the two markers will not include the frame that
526 was visible at the time the marker was affixed. Depending on whether
527 the \textit{Always show next frame} option is used or not, it is the
528 In or Out marker that will not be inclusive.
530 To obtain a clip on the timeline exactly as you saw in the Viewer,
531 you must necessarily move the In mark back from the beginning before
532 the first desired frame or move the Out mark forward after the last
533 desired frame, depending on the \textit{Always show next frame}
536 Some of the confusion can be attributed to the fact that the Viewer
537 shows frames, while the markers determine spaces, i.e.\ times, that
538 are not visible between frames. You have to think of each frame as
539 being delimited by two spaces -- one preceding and one following.
540 The In mark is always placed before the displayed frame and the Out
541 mark is always placed after the displayed frame, while taking into
542 account in its calculations whether the \textit{Always show next
543 frame }option is used or not. If you just remember that the
544 reference of the markers is in the middle of the icon, you will
547 \paragraph{Overwrite} To perform overwriting within the timeline
548 paste on a selected region (highlighted or between In/Out
549 points). The selected region will be overwritten. If the clip pasted
550 from the clipboard is shorter than the selected region, the selected
551 region will be shrunk. Following edits will move. If the clip pasted
552 from the clipboard is longer than the selected region, the selected
553 region will be overwritten with the first part of the clip and the
554 remaining part of the clip will be written after the
555 overwriting. Following edits will move.
557 \paragraph{Tracks $\rightarrow$ Concatenate tracks} This operation
558 copies all the assets of every disarmed but playable track and
559 concatenates it by pasting those assets at the end of the first set
560 of armed tracks. They are pasted one after the other, keeping the
561 same order they have on the stack.
563 \paragraph{Split -- blade cut and hard edges:} You can cut the
564 tracks into 2 pieces on the timeline by putting the hairline cursor
565 on the place you want to do a cut and then using the character “x”
566 or the scissors tool (figure~\ref{fig:cut}).
568 \begin{wrapfigure}[16]{O}{0.3\linewidth}
571 \includegraphics[width=0.9\linewidth]{cut.png}
576 A \textit{cut} uses a non-empty selection region, where the
577 \textit{blade cut} or \textit{split} has no duration in the
578 selection, just a hairline. As usual the use of cut when a
579 selection is set, deletes/cuts the highlighted area. In the case
580 where an In point or an Out point exists on the timeline, the clip
581 is split at the location of the In/Out point since it has priority
582 over the cursor location. A blade cut simply splits the edit into
583 two edits. In order to have the video and audio aligned, it works
584 best to have \texttt{Settings $\rightarrow$ Align cursor on
585 frames}. When a blade cut occurs, the edges are created as
586 \textit{hard edges}. These are edges that cannot be deleted by
589 \CGG{} has built-in optimization on the timeline. So that whenever
590 two parts on the timeline are sequential frames, it automatically
591 optimizes by making them into 1 item. So if you are cutting,
592 dragging, editing, or whatever and somehow frame \# 40 ends up
593 right next to frame \# 41, it optimizes them together. This
594 optimization affects many areas throughout the program code. When
595 you do a blade cut/split, all armed tracks will be included in the
596 cut and green-colored triangles will show on the bottom of the
597 track on both the left and the right side of the cut. This is a
598 \textit{hard edge} marker toggle, as opposed to the soft edge
599 designation for an ordinary edit. The \textit{hard edge} marker
600 can be toggled off/on if so desired. In order to not interfere
601 with the usual drag handles, only a few pixels are used for the
602 toggle so you have to be sure you have the cursor right over the
603 hard edge triangle -- when in position, it will be obvious because
604 you can see an arrow pointing to the corner. Use Shift-left mouse
605 button 1 to toggle off/on the hard edge marker on all tracks
609 \section{Drag and Drop Editing}%
610 \label{sec:drag_drop_editing}
612 To enable the drag and drop editing mode on the timeline, select the
613 arrow toggle on the control bar at the top of the main program
614 window. Drag and drop editing is a quick and simple way of working
615 in \CGG{}, using mostly only the mouse. The basic idea is to create
616 a bunch of clips, then drag them in order into the timeline, thus
617 building prototype media that you can watch in the compositor. If
618 after watching it, you wish to re-arrange your clips, set effects,
619 add transitions or insert/delete material, just drag and drop them
622 To simply get started, perform the following operations which are
623 useful for working in a drag and drop editing session. First load
624 your media by using the main menu File pulldown and choose
625 \textit{Load files}; make sure the insertion mode is set to
626 \textit{Create new resources only}. This loads the files into the
630 \item Create some video and audio tracks on the timeline using
631 the Video and Audio pulldowns.
632 \item Open the Media folder in the Resources window. Make sure
633 the necessary tracks are armed and drag a media file from the
634 Resources window to the timeline. If the media has video, drag it
635 onto a video track or if just audio, drag it onto an audio
636 track. For a still image, drag it onto a video track.
639 You can also drag multiple files from the Resources window. When
640 dropped in the timeline they are concatenated. If you have
641 \textit{Display Icons} selected in the Resources window, drawing a
642 box around the files selects contiguous files. If you have
643 \textit{Display Text} selected, Ctrl-clicking on media files selects
644 additional files one at a time; Shift-clicking on media files
645 extends the number of highlighted selections. In addition to
646 dragging media files, if you create clips and open the clip folder
647 you can drag clips onto the timeline.
649 \CGG{} fills out the audio and video tracks below the dragging
650 cursor with data from the file. This affects what tracks you should
651 create initially and which track to drag the media onto. To drag and
652 drop a file on the Program window, you need to create on the
653 timeline the same set of tracks as your media file.
655 When you drag your chosen media from the media folder to the
656 timeline, your mouse pointer will drag a thumbnail and, once over
657 the timeline, the outline of a white rectangle, as big as the edit
658 you are going to have appears. Drag the media to the desired
659 position of an empty track of the timeline and drop it. If there
660 are other edits on that track, when you move the white outline over
661 an edit, you will see a bow tie symbol $\bowtie$ appearing at edit
662 boundaries. If you drop the media there, the new edit will start
663 from the edit boundary indicated by the center of the bow tie
666 Since the mouse pointer is in the middle of the white outline, when
667 this rectangle is bigger than the visible part of the timeline, it
668 is quite cumbersome to precisely insert it for long
669 media. Lengthening the duration visible in the timeline by changing
670 the sample zoom in the zoom panel will reduce the size of the white
671 rectangle, making a precise insertion possible.
673 When you drag and drop edits within the timeline:
676 \item If you drop an edit when bow ties $\bowtie$ are shown,
677 that edit will be cut and pasted starting at the edit boundary
678 indicated by the center of the bow tie $\bowtie$. Following edits
679 on the same track will move.
680 \item If you drop an edit when there are no bow ties $\bowtie$
681 shown, the original edit will be muted and pasted where you dropped
682 it. No edits will move. A silence will appear in place of the
684 \item If you have more armed tracks on the timeline than in the
685 asset you are dragging, only the following edits of the tracks
686 affected by the drag and drop operation will move to the right. This
687 will cause loss of synchronization. To restore it, disarm the tracks
688 affected by the drag and drop operation, highlight the just dropped
689 edit and paste silence over it using the Edit pulldown,
690 \textit{Paste Silence}.
693 Labels sometimes work differently in Drag and Drop editing mode in
694 that you can't drag and drop them. They might be locked to the
695 timebar, even with the Edit labels option enabled. Although with
696 the Edit labels option enabled, if a selected area of a resource is
697 spliced from the Viewer to the timeline in a position before labels,
698 these labels will be pushed to the right for the length of the
701 In/Out points can be used to perform Cut and Paste operations in
702 Drag and Drop mode as well as in Cut and Paste mode. Use the Edit
703 pulldown to view the list and their keyboard shortcuts.
706 \subsection{Copy/Paste Behavior}%
707 \label{sub:copy_paste_behavior}
709 There are many options for moving, copying, pasting, inserting, and
710 deleting selected \textit{edits}, more commonly referred to by the
711 user as \textit{clips}, when in the Drag and Drop (arrow) editing
712 mode. This makes it easier to avoid constantly having to disarm/arm
713 tracks. To create a selection move the cursor over the clip and
714 just click the left mouse button; remove a selection by left mouse
715 button click again. This will mark your selection with a colored
716 border which contains some red. The easiest way to initially use
717 the various modes is to click on the middle mouse button when your
718 cursor is over a track and a popup displays the modes and shortcuts.
719 However, for those users who prefer the addition of the Ctrl key to
720 add multiple selections as is commonly done for listbox operations,
721 there is a preference in \texttt{Settings $\rightarrow$ Preferences
722 $\rightarrow$ Appearance} tab, called \textit{Clears before
723 toggle} that changes the behavior.
725 When an edit is marked as selected, it can be cut/copied into the
726 paste clip buffer. The constructed clip buffer will begin with the
727 leftmost edit and end with the rightmost edit. The edits may
728 contain media, or be silence, or skipped if they are not selected.
729 The clip tracks are copied from the first track with an active edit
730 selection to the last track with an active edit selection. A clip
731 track can be completely empty if no selection was made on the track.
732 The word \textit{packed} means that the silent edits and empty
733 tracks are not included in the copy to the clip buffer, and all of
734 the elements are packed together, no gaps. Packing a clip buffer
735 makes it easier to move \textit{blobs} of data around. Once the
736 edits have moved and have a relative relationship applied, an
737 unpacked clip buffer allows the media to be copied with the relative
738 positions of the edits preserved.
740 The \textit{edits} popup is activated on a track and a red and
741 yellow colored reticle appears to temporarily mark the location when
742 you click on the middle mouse button. An expanded explanation is
745 \renewcommand{\arraystretch}{1.15}
747 \begin{longtable}{p{0.3\textwidth-2\tabcolsep} p{0.7\textwidth-2\tabcolsep}}
749 \textbf{Key} & \textbf{Operations}\\
751 Drag & Hold down the Ctrl key while dragging to move a single
753 Left mouse button & Selects and highlights the edit under the
754 cursor with a red selection box. Left mouse
755 button also will toggle that clip selection
762 \begin{longtable}{p{0.2\textwidth-2\tabcolsep}
763 p{0.2\textwidth-2\tabcolsep} p{0.6\textwidth-2\tabcolsep}
766 \textbf{Popup Label} & \textbf{Key} & \textbf{Operation}\\ \midrule
768 Clear Select & Ctrl-Shift-A & Deselect all selected edits --
769 ones that have the red lines
772 Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
774 Cut & Ctrl-x & Delete the selected edits after copying them into
775 the buffer. The edits\\
777 Mute & Ctrl-m & Delete the selected edits after copying them
778 into the buffer. The space previously occupied
779 by the edits will be replaced with silence.\\
781 Copy Pack & Ctrl-Shift-C & Copy the selected edits into the
782 buffer and remove any silent
785 Cut Pack & Ctrl-z & Delete the selected edits after copying them
786 into the buffer. The edits after the
787 election will move left to occupy the
788 vacated space. The edits in the copy buffer
789 will be packed together within each track.\\
791 Mute Pack & Ctrl-Shift-M & Delete the selected edits after
792 copying them into the buffer. The
793 deleted edits will be replaced with
794 silence. The edits in the copy
795 buffer will be packed together within
798 Paste & Ctrl-v & Paste contents of the copy buffer at the
799 insertion point marked by the red \& yellow
800 reticle of the popup menu or the position of
801 the hairline cursor. This is a splice
802 operation which creates space for the edits.\\
804 Overwrite & Ctrl-b & Paste contents of the copy buffer at the
805 insertion point marked by the red \& yellow
806 reticle of the popup menu or the position
807 of the hairline cursor. This destroys the
808 current edits in that space.\\
810 Overwrite & Ctrl-Shift-P & Pastes plugins that are in the Copy
811 buffer to current location but no
816 \renewcommand{\arraystretch}{1}
818 The copy/paste behavior respects the armed/disarmed tracks
819 state. A paste of audio on a video track will fail and vice versa.
820 In addition if you attempt to paste edits consisting of more tracks
821 than what is available at that location it will not allowed.
823 Attaching transitions to multiple selected edits via the Video or
824 Audio pulldowns is also available. The new transitions are attached
825 at the start of the edits, and will replace any existing attached
826 transitions. As a side note, when in drag and drop mode the end
827 transition does not drag.
829 \subsection{Grouping edits}%
830 \label{sub:grouping_edits}
832 \CGG{} recognizes as a group, the edits of different armed tracks
833 that have aligned beginnings, regardless of whether they have the
834 same source or aligned ends. You can drag these edits around on the
835 timeline to construct your movie by rearranging scenes. If more than
836 one track is armed, \CGG{} will drag any edits which start on the
837 same positions the edit the mouse pointer is currently over. Another
838 method of Grouping of edits is performed as follows:
841 \item Select each of the clips you would like to be part of a
843 \item Use the desired Copy mode as described above to get into
845 \item Go to the Resources window Clip folder and right click on
847 \item Choose the Paste Clip option. Now you have a named clip
848 of the current selection.
849 \end{enumerate} A more traditional Grouping of edits which make a
850 Permanent Group works as described next. A temporary group is just
851 a set of selected clips and works the same as a single selection.
853 \item Create a group:
854 \begin{itemize}[noitemsep]
855 \item Select multiple clips/edits with left mouse button
857 \item Hold down shift and left mouse click over any of the
858 selected clips to create a group;
859 \item A Group Id and color are assigned to this group making
860 it easy to distinguish.
863 \begin{itemize}[noitemsep]
864 \item Move your cursor over any of the clips within the
865 group; click to select the clip group.
866 \item Click and Hold down the left mouse button to drag.
868 \item Dissolve a permanent group:\\
869 To ungroup select any of the group edits/clips and shift left
870 mouse click to ungroup (same as creating). The edits will be
871 ungrouped, and the current selection will be replaced with the
875 The color of the created groups are not muted and are assigned by
876 Group Id going sequentially through the number of 1 to 64.
877 Therefore if you dissolve a group and make it again, it will have a
878 different Group Id and a different color.
880 \subsection{Dragging Groups}%
881 \label{sub:dragging_groups}
883 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
884 is really easy. Just select the clip or clips you want to drag
885 using the left mouse button, then put your cursor over one of them
886 and drag while holding down the left mouse button. Keyframes,
887 autos, labels, and plugins will also be dragged. Dragging honors
888 armed/disarmed tracks. When you drag there will be some possible
889 colors as defined; depends on how the edges of edits and groups
893 \item Green color means OK to drop in that position as it will
895 \item Yellow color means you can drop here and when you do it
896 will be exactly next to that existing edit.
897 \item Blue color means it overlaps something and this includes
899 \item Red color means can not drop here because it will not fit
901 \item Orange color means the track types do not match so it can
905 Remember: With the \texttt{Shift} key on, it will always
906 \textit{overwrite}. Without the \texttt{Shift} key enabled, it
907 always \textit{inserts} only.
909 The original (older) method of dragging while in Arrow mode, lets
910 you just left mouse click on a single clip or aligned clips and just
911 drag. This older method of dragging does not move any of its
912 effects with it at this time. There will only be a white outline
913 while dragging and it will let you drop only if it fits. You can
914 also perform some dragging and grouping while in the \textit{Cut and
915 Paste editing mode} (ibeam mode) by taking advantage of the Ctrl
916 button in conjunction with the left mouse button.
919 \item Double click selects a column so you can move, for
920 example, the audio and video together by holding down the Ctrl key
922 \item A single clip can be dragged without any of its aligned
923 clips, by holding down and Ctrl key and drag.
926 This last section on Dragging, outlines the difference
927 between \textit{column selection} and \textit{marking selection}.
928 Column selection is available to make it easy to still be able to do
929 some dragging in I-beam mode whereas Marking selection makes it easy
930 to drag clips together that are not columnated.
933 \subsection{Selection Methods}%
934 \label{sub:selection_method}
936 Concerning \textit{Selection} methods, the following information is
937 partially pertinent to all editing, but is most important to keep in
938 mind when using Drag and Drop Editing.
940 Originally, there was the column oriented timeline drag selection
941 which can be seen in 1 of 3 ways:
944 \item a highlighted vertical column
945 \item the colored line region between the [~in and out~] marker
947 \item a single flashing line
950 The selection priority works like this. When the highlighted
951 vertical drag column is in use (1), it has the highest precedence
952 and is used as the selection. When the column is a single line (2),
953 then the fall back selection is the [~in/out~] marker region, if
954 they are set. When they are not set, and the cursor is flashing,
955 then the selection start=end and the selection is empty, but it does
956 have a position on the timeline which can be used for editing. This
957 is input for the vertical style cut/paste drag/drop editing.
959 More recently, in addition to the column oriented timeline drag
960 selection, there is now \textit{group} capabilities which have
961 various \textit{edit} selections. These are created in the Drag and
962 Drop editing mode by clicking edits to toggle
963 select/deselection. These groups are input to a different (more
964 modern) set of cut, paste and overwrite drag/drop editing. You
965 can see this set of operations when you click on an edit with the
966 middle mouse button, and are also available using the shortcuts
967 shown. They are more like text editor commands to include
968 \texttt{ctrl+x=cut}, \texttt{ctrl+c=copy}, \texttt{ctrl+v=paste},
969 and so on \dots The keyboard Delete key is not hooked to these
970 operations, and is hooked to the original editing methods.
972 In this \textit{group} mode, if there are In/Out markers set, they
973 enter the selection priority queue between the column selection and
974 the cursor only. You can see the In/Out markers selected region
975 colored line across the timebar (slightly underneath where the time,
976 samples or frames show ) on the main timeline extending between the
977 [ and ]. This means that when the highlighted cursor selection is
978 empty, the In/Out selection will be used.
981 \section{Inter-View Mode\;/\;Identifying Source Targets Editing}%
982 \label{sec:inter-view_identifying_source_target_editing}
984 Inter-View mode provides a mapping of a particular media file to its
985 timeline usages. It is somewhat similar to Two Screen Editing in
986 that you make use of the Viewer. It makes it possible to precisely
987 trace and indicate in the media the origin of a particular segment
988 of the timeline and visually indicate the use and distribution that
989 the timeline makes of a particular media. A good example usage
990 would be in the case of a 30 minute interview where you use a few
991 short pieces to make a shorter 10 minute section, find out that you
992 have made the timeline 12 minutes instead and need to cut out
993 another 2 minutes. This feature provides the following capabilities:
996 \item You can see on the timeline all of the places where a
997 particular piece of media was used.
998 \item You can see which parts of that particular media are
999 already used so you do not reuse that same piece again.
1000 \end{itemize} Figure~\ref{fig:inter-view01} shows an example of the
1001 Inter-View mode mapping preview mini-window.
1003 \includegraphics[width=0.8\linewidth]{inter-view01.png}
1004 \caption{Inter-View mode: white bar$\rightarrow$source; red
1005 bar$\rightarrow$timeline}
1006 \label{fig:inter-view01}
1009 Explanation of how to use Inter-View mode will be described here
1013 \item Do your editing as usual on the timeline until you are
1014 ready to see what is used or unused.
1015 \item Make sure you are in any of the Preview modes in the
1016 Resources window; you enable the mode using the pulldown to the left
1017 of the word Search. The option looks like this \quad
1018 \includegraphics[height=\baselineskip]{fullplay.png}.
1019 \item Middle mouse click on a thumbnail in the Resources window and
1020 a popup occurs of that media with a white colored bar at the top
1021 and a red colored bar at the bottom with black sections.
1024 The red/white bars represent the presence and the black sections
1025 represent the absence of where that media is used on the timeline.
1026 To get to a bigger representation, use the “\texttt{f}” key for a
1027 full screen. Now you can operate the following buttons to display
1028 what you need to see and to move around. It is important to note
1029 that \textit{locked tracks} will not be represented. This makes it
1030 easy to ignore the audio track segments if you want so there is less
1031 confusion in the display.
1034 \item Clicking on the top white or black spaces in the top time
1035 bar loads the Viewer with the source media, and sets the In/Out [
1036 and ] pointers to be the selection of that edit.
1037 \item Click on a location in the bottom red or black bar, and
1038 the main cursor and composer will re-position to the corresponding
1039 location on the session timeline.
1040 \item Dragging on the red/black bar will correspondingly update
1041 the position in the timeline and composer.
1042 \item Ctrl-click on the bottom bar and the timeline and composer
1043 are re-positioned to the beginning of that edit.
1044 \item Shift-click on the bottom bar and a \textit{selection} is
1045 made of that section in the timeline and the composer is updated
1046 with that start position.
1050 Figure~\ref{fig:inter-view02} displays Inter-View window and its
1051 relation to the timeline, viewer, and compositor.
1054 \includegraphics[width=1.0\linewidth]{inter-view02.png}
1055 \caption{Inter-View mode and the timeline}
1056 \label{fig:inter-view02}
1059 The Inter-View mode works for Media, Proxy, and User Bins. When the
1060 preview window has only black bars on the top and bottom, it means
1061 that this particular media is not loaded in the timeline. So when
1062 you are in Proxy, meaning that the Proxy files are loaded on the
1063 timeline, there will be only black bars for the corresponding Media
1064 file UNLESS there is an audio track associated with the video.
1065 Because audio tracks are not proxied, they will show for Media but
1069 \section{Some Specific Editing Tools}%
1070 \label{sec:specific_editing_tools}
1072 This section covers some more detailed editing tools and scenarios
1073 for edit management.
1075 \subsection{Editing EDLs within a Project}%
1076 \label{sub:edit-edls}
1078 To edit EDL that is included with your project as Clips, Nested
1079 Clips, Referenced File, or Xml you can use the option \textit{Open
1080 EDL} in the Resources window for the highlighted media. Then with
1081 a simple button click you can return to your main timeline project.
1082 For example, if you have a nested clip that originally had several
1083 plugins added to it before it was nested, you can edit those plugin
1084 parameter values. Previously to make any changes to these types of
1085 EDL you had to remake the whole clip from scratch.
1087 Here is how this works. In the Clip or Media folder or on a timeline
1088 EDL edit, the option \textit{Open EDL} for the highlighted clip or
1089 nested clip is available so that when you choose this option, that
1090 EDL will be brought up on the timeline superseding the current EDL
1091 that exists on the timeline. Now, once the clip is open on the
1092 timeline, you can edit it however you want. The previous timeline
1093 EDL is \textit{pushed onto a stack} so it can be recalled by
1094 \textit{popping the stack} with a click of the left mouse button in
1095 the upper right hand corner of the timeline to the left of the
1096 \textit{shell cmds} icon. Initially this button displays a 0 to
1097 indicate your initial timeline/project. Then this button will read
1098 1 if you choose \textit{Open EDL} and then back to 0 and your
1099 original timeline with the left mouse click. You can go several
1100 levels deep so instead of 1, it could be 2, 3, $\dots$ but this
1101 requires some thought to avoid potential confusion.
1103 An example of a typical set of steps to follow is:
1105 \item Load your media using insertion strategy of \textit{Replace
1106 current project}. There will be \# 0 in the upper right hand corner
1107 of the main menu with the tooltip of \textit{Close EDL}.
1108 \item Highlight a selection on the timeline and press the
1109 \textit{To clip} icon and click the green checkmark OK.
1110 \item In the Resources window, open the Clip folder and you will
1111 see that Clip 1 is present.
1112 \item Highlight Clip1 and right mouse the item to bring up
1113 available options and select \textit{Open EDL}.
1114 \item Now you will see the timeline change from the original
1115 media to just the clip content and the \# in the upper right hand
1116 corner will change from 0 to 1.
1117 \item Add a visible effect, like AgingTV to the timeline.
1118 \item Click on the \# 1 in the main menu bar to see he timeline
1119 restored to the original media.
1120 \item Drag the clip from the Resources Clip folder to the
1121 timeline and you will see the AgingTV effect.
1124 You can follow the same steps as above by first using the option
1125 \textit{Nest to media} in the Clip folder which nests the clip and
1126 moves it out of the Clip folder to the Media folder. Then use
1127 \textit{Open EDL} on the Nested EDL in the media folder. When you
1128 Open EDL and edit the changes, those changes will take affect on any
1129 and all occurrences of that nested clip on the current and/or
1130 original timeline. The option to unnest that clip and put that back
1131 into the Clip folder is the option \textit{EDL to clip}. The nested
1132 clip is still in the Media folder. It will now have a name of the
1133 next available Clip \# but the comment contains the previous name so
1134 you can tell where it came from.
1136 Instead of using the \# number on the main menu to close the current
1137 EDL, both the Media and Clip folders have \textit{Close EDL} options
1138 with the left mouse button. Clicking on the \# number is quick and
1139 easy but for infrequent usage it is not obvious, whereas if you use
1140 \textit{Open EDL} you see \textit{Close EDL} right below that and so
1141 it is very obvious. In addition in the case of where you have
1142 opened a EDL, and you no longer see that clip in the folder, the
1143 right mouse button where no media is highlighted will also display
1144 the Close EDL option.
1149 \includegraphics[width=1\linewidth]{editing-img001.png}
1150 \caption{Once you have an Open EDL, the easiest way to close it.}
1151 \label{fig:open_edl}
1155 In addition to the \textit{Open EDL} option in the Resources menu,
1156 this option is available on the timeline when the cursor is on an
1157 EDL-type edit. To get to this option, click on the middle mouse
1158 button on that edit. If it is not EDL, the option will not be
1164 Media folder of Resources window & Open EDL for Nested or Referenced EDLs\\
1165 Clip folder of Resources window & Open EDL for clips\\
1166 Track timeline & Open EDL for Nested or Referenced EDLs\\
1171 An aside -- when nesting and unnesting clips to take advantage of
1172 this feature, names of the media can lead to some confusion. For
1173 example, if you nest a clip, the new name in the Media folder is the
1174 word \textit{Nested} followed by an underscore with the date and
1175 timestamp, another underscore, and then the clip name. Then when
1176 you unnest this Media folder clip via the \textit{EDL to clip}
1177 option, the name will be changed in the Clip folder to the next
1178 available Clip \#. However the comment field will reflect the
1179 nested clip name from which it was derived. To avoid confusion you
1180 can easily change the name for these clips in either the Clip or
1181 Media folder because they are not real files at this point. To do
1182 so, highlight the clip name in Resources, click on Info and type in
1185 For additional safety, the \textit{Open EDL} feature includes
1186 additional backup capabilities. Automatically \CGG{} saves a backup
1187 when certain changes are made or you can always use the shortcut `b'
1188 to do one yourself, although keep in mind it will be overwritten
1189 whenever \CGG{} wants to do another backup. Now there is a shortcut
1190 for the backup shortcut `b' so you can keep your hand on the mouse
1191 instead of the keyboard. Just click on the \# in the upper right
1192 hand corner of the main window. If \# is at 0, it backs up to
1193 backup.xml, if at 1, it backs up to \texttt{backup1.xml} and so on
1194 \dots up to \texttt{backup9.xml}.
1196 When \textit{Open EDL} is invoked, the current EDL and current undo
1197 stack are both \textit{pushed}, and the active session EDL is
1198 replaced with the target clip/nested edl. A new undo stack is
1199 created, and the active \texttt{backup.xml} file name is decorated
1200 with the stack level. So, \texttt{backup.xml} is
1201 \texttt{backup1.xml} when your edits are at stack level 1,
1202 \texttt{back\-up2\-.xml} at stack level 2, and so on. This means
1203 that if you \textit{load backup} at stack level 1, the session will
1204 reload from history at stack level 1, not the main session.
1207 \subsection{Editing with File by Reference}%
1208 \label{sub:file-reference}
1210 It is sometimes handy to have EDL assets not as a copy, but as a
1211 reference that is automatically updated into your project. Suppose
1212 you have several short videos that at the end have the same credits
1213 which include the current year such as 2019. But now it is 2020 and
1214 all of the videos would have to be individually updated with the new
1215 date. By including a \textit{Referenced File} as the EDL file type
1216 when you create each of the videos, you can just change the one
1217 credits xml file and the next time you load one of the videos and
1218 render it, it will now automatically have the updated information.
1220 The purpose of this feature is to be able to rework a smaller
1221 section of a global master project at any time, which can be done by
1222 an "assistant" and then this work is automatically reflected in the
1223 global master project. It is for \textbf{advanced usage only}.
1225 Up until the addition of this feature, \CGG{} has always used copies
1226 and no direct reference in order to ensure original data is never
1227 compromised. In the usual case, subprojects as xmls are copied into
1228 a master project where subprojects had been inserted, so that if you
1229 change something in a subproject or delete a subproject, it would
1230 have no affect on the master project. But now with \textit{File by
1231 Reference}, any project that uses a referenced file will
1232 automatically include any changes made to the referenced file when
1233 loaded. At the same time, if you use the EDL file NOT as a
1234 referenced file in a project since it is then just a copy, it will
1235 not be updated. Because of this difference, the user needs to be
1236 very aware of what using this feature could do.
1238 \textbf{Use with extreme caution}. However, there are several
1239 built-in safety features and a warning that should never be turned
1240 off even though it gives you the option to do so. These include:
1243 \item When the \texttt{File, Load files} menu is opened, the EDL
1244 strategy will always be set to just EDL as default. Although, if
1245 you use Apply and leave the Load Menu open, it will stay changed to
1246 what you selected until it is re-opened.
1247 \item When an EDL is opened as \textit{Reference}, the color of
1248 that file name in the Resources Media folder is different in order
1249 to serve as a reminder that it is special.
1250 \item A warning message is displayed in a popup window when you
1251 load a \textit{File by Reference} that reads “Other projects can
1252 change this project and this can become a broken link”. Although
1253 you can check the warning box to never see this warning again, you
1254 would be well advised to not do so. It is a great reminder of
1255 consequences and you will not want to be cavalier about the warning.
1256 Instead just use the X to dismiss the warning.
1259 Here is a step by step example of how you can use \textit{File by
1262 \item Start up \CGG{} and use the Title plugin to create a new
1263 credits file. Save as credits.xml.
1264 \item Start a New project and then load an existing master
1265 project to the timeline.
1266 \item Load the credits file you created in step 1 with a Load
1267 Strategy of Create Resources Only and with EDL Strategy as
1269 \item Note the color change in the credits.xml filename and the
1270 reference comment in the Resources Media folder.
1271 \item Drag the credits file to an empty spot on the timeline.
1272 Save this new master project and quit.
1273 \item Start \CGG{} up again. Load credits.xml and make a change
1274 to the Title and save again.
1275 \item Exit \CGG{}; restart \CGG{}; load your master project and
1276 now you will automatically see on the timeline the changes you just
1277 made in the previous step.
1281 \subsection{Edit Length}%
1282 \label{sub:edit-lenght}
1284 To set the length of an edit in the timeline, select the region
1285 which contains the edit to be modified. Now select the menu bar
1286 \texttt{Edit $\rightarrow$ Edit Length}\dots menu item to activate
1287 the \textit{edit length} popup (figure~\ref{fig:lenght}). The
1288 duration of the edit can be reset by entering the desired edit
1289 length in seconds. Pressing OK will change all of the selected
1290 edits (in armed tracks) to the specified length.
1292 \begin{figure}[htpb]
1294 \includegraphics[width=0.5\linewidth]{lenght.png}
1295 \caption{Edit Length window}
1299 \subsection{Align Edits}%
1300 \label{sub:align_edits}
1302 When loading media, a common problem is that the various audio/video
1303 tracks do not always have exactly the same lengths. For example, you
1304 might load audio/video recordings from your camera and be dismayed
1305 to see that the audio for each segment is a half second longer than
1306 the video. If you load a large set of media clips by concatenation,
1307 the audio and video will be more skewed as more media is
1308 loaded. Align Edits makes it possible to adjust the edits so the
1309 audio and/or video align by adjusting
1310 the edits so that the track lengths are consistent. To use this
1311 feature, load all of the desired media and select a region which
1312 contains all of the edits to be aligned in the timeline. Now select
1313 the menu bar \texttt{Edit $\rightarrow$ Align Edits} menu item to
1314 operate the change. The topmost armed track is used as a template
1315 reference, and the rest of the tracks are either cut or padded to
1316 align the edit boundaries. Besides aligning audio with the video,
1317 you can also align video with the audio if the first armed track is
1318 audio. The code performs the following algorithm:
1321 \item Use the first armed track as the master track (it must
1323 \item Collect the \textit{edit project start times} on the
1324 selected master track. Only edits that are 100\% inside the selected
1326 \item Set all other tracks to match the \textit{edit times} of
1327 the template track, either by putting in silence or cutting the
1328 region to align the edits on the \textit{edit times} of the master
1332 The start time sequence of media and silence edits
1333 along the master track are collected as the target alignment
1334 boundaries. All armed tracks after the master track are modified so
1335 that if the next edit edge is too soon, it adds silence; if it is
1336 too late, edits are shortened or deleted past the point of the next
1337 target alignment boundary time. Align Edits works best if there are
1338 an equal number of Video and Audio sections. Also, it is better to
1339 use cuts instead of adding silence -- if there are silence edits
1340 together, the algorithm will combine the silence edits into a single
1341 edit and results may not be as desired.
1343 The first two screenshots in figure~\ref{fig:align} show the Before,
1344 the Highlighted Edits to be manipulated, and the After results for
1345 the Align Edits. The third screenshot \textit{adds silence} in the
1346 second section as noted in red letters.
1348 \begin{figure}[htpb] \centering
1349 \includegraphics[width=1.0\linewidth]{align.png}
1350 \caption{Align edits}
1355 \subsection{Reverse Edits}%
1356 \label{sub:reverse_edits}
1358 The Reverse Edits can be useful to change the order of 2 edits in
1359 the case where you would like to put a \textit{teaser} section that
1360 occurred in the middle of a movie at the beginning instead, that is,
1361 reversed positions. To operate, highlight completely the edit areas
1362 you would like reversed and then use the pulldown \texttt{Edit
1363 $\rightarrow$ Reverse Edits}.
1365 Figure~\ref{fig:reverse01} shows the selected / highlighted area to
1366 which Edits will be applied. Note the first edit is 0002, followed
1367 by 0003, 0004, and 0005 in that order.
1369 \begin{figure}[htpb]
1371 \includegraphics[width=0.9\linewidth]{reverse01.png}
1372 \caption{Selected area for Reverse Edits}
1373 \label{fig:reverse01}
1376 Figure~\ref{fig:reverse02} shows the results of executing
1377 \textit{Reverse Edits}. Now you will see the reversed order of
1378 0005, 0004, 0003, and last 0002.
1380 \begin{figure}[htpb]
1382 \includegraphics[width=0.9\linewidth]{reverse02.png}
1383 \caption{Results of the Reverse Edits}
1384 \label{fig:reverse02}
1388 \subsection{Shuffle Edits}%
1389 \label{sub:shuffle_edits}
1391 The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
1392 randomly exchange the location of the edits. This feature can be
1393 used to change the order of the music like you would do from your
1394 MP4 player where you have a playlist of your favorite music. Or
1395 perhaps you are creating an advertisement background, you can
1396 randomly change it, thus the viewer sees a different order of scenes
1399 Figure~\ref{fig:shuffle} illustrating Shuffle Edits of the
1400 highlighted area of the first screenshot on the page. Note the
1401 permutation of the fragments resulting in 0002 now being first, then
1402 0004, 0003, and 0005 last.
1404 \begin{figure}[htpb]
1406 \includegraphics[width=0.9\linewidth]{shuffle.png}
1407 \caption{Shuffle edits: the edits are permutated}
1412 \subsection{Drag Handle Management / Trimming}%
1413 \label{sub:drag_handle_management_trimming}
1415 With some edits on the timeline it is possible to do trimming. By
1416 trimming you shrink or grow the edit boundaries by dragging them. In
1417 drag and drop mode or cut and paste mode, move the cursor over an
1418 edit boundary until it changes shape. The drag handle shows as a
1419 left or right facing fat arrow when you cursor near the clip start
1420 or end. If the cursor faces left, the dragging operation affects
1421 the beginning of the edit. If the cursor faces right, the dragging
1422 operation affects the end of the edit.
1424 The effect of each drag operation not only depends on the behavior
1425 button but whether the beginning or end of the edit is being
1426 dragged. When you release the mouse button, the trimming operation
1429 For all file formats, other than still images, the extent of the
1430 trimming operation is limited to the source file length. Attempting
1431 to drag the start of the edit beyond the start of the source, limits
1432 it to the source start. In all trimming operations, all edits which
1433 start on the same position as the cursor when the drag operation
1434 begins are affected. You have to disarm tracks in order to prevent
1435 edits from being affected.
1437 You have 6 different choices of which mouse button to use for
1438 specific types of editing while using the drag handle. You change
1439 the drag handle mouse effects by using the \texttt{Settings
1440 $\rightarrow$ Preferences $\rightarrow$ Interface} tab and
1441 modifying the Editing section as shown in the next
1442 figure~\ref{fig:trim}. The drag handle affects not only the clip you
1443 are working on but also frequently the entire duration of all clips
1446 \begin{figure}[htpb]
1448 \includegraphics[width=0.6\linewidth]{trim.png}
1449 \caption{Default choices for mouse: Ripple for button 1; Roll
1450 for button 2; Slip for button 3}
1454 A description of the fundamental/common terminology for choices
1458 \item[All Edits (ripple)] shorten or lengthen the start or end
1459 of a single piece of media while moving all media to the right of
1460 that clip up or down on the timeline correspondingly. Timeline
1461 duration is modified. In a drag \textit{All Edits} operation, the
1462 beginning of the edit either cuts data from the edit if you move it
1463 forward or pastes new data from before the edit if you move it
1464 backward. The end of the edit pastes data into the edit if you move
1465 it forward or cuts data from the end of the edit if you move it
1466 backward. All the following edits shift. If you drag the end of the
1467 edit past the start of the edit, the edit is deleted.
1468 \item[One Edit (roll)] move the in and out point of a single
1469 clip without changing the timeline duration. In a drag \textit{One
1470 Edit} operation, nothing is cut or pasted. If you move the beginning
1471 or end of the edit forward, the source reference in the edit shifts
1472 forward. If you move the beginning or end of the edit backward, the
1473 source reference shifts backward. The edit remains in the same spot
1474 in the timeline but the source shifts.
1475 \item[Src Only (slip)] move the in and out point of a single
1476 clip without changing the timeline duration. In a drag \textit{Src
1477 Only} operation, nothing is cut or pasted. If you move the beginning
1478 or end of the edit forward, the source reference in the edit shifts
1479 forward. If you move the beginning or end of the edit backward, the
1480 source reference shifts backward. The edit remains in the same spot
1481 in the timeline but the source shifts.
1482 \item[Slide] a single clip is moved but retains its current in
1483 and out point; however the out point of the clip to the left changes
1484 and the in point of the clip to the right also changes. Timeline
1485 duration remains the same.
1486 \item[Edge Left/Right] moves the edge of the clips.
1487 \item[No effect] no changes are made. You might want to use
1488 this choice to prevent accidental movements.
1491 The next table displays the options and results
1492 with the Key Table here first.
1494 \begin{lstlisting}[style=sh]
1499 rest == p+=c: for rest of clips
1500 01 = flags edits_moved, rest_moved
1503 \renewcommand{\arraystretch}{1.15}
1507 % Tell table to adjust font to fix on the page using \resize
1508 \resizebox{\textwidth}{!}{%
1509 \begin{tabular}{lllll}
1511 & & \textbf{Drag Left} & \textbf{Drag Right} &\\
1513 \multicolumn{2}{l}{\textit{curr s += c, l -= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1514 abc12345xyz & \textbf{Ripple} left edge 11 $\rightarrow$ & abc012345xyz & abc2345xyz &\\
1516 \multicolumn{2}{l}{\textit{curr l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1517 abc12345xyz & \textbf{Ripple} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
1519 \multicolumn{2}{l}{\textit{prev l += c; curr ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1520 abc12345xyz & \textbf{Roll} left edge 00 $\rightarrow$ & ab012345xyz & abcd2345xyz &\\
1522 \multicolumn{2}{l}{\textit{curr l += c; next ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1523 abc12345xyz & \textbf{Roll} right edge 00 $\rightarrow$ & abc1234wxyz & abc123456yz &\\
1525 \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1526 abc12345xyz & \textbf{Slip} left edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
1528 \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1529 abc12345xyz & \textbf{Slip} right edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
1531 \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1532 abc12345xyz & \textbf{Slide} left edge 10 $\rightarrow$ & ab012345wxyz & abcd12345yz &\\
1534 \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1535 abc12345xyz & \textbf{Slide} right edge 10 $\rightarrow$ & ab12345wxyz & abcd12345yz &\\
1537 \multicolumn{2}{l}{\textit{curr s -+= c, l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1538 abc12345xyz & \textbf{Edge} left edge 11 $\rightarrow$ & abc2345xyz & abc0123456xyz &\\
1540 \multicolumn{2}{l}{\textit{curr l -+= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1541 abc12345xyz & \textbf{Edge} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
1546 \renewcommand{\arraystretch}{1}
1548 Next, a more immediate and colorful view shows these trimming
1549 options (figure~\ref{fig:trim-color}).
1551 \begin{figure}[htpb]
1553 \includegraphics[width=0.8\linewidth]{trim-color.png}
1554 \caption{The 5 types of Trim: note the different lengths of the results.}
1555 \label{fig:trim-color}
1558 \paragraph{How to do a J-cut or L-cut} A J-cut is a split edit film
1559 editing technique in which the audio from a following scene overlaps
1560 the picture from the preceding scene, so that the audio portion of
1561 the later scene starts playing before its picture as a lead-in to
1562 the visual cut. An L-cut is a different split edit film editing
1563 technique in which the audio from preceding scene overlaps the
1564 picture from the following scene, so that the audio cuts after the
1565 picture, and continues playing over the beginning of the next scene
1566 (figure~\ref{fig:j-cut}). To do either a J-cut or an L-cut, you
1567 first shorten the first or second video a little. Then you block
1568 the audio tracks from changing by disarming the appropriate tracks.
1569 Finally use \textit{One Edit (roll)} the cutting edge off the
1570 videos. Moving to the right creates a J-cut and moving to the left
1573 \begin{figure}[htpb]
1575 \includegraphics[width=0.8\linewidth]{j-cut.png}
1576 \caption{J-cut to left and L-cut to right}
1581 \subsection{Split View in Compositor Using the Drag Handle with Trim}%
1582 \label{sub:split_view_compositor_using_drag_trim}
1584 The Trim Feature using the drag handle provides some good ways to
1585 view your video while editing. The playback position in the
1586 compositor is updated live and the view in the compositor can be
1587 split so that in the left half of the compositor you can see the
1588 last frame of the left clip and in the right half the first frame of
1589 the right clip. Dragging edits can not be extended past the
1590 beginning or the end.
1592 First familiarize yourself with button operation; check your setup
1593 by executing the following step. In the \texttt{Settings
1594 $\rightarrow$ Preferences $\rightarrow$ Interface} tab, Editing
1595 section, clicking on the edit boundaries can be set for Button 1, 2,
1596 3 as one of the following:
1598 \textit{Ripple}; \textit{Roll}; \textit{Slip}; \textit{Slide};
1599 \textit{Edge} or \textit{No effect}
1601 Now to use this feature, create a track with edits that have trims
1602 on the left and/or the right. The edit boundary can be modified
1603 using \textit{drag handles} at the boundary between the edits
1604 (figure~\ref{fig:trim-display}).
1606 \begin{figure}[htpb]
1608 \includegraphics[width=1\linewidth]{trim-display.png}
1609 \caption{Split compositor screen showing the result of the Trim feature}
1610 \label{fig:trim-display}
1614 \item[Left Mouse Button (LMB) usage:] If you grab the edit
1615 handle from the right side, you will see a left arrow and dragging
1616 the boundary will modify the right edit playback starting time. If
1617 you grab the edit handle from the left side, you will see a right
1618 arrow and dragging the boundary will modify the left edit playback
1619 ending time. In both cases, the composer will show the edit endpoint
1620 of the changed edit.
1621 \item[Shift LMB usage:] The effect on the edits is the same as
1622 described above, but the composer will show a split screen of the
1623 left and right edits as they appear at the drag handle
1624 boundary. Dragging will only change one of the two images, since
1625 only one edit is being changed.
1626 \item[Middle Mouse Button (MMB) usage:] Both the left and the
1627 right edit ending/starting times are updated. The image shown in
1628 the compositor will be drawn from the side of the drag grab, that is
1629 the left if it is grabbed from the left, and the right if it is
1630 grabbed from the right.
1631 \item[Shift MMB usage:] The effect on the edits is the same as
1632 described above, but the composer will show a split screen of the
1633 left and right edits as they appear at the drag handle boundary.
1634 Dragging will change both of the two images, since both edits are
1636 \item[Right Mouse Button (RMB) usage:] The start/end point of
1637 the current edit is moved, but the edit length is unchanged only one
1638 image changes since only one edit endpoint is view is updated.
1639 \item[Shift RMB usage:] The effect on the edits is the same as
1640 described above, but the composer will show a split screen of the
1641 left and right edits as they appear at the drag handle boundary.
1642 Dragging will only change one of the two images, since only one edit
1647 \subsection{Snapping while Cutting and Dragging}%
1648 \label{sub:snapping_cutting_dragging}
1650 \paragraph{Cutting/Snapping edits} cuts from an edit handle to the
1651 insert point. There are Edit Panel buttons which normally are used
1652 to move to the previous or next edit handle/label.
1654 \begin{wrapfigure}[3]{r}{0.2\linewidth}
1657 \includegraphics[width=0.7\linewidth]{snap.png}
1660 They look like tags and the letter E on the menu bar and are
1661 oriented forward/backward. These same buttons can be used to
1662 \textit{cut} from the insert pointer to the previous or next
1663 edit/label when the ctrl+alt keys are both pressed when the buttons
1664 are used. They \textit{snap} off the media instead of doing the
1665 standard re-positioning. This is useful to minimize the number of
1666 operations necessary to cut between edits/labels.
1668 Instead of using the edit panel buttons, you can more easily use the
1669 following keyboard shortcuts to perform the same functions:
1672 \begin{tabular}{lll}
1674 snap\_right\_edit & ctrl+alt+ '.' &\\
1675 snap\_left\_edit & ctrl+alt+ ',' &\\
1676 snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
1677 snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
1682 \paragraph{Drag Snapping} if you hold down the Ctrl + Alt keys while
1683 dragging using the mouse, once the clip gets near to an edit, a
1684 label, an in/out pointer or the start/end of the timeline, the
1685 dragged clip will snap next to that marker. The 2 will now be
1686 exactly aligned with no gap and no overlap. As you drag the clip
1687 close to one of the markers, when they are within a short distance
1688 they start to stick and stay that way until you move further away
1689 from that distance. Also, the line will turn color from green to
1690 yellow while in the sticky phase. In addition, this works for a
1691 plugin while dragging so that it will be the same length as the edit.
1694 \subsection{Nesting}%
1697 \paragraph{Nested Assets} A nested asset is an EDL session that
1698 embeds an existing EDL session, all tracks, all plugins, editing,
1699 and effects into a media object that appears as one audio/video
1700 media object, no plugins, editing, or effects. It is as if the
1701 existing EDL was rendered, and loaded in its place. This has
1702 several interesting side effects. First, you don’t have to render
1703 the entire media file to see any portion. Second, it requires no
1704 rendering compute time or storage. Third, it changes the precedence
1705 of the composer so that you get more control over the projection and
1706 automation, so that the results can be sent into another rendering
1707 step, not simply part of the current stack. It groups the plugin
1708 stack in much the same way that an arithmetic expression is grouped
1711 The EDL session and the rendered output are visually equivalent.
1712 Nested assets allow for complex grouping and stacking of effects,
1713 and makes media access much more flexible. This feature can be used
1714 recursively, that is, any number of sessions may be stacked and
1715 referenced as an asset, as long as all of the rendering resources
1716 are available. Nested assets are added to the timeline by using the
1717 pulldown \texttt{File $\rightarrow$ Load files}\dots on the main
1718 menu and selecting the \textit{Insertion strategy} of \textit{Nest
1719 asset}. The file will be pasted into the timeline over the current
1720 selection or at the insertion point.
1722 It is somewhat important to note that nested assets and nested clips
1723 will have index files automatically created. These index files can
1724 start to clutter up your \texttt{\$HOME/.bcast5} directory with
1725 files named \texttt{Nested\_\#\#\#.idx} and you may want to
1726 periodically delete any index files which are no longer in use.
1728 \paragraph{Nested Clips} It is also possible to create
1729 \textit{clips} and convert them to \textit{nested edl}. This is
1730 done by first creating a clip using the standard cut, clipboard,
1731 paste, and/or edit panel buttons. Now, using the resources
1732 \textit{clip} folder, select a clip to be nested, and use the right
1733 mouse button to select a clip. This activates the clip popup menu.
1734 Select the \textit{Nest to media} menu item, and the clip will be
1735 converted to a \textit{Nested: Clip} and put in Media
1736 folder. Conversely, you can select a \textit{Nested: Clip}, use the
1737 \textit{EDL to clip} menu item, and the clip will be reverted to a
1738 \textit{Clip}. This works similarly to the group / un-group editing
1739 features of many graphic design editing programs, but in this case
1740 the groups are rendered compositions (figure~\ref{fig:nesting}).
1742 Nested clips can be proxied and when they are, the resulting files
1743 are placed in the user's \$HOME/Videos directory by default. This
1744 can be modified by changing
1746 \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface}
1747 tab, Nested Proxy Path.
1749 \begin{figure}[htpb]
1751 \includegraphics[width=1.0\linewidth]{nesting.png}
1752 \caption{Nested clips in Timeline and Resources window}
1756 \paragraph{Usage Examples of Nested Clips}
1759 \item[Example 1:] You want to make a flashback/rewind at the end
1760 of your video that represents a quick summary of the entire video in
1761 black and white. On he timeline, you have 60 seconds of edits with
1762 clips, cuts, zoom in, zoom out and any other edits. Now you want to
1763 get this 60 seconds \textit{compressed} to 10 seconds, play in
1764 reverse, and in black and white at the end of your video. You would
1765 copy the 60 seconds in a clip, nest the clip in the Clip folder of
1766 the Resources window and drag it to the timeline. You will see only
1767 a clean clip without all of the edits that were used to create it
1768 because nesting display a clip without having to actually use the
1769 Render menu. Now you can add a Reverse effect, Color3way plugin for
1770 black and white, and use the Speed auto to get the 60 seconds down
1772 \item[Example 2:] You are working on a complex project with a
1773 team in a separate location. You create some sub projects, i.e.\
1774 sequences, that you or the team will use in the Master project to
1775 merge the sequences in the right order and to make the final color
1779 In each of the examples you can see the benefit of nesting to create
1780 clean looking timelines because of the automatic rendering
1781 capability of nesting.
1784 \subsection{Copy/Paste clips/medias across Multiple Instances}%
1785 \label{sub:copy_paste_multiple_instances}
1787 It is easy to copy/paste clips/media within a single instance of
1788 \CGG{} or across multiple instances. The reason this works is
1789 because there are hidden X cut buffers and these are used to
1790 transmit EDL from 1 instance to another.
1792 Steps to copy from a source timeline and paste to a target timeline:
1795 \item highlight a selection on the timeline in 1 instance of \CGG{}
1796 \item use the Copy icon (shortcut c) on the main menu bar to copy
1798 \item move the pointer to another instance of \CGG{} and set an
1799 insertion point in its timeline
1800 \item use the Paste icon (shortcut v) to paste the clip to that
1801 other instance selection target
1805 \section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing\protect\footnote{programmatic specifications from Eric Messick}}%
1806 \label{sec:shuttle_jog_wheels_editing}
1808 The ShuttlePROv2 and ShuttleXpress are affordable jog wheels which
1809 can be useful for working with Cin, especially if you do a lot of
1810 playing forward/backward, fast/slow/normal, and single frames
1811 (figure~\ref{fig:shuttle}).
1813 Directions for using the ShuttlePROv2 and the ShuttleXpress with
1814 \CGG{} are described next. These devices work by sending keystrokes
1815 used in Cin, corresponding to the shuttle action, to the keyboard
1816 buffer. The shuttle has been fully integrated into the \CGG{} code
1817 so that after the one initial setup, no further intervention is
1818 required. The multi-speed outer wheel works the same and has the
1819 same number of S positions on both shuttles but the shuttle Xpress
1820 has only 5 keys. Since the majority of user operations will most
1821 likely be with the use of the 2 wheels, the slightly smaller Xpress
1822 could be a better choice with its 5 easy to reach keys. The Pro is
1823 approximately $4\times7$\,inches whereas the Xpress is about
1826 \begin{figure}[htpb]
1828 \includegraphics[width=0.9\linewidth]{shuttle.png}
1829 \caption{ShuttlePROv2 and ShuttleXpress}
1833 The vendor supplied \textit{string} device names for the shuttles
1836 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePRO\_v2-event-if00}\\
1837 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttleXpress-event-if00}\\
1838 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00}
1840 Only 1 necessary initial setup is required due to permission
1841 settings for non-root usage. As root, just copy a file that provides
1842 the necessary permissions to use the shuttle, then reboot, Example
1845 \begin{lstlisting}[style=sh]
1846 sudo cp {cindat_path}/doc/99-ShuttlePRO.rules /etc/udev/rules.d/
1849 then the next time after you reboot, the permissions should be
1850 correct. This file only needs to contain one of the following lines
1851 depending on which shuttle version you have/use, but all will be in
1854 \begin{lstlisting}[style=sh]
1855 # for newer PRO model
1856 ATTRS{name}=="Contour Design ShuttlePro" MODE="0644"
1857 # for older PRO model
1858 ATTRS{name}=="Contour Design ShuttlePRO v2" MODE="0644"
1859 # for the Xpress model
1860 ATTRS{name}=="Contour Design ShuttleXpress" MODE="0644"
1861 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0020", MODE="0666"
1862 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0030", MODE="0666"
1865 If you swap your shuttle, for example upgrade from an Xpress to a
1866 PROv2, just stop Cin, unplug the original shuttle, plug in the
1867 replacement shuttle, and restart Cin. If you start the \CGG{}
1868 program and the shuttle does not function as before, stop \CGG{} and
1869 then simply unplug it and plug it in again. There are a couple of
1870 reasons why it may stop functioning. One is because \CGG{} was not
1871 stopped with the usual Quit command and the shuttle was improperly
1872 shut down when there was a crash. The other possibility is that a
1873 static discharge occurred in the area.
1875 A default shuttlerc file is automatically used when a shuttle device
1876 is plugged in when Cin is started. This file sets up the key
1877 bindings for \CGG{} to use. You can override any default settings by
1878 having a local file in your \texttt{\$HOME} directory, named
1879 \texttt{.shuttlerc} to reflect your personal preferences.
1882 \subsection{How to Modify the Default Key Settings}%
1883 \label{sub:modify_default_key_settings}
1885 Detailed information on how to modify your local \texttt{.shuttlerc}
1886 file is described next, but if you need help you can request more
1887 information in the forum at {\small
1888 \url{https://cinelerra-gg.org}}. In the \texttt{shuttlerc} file, a
1889 \# always represents a comment and blank lines are ignored. The
1890 first thing you must do is copy the system supplied
1891 \texttt{shuttlerc} file to your \texttt{\$HOME} directory and rename
1892 it as \texttt{.shuttlerc} (with a period).
1894 The \texttt{shuttlerc} file has sections that in the case of \CGG{},
1895 represent different windows allowing you to set the keys, K1-K15 for
1896 the Pro and K5-K9 for the Xpress, the shuttle wheel positions of
1897 S0/S1/S-1 for stop, S2 through S7 for wheeling to the right, and S-7
1898 through S-2 for wheeling to the left for reverse. Then there is JR
1899 to jog right (clockwise) and JL to jog left (counter-clockwise) for
1900 the inner smaller wheel for single frame movement. See the key
1901 arrangement on a later page for location of the keys for each of the
1902 two different shuttles.
1904 The sections are surrounded by brackets for windows such as \CGG{}
1905 (the main window), Viewer, Composer, Resources, Load, and Default.
1906 If you want the keys to be defined the same in every window, you can
1907 bracket each window on lines one right after the other and then just
1908 define one set of keys. The other lines will have the key
1909 name/shuttle position followed by its assigned value. The values
1910 you use for the keys are usually shortcuts and have to be
1911 operationally defined within \CGG{}. For example, the shortcut “f”
1912 to go fullscreen is defined so can be used; however the shortcut “h”
1913 is not defined so will not do anything. You can check the file,
1914 shortcuts.html, for some options to use.
1916 Next are a few actual examples from the default
1917 \texttt{{cindat\_path}/shuttlerc} file.
1919 The next brackets represent sections. Default, Resources, Load
1920 windows all use the same key values.
1922 \begin{lstlisting}[style=sh]
1927 K6 XK_Button_1 # same as mouse button 1
1928 K7 XK_Button_2 # same operation as mouse button 2
1931 # for example, in the Load menu, use scroll up to get to the next file name
1936 Cinelerra with brackets around it next, is the section with some key
1937 definitions for the main window.
1939 \begin{lstlisting}[style=sh]
1942 # Most useful functions have to be on K5-K9
1943 # because Xpress only has 5 keys
1944 K5 XK_Home # Beginning
1945 K6 XK_KP_6 # Reverse, or if playing Stop
1947 K8 XK_KP_3 # Play, or if playing Stop
1950 S-7 REV_16 # Next 6 are reverse keys
1951 S-6 REV_8 # the number on the end represents speed
1952 S-5 REV_4 # number can be decimal up to 64
1953 S-4 REV_2 # 2 means 2x or double speed
1955 S-2 REV_0.5 # 0.5 represents 1/2 speed
1956 S-1 XK_KP_0 # Because the Shuttle does not generate S0,
1958 S0 XK_KP_0 # Hardware does not generate S0
1959 S1 XK_KP_0 # Because the Shuttle does not generate S0,
1966 An explanation for the above REV and FWD key symbol values is
1967 necessary to facilitate user preferences. Obviously REV stands for
1968 reverse and FWD for forward. You can set any speed up to and
1969 including 64x (that is, 64 times the normal speed) on any of the S
1970 keys. First in the line is the key name such as S-3 and then the
1971 key direction of FWD or REV followed by the symbol for underscore
1972 (\_) and then the numerical value to use. For example, if you want
1973 the $5^{th}$ forward position, S5, to play 10$\frac{1}{2}$ times
1974 faster, you would use the statement \texttt{S5 FWD\_10.5}. Integer
1975 or decimal numbers are legal.
1977 For the Viewer, you may want keys defined to do a Splice or an
1978 Overwrite so define differently. Note that assignments that contain
1979 single character letters must be enclosed in quotes.
1981 \begin{lstlisting}[style=sh]
1983 # Splice - Viewer only; may be defined
1984 # differently than Composer or Cinelerra
1989 To change any key value to an alternative value, just edit the file
1990 and make the changes. Besides just keys and alphabetic letters of
1991 numbers, you can also use any \CGG{} value that contains the
1992 combination with Shift, Alt, and Ctrl. For keys that are not
1993 printable characters, you can look up the symbol name to use for a
1994 specific operation in the file called:
1995 \texttt{/usr/include/X11/keysymdef.h}. Some examples:
1997 \begin{lstlisting}[style=sh]
1998 K10 Alt-XK_Left # Go to previous edit \\
1999 K13 Ctrl-XK_Right # Go to next label
2002 For sequences of one or more \textit{printable} characters, you can
2003 just enclose them in double quotes. For example in the
2004 \texttt{[Composer]} section, to go into or out of fullscreen mode,
2005 automatically start playing and put a label there, you could define
2006 a key like this: K7 “f~l” - that is printable character f, a space,
2007 and printable character l.
2009 After modifying \texttt{.shuttlerc}, the next time you use the
2010 shuttle, your changes will automatically take affect without even
2011 having to stop and restart Cin. However, the first thing to try if
2012 problems is to stop \CGG{}, unplug the shuttle, wait a few seconds,
2013 plug it in again, and then restart cin. If for some reason, the
2014 shuttle keys still do not work after that, you may have an incorrect
2015 setup and you will have to correct that first. For example, if you
2016 define S5 twice within the \CGG{} setup, it will fail. It is
2017 suggested that if you make changes, you should initially uncomment
2018 DEBUG in the \texttt{.shuttlerc} file and start up \CGG{} from a
2019 terminal window so that you can make sure it is working and has no
2020 output errors. An error might look like:
2022 \begin{lstlisting}[style=sh]
2023 dupl key name: [Cinelerra]K1
2024 shuttle config err file: /root/.shuttlerc, line:37
2027 Keep in mind when changing the values, that the ShuttleXpress has
2028 fewer buttons so if you define K1 it will only work for the
2031 Any time you are having trouble with your shuttle, you can copy the
2032 default \texttt{shuttlerc} file from
2033 \texttt{{cindat\_path}/shuttlerc} to your local \texttt{.shuttlerc}
2034 file, and edit that to\ switch to DEBUG mode by removing the \#
2035 comment from the DEBUG line. But you will have to have started Cin
2036 from a terminal window to see the key values. The first time you use
2037 the shuttle or after you change the file, the current assignments
2038 will show in the terminal window so will look something like:
2040 \begin{lstlisting}[style=sh]
2046 When you are in DEBUG mode and are just working away, what you will
2047 see is something like this:
2049 \begin{lstlisting}[style=sh]
2056 \begin{lstlisting}[style=sh]
2057 shuttle: 00 00 00 00 00
2061 When you change the focus from one window to another, you will see
2062 something like this:
2064 \begin{lstlisting}[style=sh]
2066 new translation: Viewer
2070 You can also set an environment variable to temporarily use an
2071 alternative shuttle configuration file for testing as in:
2073 \begin{lstlisting}[style=sh]
2074 export SHUTTLE_CONFIG_FILE=/tmp/shuttlerc_test
2077 The shuttle wheel occasionally will not \textit{stop} after you have
2078 wheeled it to play forward. This is a documented known problem from
2079 the original code so you just have to joggle it a little in the
2080 other direction and then it will stop. S0 does not always generate
2081 a signal to do a stop and that is why S1 and S-1 have to be used to
2082 relay the stop instead. Also, if you have a fullscreen Composer or
2083 Viewer up and the regular one also, the fullscreen takes precedence.
2086 \subsection{Troubleshooting auxilliary information}%
2087 \label{sub:troubleshooting_auxilliary_information}
2089 In order to see if you hardware was recognized by the operating
2092 \begin{lstlisting}[style=sh]
2093 lsusb -v -d 0b33:0030 # for the Shuttle Pro or PROv2\\
2094 lsusb -v -d 0b33:0020 # for the Shuttle Xpress
2097 \paragraph{Note 1} Currently, the keys K14 and K15 do not function
2098 on the \textit{Contour Design ShuttlePro} but do on the
2099 \textit{Contour Design ShuttlePRO v2} due to a Report Descriptor
2100 error. You can workaround this by uncommenting \texttt{USB\_DIRECT}
2101 in your local \texttt{.shuttlerc} file. This directly uses libusb
2102 rather than the generic Linux hid driver. \texttt{USB\_DIRECT}
2103 works for any of the currently tested shuttles.
2105 \paragraph{Note 2} If you are not sure if your shuttle is fully
2106 functional, you can verify that the hardware device has been seen by
2107 your operating system with this procedure.
2109 \item From a terminal window as an ordinary user key in: lsusb (the
2110 first character is a lower case L for list). You will see
2111 something like the following depending on which usb device you
2112 have the ShuttlePro plugged into:
2113 \begin{lstlisting}[style=sh]
2114 Bus 003 Device 002: ID 0b33:0030 Contour Design, Inc. ShuttlePro v2
2116 \item To make sure you have usbmon installed key in:
2117 \begin{lstlisting}[style=sh]
2118 sudo modprobe usbmon
2120 \item Next key in the following:
2121 \begin{lstlisting}[style=sh]
2122 sudo od -tx1 /dev/usbmon3
2124 where the last 3 is the same \# as the Bus in above. If it lists
2125 \texttt{Bus 002}, then use \texttt{/dev/usbmon2} instead.
2126 \item Now with focus in that same terminal window, press any shuttle
2127 key just to see what happens and should see about 12 lines similar
2128 to these below -- a new set every time you press a single key or
2129 the wheel. The lines are usually not important, just the fact
2130 that you get a response is. However if you have multiple devices
2131 on the same bus, you will get responses from any and all of them.
2132 Attempt to isolate your shuttle by temporarily unplugging
2133 unnecessary devices on the same bus or plug the shuttle into a
2134 different usb port that has fewer devices.
2135 \begin{lstlisting}[style=sh]
2136 0000000 80 70 99 75 53 8c ff ff 43 01 81 02 03 00 2d 00
2137 0000020 4e 61 5c 5c 00 00 00 00 8d 2c 06 00 00 00 00 00
2138 0000040 05 00 00 00 05 00 00 00 00 00 00 00 00 00 00 00
2139 0000060 01 ff 00 00 00 80 70 99 75 53 8c ff ff 53 01 81
2140 0000100 02 03 00 2d 3c 4e 61 5c 5c 00 00 00 00 b1 2c 06
2141 0000120 00 8d ff ff ff 05 00 00 00 00 00 00 00 00 00 00
2142 0000140 00 00 00 00 00 80 70 99 75 53 8c ff ff 43 01 81
2143 0000160 02 03 00 2d 00 4e 61 5c 5c 00 00 00 00 3d d7 09
2144 0000200 00 00 00 00 00 05 00 00 00 05 00 00 00 00 00 00
2145 0000220 00 00 00 00 00 00 ff 00 00 00 80 70 99 75 53 8c
2146 0000240 ff ff 53 01 81 02 03 00 2d 3c 4e 61 5c 5c 00 00
2147 0000260 00 00 64 d7 09 00 8d ff ff ff 05 00 00 00 00 00
2149 \item Next press the key that you want to verify is functioning --
2150 if no new lines show up, then the key is non-functional so there
2151 is a hardware problem. If you get output, then perhaps there is a
2152 problem with your software setup.
2153 \item Use Ctrl-C on the terminal window when done to get back to the
2157 \paragraph{Note 3} Another method for testing to make sure your
2158 model of the Shuttle does not have different key definitions than
2159 the one that \CGG{} was coded for is to do the following.
2162 \item Locate the shudmp.C program in your \CGG{} directory.
2163 \item Compile that with the command: \texttt{c++ shdmp.C -o shudmp}
2164 \item Make the file executable with the command: \texttt{chmod +x shudmp}
2166 \begin{lstlisting}[style=sh]
2167 sudo ./shdmp /dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00 # substitute your shuttle
2171 Then press your shuttle key that is having problems and check the
2172 results. They should look like:
2174 \begin{lstlisting}[style=sh,caption={Example for K7}]
2175 event: (4, 4, 0x90007) #The last number, 7, is the expected Key number.
2176 event: (1, 262, 0x1)
2178 event: (4, 4, 0x90007)
2179 event: (1, 262, 0x0)
2183 \begin{lstlisting}[style=sh,caption={Example for K15}]
2185 event: (4, 4, 0x9000f) #The last number f is 15 in hexadecimal and is the expected Key.
2186 event: (1, 270, 0x1)
2188 event: (4, 4, 0x9000f)
2189 event: (1, 270, 0x0)
2193 When done, you will have to Ctrl-C to get out of the program.
2195 \paragraph{Note 4} For developers, if you have a pre-UEFI Secure
2196 Boot kernel it is also possible to do the following for further in
2199 \begin{lstlisting}[style=sh]
2200 ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
2201 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc" # substitute your own numerical value
2202 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/events" # press keys to see the results
2205 %\item \texttt{ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
2206 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” \# substitute your own numerical value}
2207 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” \# press keys to see the results}
2210 \subsection{Shuttle key default arrangement for \CGG{} / Composer / Viewer:}%
2211 \label{sub:shuttle_key_default_cinelerra}
2213 The following is the default setting for the ShuttlePROv2 and
2214 ShuttleXpress (table~\ref{tab:shuttleprov2} and
2215 table~\ref{tab:xpress}):
2217 \renewcommand{\arraystretch}{1.15}
2219 \caption{ShuttlePROv2 key default arrangement for \CGG{} /
2221 \label{tab:shuttleprov2}
2222 % Tell table to adjust font to fix on the page using \resize
2223 \resizebox{\textwidth}{!}{%
2224 \begin{tabular}{c c c c c c c}
2226 K1 & K2 & & K3 & K4 & &\\
2227 Label & Future use & & Future use & Clip & &\\
2228 & Splice (viewer) & & Copy & Overwrite (viewer) & &\\
2230 K5 & K6 & K7 & K8 & K9 & &\\
2231 Home & Reverse & Stop & Play & End & &\\
2232 & & Fullscreen & & & &\\
2233 & & (viewer / compositor) & & & &\\
2235 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
2237 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
2238 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
2239 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
2240 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
2242 K14 & & Jog Left & (Inner Wheel) & Jog Right & & K15\\
2243 Toggle In & & Frame reverse & & Frame forward & & Toggle Out\\
2244 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
2246 & & K10 & & K11 & &\\
2247 & & Previous Edit & & Next Edit & &\\
2248 & & Future Use(Viewer) & & Future Use(Viewer) & &\\
2250 & & K12 & & K13 & &\\
2251 & & Previous Edit & & Next Edit & &\\
2252 & & Previous Label & & Next label & &\\
2258 \caption{ShuttleXpress key default arrangement for \CGG{} / Composer / Viewer}
2260 % Tell table to adjust font to fix on the page using \resize
2261 \resizebox{\textwidth}{!}{%
2262 \begin{tabular}{c c c c c c c}
2264 K5 & K6 & K7 & K8 & K9 & &\\
2265 Home & Reverse & Stop & Play & End & &\\
2266 & & Fullscreen & & & &\\
2267 & & (viewer / compositor) & & & &\\
2269 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
2271 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
2272 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
2273 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
2274 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
2276 & & Jog Left & (Inner Wheel) & Jog Right & &\\
2277 & & Frame reverse & & Frame forward & &\\
2278 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
2284 %%% Local Variables:
2286 %%% TeX-master: "../CinelerraGG_Manual"