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 \index{drag and drop}, also called
8 \textit{arrow mode} \index{arrow}, and cut and paste editing \index{cut and paste} or \textit{I-beam
9 mode} \index{i-beam}. Cut and Paste is the default editing mode. An additional,
10 but not often considered editing method is called \textit{two-screen
11 editing} \index{two-screen} (or 3 point editing) where the Viewer is used to view media and then the
12 desired clip from the media is transferred to the timeline.
14 In the timeline, Audio tracks are different from Video tracks so a media including both audio and video will be split into 2 or more independent tracks. There is no \textit{Link/Unlink}-like function present in other programs, although there are workarounds.
16 The timeline \index{timeline} is where all editing decisions are made
17 (figure~\ref{fig:timeline}). This is a stack of tracks in the
18 center of the main window. It can be scrolled up, down, left and
19 right with the scrollbars on the right and bottom. It can also be
20 scrolled up and down with a mouse wheel, or left and right while
21 holding down the Ctrl key and using the mouse wheel.
25 \includegraphics[width=1.0\linewidth]{timeline.png}
26 \caption{Timeline editing session}
30 The active region \index{active region} is the range of time which is affected by editing
31 commands on the timeline. The active region is determined first by
32 the presence of in/out points \index{in/out point} on the timeline.
34 If those do not exist the highlighted region \index{highlighted region} is used. To reiterate,
35 \emph{highlighting} is done in \emph{cut and paste mode} by moving
36 the insertion point with the mouse in the timeline to where you want
37 to start. Then hold down the LMB\@, drag the mouse to where you want
38 the end point to be and release the LMB\@. In \emph{drag and drop
39 mode}, the method to create a highlighted selection is to hold
40 down the Ctrl key and double click with the LMB with the mouse over
43 If no highlighted region exists, the insertion point \index{insertion point} is used as the
44 start of the active region. Some commands treat all the space to
45 the right of the insertion point as active while others treat the
46 active length as 0 (zero) if no end point for the active region is
49 Most importantly, editing decisions never affect source material
50 meaning that it is non-destructive editing. So not only does your
51 original media stay completely untouched, it is much faster than if
52 you had to copy all the media affected by an edit. Editing only
53 affects pointers to source material, so if you want to have a new
54 modified media file at the end of your editing session which
55 represents the editing decisions, you need to render it. Saving and
56 loading your edit decisions is explained in the Load, Save and the
57 EDL \index{EDL} section and rendering is explained in the section on Rendering.
59 \textbf{Nomenclature:} media loaded in the timeline, in whole or in part, are called \textit{edits}, unlike other programs that call them \textit{clips}. Clips in \CGG{} are those that are created in the Viewer window or in the timeline via the \texttt{to clip} command and brought into the Resources window, inside the \texttt{Clips folder}, where they can be renamed and a description added. These, once brought into the timeline, are renamed edits. In \CGG{} the difference edits/clips is not important and you can use them as synonyms; however, the difference of clips as it is intended in other NLEs is important. These are media (or parts of it) complete in themselves and indipendent from other clips and the timeline. Edits in \CGG{} on the other hand, can be a media (or part of it) but can also be any region of the timeline between In/Out Points or from a highlighted, on which we can do editing operations. This leads to some advantages (e.g. putting an effect only in a part of the active region) but one must always keep in mind that the edit remains dependent on the track and the entire timeline.
61 In the following editing sections, references to common operations
62 are scattered within any of the modes where they seem pertinent.
63 However, many of the editing operations work in different modes.
66 \section{The Patchbay}%
70 On the left of the timeline is a region known as the patchbay. The
71 patchbay enables features specific to each track as described next.
75 \item[Textbox] for naming the track. The default names will usually
76 be Video \#, Audio \#, or Mixer \# if using the multi-camera/mixer
77 operations. A \# will be designated for subsequent tracks as in 1,
79 \item[Expander] which is a down arrow on the right side, is for
80 viewing more options on the patchbay and for viewing the effects
81 represented on the track. You can just click on the expander to
82 expand or collapse the patchbay and the track. If it is pointing
83 sideways, the track is collapsed. If it is pointing down, the track
84 is expanded. Existing effects appear below the media for the track.
87 Below the textbox name are several toggles referred to as
88 \textit{attributes} for different features (currently there are 7 as
89 shown in figure~\ref{fig:patchbay01}). If the toggle button is
90 shadowed by a color, the feature is enabled. If the toggle is the
91 background color of most of the window, it is disabled. Click on the
92 toggle to enable/disable the feature.
94 \begin{wrapfigure}[13]{O}{0.3\linewidth}
97 \includegraphics[width=0.79\linewidth]{patchbay01.png}
99 \label{fig:patchbay01}
102 Several mouse operations speed up the configuration of several
103 tracks at a time. Click on an attribute and drag the cursor across
104 adjacent tracks to copy the same attribute to those tracks. Hold
105 down Shift while clicking a track's attribute to enable the
106 attribute in the current track and toggle the attribute in all the
107 other tracks. Or you can:
110 \item hold down Shift while clicking an attribute,
111 \item click until all the tracks except the selected one are
113 \item then drag the cursor over the adjacent track to enable the
114 attribute in the adjacent track.
117 The 7 \textit{attributes} are described here next followed by the other available feature icons and their description.
120 \item[Play Track] \index{play track} determines whether the track is rendered or
121 not. If it is off, the track is not rendered. For example if you
122 turn it off in all the video tracks, the rendered media file will
123 have only audio tracks. If the track is chained to any other tracks
124 by a shared track effect, the other tracks perform all the effects
125 in this shared track, regardless of play status of the shared track
126 that in this particular case affects the media output but not fade
128 \item[Arm Track] \index{arm track} determines whether the track is armed or not.
129 Only the armed tracks are affected by editing operations. Make sure
130 you have enough armed destination tracks when you paste or splice
131 material or some tracks in the material will get left out. In
132 addition to restricting editing operations, the armed tracks in
133 combination with the active region determine where material is
134 inserted when loading files. If the files are loaded with one of
135 the insertion strategies which do not delete the existing project,
136 the armed tracks will be used as destination tracks. Note that disarming
137 a track does not prevent you from dragging or attaching an Effect/Plugin
138 onto a disarmed track - this is not considered an edit in this case.
142 \item[Draw Media] determines if picons \index{picons} or waveforms \index{waveform} 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] \index{mute} -- 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[Gang Fader] \index{gang fader} cause the fader to track the movement of
162 whatever other fader you are adjusting by dragging either the fader
163 or the curve on the track. It doesn't affect the editing made with
164 menu controls. A fader is only ganged if the arm track is also on.
165 This is often used to adjust audio levels on all the tracks
166 simultaneously. Gang also causes Nudge parameters to synchronize
167 across all the ganged tracks.
168 \item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged}
169 \item[Track Data Height] \index{track!height} this up/down toggle symbol to the immediate right
170 of the 5 attributes, is used to individually resize each track. This makes
171 it very easy to temporarily expand or contract the size of that track either
172 by clickin with the left mouse button or using the middle wheel up/down.
173 \item[Fader slider] \index{fader slider} fade values are represented on the timeline
174 with a pink (default color) curve that is keyframable. All tracks have a fader, but
175 the units of each fader depend on whether it is audio or video.
176 Audio fade values are in dB. They represent relative levels, where 0
177 is the unaltered original sound level, -40 is silence, -80 the
178 minimum value set by default. You can move fader and keyframes down
179 to -80 but the parameter's curve won't go below -40. For your
180 convenience you can set a different fade range with the curve zoom.
181 Audio fader’s main purpose is to \textit{fade out} sound or to lower
182 the sound level smoothly to silence, or \textit{fade in} to make
183 sounds appear gradually instead of suddenly. Video fade values are
184 the percentage of opacity of the image in normal overlay mode, the
185 percentage of the layer that is mixed into the render pipeline in
186 the other overlay modes. Click and drag the fader to fade the track
187 in and out. If it is ganged to other tracks of the same media type,
188 with the arm option enabled, the other faders should follow. Hold
189 down the Shift key and drag a fader to center it on the original
190 source value (0 for audio, 100 for video).
191 \item[Mixer] \index{mixers!toggle} in the expanded patchbay for that track designates
192 the multi-camera mixer mode.
193 \item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for
194 porter-duff operations and is full explained in
195 \nameref{cha:overlays} chapter.
196 \item[Nudge] \index{nudge} is in the expanded patchbay. The nudge value is
197 the amount the track is shifted left or right during playback. The
198 track is not displayed shifted on the timeline, but it is shifted
199 when it is played back. This is useful for synchronizing audio with
200 video, creating fake stereo, or compensating for an effect which
201 shifts time, all without altering any edits
202 (figure~\ref{fig:overlay}).
204 \begin{figure}[htpb] \centering
205 \includegraphics[width=0.65\linewidth]{overlay.png}
206 \caption{Video Overlay, audio Pan and Nudge.}
210 Enter the amount of time to shift to instantly shift the
211 track. Negative numbers make the track play later. Positive numbers
212 make the track play sooner. The nudge units are either seconds or
213 the native units for the track (frames or samples). Select the units
214 by right clicking on the nudge textbox and using the context
215 sensitive menu. Nudge settings are ganged with the Gang faders
216 toggle and the Arm track toggle. Use the mouse wheel over the nudge
217 textbox to increment and decrement the value.
218 \item[Pan] \index{panning box} is available in the expanded patchbay for audio
219 tracks via a panning box. Position the pointer in the panning box
220 and click/drag to reposition the audio output among the speaker
221 arrangement. The loudness of each speaker is printed on the relative
222 icon during the dragging operation. The panning box uses a special
223 algorithm to try to allow audio to be focused through one speaker or
224 branched between the nearest speakers when more than 2 speakers are
228 Press the Tab key while the cursor is anywhere over a track to
229 toggle the track arming status. Press Shift-Tab while the cursor is
230 over a track to toggle the arming status of every other track.
232 \paragraph{Automatic audio mappings} \index{audio!map} Several convenience functions
233 are provided for automatically setting the panning to several common
234 standards. They are listed in the Audio menu. These functions only
235 affect armed audio tracks. They are:
238 \item[Audio~$\rightarrow$~Map 1:1] \index{audio!map 1:1} This maps every track to
239 its own channel and wraps around when all the channels are
240 allocated. It is most useful for making 2 tracks with 2 channels map
241 to stereo and for making 6 tracks with 6 channels map to a 6 channel
243 \item[Audio~$\rightarrow$~Map 5.1:2] \index{audio!map 5.1:2} This maps 6 tracks to 2
244 channels. The project should have 2 channels when using this
245 function. Go to \texttt{Settings $\rightarrow$ Format} to set the
246 output channels to 2. This is most useful for down-mixing 5.1 audio
247 to stereo (for more information refer to Configuration, Settings and
248 Preferences section~\ref{sub:audio_out_section}).
251 \paragraph{Standard audio mappings} Although \CGG{} lets you map any
252 audio track to any speaker, there are standard mappings you should
253 use to ensure the media can be played back elsewhere. Also, most
254 audio encoders require the audio tracks to be mapped to standard
255 speaker numbers or they will not work.
257 In the channel position widget, the channels are numbered to
258 correspond to the output tracks they are rendered to. For stereo,
259 the source of channel 1 needs to be the left track and the source of
260 channel 2 needs to be the right track. For 5.1 surround sound, the
261 sources of the 6 channels need to be in the order of center, front
262 left, front right, back left, back right, low frequency effects. If
263 the right tracks are not mapped to the right speakers, most audio
264 encoders will not encode the right information if they encode
265 anything at all. The low frequency effects track specifically can
266 not store high frequencies in most cases.
269 \section{Manipulating Tracks}%
270 \label{sec:manipulating_tracks}
271 \index{track!pulldown}
273 Tracks in \CGG{} either contain audio or video. There is no special
274 designation for tracks other than the type of media they contain.
275 When you create a new project, it contains three default tracks: one
276 video track and two audio tracks. You can still add and delete
277 tracks from the menus. The Tracks menu contains a number of options
278 for dealing with multiple tracks simultaneously. Each track itself
279 has a popup menu which affects one track.
281 Operations in the \textbf{Tracks pulldown} affect only tracks which
285 \item[Move tracks up | Move tracks down] shift all the armed
286 tracks up or down the stack.
287 \item[Roll tracks up | Roll tracks down] wheel motion of the tracks up or down.
288 \item[Delete tracks] deletes the armed tracks.
289 \item[Delete first track] deletes the first track, whether it is armed or not.
290 \item[Delete last track] deletes the last track, whether it is
292 \item[Concatenate tracks] operation copies all the assets of
293 every disarmed but playable track and concatenates it by pasting
294 those assets at the end of the first set of armed tracks. They are
295 pasted one after the other, keeping the same order they have on the
296 stack. If there are two armed tracks followed by two disarmed
297 tracks, the concatenate operation copies the assets of the two
298 disarmed tracks and pastes them after the assets of the two armed
299 tracks. If there are three disarmed tracks instead, the assets of
300 two tracks are pasted after the assets of the armed tracks and the
301 assets of the third track are pasted at the end of the first armed
302 track. The destination track wraps around until all the disarmed
303 tracks are concatenated. Disarmed tracks that are not playable are
305 \item[Align timecodes] see \nameref{sub:align_timecodes}
306 \item[Append to project] allows for creating new tracks after
308 \item[Add subttl] will add a track for subtitles at the top of
312 The \textbf{Audio} \index{audio!pulldowns} and \textbf{Video pulldowns} \index{video!pulldown} each contain an
313 option to add a track of their specific type. In the case of audio,
314 the new track is put on the bottom of the timeline and the output
315 channel of the audio track is incremented by one. In the case of
316 video, the new track is put on the top of the timeline. This way,
317 video has a natural compositing order. New video tracks are overlaid
318 on top of old tracks.
320 \subsection{Displaying tracks: Ganged mode}%
321 \label{sub:displaying_tracks_ganged}
322 \index{track!ganged mode}
324 Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group.
326 To get this capability, there is a \textit{Gang Tracks} \index{gang tracks toggle} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. In addition to letting you work on the tracks of a group as one, you also get a saving of space on the timeline that makes it easier to view and edit the tracks. Group masters are marked by the \textit{Master Track} \index{master track} toggle in the patchbays \index{patchbay}. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are:
329 \item \textbf{Gang None:} this is the default mode and is the traditional way Cinelerra operates. If you never toggle the "Gang Tracks" button, everything operates normally as it always has. In this mode, the button icon looks like 3 tracks with $\dots$ on the end and all tracks are visible on the timeline. See figure~\ref{fig:gang-track-01}
333 \includegraphics[width=0.99\linewidth]{gang-track-01.png}
334 \caption{Gang None: only the video track is master. We see all tracks both master and non-master (default)}
335 \label{fig:gang-track-01}
337 \item \textbf{Gang Channels:} in this mode, all \textit{Master Tracks} are shown. The exception is when there is no Master video, no Master audio or no Master subtitle track, in which case for each the first track of video, audio, and subtitle will be shown. For users who routinely switch the track order frequently, the patchbay has the \textit{Master Track} icon to set your own preference. Stereo tracks, or 5:1 channels/any number of audio tracks, are drawn as 1 audio track for the purpose of making changes on that single track which are propagated to all of its other channel tracks automatically. This is the DAW-like mode. The \textit{Gang Tracks} button icon looks like 2 tracks and only the first video and first audio tracks will be shown. See figure~\ref{fig:gang-track-02}
341 \includegraphics[width=0.99\linewidth]{gang-track-02.png}
342 \caption{Gang Channels: only the video track is master. Let's see the master tracks and the first of the non master tracks}
343 \label{fig:gang-track-02}
346 \item \textbf{Gang Media:} this mode only shows the \textit{Master Tracks} of the media but changes are propagated to the appropriate other related tracks (even if they are not visible). The \textit{Gang Tracks} button icon looks like a single track. See figure~\ref{fig:gang-track-03}
351 \includegraphics[width=0.99\linewidth]{gang-track-03.png}
352 \caption{Gang Media: only the video track is master. We only see the master tracks}
353 \label{fig:gang-track-03}
356 The current \textit{Gang Tracks} mode is saved across sessions and will be saved in your project. Although most likely users will work in the \textit{Gang None} mode, users more familiar with DAW software will tend to use the \textit{Gang Channel}s mode.
358 More details are described next about master tracks. Each patchbay has a \textit{Master Track} button on the right of the patchbay. These mark which tracks of the media are master tracks. The span of tracks between the gang group masters are the gang track group. The master track toggles can be disabled/enabled as the user wishes to create the desired track groups. Normal file loads will mark the first stream of each file loaded as a master, if the media is loaded with insertion strategy of\textit{ Replace current project}, \textit{Replace current project and concatenate tracks} or \textit{Append in new tracks}. Frequently, editing is done on video, audio, or audio/video groups to maintain timeline synchronization. By grouping related tracks, this procedure is much more automatic.
360 Previously existing projects created before the addition of ganged tracks, will have ALL tracks marked as master tracks and changing the \textit{Gang Tracks} button mode will have no effect. The user will have to properly designate which track is the master track and disabling the others in order to make use of the toggle modes.
362 There are no restrictions on how you use this feature and there may be variations for users not concerned about DAW-like workings that are very useful. Several methodologies are possible, but you have to know what you are doing.
366 \item When in \textit{Gang Channels} or \textit{Gang Media} mode, if the first audio track is not disarmed, but any of its connected channel tracks are, the disarm of those channels are ignored and all channels are treated as being armed. This is to be consistent with the purpose of using this mode; the purpose being that any edits to the first master track are automatically propagated to all other channels. \textit{Warning}: this behavior is contrary to the default of \CGG{} whereby an unarmed track never undergoes any alteration. This exception was made to mimic the behavior of DAWs, where the various channels of an audio track are combined into a single "line", and it makes no sense to talk about armed or unarmed channels.
367 \item It may be better when using the \textit{Gang Channels} or \textit{Gang Media} mode to make any changes
368 to the first audio channel to be automatically duplicated before reverting to the \textit{Gang None} mode to make other changes. Once you start changing individual channels (that is, audio tracks) so that they are no longer coordinated in their edits/plugins, it may be more difficult to switch back to \textit{Gang Channels} mode and get the desired results since the channels may no longer be lined up.
369 \item Gang modes should not be used with Multi-camera/Mixers because they have very specific operational capabilities which are not compatible with the way that Ganging works.
370 \item Gang flags in the patchbay specifically when in \textit{Gang Channels} or \textit{Gang Media} modes will operate as set in the Master Track. For example, if when in \textit{Gang Channels} mode, you turn off “Play track” on the visible audio track, none of the associated channels (i.e. the other stereo or other 5 channels) will play. And if in \textit{Gang Media} mode, if you turn on “Play track” for the Master Track, all associated video and audio tracks will play unless you turned off “Play track” for some of the associated audio/video slave tracks which will not play.
371 \item When adding a Plugin/Effect in \textit{Gang Channels} or \textit{Gang Media} mode to the track, highlighted selected region, or In/Out pointers area via dragging the plugin from the Resources Window the plugin will be added on the master and all slave tracks. If using the Audio or Video pulldown, \textit{Attach Effect} option and you want to propagate the effect to all slave tracks, make sure that the checkbox for "Attach single standalone and share others" in the Dialog window is checked. However, currently when using the right mouse button (RMB) on the master track to \textit{Attach effect}, the effect will only be inserted on that track.
374 \section{Two Screen Editing}%
375 \label{sec:two_screen_editing}
378 This is a fast way to construct a program out of movie files (in
379 other programs is called \textit{three points editing}). The idea
380 consists of viewing a movie file in one window and viewing the
381 program in another window. Subsections of the movie file are defined
382 in the viewer window and transferred to the end of the program in
383 the program window. Two screen editing can be done simply by using
384 keyboard shortcuts. To get familiar with which keys to use, move
385 the mouse pointer over the transport panel and a tooltip appears,
386 showing what key is bound to that button.
388 To begin a two screen editing session, load your media resources by
389 using the main menu \textbf{File pulldown} and choose \textit{Load
390 files} \index{load media files}; make sure the insertion mode is set to \textit{Create new
391 resources only}. This insertion strategy \index{insertion strategy} is to ensure that the
392 timeline stays unchanged while new resources are brought in. Go to
393 the Resources window \index{resources window} and select the Media folder. The newly loaded
394 resources will appear. Double click on a resource or drag it from
395 the media side of the window over to the Viewer window \index{viewer!window}.
397 Check to make sure there are enough armed tracks on the timeline to
398 put the subsections of source material that you want. Usually this
399 would be one video track and two audio tracks, but if there are not
400 enough, just create new tracks or arm more tracks.
402 Now to start your 2 screen editing, in the viewer window, define a
403 clip from the media file:
406 \item Set the starting point with the In pointer button. You
407 will see a left hand bracket on the timebar.
408 \item Move your cursor to the ending point of the clip you want
410 \item Set the ending point with the Out pointer right hand
412 \item You will see a colored bar inside the brackets for easier
414 \item Drag the In/Out point \index{in/out point} with the mouse to conveniently
415 change their position.
418 These In/Out points define a clip \index{clip}. You can now use this in a couple
421 \paragraph{Splice} \index{splice} The splice icon, or shortcut letter “\texttt{v}”,
422 inserts the selected area in the timeline after the insertion point.
423 After the splice has taken effect, the insertion point moves to the
424 end of the edit ready to be used as the next splice location. This
425 way you can continuously build up the program by splicing. If an In
426 point or an Out point exists on the timeline the clip is inserted
427 after the In point or after the Out point. If both In and Out points
428 are set on the timeline, the clip is inserted after the In point. If
429 there are edits after your chosen splice location on the timeline,
430 they will be moved to the right.
432 \paragraph{Overwrite} \index{overwrite} The overwrite icon, or shortcut letter
433 “\texttt{b}”, overwrites the region of the timeline after the
434 insertion point with the clip. If an In point or an Out point exists
435 on the timeline the clip is overwritten after the In point or after
436 the Out point. If both In and Out points are set on the timeline,
437 the clip is inserted after the In point. If a region is highlighted
438 or both In and Out points exist they limit the region of the
439 overwriting and the clip may therefore be shortened. Here is a
440 detailed explanation to take advantage of this method.
442 To overwrite exactly on a precise region of the timeline:
444 \begin{enumerate} [noitemsep]
445 \item Arm only tracks to change.
446 \item Define the destination region on the timeline with [ and
447 ], the In and Out points.
448 \item You can achieve maximum precision by setting the active
449 region in the zoom panel.
450 \item Define the clip you want to use in the viewer with [ and
451 ], the In and Out points.
452 \item Overwrite from Viewer to the timeline.
455 If the destination region is shorter than the clip defined in the
456 viewer, the portion of the clip longer than the destination region
457 won't be inserted and on the timeline the following edits won't
458 move. If the destination region is longer than the clip defined in
459 the viewer, the destination region will shrink and on the timeline
460 the following edits will move to the left.
462 \paragraph{Clip} The clip icon, or shortcut letter “\texttt{i}”,
463 generates a new clip for the resource window containing the affected
464 region but does not change the timeline. Every clip has an
465 optional/default title and description.
467 \paragraph{Copy} The copy icon, or shortcut letter “\texttt{c}”,
468 copies the selection into the copy buffer.
470 \subsection{Use Case – Working with Sequences}
471 \label{sub:use_case_working_sequences}
474 \textit{From the Viewer to the Timeline \index{timeline} with the sequences imported
475 in a Master Project.}
477 A convenient methodology for working on a Master project along with
478 1 or more previously saved Sub projects or \textit{sequences} use
479 case is described here. A sequence is an edited assembly of audio
480 and video clips generally consisting of a series of videos that
481 relate to the same activity. This use case explains how to work this
482 way and some things you need to be aware of.
485 \item First load your Master project, which you worked on and
486 saved earlier as an \texttt{.xml} file, using an Insertion strategy
487 of \textit{Replace current project}. Generally this Master project
488 consists of media with any of the attributes of clips, autos,
489 possibly keyframes, and effects. You will see your project on the
490 main timeline and the Media files that are part of this Master
491 project will be displayed in the Resources window in the Media
493 \item Previously you may have also saved a Sub project, which
494 will now be referred to as a Sequence, as an \texttt{.xml} file that
495 may contain any of the same such things: media, clips, autos,
496 keyframes, effects. Second you will want to load the Sequence using
497 an Insertion strategy of \textit{Create new resources only}. When
498 you do the load, this Sequence will show as a file in the Resources
499 window in the Clips folder. The actual media will show in the Media
501 \item Now Drag and Drop the Sub project from the Clips folder to
503 \item Set In and Out Pointers in the Viewer to the region of
504 interest in the Sub project and in the Timeline of the Main window
505 of your Master project, move the cursor position to where you would
506 like to insert this In/Out section.
507 \item Click on the \textit{Splice (v)} button in the Viewer to
508 insert this section into the Master project timeline. All of the
509 attributes of the selected Sub project section will now be inserted
510 in the main timeline to include the autos, keyframes, effects, and
512 \item Alternatively, if you click on the \textit{Overwrite (b)}
513 button in the Viewer, you can see the Sub project In/Out section in
514 the timeline, but without its autos, effects, keyframes, etc. If in
515 the timeline there were some autos, effects, and keyframes in that
516 Master project, they will be in effect for the new section.
519 You can see the advantages of using Splice versus Overwrite to
520 either insert (splice) with all of the attributes of a specific
521 section of your Sequence or to overwrite without the attributes to
522 allow for the smooth operation on the timeline by retaining the
523 timeline’s attributes at that point.
525 NOTE: for correct operation of this use case, you should have the
526 same (or more) number of tracks in the Master project as you do in
527 the Sequence. To avoid having to know how many tracks you need, you
528 can use the Nest feature as described in the Nesting section
529 (\ref{sec:nesting_clips_and_assets}).
532 \section{Cut and Paste Editing}%
533 \label{sec:cut_paste_editing}
534 \index{cut and paste}
536 This is the more traditional method of editing in \CGG{} and
537 therefore is the default. To enable the cut and paste editing mode
538 on the timeline, select the I-beam \index{i-beam} toggle on the control bar at the
539 top of the main program window. You can copy edits in the same
540 track, copy from different tracks in the same instance, start a
541 second instance of \CGG{} and copy from one instance to the other or
542 load a media file into the Viewer and copy from there.
544 To start editing, load some files onto the timeline. Select a
545 region of the timeline by click dragging on it and select the cut
546 button to cut it. Move the insertion point to another point in the
547 timeline and select the paste button. Assuming no In/Out points are
548 defined on the timeline this performs a cut and paste operation.
550 Most editing operations are listed in the \textit{Edit} pulldown \index{edit!pulldown}. Some of
551 them have a button on the program control toolbar as well as a
552 keyboard shortcut. The keyboard shortcut is in parenthesis here.
555 \item [Split | Cut] (x) Delete the selected area and put it in
556 the cut buffer for future pasting. If a cut is made on the \textit{Insertion Point} only, without selecting a region, \textit{hard edges} are created.
557 \item[Copy] (c) Copy the selected area and put it in the cut
558 buffer for future pasting.
559 \item[Paste] (v) Paste the material that is in the cut buffer.
560 \item[Clear] (Del) Clear the selected area. If the insertion
561 point is over an edit boundary and the edits on each side of the
562 edit boundary are the same resource, the edits are combined into one
563 edit comprised by the resource. The start of this one edit is the
564 start of the first edit and the end of this one edit is the end of
565 the second edit. This either results in the edit expanding or
567 \item[Paste silence] (Shift+Space) Paste blank audio/video for
568 the length of the selected area. Following edits will be pushed to
570 \item[Mute Region] (m) Overwrite blank audio/video on the
571 selected area. Following edits don't move.
572 \item[Trim Selection] Delete everything but the selected region.
573 \item[Select All] (a) Select the whole timeline.
576 In Cut and Paste editing mode you can \textit{edit labels} \index{label} as
577 well. By enabling Edit labels in the \textbf{Settings pulldown}, or
578 by disabling the Lock labels from moving button on the Program
579 Control Tool Bar, labels will be cut, copied or pasted along with
580 the selected regions of the armed tracks.
582 Using labels and In/Out points are useful in editing audio. You can
583 set In/Out points for the source region of the source waveform and
584 set labels for the destination region of the destination
585 waveform. Perform a cut, clear the In/Out points, select the region
586 between the labels, and perform a paste.
588 \paragraph{In / Out Points} \index{in/out point} The In and Out bracket placement is
589 explained here to illustrate their usage. Because of the shape of
590 the markers [ and ] you may assume that they are inclusive -- that
591 everything placed in between would be included in the clip \index{clip}, such as
592 in the case of being transferred to the timeline from the Viewer.
593 In reality, one of the two markers will not include the frame that
594 was visible at the time the marker was affixed. Depending on whether
595 the \textit{Always show next frame} option is used or not, it is the
596 In or Out marker that will not be inclusive.
598 To obtain a clip on the timeline exactly as you saw in the Viewer,
599 you must necessarily move the In mark back from the beginning before
600 the first desired frame or move the Out mark forward after the last
601 desired frame, depending on the \textit{Always show next frame}
604 Some of the confusion can be attributed to the fact that the Viewer
605 shows frames, while the markers determine spaces, i.e.\ times, that
606 are not visible between frames. You have to think of each frame as
607 being delimited by two spaces -- one preceding and one following.
608 The In mark is always placed before the displayed frame and the Out
609 mark is always placed after the displayed frame, while taking into
610 account in its calculations whether the \textit{Always show next
611 frame }option is used or not. If you just remember that the
612 reference of the markers is in the middle of the icon, you will
615 \paragraph{Overwrite} \index{overwrite} To perform overwriting within the timeline
616 paste on a selected region (highlighted or between In/Out
617 points). The selected region will be overwritten. If the clip pasted
618 from the clipboard is shorter than the selected region, the selected
619 region will be shrunk. Following edits will move. If the clip pasted
620 from the clipboard is longer than the selected region, the selected
621 region will be overwritten with the first part of the clip and the
622 remaining part of the clip will be written after the
623 overwriting. Following edits will move.
625 \paragraph{Tracks $\rightarrow$ Concatenate tracks} This operation
626 copies all the assets of every disarmed but playable track and
627 concatenates it by pasting those assets at the end of the first set
628 of armed tracks. They are pasted one after the other, keeping the
629 same order they have on the stack.
631 \paragraph{Split -- blade cut and hard edges:} \index{split} You can cut the
632 tracks into 2 pieces on the timeline by putting the hairline cursor
633 on the place you want to do a cut and then using the character “x”
634 or the scissors tool (figure~\ref{fig:cut}).
636 \begin{wrapfigure}[16]{O}{0.3\linewidth}
639 \includegraphics[width=0.9\linewidth]{cut.png}
644 A \textit{cut} uses a non-empty selection region, where the
645 \textit{blade cut} or \textit{split} has no duration in the
646 selection, just a hairline. As usual the use of cut when a
647 selection is set, deletes/cuts the highlighted area. In the case
648 where an In point or an Out point exists on the timeline, the clip
649 is split at the location of the In/Out point since it has priority
650 over the cursor location. A blade cut simply splits the edit into
651 two edits. In order to have the video and audio aligned, it works
652 best to have \texttt{Settings $\rightarrow$ Align cursor on
653 frames} \index{align cursor on frames}. When a blade cut occurs, the edges are created as
654 \textit{hard edges}. \index{hard edge} These are edges that cannot be deleted by
655 track optimizations \index{timeline!optimization}.
657 \CGG{} has built-in optimization on the timeline. So that whenever
658 two parts on the timeline are sequential frames, it automatically
659 optimizes by making them into 1 item. So if you are cutting,
660 dragging, editing, or whatever and somehow frame \# 40 ends up
661 right next to frame \# 41, it optimizes them together. This
662 optimization affects many areas throughout the program code. When
663 you do a blade cut/split, all armed tracks will be included in the
664 cut and green-colored triangles will show on the bottom of the
665 track on both the left and the right side of the cut. This is a
666 \textit{hard edge} marker toggle, as opposed to the soft edge
667 designation for an ordinary edit. The \textit{hard edge} marker
668 can be toggled off/on if so desired. In order to not interfere
669 with the usual drag handles, only a few pixels are used for the
670 toggle so you have to be sure you have the cursor right over the
671 hard edge triangle -- when in position, it will be obvious because
672 you can see an arrow pointing to the corner. Use Shift-left mouse
673 button 1 to toggle off/on the hard edge marker on all tracks
676 \paragraph{NOTE:} Hard Edges do not allow trim operations. For more details see: \nameref{sec:trimming}.
678 \section{Drag and Drop Editing}%
679 \label{sec:drag_drop_editing}
680 \index{drag and drop}
682 To enable the drag and drop editing mode on the timeline, select the
683 arrow toggle \index{arrow} on the control bar at the top of the main program
684 window. Drag and drop editing is a quick and simple way of working
685 in \CGG{}, using mostly only the mouse. The basic idea is to create
686 a bunch of clips \index{clip}, then drag them in order into the timeline, thus
687 building prototype media that you can watch in the compositor. If
688 after watching it, you wish to re-arrange your clips, set effects,
689 add transitions or insert/delete material, just drag and drop them
692 To simply get started, perform the following operations which are
693 useful for working in a drag and drop editing session. First load
694 your media by using the main menu \textit{File} pulldown \index{file pulldown} and choose
695 \textit{Load files}\index{load media files}; make sure the insertion mode is set to
696 \textit{Create new resources only} \index{insertion strategy}. This loads the files into the
697 Resources window \index{resources window}.
700 \item Create some video and audio tracks on the timeline using
701 the \textit{Video} \index{video!pulldown} and \textit{Audio} \index{audio!pulldown} pulldowns.
702 \item Open the Media folder in the Resources window. Make sure
703 the necessary tracks are armed and drag a media file from the
704 Resources window to the timeline \index{timeline}. If the media has video, drag it
705 onto a video track or if just audio, drag it onto an audio
706 track. For a still image, drag it onto a video track.
709 You can also drag multiple files from the Resources window. When
710 dropped in the timeline they are concatenated. If you have
711 \textit{Display Icons} selected in the Resources window, drawing a
712 box around the files selects contiguous files. If you have
713 \textit{Display Text} selected, Ctrl-clicking on media files selects
714 additional files one at a time; Shift-clicking on media files
715 extends the number of highlighted selections. In addition to
716 dragging media files, if you create clips and open the clip folder
717 you can drag clips onto the timeline.
719 \CGG{} fills out the audio and video tracks below the dragging
720 cursor with data from the file. This affects what tracks you should
721 create initially and which track to drag the media onto. To drag and
722 drop a file on the Program window, you need to create on the
723 timeline the same set of tracks as your media file.
725 When you drag your chosen media from the media folder to the
726 timeline, your mouse pointer will drag a thumbnail and, once over
727 the timeline, the outline of a white rectangle, as big as the edit
728 you are going to have appears. Drag the media to the desired
729 position of an empty track of the timeline and drop it. If there
730 are other edits on that track, when you move the white outline over
731 an edit, you will see a bow tie symbol $\bowtie$ appearing at edit
732 boundaries. If you drop the media there, the new edit will start
733 from the edit boundary indicated by the center of the bow tie
736 Since the mouse pointer is in the middle of the white outline, when
737 this rectangle is bigger than the visible part of the timeline, it
738 is quite cumbersome to precisely insert it for long
739 media. Lengthening the duration visible in the timeline by changing
740 the sample zoom in the zoom panel will reduce the size of the white
741 rectangle, making a precise insertion possible.
743 When you drag and drop edits within the timeline:
746 \item If you drop an edit when bow ties $\bowtie$ are shown,
747 that edit will be cut and pasted starting at the edit boundary
748 indicated by the center of the bow tie $\bowtie$. Following edits
749 on the same track will move.
750 \item If you drop an edit when there are no bow ties $\bowtie$
751 shown, the original edit will be muted and pasted where you dropped
752 it. No edits will move. A silence will appear in place of the
754 \item If you have more armed tracks on the timeline than in the
755 asset you are dragging, only the following edits of the tracks
756 affected by the drag and drop operation will move to the right. This
757 will cause loss of synchronization \index{sync}. To restore it, disarm the tracks
758 affected by the drag and drop operation, highlight the just dropped
759 edit and paste silence over it using the \textit{Edit} pulldown,
760 \textit{Paste Silence}.
763 Labels sometimes work differently in Drag and Drop editing mode in
764 that you can't drag and drop them. They might be locked to the
765 timebar \index{timebar}, even with the Edit labels option enabled. Although with
766 the Edit labels option enabled, if a selected area of a resource is
767 spliced from the Viewer to the timeline in a position before labels,
768 these labels will be pushed to the right for the length of the
771 In/Out points can be used to perform Cut and Paste operations in
772 Drag and Drop mode as well as in Cut and Paste mode. Use the \textit{Edit}
773 pulldown to view the list and their keyboard shortcuts.
776 \subsection{Copy/Paste Behavior}%
777 \label{sub:copy_paste_behavior}
778 \index{drag and drop!MMB options}
780 There are many options for moving, copying, pasting, inserting, and
781 deleting selected \textit{edits}, more commonly referred to by the
782 user as \textit{clips}, when in the Drag and Drop (arrow) editing
783 mode. This makes it easier to avoid constantly having to disarm/arm
784 tracks. To create a selection \index{edit!selection} move the cursor over the clip and
785 just click the left mouse button; remove a selection by left mouse
786 button click again. This will mark your selection with a colored
787 border which contains some red. The easiest way to initially use
788 the various modes is to click on the middle mouse button when your
789 cursor is over a track and a popup displays the modes and shortcuts.
790 However, for those users who prefer the addition of the Ctrl key to
791 add multiple selections as is commonly done for listbox operations,
792 there is a preference in \texttt{Settings $\rightarrow$ Preferences
793 $\rightarrow$ Appearance} tab, called \textit{Clears before
794 toggle} \index{clears before toggle} that changes the behavior.
796 When an edit is marked as selected, it can be cut/copied into the
797 paste clip buffer. The constructed clip buffer will begin with the
798 leftmost edit and end with the rightmost edit. The edits may
799 contain media, or be silence, or skipped if they are not selected.
800 The clip tracks are copied from the first track with an active edit
801 selection to the last track with an active edit selection. A clip
802 track can be completely empty if no selection was made on the track.
803 The word \textit{packed} means that the silent edits and empty
804 tracks are not included in the copy to the clip buffer, and all of
805 the elements are packed together, no gaps. Packing a clip buffer
806 makes it easier to move \textit{blobs} of data around. Once the
807 edits have moved and have a relative relationship applied, an
808 unpacked clip buffer allows the media to be copied with the relative
809 positions of the edits preserved.
811 The \textit{edits} popup is activated on a track and a red and
812 yellow colored reticle appears to temporarily mark the location when
813 you click on the middle mouse button. An expanded explanation is
816 \renewcommand{\arraystretch}{1.15}
818 \begin{longtable}{p{0.3\textwidth-2\tabcolsep} p{0.7\textwidth-2\tabcolsep}}
820 \textbf{Key} & \textbf{Operations}\\
822 Drag & Hold down the Ctrl key while dragging to move a single
824 Left mouse button & Selects and highlights the edit under the
825 cursor with a red selection box. Left mouse
826 button also will toggle that clip selection
833 \begin{longtable}{p{0.2\textwidth-2\tabcolsep}
834 p{0.2\textwidth-2\tabcolsep} p{0.6\textwidth-2\tabcolsep}
837 \textbf{Popup Label} & \textbf{Key} & \textbf{Operation}\\ \midrule
839 Clear Select & Ctrl-Shift-A & Deselect all selected edits --
840 ones that have the red lines
843 Select Edits & Ctrl-Alt-' & Select all edits within a highlighted area of the timeline * \\
845 Deselect Edits & & Deselect all edits within a highlighted area of the timeline * \\
847 Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
849 Cut & Ctrl-x & Delete the selected edits after copying them into
850 the buffer. The edits\\
852 Mute & Ctrl-m & Delete the selected edits after copying them
853 into the buffer. The space previously occupied
854 by the edits will be replaced with silence.\\
856 Copy Pack & Ctrl-Shift-C & Copy the selected edits into the
857 buffer and remove any silent
860 Cut Pack & Ctrl-z & Delete the selected edits after copying them
861 into the buffer. The edits after the
862 election will move left to occupy the
863 vacated space. The edits in the copy buffer
864 will be packed together within each track.\\
866 Mute Pack & Ctrl-Shift-M & Delete the selected edits after
867 copying them into the buffer. The
868 deleted edits will be replaced with
869 silence. The edits in the copy
870 buffer will be packed together within
873 Paste & Ctrl-v & Paste contents of the copy buffer at the
874 insertion point marked by the red \& yellow
875 reticle of the popup menu or the position of
876 the hairline cursor. This is a splice
877 operation which creates space for the edits.\\
879 Overwrite & Ctrl-b & Paste contents of the copy buffer at the
880 insertion point marked by the red \& yellow
881 reticle of the popup menu or the position
882 of the hairline cursor. This destroys the
883 current edits in that space.\\
885 Overwrite plugins & Ctrl-Shift-P & Pastes plugins that are in the Copy
886 buffer to current location but no
891 \renewcommand{\arraystretch}{1}
893 * \textit{If the selection area created is larger than the edits we want to act on and includes additional edits, those edits will be involved if "Select Edits" or "Deselect Edits" is used. Indeed, these options act on both the selected edits and those that are not selected but are included in the selection area created. In practice, edits that were selected are deselected, while unselected edits are selected}.
895 The copy/paste behavior respects the armed/disarmed tracks
896 state. A paste of audio on a video track will fail and vice versa.
897 In addition if you attempt to paste edits consisting of more tracks
898 than what is available at that location it will not allowed.
900 Attaching transitions to multiple selected edits via the \textit{Video} or
901 \textit{Audio} pulldowns is also available. The new transitions are attached
902 at the start of the edits, and will replace any existing attached
903 transitions. As a side note, when in drag and drop mode the end
904 transition does not drag.
906 \subsection{Snapping while Cutting and Dragging}%
907 \label{syb:snapping_cutting_dragging}
910 \paragraph{Cutting/Snapping edits} \index{edit!cut with snap} cuts from an edit handle to the
911 insert point. There are Edit Panel buttons which normally are used
912 to move to the previous or next edit handle/label.
914 \begin{wrapfigure}[3]{r}{0.2\linewidth}
917 \includegraphics[width=0.7\linewidth]{snap.png}
920 They look like tags and the letter E on the menu bar and are
921 oriented forward/backward. These same buttons can be used to
922 \textit{cut} from the insert pointer to the previous or next
923 edit/label when the ctrl+alt keys are both pressed when the buttons
924 are used. They \textit{snap} off the media instead of doing the
925 standard re-positioning. This is useful to minimize the number of
926 operations necessary to cut between edits/labels.
928 Instead of using the edit panel buttons, you can more easily use the
929 following keyboard shortcuts to perform the same functions:
934 snap\_right\_edit & ctrl+alt+ '.' &\\
935 snap\_left\_edit & ctrl+alt+ ',' &\\
936 snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
937 snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
942 \paragraph{Drag Snapping} \index{edit!drag with snap} if you hold down the Ctrl + Alt keys while
943 dragging using the mouse, once the clip gets near to an edit, a
944 label, an in/out pointer or the start/end of the timeline, the
945 dragged clip will snap next to that marker. The 2 will now be
946 exactly aligned with no gap and no overlap. As you drag the clip
947 close to one of the markers, when they are within a short distance
948 they start to stick and stay that way until you move further away
949 from that distance. Also, the line will turn color from green to
950 yellow while in the sticky phase. In addition, this works for a
951 plugin while dragging so that it will be the same length as the edit.
953 \subsection{Copy/Paste clips/medias across Multiple Instances}%
954 \label{sub:copy_paste_multiple_instances}
955 \index{multiple instances: copy/paste}
957 It is easy to copy/paste clips/media within a single instance of
958 \CGG{} or across multiple instances. The reason this works is
959 because there are hidden X cut buffers and these are used to
960 transmit EDL from 1 instance to another.
962 Steps to copy from a source timeline and paste to a target timeline:
965 \item highlight a selection on the timeline in 1 instance of \CGG{}
966 \item use the Copy icon (shortcut c) on the main menu bar to copy
968 \item move the pointer to another instance of \CGG{} and set an
969 insertion point in its timeline
970 \item use the Paste icon (shortcut v) to paste the clip to that
971 other instance selection target
974 \subsection{Grouping edits}%
975 \label{sub:grouping_edits}
976 \index{edit!grouping}
978 \CGG{} recognizes as a group, the edits of different armed tracks
979 that have aligned beginnings, regardless of whether they have the
980 same source or aligned ends. You can drag these edits around on the
981 timeline to construct your movie by rearranging scenes. If more than
982 one track is armed, \CGG{} will drag any edits which start on the
983 same positions the edit the mouse pointer is currently over. Another
984 method of Grouping of edits is performed as follows:
987 \item Select \index{edit!selection} each of the clips you would like to be part of a
989 \item Use the desired Copy mode as described above to get into
991 \item Go to the Resources window Clip folder and right click on
993 \item Choose the Paste Clip option. Now you have a named clip
994 of the current selection.
995 \end{enumerate} A more traditional Grouping of edits which make a
996 Permanent Group works as described next. A temporary group is just
997 a set of selected clips and works the same as a single selection.
999 \item Create a group:
1000 \begin{itemize}[noitemsep]
1001 \item Select multiple clips/edits with left mouse button
1003 \item Hold down shift and left mouse click over any of the
1004 selected clips to create a group;
1005 \item A Group Id and color are assigned to this group making
1006 it easy to distinguish.
1009 \begin{itemize}[noitemsep]
1010 \item Move your cursor over any of the clips within the
1011 group; click to select the clip group.
1012 \item Click and Hold down the left mouse button to drag.
1014 \item Dissolve a permanent group:\\
1015 To ungroup select any of the group edits/clips and shift left
1016 mouse click to ungroup (same as creating). The edits will be
1017 ungrouped, and the current selection will be replaced with the
1021 The color of the created groups are not muted and are assigned by
1022 Group Id going sequentially through the number of 1 to 64.
1023 Therefore if you dissolve a group and make it again, it will have a
1024 different Group Id and a different color.
1026 \subsection{Dragging Groups}%
1027 \label{sub:dragging_groups}
1028 \index{edit!dragging group}
1030 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
1031 is really easy. Just select \index{edit!selection} the clip or clips you want to drag
1032 using the left mouse button, then put your cursor over one of them
1033 and drag while holding down the left mouse button. Keyframes,
1034 autos, labels, and plugins will also be dragged. Dragging honors
1035 armed/disarmed tracks. When you drag there will be some possible
1036 colors as defined; depends on how the edges of edits and groups
1040 \item Green color means OK to drop in that position as it will
1042 \item Yellow color means you can drop here and when you do it
1043 will be exactly next to that existing edit.
1044 \item Blue color means it overlaps something and this includes
1046 \item Red color means can not drop here because it will not fit
1048 \item Orange color means the track types do not match so it can
1049 not be dropped here.
1052 Remember: With the \texttt{Shift} key on, it will always
1053 \textit{overwrite}. Without the \texttt{Shift} key enabled, it
1054 always \textit{inserts} only.
1056 The original (older) method of dragging while in Arrow \index{arrow} mode, lets
1057 you just left mouse click on a single clip or aligned clips and just
1058 drag. This older method of dragging does not move any of its
1059 effects with it at this time. There will only be a white outline
1060 while dragging and it will let you drop only if it fits. You can
1061 also perform some dragging and grouping while in the \textit{Cut and
1062 Paste editing mode} (ibeam mode \index{i-beam}) by taking advantage of the Ctrl
1063 button in conjunction with the left mouse button.
1066 \item Double click selects a column so you can move, for
1067 example, the audio and video together by holding down the Ctrl key
1069 \item A single clip can be dragged without any of its aligned
1070 clips, by holding down and Ctrl key and drag.
1073 This last section on Dragging, outlines the difference
1074 between \textit{column selection} \index{column selection} and \textit{marking selection} \index{marking selection}.
1075 Column selection is available to make it easy to still be able to do
1076 some dragging in I-beam mode whereas Marking selection makes it easy
1077 to drag clips together that are not columnated.
1080 \subsection{Selection Methods}%
1081 \label{sub:selection_method}
1082 \index{edit!selection}
1083 \index{active region}
1085 Concerning \textit{Selection} methods, the following information is
1086 partially pertinent to all editing, but is most important to keep in
1087 mind when using Drag and Drop Editing.
1089 Originally, there was the column oriented timeline drag selection
1090 which can be seen in 1 of 3 ways:
1093 \item a highlighted vertical column
1094 \item the colored line region between the [~in and out~] marker
1096 \item a single flashing line
1099 The selection priority works like this. When the highlighted
1100 vertical drag column is in use (1), it has the highest precedence
1101 and is used as the selection. When the column is a single line (2),
1102 then the fall back selection is the [~in/out~] marker region, if
1103 they are set. When they are not set, and the cursor is flashing,
1104 then the selection start=end and the selection is empty, but it does
1105 have a position on the timeline which can be used for editing. This
1106 is input for the vertical style cut/paste drag/drop editing.
1108 More recently, in addition to the column oriented timeline drag
1109 selection, there is now \textit{group} \index{edit!grouping} capabilities which have
1110 various \textit{edit} selections. These are created in the Drag and
1111 Drop editing mode by clicking edits to toggle
1112 select/deselection. These groups are input to a different (more
1113 modern) set of cut, paste and overwrite drag/drop editing. You
1114 can see this set of operations when you click on an edit with the
1115 middle mouse button, and are also available using the shortcuts
1116 shown. They are more like text editor commands to include
1117 \texttt{ctrl+x=cut}, \texttt{ctrl+c=copy}, \texttt{ctrl+v=paste},
1118 and so on \dots The keyboard Delete key is not hooked to these
1119 operations, and is hooked to the original editing methods.
1121 In this \textit{group} mode, if there are In/Out \index{in/out point} markers set, they
1122 enter the selection priority queue between the column selection and
1123 the cursor only. You can see the In/Out markers selected region
1124 colored line across the timebar (slightly underneath where the time,
1125 samples or frames show ) on the main timeline extending between the
1126 [ and ]. This means that when the highlighted cursor selection is
1127 empty, the In/Out selection will be used.
1129 Summarizing: to select multiple edits/clips on the timeline you can simply use LMB on each edit. Or, if in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ appearence tab $\rightarrow$ Flags} we have enabled \textit{Clears before toggle}, use CTRL + LMB on each edit.
1131 There is also a faster way:
1134 \item Arm the tracks you want to be used.
1135 \item Highlight the area as usually you do with \textit{I-beam} mode (or use \textit{In/Out Points}; or position \textit{Insert Point} over the stack of edits). If you miss an edit that you want included, the same method can be used to add it. It is an additive operation. And, it will include the partial edits in the selected area, thus making it easy to disinclude ones you do not want.
1136 It will include silence also but you can remove that or any other edit with CTRL + LMB.
1137 \item Press MMB on a clip inside the highlight area and the PopUp menu is shown with the \textit{Select edits} option on the top.
1138 \item Choose the \textit{Select or Deselect edits} option and the clips inside the highlight area will be selected or deselected.
1141 NOTE: \textit{Select Edits/Deselect Edits} option toggle between select and deselect edits. If you have selected an edit and you want to deselect it but select the edits near to it, you can highlight the area and using \textit{Deselect Edits} (or \textit{Select Edits}) the edits near to it will be selected while the edit selected before will be deselected. Of course it works for more edits selected before too. In practice, edits that were selected are deselected, while unselected edits (included in the selection area we created) are selected. If you want to deselect all the selected edits you must use \textit{Clear Select} option by MMB.
1143 There is a Drag mouse way (this requires that the cursor be on the first
1144 clip and from there you start the drag):
1146 \item To Drag Select edits, hold down Alt+Left Mouse Button (LMB) and drag over the selection area. Releasing the mouse results in selecting.
1147 \item To Drag Deselect edits. hold down Alt+Ctrl+LMB and drag over the area to be desected. Releasing the mouse results in deselecting.
1150 If using certain operating systems (for example Ubuntu and Arch) that might field the Alt key before it gets to \CGG{}, you can use the following for both Select and Deselect instead:
1152 \item Press and hold down Ctrl+Alt+LMB on an edit
1153 \item Drag on the edits you want to select
1154 \item Release the Ctrl key
1155 \item Release the LMB
1156 \item Release the Alt key
1159 \section{Inter-View Mode -- Identifying Source Targets}%
1160 \label{sec:inter-view_identifying_source_target}
1163 Inter-View mode provides a mapping of a particular media file to its
1164 timeline \index{timeline} usages. It is somewhat similar to Two Screen Editing in
1165 that you make use of the Viewer. It makes it possible to precisely
1166 trace and indicate in the media the origin of a particular segment
1167 of the timeline and visually indicate the use and distribution that
1168 the timeline makes of a particular media. A good example usage
1169 would be in the case of a 30 minute interview where you use a few
1170 short pieces to make a shorter 10 minute section, find out that you
1171 have made the timeline 12 minutes instead and need to cut out
1172 another 2 minutes. This feature provides the following capabilities:
1175 \item You can see on the timeline all of the places where a
1176 particular piece of media was used.
1177 \item You can see which parts of that particular media are
1178 already used so you do not reuse that same piece again.
1179 \end{itemize} Figure~\ref{fig:inter-view01} shows an example of the
1180 Inter-View mode mapping preview mini-window.
1183 \includegraphics[width=0.8\linewidth]{inter-view01.png}
1184 \caption{Inter-View mode: white bar$\rightarrow$source; red
1185 bar$\rightarrow$timeline}
1186 \label{fig:inter-view01}
1189 There is a second usage of Inter-View mode that can be helpful if
1190 some tracks have become misaligned, such as in the case of 2 audio
1191 channels no longer being in sync. You can use this mode to get them
1194 Explanation of how to use Inter-View mode will be described here
1198 \item Do your editing as usual on the timeline until you are
1199 ready to see what is used or unused.
1200 \item Make sure you are in any of the Preview modes \index{preview mode} in the
1201 Resources window \index{resources window}; you enable the mode using the pulldown to the left
1202 of the word \textit{Search}. The option looks like this \quad
1203 \includegraphics[height=\baselineskip]{fullplay.png}.
1204 \item Middle mouse click on a thumbnail in the Resources window and
1205 a popup occurs of that media with a white colored bar at the top
1206 and a red colored bar at the bottom with black sections.
1209 The red/white bars represent the presence and the black sections
1210 represent the absence of where that media is used on the timeline.
1211 To get to a bigger representation, use the “\texttt{f}” key for a
1212 full screen. Now you can operate the following buttons to display
1213 what you need to see and to move around. It is important to note
1214 that \textit{locked tracks} will not be represented. This makes it
1215 easy to ignore the audio track segments if you want so there is less
1216 confusion in the display.
1219 \item Clicking on the top white or black spaces in the top time
1220 bar loads the Viewer with the source media, and sets the In/Out [
1221 and ] pointers to be the selection of that edit.
1222 \item Click on a location in the bottom red or black bar, and
1223 the main cursor and composer will re-position to the corresponding
1224 location on the session timeline.
1225 \item Dragging on the red/black bar will correspondingly update
1226 the position in the timeline and composer.
1227 \item Ctrl-click on the bottom bar and the timeline and composer
1228 are re-positioned to the beginning of that edit.
1229 \item Shift-click on the bottom bar and a \textit{selection} is
1230 made of that section in the timeline and the compqoser is updated
1231 with that start position.
1235 Figure~\ref{fig:inter-view02} displays Inter-View window and its
1236 relation to the timeline, viewer, and compositor.
1239 \includegraphics[width=1.0\linewidth]{inter-view02.png}
1240 \caption{Inter-View mode and the timeline}
1241 \label{fig:inter-view02}
1244 The Inter-View mode works for Media, Proxy, and User Bins. When the
1245 preview window has only black bars on the top and bottom, it means
1246 that this particular media is not loaded in the timeline. So when
1247 you are in Proxy, meaning that the Proxy files are loaded on the
1248 timeline, there will be only black bars for the corresponding Media
1249 file UNLESS there is an audio track associated with the video.
1250 Because audio tracks are not proxied, they will show for Media but
1253 \section{Edit Tools}%
1254 \label{sec:edit-tools}
1257 \subsection{Edit Length}%
1258 \label{sub:edit-lenght}
1261 To set the length of an edit in the timeline, select the region
1262 which contains the edit to be modified. Now select the menu bar
1263 \texttt{Edit $\rightarrow$ Edit Length}\dots menu item to activate
1264 the \textit{edit length} popup (figure~\ref{fig:lenght}). The
1265 duration of the edit can be reset by entering the desired edit
1266 length in seconds. Pressing OK will change all of the selected
1267 edits (in armed tracks) to the specified length.
1269 \begin{figure}[htpb]
1271 \includegraphics[width=0.5\linewidth]{lenght.png}
1272 \caption{Edit Length window}
1276 \subsection{Align Edits}%
1277 \label{sub:align_edits}
1280 When loading media, a common problem is that the various audio/video
1281 tracks do not always have exactly the same lengths. For example, you
1282 might load audio/video recordings from your camera and be dismayed
1283 to see that the audio for each segment is a half second longer than
1284 the video. If you load a large set of media clips by concatenation,
1285 the audio and video will be more skewed as more media is
1286 loaded. Align Edits makes it possible to adjust the edits so the
1287 audio and/or video align by adjusting
1288 the edits so that the track lengths are consistent. To use this
1289 feature, load all of the desired media and select a region which
1290 contains all of the edits to be aligned in the timeline. Now select
1291 the menu bar \texttt{Edit $\rightarrow$ Align Edits} menu item to
1292 operate the change. The topmost armed track is used as a template
1293 reference, and the rest of the tracks are either cut or padded to
1294 align the edit boundaries. Besides aligning audio with the video,
1295 you can also align video with the audio if the first armed track is
1296 audio. The code performs the following algorithm:
1299 \item Use the first armed track as the master track (it must
1301 \item Collect the \textit{edit project start times} on the
1302 selected master track. Only edits that are 100\% inside the selected
1304 \item Set all other tracks to match the \textit{edit times} of
1305 the template track, either by putting in silence or cutting the
1306 region to align the edits on the \textit{edit times} of the master
1310 The start time sequence of media and silence edits
1311 along the master track are collected as the target alignment
1312 boundaries. All armed tracks after the master track are modified so
1313 that if the next edit edge is too soon, it adds silence; if it is
1314 too late, edits are shortened or deleted past the point of the next
1315 target alignment boundary time. Align Edits works best if there are
1316 an equal number of Video and Audio sections. Also, it is better to
1317 use cuts instead of adding silence -- if there are silence edits
1318 together, the algorithm will combine the silence edits into a single
1319 edit and results may not be as desired.
1321 The first two screenshots in figure~\ref{fig:align} show the Before,
1322 the Highlighted Edits to be manipulated, and the After results for
1323 the Align Edits. The third screenshot \textit{adds silence} in the
1324 second section as noted in red letters.
1326 \begin{figure}[htpb] \centering
1327 \includegraphics[width=1.0\linewidth]{align.png}
1328 \caption{Align edits}
1333 \subsection{Reverse Edits}%
1334 \label{sub:reverse_edits}
1335 \index{reverse edits}
1337 The Reverse Edits can be useful to change the order of 2 edits in
1338 the case where you would like to put a \textit{teaser} section that
1339 occurred in the middle of a movie at the beginning instead, that is,
1340 reversed positions. To operate, highlight completely the edit areas
1341 you would like reversed and then use the pulldown \texttt{Edit
1342 $\rightarrow$ Reverse Edits}.
1344 Figure~\ref{fig:reverse01} shows the selected / highlighted area to
1345 which Edits will be applied. Note the first edit is 0002, followed
1346 by 0003, 0004, and 0005 in that order.
1348 \begin{figure}[htpb]
1350 \includegraphics[width=0.9\linewidth]{reverse01.png}
1351 \caption{Selected area for Reverse Edits}
1352 \label{fig:reverse01}
1355 Figure~\ref{fig:reverse02} shows the results of executing
1356 \textit{Reverse Edits}. Now you will see the reversed order of
1357 0005, 0004, 0003, and last 0002.
1359 \begin{figure}[htpb]
1361 \includegraphics[width=0.9\linewidth]{reverse02.png}
1362 \caption{Results of the Reverse Edits}
1363 \label{fig:reverse02}
1367 \subsection{Shuffle Edits}%
1368 \label{sub:shuffle_edits}
1369 \index{shuffle edits}
1371 The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
1372 randomly exchange the location of the edits. This feature can be
1373 used to change the order of the music like you would do from your
1374 MP4 player where you have a playlist of your favorite music. Or
1375 perhaps you are creating an advertisement background, you can
1376 randomly change it, thus the viewer sees a different order of scenes
1379 Figure~\ref{fig:shuffle} illustrating Shuffle Edits of the
1380 highlighted area of the first screenshot on the page. Note the
1381 permutation of the fragments resulting in 0002 now being first, then
1382 0004, 0003, and 0005 last.
1384 \begin{figure}[htpb]
1386 \includegraphics[width=0.9\linewidth]{shuffle.png}
1387 \caption{Shuffle edits: the edits are permutated}
1391 \section{Multi-Session}%
1392 \label{sec:multi_session}
1393 \index{multi-session}
1395 You can run as many sessions of \CGG{} as your computer resources allow. However, if you are using the same \texttt{\$HOME/.bcast5}, changes you make for one may impact the others. You can always create and rename a new \texttt{.bcast5} from:\\
1396 \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface $\rightarrow$ Index files:} and press \textit{Index files go here}
1398 \section{Multi-Viewer Window Support}%
1399 \label{sec:multi_viewer_window_support}
1400 \index{multi-viewer window}
1402 You can create as many Viewer windows as you want in \CGG{}. These are handy for users who are adept at working with a lot of different clips simultaneously. By bringing up multiple Viewer windows, each clip can be edited in its own area, making it easy to see all of the separate pieces. After you have loaded some media files, to start another Viewer window, right click on one of the pieces of media in the Resources window. This brings up a menu of several options, one of which is \textit{view in new window}. Choose this option and that media will come up in a new Viewer window for you to work (figure~\ref{fig:multi-view01}).
1404 \begin{figure}[htpb]
1406 \includegraphics[width=1.0\linewidth]{multi-view01.png}
1407 \caption{Shown here are 3 Viewer windows and the \textit{View in new window} popup}
1408 \label{fig:multi-view01}
1411 \section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing}%
1412 \label{sec:shuttle_jog_wheels_editing}
1413 \index{shuttle pro v2 and shuttlexpress}
1415 The ShuttlePROv2 and ShuttleXpress are affordable jog wheels\protect\footnote{programmatic specifications from Eric Messick} which
1416 can be useful for working with Cin, especially if you do a lot of
1417 playing forward/backward, fast/slow/normal, and single frames
1418 (figure~\ref{fig:shuttle}).
1420 Directions for using the ShuttlePROv2 and the ShuttleXpress with
1421 \CGG{} are described next. These devices work by sending keystrokes
1422 used in Cin, corresponding to the shuttle action, to the keyboard
1423 buffer. The shuttle has been fully integrated into the \CGG{} code
1424 so that after the one initial setup, no further intervention is
1425 required. The multi-speed outer wheel works the same and has the
1426 same number of S positions on both shuttles but the shuttle Xpress
1427 has only 5 keys. Since the majority of user operations will most
1428 likely be with the use of the 2 wheels, the slightly smaller Xpress
1429 could be a better choice with its 5 easy to reach keys. The Pro is
1430 approximately $4\times7$\,inches whereas the Xpress is about
1433 \begin{figure}[htpb]
1435 \includegraphics[width=0.9\linewidth]{shuttle.png}
1436 \caption{ShuttlePROv2 and ShuttleXpress}
1440 The vendor supplied \textit{string} device names for the shuttles
1441 are currently (with the mouse duplication for in at least 1 case:
1443 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePRO\_v2-event-if00}\\
1444 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttleXpress-event-if00}\\
1445 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00} \\
1446 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePRO\_v2-event-mouse}\\
1447 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttleXpress-event-mouse}\\
1448 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-mouse}
1450 Only 1 necessary initial setup is required due to permission
1451 settings for non-root usage. As root, just copy a file that provides
1452 the necessary permissions to use the shuttle, then reboot, Example
1455 \begin{lstlisting}[style=sh]
1456 sudo cp {cindat_path}/doc/99-ShuttlePRO.rules /etc/udev/rules.d/
1459 then the next time after you reboot, the permissions should be
1460 correct. This file only needs to contain one of the following lines
1461 depending on which shuttle version you have/use, but all will be in
1464 \begin{lstlisting}[style=sh]
1465 # for newer PRO model
1466 ATTRS{name}=="Contour Design ShuttlePro" MODE="0644"
1467 # for older PRO model
1468 ATTRS{name}=="Contour Design ShuttlePRO v2" MODE="0644"
1469 # for the Xpress model
1470 ATTRS{name}=="Contour Design ShuttleXpress" MODE="0644"
1471 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0020", MODE="0666"
1472 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0030", MODE="0666"
1475 If you swap your shuttle, for example upgrade from an Xpress to a
1476 PROv2, just stop Cin, unplug the original shuttle, plug in the
1477 replacement shuttle, and restart Cin. If you start the \CGG{}
1478 program and the shuttle does not function as before, stop \CGG{} and
1479 then simply unplug it and plug it in again. There are a couple of
1480 reasons why it may stop functioning. One is because \CGG{} was not
1481 stopped with the usual Quit command and the shuttle was improperly
1482 shut down when there was a crash. The other possibility is that a
1483 static discharge occurred in the area.
1485 A default shuttlerc file is automatically used when a shuttle device
1486 is plugged in when Cin is started. This file sets up the key
1487 bindings for \CGG{} to use. You can override any default settings by
1488 having a local file in your \texttt{\$HOME} directory, named
1489 \texttt{.shuttlerc} to reflect your personal preferences.
1492 \subsection{How to Modify the Default Key Settings}%
1493 \label{sub:modify_default_key_settings}
1495 Detailed information on how to modify your local \texttt{.shuttlerc}
1496 file is described next, but if you need help you can request more
1497 information in the forum at {\small
1498 \url{https://cinelerra-gg.org}}. In the \texttt{shuttlerc} file, a
1499 \# always represents a comment and blank lines are ignored. The
1500 first thing you must do is copy the system supplied
1501 \texttt{shuttlerc} file to your \texttt{\$HOME} directory and rename
1502 it as \texttt{.shuttlerc} (with a period).
1504 The \texttt{shuttlerc} file has sections that in the case of \CGG{},
1505 represent different windows allowing you to set the keys, K1-K15 for
1506 the Pro and K5-K9 for the Xpress, the shuttle wheel positions of
1507 S0/S1/S-1 for stop, S2 through S7 for wheeling to the right, and S-7
1508 through S-2 for wheeling to the left for reverse. Then there is JR
1509 to jog right (clockwise) and JL to jog left (counter-clockwise) for
1510 the inner smaller wheel for single frame movement. See the key
1511 arrangement on a later page for location of the keys for each of the
1512 two different shuttles.
1514 The sections are surrounded by brackets for windows such as \CGG{}
1515 (the main window), Viewer, Composer, Resources, Load, and Default.
1516 If you want the keys to be defined the same in every window, you can
1517 bracket each window on lines one right after the other and then just
1518 define one set of keys. The other lines will have the key
1519 name/shuttle position followed by its assigned value. The values
1520 you use for the keys are usually shortcuts and have to be
1521 operationally defined within \CGG{}. For example, the shortcut “f”
1522 to go fullscreen is defined so can be used; however the shortcut “h”
1523 is not defined so will not do anything. You can check the file,
1524 shortcuts.html, for some options to use.
1526 Next are a few actual examples from the default
1527 \texttt{{cindat\_path}/shuttlerc} file.
1529 The next brackets represent sections. Default, Resources, Load
1530 windows all use the same key values.
1532 \begin{lstlisting}[style=sh]
1537 K6 XK_Button_1 # same as mouse button 1
1538 K7 XK_Button_2 # same operation as mouse button 2
1541 # for example, in the Load menu, use scroll up to get to the next file name
1546 Cinelerra with brackets around it next, is the section with some key
1547 definitions for the main window.
1549 \begin{lstlisting}[style=sh]
1552 # Most useful functions have to be on K5-K9
1553 # because Xpress only has 5 keys
1554 K5 XK_Home # Beginning
1555 K6 XK_KP_6 # Reverse, or if playing Stop
1557 K8 XK_KP_3 # Play, or if playing Stop
1560 S-7 REV_16 # Next 6 are reverse keys
1561 S-6 REV_8 # the number on the end represents speed
1562 S-5 REV_4 # number can be decimal up to 64
1563 S-4 REV_2 # 2 means 2x or double speed
1565 S-2 REV_0.5 # 0.5 represents 1/2 speed
1566 S-1 XK_KP_0 # Because the Shuttle does not generate S0,
1568 S0 XK_KP_0 # Hardware does not generate S0
1569 S1 XK_KP_0 # Because the Shuttle does not generate S0,
1576 An explanation for the above REV and FWD key symbol values is
1577 necessary to facilitate user preferences. Obviously REV stands for
1578 reverse and FWD for forward. You can set any speed up to and
1579 including 64x (that is, 64 times the normal speed) on any of the S
1580 keys. First in the line is the key name such as S-3 and then the
1581 key direction of FWD or REV followed by the symbol for underscore
1582 (\_) and then the numerical value to use. For example, if you want
1583 the $5^{th}$ forward position, S5, to play 10$\frac{1}{2}$ times
1584 faster, you would use the statement \texttt{S5 FWD\_10.5}. Integer
1585 or decimal numbers are legal.
1587 For the Viewer, you may want keys defined to do a Splice or an
1588 Overwrite so define differently. Note that assignments that contain
1589 single character letters must be enclosed in quotes.
1591 \begin{lstlisting}[style=sh]
1593 # Splice - Viewer only; may be defined
1594 # differently than Composer or Cinelerra
1599 To change any key value to an alternative value, just edit the file
1600 and make the changes. Besides just keys and alphabetic letters of
1601 numbers, you can also use any \CGG{} value that contains the
1602 combination with Shift, Alt, and Ctrl. For keys that are not
1603 printable characters, you can look up the symbol name to use for a
1604 specific operation in the file called:
1605 \texttt{/usr/include/X11/keysymdef.h}. Some examples:
1607 \begin{lstlisting}[style=sh]
1608 K10 Alt-XK_Left # Go to previous edit \\
1609 K13 Ctrl-XK_Right # Go to next label
1612 For sequences of one or more \textit{printable} characters, you can
1613 just enclose them in double quotes. For example in the
1614 \texttt{[Composer]} section, to go into or out of fullscreen mode,
1615 automatically start playing and put a label there, you could define
1616 a key like this: K7 “f~l” - that is printable character f, a space,
1617 and printable character l.
1619 After modifying \texttt{.shuttlerc}, the next time you use the
1620 shuttle, your changes will automatically take affect without even
1621 having to stop and restart Cin. However, the first thing to try if
1622 problems is to stop \CGG{}, unplug the shuttle, wait a few seconds,
1623 plug it in again, and then restart cin. If for some reason, the
1624 shuttle keys still do not work after that, you may have an incorrect
1625 setup and you will have to correct that first. For example, if you
1626 define S5 twice within the \CGG{} setup, it will fail. It is
1627 suggested that if you make changes, you should initially uncomment
1628 DEBUG in the \texttt{.shuttlerc} file and start up \CGG{} from a
1629 terminal window so that you can make sure it is working and has no
1630 output errors. An error might look like:
1632 \begin{lstlisting}[style=sh]
1633 dupl key name: [Cinelerra]K1
1634 shuttle config err file: /root/.shuttlerc, line:37
1637 Keep in mind when changing the values, that the ShuttleXpress has
1638 fewer buttons so if you define K1 it will only work for the
1641 Any time you are having trouble with your shuttle, you can copy the
1642 default \texttt{shuttlerc} file from
1643 \texttt{{cindat\_path}/shuttlerc} to your local \texttt{.shuttlerc}
1644 file, and edit that to\ switch to DEBUG mode by removing the \#
1645 comment from the DEBUG line. But you will have to have started Cin
1646 from a terminal window to see the key values. The first time you use
1647 the shuttle or after you change the file, the current assignments
1648 will show in the terminal window so will look something like:
1650 \begin{lstlisting}[style=sh]
1656 When you are in DEBUG mode and are just working away, what you will
1657 see is something like this:
1659 \begin{lstlisting}[style=sh]
1666 \begin{lstlisting}[style=sh]
1667 shuttle: 00 00 00 00 00
1671 When you change the focus from one window to another, you will see
1672 something like this:
1674 \begin{lstlisting}[style=sh]
1676 new translation: Viewer
1680 You can also set an environment variable to temporarily use an
1681 alternative shuttle configuration file for testing as in:
1683 \begin{lstlisting}[style=sh]
1684 export SHUTTLE_CONFIG_FILE=/tmp/shuttlerc_test
1687 The shuttle wheel occasionally will not \textit{stop} after you have
1688 wheeled it to play forward. This is a documented known problem from
1689 the original code so you just have to joggle it a little in the
1690 other direction and then it will stop. S0 does not always generate
1691 a signal to do a stop and that is why S1 and S-1 have to be used to
1692 relay the stop instead. Also, if you have a fullscreen Composer or
1693 Viewer up and the regular one also, the fullscreen takes precedence.
1696 \subsection{Troubleshooting auxilliary information}%
1697 \label{sub:troubleshooting_auxilliary_information}
1699 In order to see if you hardware was recognized by the operating
1702 \begin{lstlisting}[style=sh]
1703 lsusb -v -d 0b33:0030 # for the Shuttle Pro or PROv2\\
1704 lsusb -v -d 0b33:0020 # for the Shuttle Xpress
1707 \paragraph{Note 1} Currently, the keys K14 and K15 do not function
1708 on the \textit{Contour Design ShuttlePro} but do on the
1709 \textit{Contour Design ShuttlePRO v2} due to a Report Descriptor
1710 error. You can workaround this by uncommenting \texttt{USB\_DIRECT}
1711 in your local \texttt{.shuttlerc} file. This directly uses libusb
1712 rather than the generic Linux hid driver. \texttt{USB\_DIRECT}
1713 works for any of the currently tested shuttles.
1715 \paragraph{Note 2} If you are not sure if your shuttle is fully
1716 functional, you can verify that the hardware device has been seen by
1717 your operating system with this procedure.
1719 \item From a terminal window as an ordinary user key in: lsusb (the
1720 first character is a lower case L for list). You will see
1721 something like the following depending on which usb device you
1722 have the ShuttlePro plugged into:
1723 \begin{lstlisting}[style=sh]
1724 Bus 003 Device 002: ID 0b33:0030 Contour Design, Inc. ShuttlePro v2
1726 \item To make sure you have usbmon installed key in:
1727 \begin{lstlisting}[style=sh]
1728 sudo modprobe usbmon
1730 \item Next key in the following:
1731 \begin{lstlisting}[style=sh]
1732 sudo od -tx1 /dev/usbmon3
1734 where the last 3 is the same \# as the Bus in above. If it lists
1735 \texttt{Bus 002}, then use \texttt{/dev/usbmon2} instead.
1736 \item Now with focus in that same terminal window, press any shuttle
1737 key just to see what happens and should see about 12 lines similar
1738 to these below -- a new set every time you press a single key or
1739 the wheel. The lines are usually not important, just the fact
1740 that you get a response is. However if you have multiple devices
1741 on the same bus, you will get responses from any and all of them.
1742 Attempt to isolate your shuttle by temporarily unplugging
1743 unnecessary devices on the same bus or plug the shuttle into a
1744 different usb port that has fewer devices.
1745 \begin{lstlisting}[style=sh]
1746 0000000 80 70 99 75 53 8c ff ff 43 01 81 02 03 00 2d 00
1747 0000020 4e 61 5c 5c 00 00 00 00 8d 2c 06 00 00 00 00 00
1748 0000040 05 00 00 00 05 00 00 00 00 00 00 00 00 00 00 00
1749 0000060 01 ff 00 00 00 80 70 99 75 53 8c ff ff 53 01 81
1750 0000100 02 03 00 2d 3c 4e 61 5c 5c 00 00 00 00 b1 2c 06
1751 0000120 00 8d ff ff ff 05 00 00 00 00 00 00 00 00 00 00
1752 0000140 00 00 00 00 00 80 70 99 75 53 8c ff ff 43 01 81
1753 0000160 02 03 00 2d 00 4e 61 5c 5c 00 00 00 00 3d d7 09
1754 0000200 00 00 00 00 00 05 00 00 00 05 00 00 00 00 00 00
1755 0000220 00 00 00 00 00 00 ff 00 00 00 80 70 99 75 53 8c
1756 0000240 ff ff 53 01 81 02 03 00 2d 3c 4e 61 5c 5c 00 00
1757 0000260 00 00 64 d7 09 00 8d ff ff ff 05 00 00 00 00 00
1759 \item Next press the key that you want to verify is functioning --
1760 if no new lines show up, then the key is non-functional so there
1761 is a hardware problem. If you get output, then perhaps there is a
1762 problem with your software setup.
1763 \item Use Ctrl-C on the terminal window when done to get back to the
1767 \paragraph{Note 3} Another method for testing to make sure your
1768 model of the Shuttle does not have different key definitions than
1769 the one that \CGG{} was coded for is to do the following.
1772 \item Locate the shudmp.C program in your \CGG{} directory.
1773 \item Compile that with the command: \texttt{c++ shdmp.C -o shudmp}
1774 \item Make the file executable with the command: \texttt{chmod +x shudmp}
1776 \begin{lstlisting}[style=sh]
1777 sudo ./shdmp /dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00 # substitute your shuttle
1781 Then press your shuttle key that is having problems and check the
1782 results. They should look like:
1784 \begin{lstlisting}[style=sh,caption={Example for K7}]
1785 event: (4, 4, 0x90007) #The last number, 7, is the expected Key number.
1786 event: (1, 262, 0x1)
1788 event: (4, 4, 0x90007)
1789 event: (1, 262, 0x0)
1793 \begin{lstlisting}[style=sh,caption={Example for K15}]
1795 event: (4, 4, 0x9000f) #The last number f is 15 in hexadecimal and is the expected Key.
1796 event: (1, 270, 0x1)
1798 event: (4, 4, 0x9000f)
1799 event: (1, 270, 0x0)
1803 When done, you will have to Ctrl-C to get out of the program.
1805 \paragraph{Note 4} For developers, if you have a pre-UEFI Secure
1806 Boot kernel it is also possible to do the following for further in
1809 \begin{lstlisting}[style=sh]
1810 ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
1811 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc" # substitute your own numerical value
1812 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/events" # press keys to see the results
1815 %\item \texttt{ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
1816 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” \# substitute your own numerical value}
1817 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” \# press keys to see the results}
1820 \subsection{Shuttle key default arrangement for \CGG{} / Composer / Viewer:}%
1821 \label{sub:shuttle_key_default_cinelerra}
1823 The following is the default setting for the ShuttlePROv2 and
1824 ShuttleXpress (table~\ref{tab:shuttleprov2} and
1825 table~\ref{tab:xpress}). This page can be quickly requested from \CGG{} by
1826 simultaeneously pressing the \texttt{Alt} key on the keyboard and any button on the Shuttle.
1828 \renewcommand{\arraystretch}{1.15}
1830 \caption{ShuttlePROv2 key default arrangement for \CGG{} /
1832 \label{tab:shuttleprov2}
1833 % Tell table to adjust font to fix on the page using \resize
1834 \resizebox{\textwidth}{!}{%
1835 \begin{tabular}{c c c c c c c}
1837 K1 & K2 & & K3 & K4 & &\\
1838 Label & Future use & & Future use & Clip & &\\
1839 & Splice (viewer) & & Copy & Overwrite (viewer) & &\\
1841 K5 & K6 & K7 & K8 & K9 & &\\
1842 Home & Reverse & Stop & Play & End & &\\
1843 & & Fullscreen & & & &\\
1844 & & (viewer / compositor) & & & &\\
1846 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
1848 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
1849 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
1850 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
1851 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
1853 K14 & & Jog Left & (Inner Wheel) & Jog Right & & K15\\
1854 Toggle In & & Frame reverse & & Frame forward & & Toggle Out\\
1855 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
1857 & & K10 & & K11 & &\\
1858 & & Previous Edit & & Next Edit & &\\
1859 & & Future Use(Viewer) & & Future Use(Viewer) & &\\
1861 & & K12 & & K13 & &\\
1862 & & Previous Edit & & Next Edit & &\\
1863 & & Previous Label & & Next label & &\\
1869 \caption{ShuttleXpress key default arrangement for \CGG{} / Composer / Viewer}
1871 % Tell table to adjust font to fix on the page using \resize
1872 \resizebox{\textwidth}{!}{%
1873 \begin{tabular}{c c c c c c c}
1875 K5 & K6 & K7 & K8 & K9 & &\\
1876 Home & Reverse & Stop & Play & End & &\\
1877 & & Fullscreen & & & &\\
1878 & & (viewer / compositor) & & & &\\
1880 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
1882 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
1883 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
1884 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
1885 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
1887 & & Jog Left & (Inner Wheel) & Jog Right & &\\
1888 & & Frame reverse & & Frame forward & &\\
1889 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
1895 %%% Local Variables:
1897 %%% TeX-master: "../CinelerraGG_Manual"