4 Editing comprises both time and track space. The timeline consists
5 of the time certain media appear on the track going left to right
6 and a set of tracks from the top to the bottom. There are 2 methods
7 of timeline editing -- drag and drop editing, also called
8 \textit{arrow mode}, and cut and paste editing or \textit{I-beam
9 mode}. Cut and Paste is the default editing mode. An additional,
10 but not often considered editing method is called \textit{two-screen
11 editing} where the Viewer is used to view media and then the
12 desired clip from the media is transferred to the timeline.
14 The timeline is where all editing decisions are made
15 (figure~\ref{fig:timeline}). This is a stack of tracks in the
16 center of the main window. It can be scrolled up, down, left and
17 right with the scrollbars on the right and bottom. It can also be
18 scrolled up and down with a mouse wheel, or left and right while
19 holding down the Ctrl key and using the mouse wheel.
23 \includegraphics[width=1.0\linewidth]{timeline.png}
24 \caption{Timeline editing session}
28 The active region is the range of time which is affected by editing
29 commands on the timeline. The active region is determined first by
30 the presence of in/out points on the timeline.
32 If those do not exist the highlighted region is used. To reiterate,
33 \emph{highlighting} is done in \emph{cut and paste mode} by moving
34 the insertion point with the mouse in the timeline to where you want
35 to start. Then hold down the LMB\@, drag the mouse to where you want
36 the end point to be and release the LMB\@. In \emph{drag and drop
37 mode}, the method to create a highlighted selection is to hold
38 down the Ctrl key and double click with the LMB with the mouse over
41 If no highlighted region exists, the insertion point is used as the
42 start of the active region. Some commands treat all the space to
43 the right of the insertion point as active while others treat the
44 active length as 0 (zero) if no end point for the active region is
47 Most importantly, editing decisions never affect source material
48 meaning that it is non-destructive editing. So not only does your
49 original media stay completely untouched, it is much faster than if
50 you had to copy all the media affected by an edit. Editing only
51 affects pointers to source material, so if you want to have a new
52 modified media file at the end of your editing session which
53 represents the editing decisions, you need to render it. Saving and
54 loading your edit decisions is explained in the Load, Save and the
55 EDL section and rendering is explained in the section on Rendering.
57 In the following editing sections, references to common operations
58 are scattered within any of the modes where they seem pertinent.
59 However, many of the editing operations work in different modes.
62 \section{The Patchbay}%
65 On the left of the timeline is a region known as the patchbay. The
66 patchbay enables features specific to each track as described next.
70 \item[Textbox] for naming the track. The default names will usually
71 be Video \#, Audio \#, or Mixer \# if using the multi-camera/mixer
72 operations. A \# will be designated for subsequent tracks as in 1,
74 \item[Expander] which is a down arrow on the right side, is for
75 viewing more options on the patchbay and for viewing the effects
76 represented on the track. You can just click on the expander to
77 expand or collapse the patchbay and the track. If it is pointing
78 sideways, the track is collapsed. If it is pointing down, the track
79 is expanded. Existing effects appear below the media for the track.
82 Below the textbox name are several toggles referred to as
83 \textit{attributes} for different features (currently there are 5 as
84 shown in figure~\ref{fig:patchbay01}). If the toggle button is
85 shadowed by a color, the feature is enabled. If the toggle is the
86 background color of most of the window, it is disabled. Click on the
87 toggle to enable/disable the feature.
89 \begin{wrapfigure}[17]{O}{0.3\linewidth}
92 \includegraphics[width=0.79\linewidth]{patchbay01.png}
94 \label{fig:patchbay01}
97 Several mouse operations speed up the configuration of several
98 tracks at a time. Click on an attribute and drag the cursor across
99 adjacent tracks to copy the same attribute to those tracks. Hold
100 down Shift while clicking a track's attribute to enable the
101 attribute in the current track and toggle the attribute in all the
102 other tracks. Or you can:
105 \item hold down Shift while clicking an attribute,
106 \item click until all the tracks except the selected one are
108 \item then drag the cursor over the adjacent track to enable the
109 attribute in the adjacent track.
112 The \textit{attributes} are described here next.
115 \item[Play Track] determines whether the track is rendered or
116 not. If it is off, the track is not rendered. For example if you
117 turn it off in all the video tracks, the rendered media file will
118 have only audio tracks. If the track is chained to any other tracks
119 by a shared track effect, the other tracks perform all the effects
120 in this shared track, regardless of play status of the shared track
121 that in this particular case affects the media output but not fade
123 \item[Arm Track] determines whether the track is armed or not.
124 Only the armed tracks are affected by editing operations. Make sure
125 you have enough armed destination tracks when you paste or splice
126 material or some tracks in the material will get left out. In
127 addition to restricting editing operations, the armed tracks in
128 combination with the active region determine where material is
129 inserted when loading files. If the files are loaded with one of
130 the insertion strategies which do not delete the existing project,
131 the armed tracks will be used as destination tracks.
135 \item[Gang Fader] cause the fader to track the movement of
136 whatever other fader you are adjusting by dragging either the fader
137 or the curve on the track. It doesn't affect the editing made with
138 menu controls. A fader is only ganged if the arm track is also on.
139 This is often used to adjust audio levels on all the tracks
140 simultaneously. Gang also causes Nudge parameters to synchronize
141 across all the ganged tracks.
142 \item[Draw Media] determines if picons or waveforms are drawn on
143 the asset in the track. You may want to disable this if you know
144 that the media/format takes a long time to draw on the timeline. By
145 default it is set to on in order to see picons on the timeline.
146 \item[Don’t send to output] -- more commonly called
147 \textit{mute} -- causes the output to be thrown away once the track is
148 completely rendered. This happens whether or not \textit{Play track}
149 is on. For example if you mute all the video tracks, the rendered
150 media file will have a blank video track. Mute track is represented
151 on the timeline with a line that has the default color of
152 pink/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[Fader slider] fade values are represented on the timeline
162 with a pink curve that is keyframable. All tracks have a fader, but
163 the units of each fader depend on whether it is audio or video.
164 Audio fade values are in dB. They represent relative levels, where 0
165 is the unaltered original sound level, -40 is silence, -80 the
166 minimum value set by default. You can move fader and keyframes down
167 to -80 but the parameter's curve won't go below -40. For your
168 convenience you can set a different fade range with the curve zoom.
169 Audio fader’s main purpose is to \textit{fade out} sound or to lower
170 the sound level smoothly to silence, or \textit{fade in} to make
171 sounds appear gradually instead of suddenly. Video fade values are
172 the percentage of opacity of the image in normal overlay mode, the
173 percentage of the layer that is mixed into the render pipeline in
174 the other overlay modes. Click and drag the fader to fade the track
175 in and out. If it is ganged to other tracks of the same media type,
176 with the arm option enabled, the other faders should follow. Hold
177 down the Shift key and drag a fader to center it on the original
178 source value (0 for audio, 100 for video).
179 \item[mixer] in the expanded patchbay for that track designate
180 the multi-camera mixer mode.
181 \item[Overlay mode] in the expanded patchbay is used for
182 porter-duff operations and is full explained in
183 \nameref{cha:overlays} chapter.
184 \item[Nudge] is in the expanded patchbay. The nudge value is
185 the amount the track is shifted left or right during playback. The
186 track is not displayed shifted on the timeline, but it is shifted
187 when it is played back. This is useful for synchronizing audio with
188 video, creating fake stereo, or compensating for an effect which
189 shifts time, all without altering any edits
190 (figure~\ref{fig:overlay}).
192 \begin{figure}[htpb] \centering
193 \includegraphics[width=0.65\linewidth]{overlay.png}
194 \caption{Video Overlay, audio Pan and Nudge.}
198 Enter the amount of time to shift to instantly shift the
199 track. Negative numbers make the track play later. Positive numbers
200 make the track play sooner. The nudge units are either seconds or
201 the native units for the track (frames or samples). Select the units
202 by right clicking on the nudge textbox and using the context
203 sensitive menu. Nudge settings are ganged with the Gang faders
204 toggle and the Arm track toggle. Use the mouse wheel over the nudge
205 textbox to increment and decrement the value.
206 \item[Pan] is available in the expanded patchbay for audio
207 tracks via a panning box. Position the pointer in the panning box
208 and click/drag to reposition the audio output among the speaker
209 arrangement. The loudness of each speaker is printed on the relative
210 icon during the dragging operation. The panning box uses a special
211 algorithm to try to allow audio to be focused through one speaker or
212 branched between the nearest speakers when more than 2 speakers are
216 Press the Tab key while the cursor is anywhere over a track to
217 toggle the track arming status. Press Shift-Tab while the cursor is
218 over a track to toggle the arming status of every other track.
220 \paragraph{Automatic audio mappings} Several convenience functions
221 are provided for automatically setting the panning to several common
222 standards. They are listed in the Audio menu. These functions only
223 affect armed audio tracks. They are:
226 \item[Audio~$\rightarrow$~Map 1:1] This maps every track to
227 its own channel and wraps around when all the channels are
228 allocated. It is most useful for making 2 tracks with 2 channels map
229 to stereo and for making 6 tracks with 6 channels map to a 6 channel
231 \item[Audio~$\rightarrow$~Map 5.1:2] This maps 6 tracks to 2
232 channels. The project should have 2 channels when using this
233 function. Go to \texttt{Settings $\rightarrow$ Format} to set the
234 output channels to 2. This is most useful for down-mixing 5.1 audio
235 to stereo (for more information refer to Configuration, Settings and
236 Preferences section~\ref{sub:audio_out_section}).
239 \paragraph{Standard audio mappings} Although \CGG{} lets you map any
240 audio track to any speaker, there are standard mappings you should
241 use to ensure the media can be played back elsewhere. Also, most
242 audio encoders require the audio tracks to be mapped to standard
243 speaker numbers or they will not work.
245 In the channel position widget, the channels are numbered to
246 correspond to the output tracks they are rendered to. For stereo,
247 the source of channel 1 needs to be the left track and the source of
248 channel 2 needs to be the right track. For 5.1 surround sound, the
249 sources of the 6 channels need to be in the order of center, front
250 left, front right, back left, back right, low frequency effects. If
251 the right tracks are not mapped to the right speakers, most audio
252 encoders will not encode the right information if they encode
253 anything at all. The low frequency effects track specifically can
254 not store high frequencies in most cases.
257 \section{Manipulating Tracks}%
258 \label{sec:manipulating_tracks}
260 Tracks in \CGG{} either contain audio or video. There is no special
261 designation for tracks other than the type of media they contain.
262 When you create a new project, it contains three default tracks: one
263 video track and two audio tracks. You can still add and delete
264 tracks from the menus. The Tracks menu contains a number of options
265 for dealing with multiple tracks simultaneously. Each track itself
266 has a popup menu which affects one track.
268 Operations in the \textbf{Tracks pulldown} affect only tracks which
272 \item[Move tracks up | Move tracks down] shift all the armed
273 tracks up or down the stack.
274 \item[Delete tracks] deletes the armed tracks.
275 \item[Delete last track] deletes the last track, whether it is
277 \item[Concatenate tracks] operation copies all the assets of
278 every disarmed but playable track and concatenates it by pasting
279 those assets at the end of the first set of armed tracks. They are
280 pasted one after the other, keeping the same order they have on the
281 stack. If there are two armed tracks followed by two disarmed
282 tracks, the concatenate operation copies the assets of the two
283 disarmed tracks and pastes them after the assets of the two armed
284 tracks. If there are three disarmed tracks instead, the assets of
285 two tracks are pasted after the assets of the armed tracks and the
286 assets of the third track are pasted at the end of the first armed
287 track. The destination track wraps around until all the disarmed
288 tracks are concatenated. Disarmed tracks that are not playable are
290 \item[Append to project] allows for creating new tracks after
292 \item[Add subttl] will add a track for subtitles at the top of
296 The \textbf{Audio} and \textbf{Video pulldowns} each contain an
297 option to add a track of their specific type. In the case of audio,
298 the new track is put on the bottom of the timeline and the output
299 channel of the audio track is incremented by one. In the case of
300 video, the new track is put on the top of the timeline. This way,
301 video has a natural compositing order. New video tracks are overlaid
302 on top of old tracks.
305 \section{Two Screen Editing}%
306 \label{sec:two_screen_editing}
308 This is a fast way to construct a program out of movie files (in
309 other programs is called \textit{three points editing}). The idea
310 consists of viewing a movie file in one window and viewing the
311 program in another window. Subsections of the movie file are defined
312 in the viewer window and transferred to the end of the program in
313 the program window. Two screen editing can be done simply by using
314 keyboard shortcuts. To get familiar with which keys to use, move
315 the mouse pointer over the transport panel and a tooltip appears,
316 showing what key is bound to that button.
318 To begin a two screen editing session, load your media resources by
319 using the main menu \textbf{File pulldown} and choose \textit{Load
320 files}; make sure the insertion mode is set to \textit{Create new
321 resources only}. This insertion strategy is to ensure that the
322 timeline stays unchanged while new resources are brought in. Go to
323 the Resources window and select the Media folder. The newly loaded
324 resources will appear. Double click on a resource or drag it from
325 the media side of the window over to the Viewer window.
327 Check to make sure there are enough armed tracks on the timeline to
328 put the subsections of source material that you want. Usually this
329 would be one video track and two audio tracks, but if there are not
330 enough, just create new tracks or arm more tracks.
332 Now to start your 2 screen editing, in the viewer window, define a
333 clip from the media file:
336 \item Set the starting point with the In pointer button. You
337 will see a left hand bracket on the timebar.
338 \item Move your cursor to the ending point of the clip you want
340 \item Set the ending point with the Out pointer right hand
342 \item You will see a colored bar inside the brackets for easier
344 \item Drag the In/Out point with the mouse to conveniently
345 change their position.
348 These In/Out points define a clip. You can now use this in a couple
351 \paragraph{Splice} The splice icon, or shortcut letter “\texttt{v}”,
352 inserts the selected area in the timeline after the insertion point.
353 After the splice has taken effect, the insertion point moves to the
354 end of the edit ready to be used as the next splice location. This
355 way you can continuously build up the program by splicing. If an In
356 point or an Out point exists on the timeline the clip is inserted
357 after the In point or after the Out point. If both In and Out points
358 are set on the timeline, the clip is inserted after the In point. If
359 there are edits after your chosen splice location on the timeline,
360 they will be moved to the right.
362 \paragraph{Overwrite} The overwrite icon, or shortcut letter
363 “\texttt{b}”, overwrites the region of the timeline after the
364 insertion point with the clip. If an In point or an Out point exists
365 on the timeline the clip is overwritten after the In point or after
366 the Out point. If both In and Out points are set on the timeline,
367 the clip is inserted after the In point. If a region is highlighted
368 or both In and Out points exist they limit the region of the
369 overwriting and the clip may therefore be shortened. Here is a
370 detailed explanation to take advantage of this method.
372 To overwrite exactly on a precise region of the timeline:
374 \begin{enumerate} [noitemsep]
375 \item Arm only tracks to change.
376 \item Define the destination region on the timeline with [ and
377 ], the In and Out points.
378 \item You can achieve maximum precision by setting the active
379 region in the zoom panel.
380 \item Define the clip you want to use in the viewer with [ and
381 ], the In and Out points.
382 \item Overwrite from Viewer to the timeline.
385 If the destination region is shorter than the clip defined in the
386 viewer, the portion of the clip longer than the destination region
387 won't be inserted and on the timeline the following edits won't
388 move. If the destination region is longer than the clip defined in
389 the viewer, the destination region will shrink and on the timeline
390 the following edits will move to the left.
392 \paragraph{Clip} The clip icon, or shortcut letter “\texttt{i}”,
393 generates a new clip for the resource window containing the affected
394 region but does not change the timeline. Every clip has an
395 optional/default title and description.
397 \paragraph{Copy} The copy icon, or shortcut letter “\texttt{c}”,
398 copies the selection into the copy buffer.
400 \subsection{Use Case – Working with Sequences}
401 \label{sub:use_case_working_sequences}
403 \textit{From the Viewer to the Timeline with the sequences imported
404 in a Master Project.}
406 A convenient methodology for working on a Master project along with
407 1 or more previously saved Sub projects or \textit{sequences} use
408 case is described here. A sequence is an edited assembly of audio
409 and video clips generally consisting of a series of videos that
410 relate to the same activity. This use case explains how to work this
411 way and some things you need to be aware of.
414 \item First load your Master project, which you worked on and
415 saved earlier as an \texttt{.xml} file, using an Insertion strategy
416 of \textit{Replace current project}. Generally this Master project
417 consists of media with any of the attributes of clips, autos,
418 possibly keyframes, and effects. You will see your project on the
419 main timeline and the Media files that are part of this Master
420 project will be displayed in the Resources window in the Media
422 \item Previously you may have also saved a Sub project, which
423 will now be referred to as a Sequence, as an \texttt{.xml} file that
424 may contain any of the same such things: media, clips, autos,
425 keyframes, effects. Second you will want to load the Sequence using
426 an Insertion strategy of \textit{Create new resources only}. When
427 you do the load, this Sequence will show as a file in the Resources
428 window in the Clips folder. The actual media will show in the Media
430 \item Now Drag and Drop the Sub project from the Clips folder to
432 \item Set In and Out Pointers in the Viewer to the region of
433 interest in the Sub project and in the Timeline of the Main window
434 of your Master project, move the cursor position to where you would
435 like to insert this In/Out section.
436 \item Click on the \textit{Splice (v)} button in the Viewer to
437 insert this section into the Master project timeline. All of the
438 attributes of the selected Sub project section will now be inserted
439 in the main timeline to include the autos, keyframes, effects, and
441 \item Alternatively, if you click on the \textit{Overwrite (b)}
442 button in the Viewer, you can see the Sub project In/Out section in
443 the timeline, but without its autos, effects, keyframes, etc. If in
444 the timeline there were some autos, effects, and keyframes in that
445 Master project, they will be in effect for the new section.
448 You can see the advantages of using Splice versus Overwrite to
449 either insert (splice) with all of the attributes of a specific
450 section of your Sequence or to overwrite without the attributes to
451 allow for the smooth operation on the timeline by retaining the
452 timeline’s attributes at that point.
454 NOTE: for correct operation of this use case, you should have the
455 same (or more) number of tracks in the Master project as you do in
456 the Sequence. To avoid having to know how many tracks you need, you
457 can use the Nest feature as described in the Nesting section
461 \section{Cut and Paste Editing}%
462 \label{sec:cut_paste_editing}
464 This is the more traditional method of editing in \CGG{} and
465 therefore is the default. To enable the cut and paste editing mode
466 on the timeline, select the I-beam toggle on the control bar at the
467 top of the main program window. You can copy edits in the same
468 track, copy from different tracks in the same instance, start a
469 second instance of \CGG{} and copy from one instance to the other or
470 load a media file into the Viewer and copy from there.
472 To start editing, load some files onto the timeline. Select a
473 region of the timeline by click dragging on it and select the cut
474 button to cut it. Move the insertion point to another point in the
475 timeline and select the paste button. Assuming no In/Out points are
476 defined on the timeline this performs a cut and paste operation.
478 Most editing operations are listed in the Edit pulldown. Some of
479 them have a button on the program control toolbar as well as a
480 keyboard shortcut. The keyboard shortcut is in parenthesis here.
483 \item [Split | Cut] (x) Delete the selected area and put it in
484 the cut buffer for future pasting.
485 \item[Copy] (c) Copy the selected area and put it in the cut
486 buffer for future pasting.
487 \item[Paste] (v) Paste the material that is in the cut buffer.
488 \item[Clear] (Del) Clear the selected area. If the insertion
489 point is over an edit boundary and the edits on each side of the
490 edit boundary are the same resource, the edits are combined into one
491 edit comprised by the resource. The start of this one edit is the
492 start of the first edit and the end of this one edit is the end of
493 the second edit. This either results in the edit expanding or
495 \item[Paste silence] (Shift+Space) Paste blank audio/video for
496 the length of the selected area. Following edits will be pushed to
498 \item[Mute Region] (m) Overwrite blank audio/video on the
499 selected area. Following edits don't move.
500 \item[Trim Selection] Delete everything but the selected region.
501 \item[Select All] (a) Select the whole timeline.
504 In Cut and Paste editing mode you can \textit{edit labels} as
505 well. By enabling Edit labels in the \textbf{Settings pulldown}, or
506 by disabling the Lock labels from moving button on the Program
507 Control Tool Bar, labels will be cut, copied or pasted along with
508 the selected regions of the armed tracks.
510 Using labels and In/Out points are useful in editing audio. You can
511 set In/Out points for the source region of the source waveform and
512 set labels for the destination region of the destination
513 waveform. Perform a cut, clear the In/Out points, select the region
514 between the labels, and perform a paste.
516 \paragraph{In / Out Points} The In and Out bracket placement is
517 explained here to illustrate their usage. Because of the shape of
518 the markers [ and ] you may assume that they are inclusive -- that
519 everything placed in between would be included in the clip, such as
520 in the case of being transferred to the timeline from the Viewer.
521 In reality, one of the two markers will not include the frame that
522 was visible at the time the marker was affixed. Depending on whether
523 the \textit{Always show next frame} option is used or not, it is the
524 In or Out marker that will not be inclusive.
526 To obtain a clip on the timeline exactly as you saw in the Viewer,
527 you must necessarily move the In mark back from the beginning before
528 the first desired frame or move the Out mark forward after the last
529 desired frame, depending on the \textit{Always show next frame}
532 Some of the confusion can be attributed to the fact that the Viewer
533 shows frames, while the markers determine spaces, i.e.\ times, that
534 are not visible between frames. You have to think of each frame as
535 being delimited by two spaces -- one preceding and one following.
536 The In mark is always placed before the displayed frame and the Out
537 mark is always placed after the displayed frame, while taking into
538 account in its calculations whether the \textit{Always show next
539 frame }option is used or not. If you just remember that the
540 reference of the markers is in the middle of the icon, you will
543 \paragraph{Overwrite} To perform overwriting within the timeline
544 paste on a selected region (highlighted or between In/Out
545 points). The selected region will be overwritten. If the clip pasted
546 from the clipboard is shorter than the selected region, the selected
547 region will be shrunk. Following edits will move. If the clip pasted
548 from the clipboard is longer than the selected region, the selected
549 region will be overwritten with the first part of the clip and the
550 remaining part of the clip will be written after the
551 overwriting. Following edits will move.
553 \paragraph{Tracks $\rightarrow$ Concatenate tracks} This operation
554 copies all the assets of every disarmed but playable track and
555 concatenates it by pasting those assets at the end of the first set
556 of armed tracks. They are pasted one after the other, keeping the
557 same order they have on the stack.
559 \paragraph{Split -- blade cut and hard edges:} You can cut the
560 tracks into 2 pieces on the timeline by putting the hairline cursor
561 on the place you want to do a cut and then using the character “x”
562 or the scissors tool (figure~\ref{fig:cut}).
564 \begin{wrapfigure}[16]{O}{0.3\linewidth}
567 \includegraphics[width=0.9\linewidth]{cut.png}
572 A \textit{cut} uses a non-empty selection region, where the
573 \textit{blade cut} or \textit{split} has no duration in the
574 selection, just a hairline. As usual the use of cut when a
575 selection is set, deletes/cuts the highlighted area. In the case
576 where an In point or an Out point exists on the timeline, the clip
577 is split at the location of the In/Out point since it has priority
578 over the cursor location. A blade cut simply splits the edit into
579 two edits. In order to have the video and audio aligned, it works
580 best to have \texttt{Settings $\rightarrow$ Align cursor on
581 frames}. When a blade cut occurs, the edges are created as
582 \textit{hard edges}. These are edges that cannot be deleted by
585 \CGG{} has built-in optimization on the timeline. So that whenever
586 two parts on the timeline are sequential frames, it automatically
587 optimizes by making them into 1 item. So if you are cutting,
588 dragging, editing, or whatever and somehow frame \# 40 ends up
589 right next to frame \# 41, it optimizes them together. This
590 optimization affects many areas throughout the program code. When
591 you do a blade cut/split, all armed tracks will be included in the
592 cut and green-colored triangles will show on the bottom of the
593 track on both the left and the right side of the cut. This is a
594 \textit{hard edge} marker toggle, as opposed to the soft edge
595 designation for an ordinary edit. The \textit{hard edge} marker
596 can be toggled off/on if so desired. In order to not interfere
597 with the usual drag handles, only a few pixels are used for the
598 toggle so you have to be sure you have the cursor right over the
599 hard edge triangle -- when in position, it will be obvious because
600 you can see an arrow pointing to the corner. Use Shift-left mouse
601 button 1 to toggle off/on the hard edge marker on all tracks
605 \section{Drag and Drop Editing}%
606 \label{sec:drag_drop_editing}
608 To enable the drag and drop editing mode on the timeline, select the
609 arrow toggle on the control bar at the top of the main program
610 window. Drag and drop editing is a quick and simple way of working
611 in \CGG{}, using mostly only the mouse. The basic idea is to create
612 a bunch of clips, then drag them in order into the timeline, thus
613 building prototype media that you can watch in the compositor. If
614 after watching it, you wish to re-arrange your clips, set effects,
615 add transitions or insert/delete material, just drag and drop them
618 To simply get started, perform the following operations which are
619 useful for working in a drag and drop editing session. First load
620 your media by using the main menu File pulldown and choose
621 \textit{Load files}; make sure the insertion mode is set to
622 \textit{Create new resources only}. This loads the files into the
626 \item Create some video and audio tracks on the timeline using
627 the Video and Audio pulldowns.
628 \item Open the Media folder in the Resources window. Make sure
629 the necessary tracks are armed and drag a media file from the
630 Resources window to the timeline. If the media has video, drag it
631 onto a video track or if just audio, drag it onto an audio
632 track. For a still image, drag it onto a video track.
635 You can also drag multiple files from the Resources window. When
636 dropped in the timeline they are concatenated. If you have
637 \textit{Display Icons} selected in the Resources window, drawing a
638 box around the files selects contiguous files. If you have
639 \textit{Display Text} selected, Ctrl-clicking on media files selects
640 additional files one at a time; Shift-clicking on media files
641 extends the number of highlighted selections. In addition to
642 dragging media files, if you create clips and open the clip folder
643 you can drag clips onto the timeline.
645 \CGG{} fills out the audio and video tracks below the dragging
646 cursor with data from the file. This affects what tracks you should
647 create initially and which track to drag the media onto. To drag and
648 drop a file on the Program window, you need to create on the
649 timeline the same set of tracks as your media file.
651 When you drag your chosen media from the media folder to the
652 timeline, your mouse pointer will drag a thumbnail and, once over
653 the timeline, the outline of a white rectangle, as big as the edit
654 you are going to have appears. Drag the media to the desired
655 position of an empty track of the timeline and drop it. If there
656 are other edits on that track, when you move the white outline over
657 an edit, you will see a bow tie symbol $\bowtie$ appearing at edit
658 boundaries. If you drop the media there, the new edit will start
659 from the edit boundary indicated by the center of the bow tie
662 Since the mouse pointer is in the middle of the white outline, when
663 this rectangle is bigger than the visible part of the timeline, it
664 is quite cumbersome to precisely insert it for long
665 media. Lengthening the duration visible in the timeline by changing
666 the sample zoom in the zoom panel will reduce the size of the white
667 rectangle, making a precise insertion possible.
669 When you drag and drop edits within the timeline:
672 \item If you drop an edit when bow ties $\bowtie$ are shown,
673 that edit will be cut and pasted starting at the edit boundary
674 indicated by the center of the bow tie $\bowtie$. Following edits
675 on the same track will move.
676 \item If you drop an edit when there are no bow ties $\bowtie$
677 shown, the original edit will be muted and pasted where you dropped
678 it. No edits will move. A silence will appear in place of the
680 \item If you have more armed tracks on the timeline than in the
681 asset you are dragging, only the following edits of the tracks
682 affected by the drag and drop operation will move to the right. This
683 will cause loss of synchronization. To restore it, disarm the tracks
684 affected by the drag and drop operation, highlight the just dropped
685 edit and paste silence over it using the Edit pulldown,
686 \textit{Paste Silence}.
689 Labels sometimes work differently in Drag and Drop editing mode in
690 that you can't drag and drop them. They might be locked to the
691 timebar, even with the Edit labels option enabled. Although with
692 the Edit labels option enabled, if a selected area of a resource is
693 spliced from the Viewer to the timeline in a position before labels,
694 these labels will be pushed to the right for the length of the
697 In/Out points can be used to perform Cut and Paste operations in
698 Drag and Drop mode as well as in Cut and Paste mode. Use the Edit
699 pulldown to view the list and their keyboard shortcuts.
702 \subsection{Copy/Paste Behavior}%
703 \label{sub:copy_paste_behavior}
705 There are many options for moving, copying, pasting, inserting, and
706 deleting selected \textit{edits}, more commonly referred to by the
707 user as \textit{clips}, when in the Drag and Drop (arrow) editing
708 mode. This makes it easier to avoid constantly having to disarm/arm
709 tracks. To create a selection move the cursor over the clip and
710 just click the left mouse button; remove a selection by left mouse
711 button click again. This will mark your selection with a colored
712 border which contains some red. The easiest way to initially use
713 the various modes is to click on the middle mouse button when your
714 cursor is over a track and a popup displays the modes and shortcuts.
715 However, for those users who prefer the addition of the Ctrl key to
716 add multiple selections as is commonly done for listbox operations,
717 there is a preference in \texttt{Settings $\rightarrow$ Preferences
718 $\rightarrow$ Appearance} tab, called \textit{Clears before
719 toggle} that changes the behavior.
721 When an edit is marked as selected, it can be cut/copied into the
722 paste clip buffer. The constructed clip buffer will begin with the
723 leftmost edit and end with the rightmost edit. The edits may
724 contain media, or be silence, or skipped if they are not selected.
725 The clip tracks are copied from the first track with an active edit
726 selection to the last track with an active edit selection. A clip
727 track can be completely empty if no selection was made on the track.
728 The word \textit{packed} means that the silent edits and empty
729 tracks are not included in the copy to the clip buffer, and all of
730 the elements are packed together, no gaps. Packing a clip buffer
731 makes it easier to move \textit{blobs} of data around. Once the
732 edits have moved and have a relative relationship applied, an
733 unpacked clip buffer allows the media to be copied with the relative
734 positions of the edits preserved.
736 The \textit{edits} popup is activated on a track and a red and
737 yellow colored reticle appears to temporarily mark the location when
738 you click on the middle mouse button. An expanded explanation is
741 \renewcommand{\arraystretch}{1.15}
743 \begin{longtable}{p{0.3\textwidth-2\tabcolsep} p{0.7\textwidth-2\tabcolsep}}
745 \textbf{Key} & \textbf{Operations}\\
747 Drag & Hold down the Ctrl key while dragging to move a single
749 Left mouse button & Selects and highlights the edit under the
750 cursor with a red selection box. Left mouse
751 button also will toggle that clip selection
758 \begin{longtable}{p{0.2\textwidth-2\tabcolsep}
759 p{0.2\textwidth-2\tabcolsep} p{0.6\textwidth-2\tabcolsep}
762 \textbf{Popup Label} & \textbf{Key} & \textbf{Operation}\\ \midrule
764 Clear Select & Ctrl-Shift-A & Deselect all selected edits --
765 ones that have the red lines
768 Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
770 Cut & Ctrl-x & Delete the selected edits after copying them into
771 the buffer. The edits\\
773 Mute & Ctrl-m & Delete the selected edits after copying them
774 into the buffer. The space previously occupied
775 by the edits will be replaced with silence.\\
777 Copy Pack & Ctrl-Shift-C & Copy the selected edits into the
778 buffer and remove any silent
781 Cut Pack & Ctrl-z & Delete the selected edits after copying them
782 into the buffer. The edits after the
783 election will move left to occupy the
784 vacated space. The edits in the copy buffer
785 will be packed together within each track.\\
787 Mute Pack & Ctrl-Shift-M & Delete the selected edits after
788 copying them into the buffer. The
789 deleted edits will be replaced with
790 silence. The edits in the copy
791 buffer will be packed together within
794 Paste & Ctrl-v & Paste contents of the copy buffer at the
795 insertion point marked by the red \& yellow
796 reticle of the popup menu or the position of
797 the hairline cursor. This is a splice
798 operation which creates space for the edits.\\
800 Overwrite & Ctrl-b & Paste contents of the copy buffer at the
801 insertion point marked by the red \& yellow
802 reticle of the popup menu or the position
803 of the hairline cursor. This destroys the
804 current edits in that space.\\
806 Overwrite & Ctrl-Shift-P & Pastes plugins that are in the Copy
807 buffer to current location but no
812 \renewcommand{\arraystretch}{1}
814 The copy/paste behavior respects the armed/disarmed tracks
815 state. A paste of audio on a video track will fail and vice versa.
816 In addition if you attempt to paste edits consisting of more tracks
817 than what is available at that location it will not allowed.
819 Attaching transitions to multiple selected edits via the Video or
820 Audio pulldowns is also available. The new transitions are attached
821 at the start of the edits, and will replace any existing attached
822 transitions. As a side note, when in drag and drop mode the end
823 transition does not drag.
825 \subsection{Grouping edits}%
826 \label{sub:grouping_edits}
828 \CGG{} recognizes as a group, the edits of different armed tracks
829 that have aligned beginnings, regardless of whether they have the
830 same source or aligned ends. You can drag these edits around on the
831 timeline to construct your movie by rearranging scenes. If more than
832 one track is armed, \CGG{} will drag any edits which start on the
833 same positions the edit the mouse pointer is currently over. Another
834 method of Grouping of edits is performed as follows:
837 \item Select each of the clips you would like to be part of a
839 \item Use the desired Copy mode as described above to get into
841 \item Go to the Resources window Clip folder and right click on
843 \item Choose the Paste Clip option. Now you have a named clip
844 of the current selection.
845 \end{enumerate} A more traditional Grouping of edits which make a
846 Permanent Group works as described next. A temporary group is just
847 a set of selected clips and works the same as a single selection.
849 \item Create a group:
850 \begin{itemize}[noitemsep]
851 \item Select multiple clips/edits with left mouse button
853 \item Hold down shift and left mouse click over any of the
854 selected clips to create a group;
855 \item A Group Id and color are assigned to this group making
856 it easy to distinguish.
859 \begin{itemize}[noitemsep]
860 \item Move your cursor over any of the clips within the
861 group; click to select the clip group.
862 \item Click and Hold down the left mouse button to drag.
864 \item Dissolve a permanent group:\\
865 To ungroup select any of the group edits/clips and shift left
866 mouse click to ungroup (same as creating). The edits will be
867 ungrouped, and the current selection will be replaced with the
871 The color of the created groups are not muted and are assigned by
872 Group Id going sequentially through the number of 1 to 64.
873 Therefore if you dissolve a group and make it again, it will have a
874 different Group Id and a different color.
876 \subsection{Dragging Groups}%
877 \label{sub:dragging_groups}
879 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
880 is really easy. Just select the clip or clips you want to drag
881 using the left mouse button, then put your cursor over one of them
882 and drag while holding down the left mouse button. Keyframes,
883 autos, labels, and plugins will also be dragged. Dragging honors
884 armed/disarmed tracks. When you drag there will be some possible
885 colors as defined; depends on how the edges of edits and groups
889 \item Green color means OK to drop in that position as it will
891 \item Yellow color means you can drop here and when you do it
892 will be exactly next to that existing edit.
893 \item Blue color means it overlaps something and this includes
895 \item Red color means can not drop here because it will not fit
897 \item Orange color means the track types do not match so it can
901 Remember: With the \texttt{Shift} key on, it will always
902 \textit{overwrite}. Without the \texttt{Shift} key enabled, it
903 always \textit{inserts} only.
905 The original (older) method of dragging while in Arrow mode, lets
906 you just left mouse click on a single clip or aligned clips and just
907 drag. This older method of dragging does not move any of its
908 effects with it at this time. There will only be a white outline
909 while dragging and it will let you drop only if it fits. You can
910 also perform some dragging and grouping while in the \textit{Cut and
911 Paste editing mode} (ibeam mode) by taking advantage of the Ctrl
912 button in conjunction with the left mouse button.
915 \item Double click selects a column so you can move, for
916 example, the audio and video together by holding down the Ctrl key
918 \item A single clip can be dragged without any of its aligned
919 clips, by holding down and Ctrl key and drag.
922 This last section on Dragging, outlines the difference
923 between \textit{column selection} and \textit{marking selection}.
924 Column selection is available to make it easy to still be able to do
925 some dragging in I-beam mode whereas Marking selection makes it easy
926 to drag clips together that are not columnated.
929 \subsection{Selection Methods}%
930 \label{sub:selection_method}
932 Concerning \textit{Selection} methods, the following information is
933 partially pertinent to all editing, but is most important to keep in
934 mind when using Drag and Drop Editing.
936 Originally, there was the column oriented timeline drag selection
937 which can be seen in 1 of 3 ways:
940 \item a highlighted vertical column
941 \item the colored line region between the [~in and out~] marker
943 \item a single flashing line
946 The selection priority works like this. When the highlighted
947 vertical drag column is in use (1), it has the highest precedence
948 and is used as the selection. When the column is a single line (2),
949 then the fall back selection is the [~in/out~] marker region, if
950 they are set. When they are not set, and the cursor is flashing,
951 then the selection start=end and the selection is empty, but it does
952 have a position on the timeline which can be used for editing. This
953 is input for the vertical style cut/paste drag/drop editing.
955 More recently, in addition to the column oriented timeline drag
956 selection, there is now \textit{group} capabilities which have
957 various \textit{edit} selections. These are created in the Drag and
958 Drop editing mode by clicking edits to toggle
959 select/deselection. These groups are input to a different (more
960 modern) set of cut, paste and overwrite drag/drop editing. You
961 can see this set of operations when you click on an edit with the
962 middle mouse button, and are also available using the shortcuts
963 shown. They are more like text editor commands to include
964 \texttt{ctrl+x=cut}, \texttt{ctrl+c=copy}, \texttt{ctrl+v=paste},
965 and so on \dots The keyboard Delete key is not hooked to these
966 operations, and is hooked to the original editing methods.
968 In this \textit{group} mode, if there are In/Out markers set, they
969 enter the selection priority queue between the column selection and
970 the cursor only. You can see the In/Out markers selected region
971 colored line across the timebar (slightly underneath where the time,
972 samples or frames show ) on the main timeline extending between the
973 [ and ]. This means that when the highlighted cursor selection is
974 empty, the In/Out selection will be used.
977 \section{Inter-View Mode\;/\;Identifying Source Targets Editing}%
978 \label{sec:inter-view_identifying_source_target_editing}
980 Inter-View mode provides a mapping of a particular media file to its
981 timeline usages. It is somewhat similar to Two Screen Editing in
982 that you make use of the Viewer. It makes it possible to precisely
983 trace and indicate in the media the origin of a particular segment
984 of the timeline and visually indicate the use and distribution that
985 the timeline makes of a particular media. A good example usage
986 would be in the case of a 30 minute interview where you use a few
987 short pieces to make a shorter 10 minute section, find out that you
988 have made the timeline 12 minutes instead and need to cut out
989 another 2 minutes. This feature provides the following capabilities:
992 \item You can see on the timeline all of the places where a
993 particular piece of media was used.
994 \item You can see which parts of that particular media are
995 already used so you do not reuse that same piece again.
996 \end{itemize} Figure~\ref{fig:inter-view01} shows an example of the
997 Inter-View mode mapping preview mini-window.
999 \includegraphics[width=0.8\linewidth]{inter-view01.png}
1000 \caption{Inter-View mode: white bar$\rightarrow$source; red
1001 bar$\rightarrow$timeline}
1002 \label{fig:inter-view01}
1005 Explanation of how to use Inter-View mode will be described here
1009 \item Do your editing as usual on the timeline until you are
1010 ready to see what is used or unused.
1011 \item Make sure you are in any of the Preview modes in the
1012 Resources window; you enable the mode using the pulldown to the left
1013 of the word Search. The option looks like this \quad
1014 \includegraphics[height=\baselineskip]{fullplay.png}.
1015 \item Middle mouse click on a thumbnail in the Resources window and
1016 a popup occurs of that media with a white colored bar at the top
1017 and a red colored bar at the bottom with black sections.
1020 The red/white bars represent the presence and the black sections
1021 represent the absence of where that media is used on the timeline.
1022 To get to a bigger representation, use the “\texttt{f}” key for a
1023 full screen. Now you can operate the following buttons to display
1024 what you need to see and to move around. It is important to note
1025 that \textit{locked tracks} will not be represented. This makes it
1026 easy to ignore the audio track segments if you want so there is less
1027 confusion in the display.
1030 \item Clicking on the top white or black spaces in the top time
1031 bar loads the Viewer with the source media, and sets the In/Out [
1032 and ] pointers to be the selection of that edit.
1033 \item Click on a location in the bottom red or black bar, and
1034 the main cursor and composer will re-position to the corresponding
1035 location on the session timeline.
1036 \item Dragging on the red/black bar will correspondingly update
1037 the position in the timeline and composer.
1038 \item Ctrl-click on the bottom bar and the timeline and composer
1039 are re-positioned to the beginning of that edit.
1040 \item Shift-click on the bottom bar and a \textit{selection} is
1041 made of that section in the timeline and the composer is updated
1042 with that start position.
1046 Figure~\ref{fig:inter-view02} displays Inter-View window and its
1047 relation to the timeline, viewer, and compositor.
1050 \includegraphics[width=1.0\linewidth]{inter-view02.png}
1051 \caption{Inter-View mode and the timeline}
1052 \label{fig:inter-view02}
1055 The Inter-View mode works for Media, Proxy, and User Bins. When the
1056 preview window has only black bars on the top and bottom, it means
1057 that this particular media is not loaded in the timeline. So when
1058 you are in Proxy, meaning that the Proxy files are loaded on the
1059 timeline, there will be only black bars for the corresponding Media
1060 file UNLESS there is an audio track associated with the video.
1061 Because audio tracks are not proxied, they will show for Media but
1065 \section{Some Specific Editing Tools}%
1066 \label{sec:specific_editing_tools}
1068 This section covers some more detailed editing tools and scenarios
1069 for edit management.
1071 \subsection{Editing EDLs within a Project}%
1072 \label{sub:edit-edls}
1074 To edit EDL that is included with your project as Clips, Nested
1075 Clips, Referenced File, or Xml you can use the option \textit{Open
1076 EDL} in the Resources window for the highlighted media. Then with
1077 a simple button click you can return to your main timeline project.
1078 For example, if you have a nested clip that originally had several
1079 plugins added to it before it was nested, you can edit those plugin
1080 parameter values. Previously to make any changes to these types of
1081 EDL you had to remake the whole clip from scratch.
1083 Here is how this works. In the Clip or Media folder or on a timeline
1084 EDL edit, the option \textit{Open EDL} for the highlighted clip or
1085 nested clip is available so that when you choose this option, that
1086 EDL will be brought up on the timeline superseding the current EDL
1087 that exists on the timeline. Now, once the clip is open on the
1088 timeline, you can edit it however you want. The previous timeline
1089 EDL is \textit{pushed onto a stack} so it can be recalled by
1090 \textit{popping the stack} with a click of the left mouse button in
1091 the upper right hand corner of the timeline to the left of the
1092 \textit{shell cmds} icon. Initially this button displays a 0 to
1093 indicate your initial timeline/project. Then this button will read
1094 1 if you choose \textit{Open EDL} and then back to 0 and your
1095 original timeline with the left mouse click. You can go several
1096 levels deep so instead of 1, it could be 2, 3, $\dots$ but this
1097 requires some thought to avoid potential confusion.
1099 An example of a typical set of steps to follow is:
1101 \item Load your media using insertion strategy of \textit{Replace
1102 current project}. There will be \# 0 in the upper right hand corner
1103 of the main menu with the tooltip of \textit{Close EDL}.
1104 \item Highlight a selection on the timeline and press the
1105 \textit{To clip} icon and click the green checkmark OK.
1106 \item In the Resources window, open the Clip folder and you will
1107 see that Clip 1 is present.
1108 \item Highlight Clip1 and right mouse the item to bring up
1109 available options and select \textit{Open EDL}.
1110 \item Now you will see the timeline change from the original
1111 media to just the clip content and the \# in the upper right hand
1112 corner will change from 0 to 1.
1113 \item Add a visible effect, like AgingTV to the timeline.
1114 \item Click on the \# 1 in the main menu bar to see he timeline
1115 restored to the original media.
1116 \item Drag the clip from the Resources Clip folder to the
1117 timeline and you will see the AgingTV effect.
1120 You can follow the same steps as above by first using the option
1121 \textit{Nest to media} in the Clip folder which nests the clip and
1122 moves it out of the Clip folder to the Media folder. Then use
1123 \textit{Open EDL} on the Nested EDL in the media folder. When you
1124 Open EDL and edit the changes, those changes will take affect on any
1125 and all occurrences of that nested clip on the current and/or
1126 original timeline. The option to unnest that clip and put that back
1127 into the Clip folder is the option \textit{EDL to clip}. The nested
1128 clip is still in the Media folder. It will now have a name of the
1129 next available Clip \# but the comment contains the previous name so
1130 you can tell where it came from.
1132 Instead of using the \# number on the main menu to close the current
1133 EDL, both the Media and Clip folders have \textit{Close EDL} options
1134 with the left mouse button. Clicking on the \# number is quick and
1135 easy but for infrequent usage it is not obvious, whereas if you use
1136 \textit{Open EDL} you see \textit{Close EDL} right below that and so
1137 it is very obvious. In addition in the case of where you have
1138 opened a EDL, and you no longer see that clip in the folder, the
1139 right mouse button where no media is highlighted will also display
1140 the Close EDL option.
1145 \includegraphics[width=1\linewidth]{editing-img001.png}
1146 \caption{Once you have an Open EDL, the easiest way to close it.}
1147 \label{fig:open_edl}
1151 In addition to the \textit{Open EDL} option in the Resources menu,
1152 this option is available on the timeline when the cursor is on an
1153 EDL-type edit. To get to this option, click on the middle mouse
1154 button on that edit. If it is not EDL, the option will not be
1160 Media folder of Resources window & Open EDL for Nested or Referenced EDLs\\
1161 Clip folder of Resources window & Open EDL for clips\\
1162 Track timeline & Open EDL for Nested or Referenced EDLs\\
1167 An aside -- when nesting and unnesting clips to take advantage of
1168 this feature, names of the media can lead to some confusion. For
1169 example, if you nest a clip, the new name in the Media folder is the
1170 word \textit{Nested} followed by an underscore with the date and
1171 timestamp, another underscore, and then the clip name. Then when
1172 you unnest this Media folder clip via the \textit{EDL to clip}
1173 option, the name will be changed in the Clip folder to the next
1174 available Clip \#. However the comment field will reflect the
1175 nested clip name from which it was derived. To avoid confusion you
1176 can easily change the name for these clips in either the Clip or
1177 Media folder because they are not real files at this point. To do
1178 so, highlight the clip name in Resources, click on Info and type in
1181 For additional safety, the \textit{Open EDL} feature includes
1182 additional backup capabilities. Automatically \CGG{} saves a backup
1183 when certain changes are made or you can always use the shortcut `b'
1184 to do one yourself, although keep in mind it will be overwritten
1185 whenever \CGG{} wants to do another backup. Now there is a shortcut
1186 for the backup shortcut `b' so you can keep your hand on the mouse
1187 instead of the keyboard. Just click on the \# in the upper right
1188 hand corner of the main window. If \# is at 0, it backs up to
1189 backup.xml, if at 1, it backs up to \texttt{backup1.xml} and so on
1190 \dots up to \texttt{backup9.xml}.
1192 When \textit{Open EDL} is invoked, the current EDL and current undo
1193 stack are both \textit{pushed}, and the active session EDL is
1194 replaced with the target clip/nested edl. A new undo stack is
1195 created, and the active \texttt{backup.xml} file name is decorated
1196 with the stack level. So, \texttt{backup.xml} is
1197 \texttt{backup1.xml} when your edits are at stack level 1,
1198 \texttt{back\-up2\-.xml} at stack level 2, and so on. This means
1199 that if you \textit{load backup} at stack level 1, the session will
1200 reload from history at stack level 1, not the main session.
1203 \subsection{Editing with File by Reference}%
1204 \label{sub:file-reference}
1206 It is sometimes handy to have EDL assets not as a copy, but as a
1207 reference that is automatically updated into your project. Suppose
1208 you have several short videos that at the end have the same credits
1209 which include the current year such as 2019. But now it is 2020 and
1210 all of the videos would have to be individually updated with the new
1211 date. By including a \textit{Referenced File} as the EDL file type
1212 when you create each of the videos, you can just change the one
1213 credits xml file and the next time you load one of the videos and
1214 render it, it will now automatically have the updated information.
1216 The purpose of this feature is to be able to rework a smaller
1217 section of a global master project at any time, which can be done by
1218 an "assistant" and then this work is automatically reflected in the
1219 global master project. It is for \textbf{advanced usage only}.
1221 Up until the addition of this feature, \CGG{} has always used copies
1222 and no direct reference in order to ensure original data is never
1223 compromised. In the usual case, subprojects as xmls are copied into
1224 a master project where subprojects had been inserted, so that if you
1225 change something in a subproject or delete a subproject, it would
1226 have no affect on the master project. But now with \textit{File by
1227 Reference}, any project that uses a referenced file will
1228 automatically include any changes made to the referenced file when
1229 loaded. At the same time, if you use the EDL file NOT as a
1230 referenced file in a project since it is then just a copy, it will
1231 not be updated. Because of this difference, the user needs to be
1232 very aware of what using this feature could do.
1234 \textbf{Use with extreme caution}. However, there are several
1235 built-in safety features and a warning that should never be turned
1236 off even though it gives you the option to do so. These include:
1239 \item When the \texttt{File, Load files} menu is opened, the EDL
1240 strategy will always be set to just EDL as default. Although, if
1241 you use Apply and leave the Load Menu open, it will stay changed to
1242 what you selected until it is re-opened.
1243 \item When an EDL is opened as \textit{Reference}, the color of
1244 that file name in the Resources Media folder is different in order
1245 to serve as a reminder that it is special.
1246 \item A warning message is displayed in a popup window when you
1247 load a \textit{File by Reference} that reads “Other projects can
1248 change this project and this can become a broken link”. Although
1249 you can check the warning box to never see this warning again, you
1250 would be well advised to not do so. It is a great reminder of
1251 consequences and you will not want to be cavalier about the warning.
1252 Instead just use the X to dismiss the warning.
1255 Here is a step by step example of how you can use \textit{File by
1258 \item Start up \CGG{} and use the Title plugin to create a new
1259 credits file. Save as credits.xml.
1260 \item Start a New project and then load an existing master
1261 project to the timeline.
1262 \item Load the credits file you created in step 1 with a Load
1263 Strategy of Create Resources Only and with EDL Strategy as
1265 \item Note the color change in the credits.xml filename and the
1266 reference comment in the Resources Media folder.
1267 \item Drag the credits file to an empty spot on the timeline.
1268 Save this new master project and quit.
1269 \item Start \CGG{} up again. Load credits.xml and make a change
1270 to the Title and save again.
1271 \item Exit \CGG{}; restart \CGG{}; load your master project and
1272 now you will automatically see on the timeline the changes you just
1273 made in the previous step.
1277 \subsection{Edit Length}%
1278 \label{sub:edit-lenght}
1280 To set the length of an edit in the timeline, select the region
1281 which contains the edit to be modified. Now select the menu bar
1282 \texttt{Edit $\rightarrow$ Edit Length}\dots menu item to activate
1283 the \textit{edit length} popup (figure~\ref{fig:lenght}). The
1284 duration of the edit can be reset by entering the desired edit
1285 length in seconds. Pressing OK will change all of the selected
1286 edits (in armed tracks) to the specified length.
1288 \begin{figure}[htpb]
1290 \includegraphics[width=0.5\linewidth]{lenght.png}
1291 \caption{Edit Length window}
1295 \subsection{Align Edits}%
1296 \label{sub:align_edits}
1298 When loading media, a common problem is that the various audio/video
1299 tracks do not always have exactly the same lengths. For example, you
1300 might load audio/video recordings from your camera and be dismayed
1301 to see that the audio for each segment is a half second longer than
1302 the video. If you load a large set of media clips by concatenation,
1303 the audio and video will be more skewed as more media is
1304 loaded. Align Edits makes it possible to adjust the edits so the
1305 audio and/or video align by adjusting
1306 the edits so that the track lengths are consistent. To use this
1307 feature, load all of the desired media and select a region which
1308 contains all of the edits to be aligned in the timeline. Now select
1309 the menu bar \texttt{Edit $\rightarrow$ Align Edits} menu item to
1310 operate the change. The topmost armed track is used as a template
1311 reference, and the rest of the tracks are either cut or padded to
1312 align the edit boundaries. Besides aligning audio with the video,
1313 you can also align video with the audio if the first armed track is
1314 audio. The code performs the following algorithm:
1317 \item Use the first armed track as the master track (it must
1319 \item Collect the \textit{edit project start times} on the
1320 selected master track. Only edits that are 100\% inside the selected
1322 \item Set all other tracks to match the \textit{edit times} of
1323 the template track, either by putting in silence or cutting the
1324 region to align the edits on the \textit{edit times} of the master
1328 The start time sequence of media and silence edits
1329 along the master track are collected as the target alignment
1330 boundaries. All armed tracks after the master track are modified so
1331 that if the next edit edge is too soon, it adds silence; if it is
1332 too late, edits are shortened or deleted past the point of the next
1333 target alignment boundary time. Align Edits works best if there are
1334 an equal number of Video and Audio sections. Also, it is better to
1335 use cuts instead of adding silence -- if there are silence edits
1336 together, the algorithm will combine the silence edits into a single
1337 edit and results may not be as desired.
1339 The first two screenshots in figure~\ref{fig:align} show the Before,
1340 the Highlighted Edits to be manipulated, and the After results for
1341 the Align Edits. The third screenshot \textit{adds silence} in the
1342 second section as noted in red letters.
1344 \begin{figure}[htpb] \centering
1345 \includegraphics[width=1.0\linewidth]{align.png}
1346 \caption{Align edits}
1351 \subsection{Reverse Edits}%
1352 \label{sub:reverse_edits}
1354 The Reverse Edits can be useful to change the order of 2 edits in
1355 the case where you would like to put a \textit{teaser} section that
1356 occurred in the middle of a movie at the beginning instead, that is,
1357 reversed positions. To operate, highlight completely the edit areas
1358 you would like reversed and then use the pulldown \texttt{Edit
1359 $\rightarrow$ Reverse Edits}.
1361 Figure~\ref{fig:reverse01} shows the selected / highlighted area to
1362 which Edits will be applied. Note the first edit is 0002, followed
1363 by 0003, 0004, and 0005 in that order.
1365 \begin{figure}[htpb]
1367 \includegraphics[width=0.9\linewidth]{reverse01.png}
1368 \caption{Selected area for Reverse Edits}
1369 \label{fig:reverse01}
1372 Figure~\ref{fig:reverse02} shows the results of executing
1373 \textit{Reverse Edits}. Now you will see the reversed order of
1374 0005, 0004, 0003, and last 0002.
1376 \begin{figure}[htpb]
1378 \includegraphics[width=0.9\linewidth]{reverse02.png}
1379 \caption{Results of the Reverse Edits}
1380 \label{fig:reverse02}
1384 \subsection{Shuffle Edits}%
1385 \label{sub:shuffle_edits}
1387 The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
1388 randomly exchange the location of the edits. This feature can be
1389 used to change the order of the music like you would do from your
1390 MP4 player where you have a playlist of your favorite music. Or
1391 perhaps you are creating an advertisement background, you can
1392 randomly change it, thus the viewer sees a different order of scenes
1395 Figure~\ref{fig:shuffle} illustrating Shuffle Edits of the
1396 highlighted area of the first screenshot on the page. Note the
1397 permutation of the fragments resulting in 0002 now being first, then
1398 0004, 0003, and 0005 last.
1400 \begin{figure}[htpb]
1402 \includegraphics[width=0.9\linewidth]{shuffle.png}
1403 \caption{Shuffle edits: the edits are permutated}
1408 \subsection{Drag Handle Management / Trimming}%
1409 \label{sub:drag_handle_management_trimming}
1411 With some edits on the timeline it is possible to do trimming. By
1412 trimming you shrink or grow the edit boundaries by dragging them. In
1413 drag and drop mode or cut and paste mode, move the cursor over an
1414 edit boundary until it changes shape. The drag handle shows as a
1415 left or right facing fat arrow when you cursor near the clip start
1416 or end. If the cursor faces left, the dragging operation affects
1417 the beginning of the edit. If the cursor faces right, the dragging
1418 operation affects the end of the edit.
1420 The effect of each drag operation not only depends on the behavior
1421 button but whether the beginning or end of the edit is being
1422 dragged. When you release the mouse button, the trimming operation
1425 For all file formats, other than still images, the extent of the
1426 trimming operation is limited to the source file length. Attempting
1427 to drag the start of the edit beyond the start of the source, limits
1428 it to the source start. In all trimming operations, all edits which
1429 start on the same position as the cursor when the drag operation
1430 begins are affected. You have to disarm tracks in order to prevent
1431 edits from being affected.
1433 You have 6 different choices of which mouse button to use for
1434 specific types of editing while using the drag handle. You change
1435 the drag handle mouse effects by using the \texttt{Settings
1436 $\rightarrow$ Preferences $\rightarrow$ Interface} tab and
1437 modifying the Editing section as shown in the next
1438 figure~\ref{fig:trim}. The drag handle affects not only the clip you
1439 are working on but also frequently the entire duration of all clips
1442 \begin{figure}[htpb]
1444 \includegraphics[width=0.6\linewidth]{trim.png}
1445 \caption{Default choices for mouse: Ripple for button 1; Roll
1446 for button 2; Slip for button 3}
1450 A description of the fundamental/common terminology for choices
1454 \item[All Edits (ripple)] shorten or lengthen the start or end
1455 of a single piece of media while moving all media to the right of
1456 that clip up or down on the timeline correspondingly. Timeline
1457 duration is modified. In a drag \textit{All Edits} operation, the
1458 beginning of the edit either cuts data from the edit if you move it
1459 forward or pastes new data from before the edit if you move it
1460 backward. The end of the edit pastes data into the edit if you move
1461 it forward or cuts data from the end of the edit if you move it
1462 backward. All the following edits shift. If you drag the end of the
1463 edit past the start of the edit, the edit is deleted.
1464 \item[One Edit (roll)] move the in and out point of a single
1465 clip without changing the timeline duration. In a drag \textit{One
1466 Edit} operation, nothing is cut or pasted. If you move the beginning
1467 or end of the edit forward, the source reference in the edit shifts
1468 forward. If you move the beginning or end of the edit backward, the
1469 source reference shifts backward. The edit remains in the same spot
1470 in the timeline but the source shifts.
1471 \item[Src Only (slip)] move the in and out point of a single
1472 clip without changing the timeline duration. In a drag \textit{Src
1473 Only} operation, nothing is cut or pasted. If you move the beginning
1474 or end of the edit forward, the source reference in the edit shifts
1475 forward. If you move the beginning or end of the edit backward, the
1476 source reference shifts backward. The edit remains in the same spot
1477 in the timeline but the source shifts.
1478 \item[Slide] a single clip is moved but retains its current in
1479 and out point; however the out point of the clip to the left changes
1480 and the in point of the clip to the right also changes. Timeline
1481 duration remains the same.
1482 \item[Edge Left/Right] moves the edge of the clips.
1483 \item[No effect] no changes are made. You might want to use
1484 this choice to prevent accidental movements.
1487 The next table displays the options and results
1488 with the Key Table here first.
1490 \begin{lstlisting}[style=sh]
1495 rest == p+=c: for rest of clips
1496 01 = flags edits_moved, rest_moved
1499 \renewcommand{\arraystretch}{1.15}
1503 % Tell table to adjust font to fix on the page using \resize
1504 \resizebox{\textwidth}{!}{%
1505 \begin{tabular}{lllll}
1507 & & \textbf{Drag Left} & \textbf{Drag Right} &\\
1509 \multicolumn{2}{l}{\textit{curr s += c, l -= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1510 abc12345xyz & \textbf{Ripple} left edge 11 $\rightarrow$ & abc012345xyz & abc2345xyz &\\
1512 \multicolumn{2}{l}{\textit{curr l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1513 abc12345xyz & \textbf{Ripple} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
1515 \multicolumn{2}{l}{\textit{prev l += c; curr ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1516 abc12345xyz & \textbf{Roll} left edge 00 $\rightarrow$ & ab012345xyz & abcd2345xyz &\\
1518 \multicolumn{2}{l}{\textit{curr l += c; next ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1519 abc12345xyz & \textbf{Roll} right edge 00 $\rightarrow$ & abc1234wxyz & abc123456yz &\\
1521 \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1522 abc12345xyz & \textbf{Slip} left edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
1524 \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1525 abc12345xyz & \textbf{Slip} right edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
1527 \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1528 abc12345xyz & \textbf{Slide} left edge 10 $\rightarrow$ & ab012345wxyz & abcd12345yz &\\
1530 \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
1531 abc12345xyz & \textbf{Slide} right edge 10 $\rightarrow$ & ab12345wxyz & abcd12345yz &\\
1533 \multicolumn{2}{l}{\textit{curr s -+= c, l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1534 abc12345xyz & \textbf{Edge} left edge 11 $\rightarrow$ & abc2345xyz & abc0123456xyz &\\
1536 \multicolumn{2}{l}{\textit{curr l -+= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
1537 abc12345xyz & \textbf{Edge} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
1542 \renewcommand{\arraystretch}{1}
1544 Next, a more immediate and colorful view shows these trimming
1545 options (figure~\ref{fig:trim-color}).
1547 \begin{figure}[htpb]
1549 \includegraphics[width=0.8\linewidth]{trim-color.png}
1550 \caption{The 5 types of Trim: note the different lengths of the results.}
1551 \label{fig:trim-color}
1554 \paragraph{How to do a J-cut or L-cut} A J-cut is a split edit film
1555 editing technique in which the audio from a following scene overlaps
1556 the picture from the preceding scene, so that the audio portion of
1557 the later scene starts playing before its picture as a lead-in to
1558 the visual cut. An L-cut is a different split edit film editing
1559 technique in which the audio from preceding scene overlaps the
1560 picture from the following scene, so that the audio cuts after the
1561 picture, and continues playing over the beginning of the next scene
1562 (figure~\ref{fig:j-cut}). To do either a J-cut or an L-cut, you
1563 first shorten the first or second video a little. Then you block
1564 the audio tracks from changing by disarming the appropriate tracks.
1565 Finally use \textit{One Edit (roll)} the cutting edge off the
1566 videos. Moving to the right creates a J-cut and moving to the left
1569 \begin{figure}[htpb]
1571 \includegraphics[width=0.8\linewidth]{j-cut.png}
1572 \caption{J-cut to left and L-cut to right}
1577 \subsection{Split View in Compositor Using the Drag Handle with Trim}%
1578 \label{sub:split_view_compositor_using_drag_trim}
1580 The Trim Feature using the drag handle provides some good ways to
1581 view your video while editing. The playback position in the
1582 compositor is updated live and the view in the compositor can be
1583 split so that in the left half of the compositor you can see the
1584 last frame of the left clip and in the right half the first frame of
1585 the right clip. Dragging edits can not be extended past the
1586 beginning or the end.
1588 First familiarize yourself with button operation; check your setup
1589 by executing the following step. In the \texttt{Settings
1590 $\rightarrow$ Preferences $\rightarrow$ Interface} tab, Editing
1591 section, clicking on the edit boundaries can be set for Button 1, 2,
1592 3 as one of the following:
1594 \textit{Ripple}; \textit{Roll}; \textit{Slip}; \textit{Slide};
1595 \textit{Edge} or \textit{No effect}
1597 Now to use this feature, create a track with edits that have trims
1598 on the left and/or the right. The edit boundary can be modified
1599 using \textit{drag handles} at the boundary between the edits
1600 (figure~\ref{fig:trim-display}).
1602 \begin{figure}[htpb]
1604 \includegraphics[width=1\linewidth]{trim-display.png}
1605 \caption{Split compositor screen showing the result of the Trim feature}
1606 \label{fig:trim-display}
1610 \item[Left Mouse Button (LMB) usage:] If you grab the edit
1611 handle from the right side, you will see a left arrow and dragging
1612 the boundary will modify the right edit playback starting time. If
1613 you grab the edit handle from the left side, you will see a right
1614 arrow and dragging the boundary will modify the left edit playback
1615 ending time. In both cases, the composer will show the edit endpoint
1616 of the changed edit.
1617 \item[Shift LMB usage:] The effect on the edits is the same as
1618 described above, but the composer will show a split screen of the
1619 left and right edits as they appear at the drag handle
1620 boundary. Dragging will only change one of the two images, since
1621 only one edit is being changed.
1622 \item[Middle Mouse Button (MMB) usage:] Both the left and the
1623 right edit ending/starting times are updated. The image shown in
1624 the compositor will be drawn from the side of the drag grab, that is
1625 the left if it is grabbed from the left, and the right if it is
1626 grabbed from the right.
1627 \item[Shift MMB usage:] The effect on the edits is the same as
1628 described above, but the composer will show a split screen of the
1629 left and right edits as they appear at the drag handle boundary.
1630 Dragging will change both of the two images, since both edits are
1632 \item[Right Mouse Button (RMB) usage:] The start/end point of
1633 the current edit is moved, but the edit length is unchanged only one
1634 image changes since only one edit endpoint is view is updated.
1635 \item[Shift RMB usage:] The effect on the edits is the same as
1636 described above, but the composer will show a split screen of the
1637 left and right edits as they appear at the drag handle boundary.
1638 Dragging will only change one of the two images, since only one edit
1643 \subsection{Snapping while Cutting and Dragging}%
1644 \label{sub:snapping_cutting_dragging}
1646 \paragraph{Cutting/Snapping edits} cuts from an edit handle to the
1647 insert point. There are Edit Panel buttons which normally are used
1648 to move to the previous or next edit handle/label.
1650 \begin{wrapfigure}[3]{r}{0.2\linewidth}
1653 \includegraphics[width=0.7\linewidth]{snap.png}
1656 They look like tags and the letter E on the menu bar and are
1657 oriented forward/backward. These same buttons can be used to
1658 \textit{cut} from the insert pointer to the previous or next
1659 edit/label when the ctrl+alt keys are both pressed when the buttons
1660 are used. They \textit{snap} off the media instead of doing the
1661 standard re-positioning. This is useful to minimize the number of
1662 operations necessary to cut between edits/labels.
1664 Instead of using the edit panel buttons, you can more easily use the
1665 following keyboard shortcuts to perform the same functions:
1668 \begin{tabular}{lll}
1670 snap\_right\_edit & ctrl+alt+ '.' &\\
1671 snap\_left\_edit & ctrl+alt+ ',' &\\
1672 snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
1673 snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
1678 \paragraph{Drag Snapping} if you hold down the Ctrl + Alt keys while
1679 dragging using the mouse, once the clip gets near to an edit, a
1680 label, an in/out pointer or the start/end of the timeline, the
1681 dragged clip will snap next to that marker. The 2 will now be
1682 exactly aligned with no gap and no overlap. As you drag the clip
1683 close to one of the markers, when they are within a short distance
1684 they start to stick and stay that way until you move further away
1685 from that distance. Also, the line will turn color from green to
1686 yellow while in the sticky phase.
1689 \subsection{Nesting}%
1692 \paragraph{Nested Assets} A nested asset is an EDL session that
1693 embeds an existing EDL session, all tracks, all plugins, editing,
1694 and effects into a media object that appears as one audio/video
1695 media object, no plugins, editing, or effects. It is as if the
1696 existing EDL was rendered, and loaded in its place. This has
1697 several interesting side effects. First, you don’t have to render
1698 the entire media file to see any portion. Second, it requires no
1699 rendering compute time or storage. Third, it changes the precedence
1700 of the composer so that you get more control over the projection and
1701 automation, so that the results can be sent into another rendering
1702 step, not simply part of the current stack. It groups the plugin
1703 stack in much the same way that an arithmetic expression is grouped
1706 The EDL session and the rendered output are visually equivalent.
1707 Nested assets allow for complex grouping and stacking of effects,
1708 and makes media access much more flexible. This feature can be used
1709 recursively, that is, any number of sessions may be stacked and
1710 referenced as an asset, as long as all of the rendering resources
1711 are available. Nested assets are added to the timeline by using the
1712 pulldown \texttt{File $\rightarrow$ Load files}\dots on the main
1713 menu and selecting the \textit{Insertion strategy} of \textit{Nest
1714 asset}. The file will be pasted into the timeline over the current
1715 selection or at the insertion point.
1717 It is somewhat important to note that nested assets and nested clips
1718 will have index files automatically created. These index files can
1719 start to clutter up your \texttt{\$HOME/.bcast5} directory with
1720 files named \texttt{Nested\_\#\#\#.idx} and you may want to
1721 periodically delete any index files which are no longer in use.
1723 \paragraph{Nested Clips} It is also possible to create
1724 \textit{clips} and convert them to \textit{nested edl}. This is
1725 done by first creating a clip using the standard cut, clipboard,
1726 paste, and/or edit panel buttons. Now, using the resources
1727 \textit{clip} folder, select a clip to be nested, and use the right
1728 mouse button to select a clip. This activates the clip popup menu.
1729 Select the \textit{Nest to media} menu item, and the clip will be
1730 converted to a \textit{Nested: Clip} and put in Media
1731 folder. Conversely, you can select a \textit{Nested: Clip}, use the
1732 \textit{EDL to clip} menu item, and the clip will be reverted to a
1733 \textit{Clip}. This works similarly to the group / un-group editing
1734 features of many graphic design editing programs, but in this case
1735 the groups are rendered compositions (figure~\ref{fig:nesting}).
1737 Nested clips can be proxied and when they are, the resulting files
1738 are placed in the user's \$HOME/Videos directory by default. This
1739 can be modified by changing
1741 \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface}
1742 tab, Nested Proxy Path.
1744 \begin{figure}[htpb]
1746 \includegraphics[width=1.0\linewidth]{nesting.png}
1747 \caption{Nested clips in Timeline and Resources window}
1751 \paragraph{Usage Examples of Nested Clips}
1754 \item[Example 1:] You want to make a flashback/rewind at the end
1755 of your video that represents a quick summary of the entire video in
1756 black and white. On he timeline, you have 60 seconds of edits with
1757 clips, cuts, zoom in, zoom out and any other edits. Now you want to
1758 get this 60 seconds \textit{compressed} to 10 seconds, play in
1759 reverse, and in black and white at the end of your video. You would
1760 copy the 60 seconds in a clip, nest the clip in the Clip folder of
1761 the Resources window and drag it to the timeline. You will see only
1762 a clean clip without all of the edits that were used to create it
1763 because nesting display a clip without having to actually use the
1764 Render menu. Now you can add a Reverse effect, Color3way plugin for
1765 black and white, and use the Speed auto to get the 60 seconds down
1767 \item[Example 2:] You are working on a complex project with a
1768 team in a separate location. You create some sub projects, i.e.\
1769 sequences, that you or the team will use in the Master project to
1770 merge the sequences in the right order and to make the final color
1774 In each of the examples you can see the benefit of nesting to create
1775 clean looking timelines because of the automatic rendering
1776 capability of nesting.
1779 \subsection{Copy/Paste clips/medias across Multiple Instances}%
1780 \label{sub:copy_paste_multiple_instances}
1782 It is easy to copy/paste clips/media within a single instance of
1783 \CGG{} or across multiple instances. The reason this works is
1784 because there are hidden X cut buffers and these are used to
1785 transmit EDL from 1 instance to another.
1787 Steps to copy from a source timeline and paste to a target timeline:
1790 \item highlight a selection on the timeline in 1 instance of \CGG{}
1791 \item use the Copy icon (shortcut c) on the main menu bar to copy
1793 \item move the pointer to another instance of \CGG{} and set an
1794 insertion point in its timeline
1795 \item use the Paste icon (shortcut v) to paste the clip to that
1796 other instance selection target
1800 \section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing\protect\footnote{programmatic specifications from Eric Messick}}%
1801 \label{sec:shuttle_jog_wheels_editing}
1803 The ShuttlePROv2 and ShuttleXpress are affordable jog wheels which
1804 can be useful for working with Cin, especially if you do a lot of
1805 playing forward/backward, fast/slow/normal, and single frames
1806 (figure~\ref{fig:shuttle}).
1808 Directions for using the ShuttlePROv2 and the ShuttleXpress with
1809 \CGG{} are described next. These devices work by sending keystrokes
1810 used in Cin, corresponding to the shuttle action, to the keyboard
1811 buffer. The shuttle has been fully integrated into the \CGG{} code
1812 so that after the one initial setup, no further intervention is
1813 required. The multi-speed outer wheel works the same and has the
1814 same number of S positions on both shuttles but the shuttle Xpress
1815 has only 5 keys. Since the majority of user operations will most
1816 likely be with the use of the 2 wheels, the slightly smaller Xpress
1817 could be a better choice with its 5 easy to reach keys. The Pro is
1818 approximately $4\times7$\,inches whereas the Xpress is about
1821 \begin{figure}[htpb]
1823 \includegraphics[width=0.9\linewidth]{shuttle.png}
1824 \caption{ShuttlePROv2 and ShuttleXpress}
1828 The vendor supplied \textit{string} device names for the shuttles
1831 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePRO\_v2-event-if00}\\
1832 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttleXpress-event-if00}\\
1833 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00}
1835 Only 1 necessary initial setup is required due to permission
1836 settings for non-root usage. As root, just copy a file that provides
1837 the necessary permissions to use the shuttle, then reboot, Example
1840 \begin{lstlisting}[style=sh]
1841 sudo cp {cindat_path}/doc/99-ShuttlePRO.rules /etc/udev/rules.d/
1844 then the next time after you reboot, the permissions should be
1845 correct. This file only needs to contain one of the following lines
1846 depending on which shuttle version you have/use, but all will be in
1849 \begin{lstlisting}[style=sh]
1850 # for newer PRO model
1851 ATTRS{name}=="Contour Design ShuttlePro" MODE="0644"
1852 # for older PRO model
1853 ATTRS{name}=="Contour Design ShuttlePRO v2" MODE="0644"
1854 # for the Xpress model
1855 ATTRS{name}=="Contour Design ShuttleXpress" MODE="0644"
1856 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0020", MODE="0666"
1857 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0030", MODE="0666"
1860 If you swap your shuttle, for example upgrade from an Xpress to a
1861 PROv2, just stop Cin, unplug the original shuttle, plug in the
1862 replacement shuttle, and restart Cin. If you start the \CGG{}
1863 program and the shuttle does not function as before, stop \CGG{} and
1864 then simply unplug it and plug it in again. There are a couple of
1865 reasons why it may stop functioning. One is because \CGG{} was not
1866 stopped with the usual Quit command and the shuttle was improperly
1867 shut down when there was a crash. The other possibility is that a
1868 static discharge occurred in the area.
1870 A default shuttlerc file is automatically used when a shuttle device
1871 is plugged in when Cin is started. This file sets up the key
1872 bindings for \CGG{} to use. You can override any default settings by
1873 having a local file in your \texttt{\$HOME} directory, named
1874 \texttt{.shuttlerc} to reflect your personal preferences.
1877 \subsection{How to Modify the Default Key Settings}%
1878 \label{sub:modify_default_key_settings}
1880 Detailed information on how to modify your local \texttt{.shuttlerc}
1881 file is described next, but if you need help you can request more
1882 information in the forum at {\small
1883 \url{https://cinelerra-gg.org}}. In the \texttt{shuttlerc} file, a
1884 \# always represents a comment and blank lines are ignored. The
1885 first thing you must do is copy the system supplied
1886 \texttt{shuttlerc} file to your \texttt{\$HOME} directory and rename
1887 it as \texttt{.shuttlerc} (with a period).
1889 The \texttt{shuttlerc} file has sections that in the case of \CGG{},
1890 represent different windows allowing you to set the keys, K1-K15 for
1891 the Pro and K5-K9 for the Xpress, the shuttle wheel positions of
1892 S0/S1/S-1 for stop, S2 through S7 for wheeling to the right, and S-7
1893 through S-2 for wheeling to the left for reverse. Then there is JR
1894 to jog right (clockwise) and JL to jog left (counter-clockwise) for
1895 the inner smaller wheel for single frame movement. See the key
1896 arrangement on a later page for location of the keys for each of the
1897 two different shuttles.
1899 The sections are surrounded by brackets for windows such as \CGG{}
1900 (the main window), Viewer, Composer, Resources, Load, and Default.
1901 If you want the keys to be defined the same in every window, you can
1902 bracket each window on lines one right after the other and then just
1903 define one set of keys. The other lines will have the key
1904 name/shuttle position followed by its assigned value. The values
1905 you use for the keys are usually shortcuts and have to be
1906 operationally defined within \CGG{}. For example, the shortcut “f”
1907 to go fullscreen is defined so can be used; however the shortcut “h”
1908 is not defined so will not do anything. You can check the file,
1909 shortcuts.html, for some options to use.
1911 Next are a few actual examples from the default
1912 \texttt{{cindat\_path}/shuttlerc} file.
1914 The next brackets represent sections. Default, Resources, Load
1915 windows all use the same key values.
1917 \begin{lstlisting}[style=sh]
1922 K6 XK_Button_1 # same as mouse button 1
1923 K7 XK_Button_2 # same operation as mouse button 2
1926 # for example, in the Load menu, use scroll up to get to the next file name
1931 Cinelerra with brackets around it next, is the section with some key
1932 definitions for the main window.
1934 \begin{lstlisting}[style=sh]
1937 # Most useful functions have to be on K5-K9
1938 # because Xpress only has 5 keys
1939 K5 XK_Home # Beginning
1940 K6 XK_KP_6 # Reverse, or if playing Stop
1942 K8 XK_KP_3 # Play, or if playing Stop
1945 S-7 REV_16 # Next 6 are reverse keys
1946 S-6 REV_8 # the number on the end represents speed
1947 S-5 REV_4 # number can be decimal up to 64
1948 S-4 REV_2 # 2 means 2x or double speed
1950 S-2 REV_0.5 # 0.5 represents 1/2 speed
1951 S-1 XK_KP_0 # Because the Shuttle does not generate S0,
1953 S0 XK_KP_0 # Hardware does not generate S0
1954 S1 XK_KP_0 # Because the Shuttle does not generate S0,
1961 An explanation for the above REV and FWD key symbol values is
1962 necessary to facilitate user preferences. Obviously REV stands for
1963 reverse and FWD for forward. You can set any speed up to and
1964 including 64x (that is, 64 times the normal speed) on any of the S
1965 keys. First in the line is the key name such as S-3 and then the
1966 key direction of FWD or REV followed by the symbol for underscore
1967 (\_) and then the numerical value to use. For example, if you want
1968 the $5^{th}$ forward position, S5, to play 10$\frac{1}{2}$ times
1969 faster, you would use the statement \texttt{S5 FWD\_10.5}. Integer
1970 or decimal numbers are legal.
1972 For the Viewer, you may want keys defined to do a Splice or an
1973 Overwrite so define differently. Note that assignments that contain
1974 single character letters must be enclosed in quotes.
1976 \begin{lstlisting}[style=sh]
1978 # Splice - Viewer only; may be defined
1979 # differently than Composer or Cinelerra
1984 To change any key value to an alternative value, just edit the file
1985 and make the changes. Besides just keys and alphabetic letters of
1986 numbers, you can also use any \CGG{} value that contains the
1987 combination with Shift, Alt, and Ctrl. For keys that are not
1988 printable characters, you can look up the symbol name to use for a
1989 specific operation in the file called:
1990 \texttt{/usr/include/X11/keysymdef.h}. Some examples:
1992 \begin{lstlisting}[style=sh]
1993 K10 Alt-XK_Left # Go to previous edit \\
1994 K13 Ctrl-XK_Right # Go to next label
1997 For sequences of one or more \textit{printable} characters, you can
1998 just enclose them in double quotes. For example in the
1999 \texttt{[Composer]} section, to go into or out of fullscreen mode,
2000 automatically start playing and put a label there, you could define
2001 a key like this: K7 “f~l” - that is printable character f, a space,
2002 and printable character l.
2004 After modifying \texttt{.shuttlerc}, the next time you use the
2005 shuttle, your changes will automatically take affect without even
2006 having to stop and restart Cin. However, the first thing to try if
2007 problems is to stop \CGG{}, unplug the shuttle, wait a few seconds,
2008 plug it in again, and then restart cin. If for some reason, the
2009 shuttle keys still do not work after that, you may have an incorrect
2010 setup and you will have to correct that first. For example, if you
2011 define S5 twice within the \CGG{} setup, it will fail. It is
2012 suggested that if you make changes, you should initially uncomment
2013 DEBUG in the \texttt{.shuttlerc} file and start up \CGG{} from a
2014 terminal window so that you can make sure it is working and has no
2015 output errors. An error might look like:
2017 \begin{lstlisting}[style=sh]
2018 dupl key name: [Cinelerra]K1
2019 shuttle config err file: /root/.shuttlerc, line:37
2022 Keep in mind when changing the values, that the ShuttleXpress has
2023 fewer buttons so if you define K1 it will only work for the
2026 Any time you are having trouble with your shuttle, you can copy the
2027 default \texttt{shuttlerc} file from
2028 \texttt{{cindat\_path}/shuttlerc} to your local \texttt{.shuttlerc}
2029 file, and edit that to\ switch to DEBUG mode by removing the \#
2030 comment from the DEBUG line. But you will have to have started Cin
2031 from a terminal window to see the key values. The first time you use
2032 the shuttle or after you change the file, the current assignments
2033 will show in the terminal window so will look something like:
2035 \begin{lstlisting}[style=sh]
2041 When you are in DEBUG mode and are just working away, what you will
2042 see is something like this:
2044 \begin{lstlisting}[style=sh]
2051 \begin{lstlisting}[style=sh]
2052 shuttle: 00 00 00 00 00
2056 When you change the focus from one window to another, you will see
2057 something like this:
2059 \begin{lstlisting}[style=sh]
2061 new translation: Viewer
2065 You can also set an environment variable to temporarily use an
2066 alternative shuttle configuration file for testing as in:
2068 \begin{lstlisting}[style=sh]
2069 export SHUTTLE_CONFIG_FILE=/tmp/shuttlerc_test
2072 The shuttle wheel occasionally will not \textit{stop} after you have
2073 wheeled it to play forward. This is a documented known problem from
2074 the original code so you just have to joggle it a little in the
2075 other direction and then it will stop. S0 does not always generate
2076 a signal to do a stop and that is why S1 and S-1 have to be used to
2077 relay the stop instead. Also, if you have a fullscreen Composer or
2078 Viewer up and the regular one also, the fullscreen takes precedence.
2081 \subsection{Troubleshooting auxilliary information}%
2082 \label{sub:troubleshooting_auxilliary_information}
2084 In order to see if you hardware was recognized by the operating
2087 \begin{lstlisting}[style=sh]
2088 lsusb -v -d 0b33:0030 # for the Shuttle Pro or PROv2\\
2089 lsusb -v -d 0b33:0020 # for the Shuttle Xpress
2092 \paragraph{Note 1} Currently, the keys K14 and K15 do not function
2093 on the \textit{Contour Design ShuttlePro} but do on the
2094 \textit{Contour Design ShuttlePRO v2} due to a Report Descriptor
2095 error. You can workaround this by uncommenting \texttt{USB\_DIRECT}
2096 in your local \texttt{.shuttlerc} file. This directly uses libusb
2097 rather than the generic Linux hid driver. \texttt{USB\_DIRECT}
2098 works for any of the currently tested shuttles.
2100 \paragraph{Note 2} If you are not sure if your shuttle is fully
2101 functional, you can verify that the hardware device has been seen by
2102 your operating system with this procedure.
2104 \item From a terminal window as an ordinary user key in: lsusb (the
2105 first character is a lower case L for list). You will see
2106 something like the following depending on which usb device you
2107 have the ShuttlePro plugged into:
2108 \begin{lstlisting}[style=sh]
2109 Bus 003 Device 002: ID 0b33:0030 Contour Design, Inc. ShuttlePro v2
2111 \item To make sure you have usbmon installed key in:
2112 \begin{lstlisting}[style=sh]
2113 sudo modprobe usbmon
2115 \item Next key in the following:
2116 \begin{lstlisting}[style=sh]
2117 sudo od -tx1 /dev/usbmon3
2119 where the last 3 is the same \# as the Bus in above. If it lists
2120 \texttt{Bus 002}, then use \texttt{/dev/usbmon2} instead.
2121 \item Now with focus in that same terminal window, press any shuttle
2122 key just to see what happens and should see about 12 lines similar
2123 to these below -- a new set every time you press a single key or
2124 the wheel. The lines are usually not important, just the fact
2125 that you get a response is. However if you have multiple devices
2126 on the same bus, you will get responses from any and all of them.
2127 Attempt to isolate your shuttle by temporarily unplugging
2128 unnecessary devices on the same bus or plug the shuttle into a
2129 different usb port that has fewer devices.
2130 \begin{lstlisting}[style=sh]
2131 0000000 80 70 99 75 53 8c ff ff 43 01 81 02 03 00 2d 00
2132 0000020 4e 61 5c 5c 00 00 00 00 8d 2c 06 00 00 00 00 00
2133 0000040 05 00 00 00 05 00 00 00 00 00 00 00 00 00 00 00
2134 0000060 01 ff 00 00 00 80 70 99 75 53 8c ff ff 53 01 81
2135 0000100 02 03 00 2d 3c 4e 61 5c 5c 00 00 00 00 b1 2c 06
2136 0000120 00 8d ff ff ff 05 00 00 00 00 00 00 00 00 00 00
2137 0000140 00 00 00 00 00 80 70 99 75 53 8c ff ff 43 01 81
2138 0000160 02 03 00 2d 00 4e 61 5c 5c 00 00 00 00 3d d7 09
2139 0000200 00 00 00 00 00 05 00 00 00 05 00 00 00 00 00 00
2140 0000220 00 00 00 00 00 00 ff 00 00 00 80 70 99 75 53 8c
2141 0000240 ff ff 53 01 81 02 03 00 2d 3c 4e 61 5c 5c 00 00
2142 0000260 00 00 64 d7 09 00 8d ff ff ff 05 00 00 00 00 00
2144 \item Next press the key that you want to verify is functioning --
2145 if no new lines show up, then the key is non-functional so there
2146 is a hardware problem. If you get output, then perhaps there is a
2147 problem with your software setup.
2148 \item Use Ctrl-C on the terminal window when done to get back to the
2152 \paragraph{Note 3} Another method for testing to make sure your
2153 model of the Shuttle does not have different key definitions than
2154 the one that \CGG{} was coded for is to do the following.
2157 \item Locate the shudmp.C program in your \CGG{} directory.
2158 \item Compile that with the command: \texttt{c++ shdmp.C -o shudmp}
2159 \item Make the file executable with the command: \texttt{chmod +x shudmp}
2161 \begin{lstlisting}[style=sh]
2162 sudo ./shdmp /dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00 # substitute your shuttle
2166 Then press your shuttle key that is having problems and check the
2167 results. They should look like:
2169 \begin{lstlisting}[style=sh,caption={Example for K7}]
2170 event: (4, 4, 0x90007) #The last number, 7, is the expected Key number.
2171 event: (1, 262, 0x1)
2173 event: (4, 4, 0x90007)
2174 event: (1, 262, 0x0)
2178 \begin{lstlisting}[style=sh,caption={Example for K15}]
2180 event: (4, 4, 0x9000f) #The last number f is 15 in hexadecimal and is the expected Key.
2181 event: (1, 270, 0x1)
2183 event: (4, 4, 0x9000f)
2184 event: (1, 270, 0x0)
2188 When done, you will have to Ctrl-C to get out of the program.
2190 \paragraph{Note 4} For developers, if you have a pre-UEFI Secure
2191 Boot kernel it is also possible to do the following for further in
2194 \begin{lstlisting}[style=sh]
2195 ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
2196 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc" # substitute your own numerical value
2197 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/events" # press keys to see the results
2200 %\item \texttt{ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
2201 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” \# substitute your own numerical value}
2202 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” \# press keys to see the results}
2205 \subsection{Shuttle key default arrangement for \CGG{} / Composer / Viewer:}%
2206 \label{sub:shuttle_key_default_cinelerra}
2208 The following is the default setting for the ShuttlePROv2 and
2209 ShuttleXpress (table~\ref{tab:shuttleprov2} and
2210 table~\ref{tab:xpress}):
2212 \renewcommand{\arraystretch}{1.15}
2214 \caption{ShuttlePROv2 key default arrangement for \CGG{} /
2216 \label{tab:shuttleprov2}
2217 % Tell table to adjust font to fix on the page using \resize
2218 \resizebox{\textwidth}{!}{%
2219 \begin{tabular}{c c c c c c c}
2221 K1 & K2 & & K3 & K4 & &\\
2222 Label & Future use & & Future use & Clip & &\\
2223 & Splice (viewer) & & Copy & Overwrite (viewer) & &\\
2225 K5 & K6 & K7 & K8 & K9 & &\\
2226 Home & Reverse & Stop & Play & End & &\\
2227 & & Fullscreen & & & &\\
2228 & & (viewer / compositor) & & & &\\
2230 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
2232 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
2233 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
2234 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
2235 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
2237 K14 & & Jog Left & (Inner Wheel) & Jog Right & & K15\\
2238 Toggle In & & Frame reverse & & Frame forward & & Toggle Out\\
2239 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
2241 & & K10 & & K11 & &\\
2242 & & Previous Edit & & Next Edit & &\\
2243 & & Future Use(Viewer) & & Future Use(Viewer) & &\\
2245 & & K12 & & K13 & &\\
2246 & & Previous Edit & & Next Edit & &\\
2247 & & Previous Label & & Next label & &\\
2253 \caption{ShuttleXpress key default arrangement for \CGG{} / Composer / Viewer}
2255 % Tell table to adjust font to fix on the page using \resize
2256 \resizebox{\textwidth}{!}{%
2257 \begin{tabular}{c c c c c c c}
2259 K5 & K6 & K7 & K8 & K9 & &\\
2260 Home & Reverse & Stop & Play & End & &\\
2261 & & Fullscreen & & & &\\
2262 & & (viewer / compositor) & & & &\\
2264 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
2266 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
2267 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
2268 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
2269 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
2271 & & Jog Left & (Inner Wheel) & Jog Right & &\\
2272 & & Frame reverse & & Frame forward & &\\
2273 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
2279 %%% Local Variables:
2281 %%% TeX-master: "../CinelerraGG_Manual"