4 Editing comprises both time and track space. The timeline consists
5 of the time certain media appear on the track going left to right
6 and a set of tracks from the top to the bottom. There are 2 methods
7 of timeline editing -- drag and drop editing \index{drag and drop}, also called
8 \textit{arrow mode} \index{arrow}, and cut and paste editing \index{cut and paste} or \textit{I-beam
9 mode} \index{i-beam}. Cut and Paste is the default editing mode. An additional,
10 but not often considered editing method is called \textit{two-screen
11 editing} \index{two-screen} (or 3 point editing) where the Viewer is used to view media and then the
12 desired clip from the media is transferred to the timeline.
14 The timeline \index{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 \index{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 \index{in/out point} on the timeline.
32 If those do not exist the highlighted region \index{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 \index{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 \index{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}%
66 On the left of the timeline is a region known as the patchbay. The
67 patchbay enables features specific to each track as described next.
71 \item[Textbox] for naming the track. The default names will usually
72 be Video \#, Audio \#, or Mixer \# if using the multi-camera/mixer
73 operations. A \# will be designated for subsequent tracks as in 1,
75 \item[Expander] which is a down arrow on the right side, is for
76 viewing more options on the patchbay and for viewing the effects
77 represented on the track. You can just click on the expander to
78 expand or collapse the patchbay and the track. If it is pointing
79 sideways, the track is collapsed. If it is pointing down, the track
80 is expanded. Existing effects appear below the media for the track.
83 Below the textbox name are several toggles referred to as
84 \textit{attributes} for different features (currently there are 7 as
85 shown in figure~\ref{fig:patchbay01}). If the toggle button is
86 shadowed by a color, the feature is enabled. If the toggle is the
87 background color of most of the window, it is disabled. Click on the
88 toggle to enable/disable the feature.
90 \begin{wrapfigure}[13]{O}{0.3\linewidth}
93 \includegraphics[width=0.79\linewidth]{patchbay01.png}
95 \label{fig:patchbay01}
98 Several mouse operations speed up the configuration of several
99 tracks at a time. Click on an attribute and drag the cursor across
100 adjacent tracks to copy the same attribute to those tracks. Hold
101 down Shift while clicking a track's attribute to enable the
102 attribute in the current track and toggle the attribute in all the
103 other tracks. Or you can:
106 \item hold down Shift while clicking an attribute,
107 \item click until all the tracks except the selected one are
109 \item then drag the cursor over the adjacent track to enable the
110 attribute in the adjacent track.
113 The 7 \textit{attributes} are described here next followed by the other available feature icons and their description.
116 \item[Play Track] \index{play track} determines whether the track is rendered or
117 not. If it is off, the track is not rendered. For example if you
118 turn it off in all the video tracks, the rendered media file will
119 have only audio tracks. If the track is chained to any other tracks
120 by a shared track effect, the other tracks perform all the effects
121 in this shared track, regardless of play status of the shared track
122 that in this particular case affects the media output but not fade
124 \item[Arm Track] \index{arm track} determines whether the track is armed or not.
125 Only the armed tracks are affected by editing operations. Make sure
126 you have enough armed destination tracks when you paste or splice
127 material or some tracks in the material will get left out. In
128 addition to restricting editing operations, the armed tracks in
129 combination with the active region determine where material is
130 inserted when loading files. If the files are loaded with one of
131 the insertion strategies which do not delete the existing project,
132 the armed tracks will be used as destination tracks.
136 \item[Draw Media] determines if picons \index{picons} or waveforms \index{waveform} are drawn on
137 the asset in the track. You may want to disable this if you know
138 that the media/format takes a long time to draw on the timeline. By
139 default it is set to on in order to see picons on the timeline.
140 \item[Don’t send to output] \index{mute} -- more commonly called
141 \textit{mute} -- causes the output to be thrown away once the track is
142 completely rendered. This happens whether or not \textit{Play track}
143 is on. For example if you mute all the video tracks, the rendered
144 media file will have a blank video track. Mute track is represented
145 on the timeline with a line that has the default color of a
146 pinkish-orange. Use the pulldown \texttt{View $\rightarrow$ Mute} to
147 have the line displayed. It is a keyframable attribute, but Mute
148 track keyframing is a toggle and it has only the two values of on or
149 off. If a track is part of a shared track effect, the output of the
150 track with the shared track effect is overlaid on the final output
151 even though it is routed back to another track (the shared track).
152 Mute track is used to keep the track with the shared track effect
153 from overlapping the output of the source track (the shared track)
154 where the shared track effect is not present.
155 \item[Gang Fader] \index{gang fader} cause the fader to track the movement of
156 whatever other fader you are adjusting by dragging either the fader
157 or the curve on the track. It doesn't affect the editing made with
158 menu controls. A fader is only ganged if the arm track is also on.
159 This is often used to adjust audio levels on all the tracks
160 simultaneously. Gang also causes Nudge parameters to synchronize
161 across all the ganged tracks.
162 \item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged}
163 \item[Track Data Height] \index{track!height} this up/down toggle symbol to the immediate right
164 of the 5 attributes, is used to individually resize each track. This makes
165 it very easy to temporarily expand or contract the size of that track either
166 by clickin with the left mouse button or using the middle wheel up/down.
167 \item[Fader slider] \index{fader slider} fade values are represented on the timeline
168 with a pink (default color) curve that is keyframable. All tracks have a fader, but
169 the units of each fader depend on whether it is audio or video.
170 Audio fade values are in dB. They represent relative levels, where 0
171 is the unaltered original sound level, -40 is silence, -80 the
172 minimum value set by default. You can move fader and keyframes down
173 to -80 but the parameter's curve won't go below -40. For your
174 convenience you can set a different fade range with the curve zoom.
175 Audio fader’s main purpose is to \textit{fade out} sound or to lower
176 the sound level smoothly to silence, or \textit{fade in} to make
177 sounds appear gradually instead of suddenly. Video fade values are
178 the percentage of opacity of the image in normal overlay mode, the
179 percentage of the layer that is mixed into the render pipeline in
180 the other overlay modes. Click and drag the fader to fade the track
181 in and out. If it is ganged to other tracks of the same media type,
182 with the arm option enabled, the other faders should follow. Hold
183 down the Shift key and drag a fader to center it on the original
184 source value (0 for audio, 100 for video).
185 \item[Mixer] \index{mixers!toggle} in the expanded patchbay for that track designates
186 the multi-camera mixer mode.
187 \item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for
188 porter-duff operations and is full explained in
189 \nameref{cha:overlays} chapter.
190 \item[Nudge] \index{nudge} is in the expanded patchbay. The nudge value is
191 the amount the track is shifted left or right during playback. The
192 track is not displayed shifted on the timeline, but it is shifted
193 when it is played back. This is useful for synchronizing audio with
194 video, creating fake stereo, or compensating for an effect which
195 shifts time, all without altering any edits
196 (figure~\ref{fig:overlay}).
198 \begin{figure}[htpb] \centering
199 \includegraphics[width=0.65\linewidth]{overlay.png}
200 \caption{Video Overlay, audio Pan and Nudge.}
204 Enter the amount of time to shift to instantly shift the
205 track. Negative numbers make the track play later. Positive numbers
206 make the track play sooner. The nudge units are either seconds or
207 the native units for the track (frames or samples). Select the units
208 by right clicking on the nudge textbox and using the context
209 sensitive menu. Nudge settings are ganged with the Gang faders
210 toggle and the Arm track toggle. Use the mouse wheel over the nudge
211 textbox to increment and decrement the value.
212 \item[Pan] \index{panning box} is available in the expanded patchbay for audio
213 tracks via a panning box. Position the pointer in the panning box
214 and click/drag to reposition the audio output among the speaker
215 arrangement. The loudness of each speaker is printed on the relative
216 icon during the dragging operation. The panning box uses a special
217 algorithm to try to allow audio to be focused through one speaker or
218 branched between the nearest speakers when more than 2 speakers are
222 Press the Tab key while the cursor is anywhere over a track to
223 toggle the track arming status. Press Shift-Tab while the cursor is
224 over a track to toggle the arming status of every other track.
226 \paragraph{Automatic audio mappings} \index{audio!map} Several convenience functions
227 are provided for automatically setting the panning to several common
228 standards. They are listed in the Audio menu. These functions only
229 affect armed audio tracks. They are:
232 \item[Audio~$\rightarrow$~Map 1:1] \index{audio!map 1:1} This maps every track to
233 its own channel and wraps around when all the channels are
234 allocated. It is most useful for making 2 tracks with 2 channels map
235 to stereo and for making 6 tracks with 6 channels map to a 6 channel
237 \item[Audio~$\rightarrow$~Map 5.1:2] \index{audio!map 5.1:2} This maps 6 tracks to 2
238 channels. The project should have 2 channels when using this
239 function. Go to \texttt{Settings $\rightarrow$ Format} to set the
240 output channels to 2. This is most useful for down-mixing 5.1 audio
241 to stereo (for more information refer to Configuration, Settings and
242 Preferences section~\ref{sub:audio_out_section}).
245 \paragraph{Standard audio mappings} Although \CGG{} lets you map any
246 audio track to any speaker, there are standard mappings you should
247 use to ensure the media can be played back elsewhere. Also, most
248 audio encoders require the audio tracks to be mapped to standard
249 speaker numbers or they will not work.
251 In the channel position widget, the channels are numbered to
252 correspond to the output tracks they are rendered to. For stereo,
253 the source of channel 1 needs to be the left track and the source of
254 channel 2 needs to be the right track. For 5.1 surround sound, the
255 sources of the 6 channels need to be in the order of center, front
256 left, front right, back left, back right, low frequency effects. If
257 the right tracks are not mapped to the right speakers, most audio
258 encoders will not encode the right information if they encode
259 anything at all. The low frequency effects track specifically can
260 not store high frequencies in most cases.
263 \section{Manipulating Tracks}%
264 \label{sec:manipulating_tracks}
265 \index{track!pulldown}
267 Tracks in \CGG{} either contain audio or video. There is no special
268 designation for tracks other than the type of media they contain.
269 When you create a new project, it contains three default tracks: one
270 video track and two audio tracks. You can still add and delete
271 tracks from the menus. The Tracks menu contains a number of options
272 for dealing with multiple tracks simultaneously. Each track itself
273 has a popup menu which affects one track.
275 Operations in the \textbf{Tracks pulldown} affect only tracks which
279 \item[Move tracks up | Move tracks down] shift all the armed
280 tracks up or down the stack.
281 \item[Roll tracks up | Roll tracks down] wheel motion of the tracks up or down.
282 \item[Delete tracks] deletes the armed tracks.
283 \item[Delete first track] deletes the first track, whether it is armed or not.
284 \item[Delete last track] deletes the last track, whether it is
286 \item[Concatenate tracks] operation copies all the assets of
287 every disarmed but playable track and concatenates it by pasting
288 those assets at the end of the first set of armed tracks. They are
289 pasted one after the other, keeping the same order they have on the
290 stack. If there are two armed tracks followed by two disarmed
291 tracks, the concatenate operation copies the assets of the two
292 disarmed tracks and pastes them after the assets of the two armed
293 tracks. If there are three disarmed tracks instead, the assets of
294 two tracks are pasted after the assets of the armed tracks and the
295 assets of the third track are pasted at the end of the first armed
296 track. The destination track wraps around until all the disarmed
297 tracks are concatenated. Disarmed tracks that are not playable are
299 \item[Align timecodes] see \nameref{sub:align_timecodes}
300 \item[Append to project] allows for creating new tracks after
302 \item[Add subttl] will add a track for subtitles at the top of
306 The \textbf{Audio} \index{audio!pulldowns} and \textbf{Video pulldowns} \index{video!pulldown} each contain an
307 option to add a track of their specific type. In the case of audio,
308 the new track is put on the bottom of the timeline and the output
309 channel of the audio track is incremented by one. In the case of
310 video, the new track is put on the top of the timeline. This way,
311 video has a natural compositing order. New video tracks are overlaid
312 on top of old tracks.
314 \subsection{Displaying tracks: Ganged mode}%
315 \label{sub:displaying_tracks_ganged}
316 \index{track!ganged mode}
318 Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group.
320 To get this capability, there is a \textit{Gang Tracks} \index{gang tracks toggle} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. Group masters are marked by the \textit{Master Track} \index{master track} toggle in the patchbays \index{patchbay}. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are:
323 \item \textbf{Gang None:} this is the default mode and is the traditional way Cinelerra operates. If you never toggle the "Gang Tracks" button, everything operates normally as it always has. In this mode, the button icon looks like 3 tracks with $\dots$ on the end and all tracks are visible on the timeline. See figure~\ref{fig:gang-track-01}
328 \includegraphics[width=0.99\linewidth]{gang-track-01.png}
329 \caption{Gang None: only the video track is master. We see all tracks both master and non-master (default)}
330 \label{fig:gang-track-01}
333 \begin{enumerate}[start=2]
334 \item \textbf{Gang Channels:} in this mode, all \textit{Master Tracks}
335 are shown. The exception is when there is no
336 Master video, no Master audio or no Master subtitle track, in which case for
337 each the first track of video, audio, and subtitle will be shown. For users who
338 routinely switch the track order frequently, the patchbay has the \textit{Master Track} icon to set your own preference.
339 Stereo tracks, or 5:1 channels/any number of audio tracks, are drawn as 1 audio track for the purpose of making changes on that single track which are propagated to all of its other channel tracks automatically. This is the DAW-like mode. The \textit{Gang Tracks} button icon looks like 2 tracks and only the first video and first audio tracks will be shown. See figure~\ref{fig:gang-track-02}
344 \includegraphics[width=0.99\linewidth]{gang-track-02.png}
345 \caption{Gang Channels: only the video track is master. Let's see the master tracks and the first of the non master tracks}
346 \label{fig:gang-track-02}
349 \begin{enumerate}[start=3]
350 \item \textbf{Gang Media:} this mode only shows the \textit{Master Tracks} of the media but changes are propagated to the appropriate other related tracks (even if they are not visible). The \textit{Gang Tracks} button icon looks like a single track. See figure~\ref{fig:gang-track-03}
355 \includegraphics[width=0.99\linewidth]{gang-track-03.png}
356 \caption{Gang Media: only the video track is master. We only see the master tracks}
357 \label{fig:gang-track-03}
360 The current \textit{Gang Tracks} mode is saved across sessions and will be saved in your project. Although most likely users will work in the \textit{Gang None} mode, users more familiar with DAW software will tend to use the \textit{Gang Channel}s mode.
362 More details ares described next about master tracks. Each patchbay has a \textit{Master Track} button on the extreme right of the patchbay. These mark which tracks of the media are master tracks. The span of tracks between the gang group masters are the gang track group. The master track toggles can be disabled/enabled as the user wishes to create the desired track groups. Normal file loads will mark the first stream of each file loaded as a master, if the media is loaded with insertion strategy of\textit{ Replace current project}, \textit{Replace current project and concatenate tracks} or \textit{Append in new tracks}. Frequently, editing is done on video, audio, or audio/video groups to maintain timeline synchronization. By grouping related tracks, this procedure is much more automatic.
364 Previously existing projects created before the addition of ganged tracks, will have ALL tracks marked as master tracks and changing the \textit{Gang Tracks} button mode will have no effect. The user will have to properly designate which track is the master track and disabling the others in order to make use of the toggle modes.
366 There are no restrictions on how you use this feature and there may be variations for users not concerned about DAW-like workings that are very useful. Several methodologies are possible, but you have to know what you are doing.
370 \item When in \textit{Gang Channels} or \textit{Gang Media} mode, if the first audio track is not disarmed, but any of its connected channel tracks are, the disarm of those channels are ignored and all channels are treated as being armed. This is to be consistent with the purpose of using this mode; the purpose being that any edits to the first master track are automatically propagated to all other channels.
371 \item It may be better when using the \textit{Gang Channels} or \textit{Gang Media} mode to make any changes
372 to the first audio channel to be automatically duplicated before reverting to the \textit{Gang None} mode to make other changes. Once you start changing individual channels (that is, audio tracks) so that they are no longer coordinated in their edits/plugins, it may be more difficult to switch back to \textit{Gang Channels} mode and get the desired results since the channels may no longer be lined up.
373 \item Gang modes should not be used with Multi-camera/Mixers because they have very specific
374 operational capabilities which are not compatible with the way that Ganging works.
375 \item Gang flags in the patchbay specifically when in \textit{Gang Channels} or \textit{Gang Media} modes will
376 operate as set in the Master Track. For example, if when in \textit{Gang Channels} mode, you turn off
377 “Play track” on the visible audio track, none of the associated channels (i.e. the other stereo or
378 other 5 channels will play). And if in \textit{Gang Media} mode, if you turn on “Play track” for the
379 Master Track, all associated video and audio tracks will play unless you turned off “Play track” for
380 some of the associated audio/video slave tracks which will not play.
383 \section{Two Screen Editing}%
384 \label{sec:two_screen_editing}
387 This is a fast way to construct a program out of movie files (in
388 other programs is called \textit{three points editing}). The idea
389 consists of viewing a movie file in one window and viewing the
390 program in another window. Subsections of the movie file are defined
391 in the viewer window and transferred to the end of the program in
392 the program window. Two screen editing can be done simply by using
393 keyboard shortcuts. To get familiar with which keys to use, move
394 the mouse pointer over the transport panel and a tooltip appears,
395 showing what key is bound to that button.
397 To begin a two screen editing session, load your media resources by
398 using the main menu \textbf{File pulldown} and choose \textit{Load
399 files} \index{load media files}; make sure the insertion mode is set to \textit{Create new
400 resources only}. This insertion strategy \index{insertion strategy} is to ensure that the
401 timeline stays unchanged while new resources are brought in. Go to
402 the Resources window \index{resources window} and select the Media folder. The newly loaded
403 resources will appear. Double click on a resource or drag it from
404 the media side of the window over to the Viewer window \index{viewer!window}.
406 Check to make sure there are enough armed tracks on the timeline to
407 put the subsections of source material that you want. Usually this
408 would be one video track and two audio tracks, but if there are not
409 enough, just create new tracks or arm more tracks.
411 Now to start your 2 screen editing, in the viewer window, define a
412 clip from the media file:
415 \item Set the starting point with the In pointer button. You
416 will see a left hand bracket on the timebar.
417 \item Move your cursor to the ending point of the clip you want
419 \item Set the ending point with the Out pointer right hand
421 \item You will see a colored bar inside the brackets for easier
423 \item Drag the In/Out point \index{in/out point} with the mouse to conveniently
424 change their position.
427 These In/Out points define a clip \index{clip}. You can now use this in a couple
430 \paragraph{Splice} \index{splice} The splice icon, or shortcut letter “\texttt{v}”,
431 inserts the selected area in the timeline after the insertion point.
432 After the splice has taken effect, the insertion point moves to the
433 end of the edit ready to be used as the next splice location. This
434 way you can continuously build up the program by splicing. If an In
435 point or an Out point exists on the timeline the clip is inserted
436 after the In point or after the Out point. If both In and Out points
437 are set on the timeline, the clip is inserted after the In point. If
438 there are edits after your chosen splice location on the timeline,
439 they will be moved to the right.
441 \paragraph{Overwrite} \index{overwrite} The overwrite icon, or shortcut letter
442 “\texttt{b}”, overwrites the region of the timeline after the
443 insertion point with the clip. If an In point or an Out point exists
444 on the timeline the clip is overwritten after the In point or after
445 the Out point. If both In and Out points are set on the timeline,
446 the clip is inserted after the In point. If a region is highlighted
447 or both In and Out points exist they limit the region of the
448 overwriting and the clip may therefore be shortened. Here is a
449 detailed explanation to take advantage of this method.
451 To overwrite exactly on a precise region of the timeline:
453 \begin{enumerate} [noitemsep]
454 \item Arm only tracks to change.
455 \item Define the destination region on the timeline with [ and
456 ], the In and Out points.
457 \item You can achieve maximum precision by setting the active
458 region in the zoom panel.
459 \item Define the clip you want to use in the viewer with [ and
460 ], the In and Out points.
461 \item Overwrite from Viewer to the timeline.
464 If the destination region is shorter than the clip defined in the
465 viewer, the portion of the clip longer than the destination region
466 won't be inserted and on the timeline the following edits won't
467 move. If the destination region is longer than the clip defined in
468 the viewer, the destination region will shrink and on the timeline
469 the following edits will move to the left.
471 \paragraph{Clip} The clip icon, or shortcut letter “\texttt{i}”,
472 generates a new clip for the resource window containing the affected
473 region but does not change the timeline. Every clip has an
474 optional/default title and description.
476 \paragraph{Copy} The copy icon, or shortcut letter “\texttt{c}”,
477 copies the selection into the copy buffer.
479 \subsection{Use Case – Working with Sequences}
480 \label{sub:use_case_working_sequences}
483 \textit{From the Viewer to the Timeline \index{timeline} with the sequences imported
484 in a Master Project.}
486 A convenient methodology for working on a Master project along with
487 1 or more previously saved Sub projects or \textit{sequences} use
488 case is described here. A sequence is an edited assembly of audio
489 and video clips generally consisting of a series of videos that
490 relate to the same activity. This use case explains how to work this
491 way and some things you need to be aware of.
494 \item First load your Master project, which you worked on and
495 saved earlier as an \texttt{.xml} file, using an Insertion strategy
496 of \textit{Replace current project}. Generally this Master project
497 consists of media with any of the attributes of clips, autos,
498 possibly keyframes, and effects. You will see your project on the
499 main timeline and the Media files that are part of this Master
500 project will be displayed in the Resources window in the Media
502 \item Previously you may have also saved a Sub project, which
503 will now be referred to as a Sequence, as an \texttt{.xml} file that
504 may contain any of the same such things: media, clips, autos,
505 keyframes, effects. Second you will want to load the Sequence using
506 an Insertion strategy of \textit{Create new resources only}. When
507 you do the load, this Sequence will show as a file in the Resources
508 window in the Clips folder. The actual media will show in the Media
510 \item Now Drag and Drop the Sub project from the Clips folder to
512 \item Set In and Out Pointers in the Viewer to the region of
513 interest in the Sub project and in the Timeline of the Main window
514 of your Master project, move the cursor position to where you would
515 like to insert this In/Out section.
516 \item Click on the \textit{Splice (v)} button in the Viewer to
517 insert this section into the Master project timeline. All of the
518 attributes of the selected Sub project section will now be inserted
519 in the main timeline to include the autos, keyframes, effects, and
521 \item Alternatively, if you click on the \textit{Overwrite (b)}
522 button in the Viewer, you can see the Sub project In/Out section in
523 the timeline, but without its autos, effects, keyframes, etc. If in
524 the timeline there were some autos, effects, and keyframes in that
525 Master project, they will be in effect for the new section.
528 You can see the advantages of using Splice versus Overwrite to
529 either insert (splice) with all of the attributes of a specific
530 section of your Sequence or to overwrite without the attributes to
531 allow for the smooth operation on the timeline by retaining the
532 timeline’s attributes at that point.
534 NOTE: for correct operation of this use case, you should have the
535 same (or more) number of tracks in the Master project as you do in
536 the Sequence. To avoid having to know how many tracks you need, you
537 can use the Nest feature as described in the Nesting section
538 (\ref{sec:nesting_clips_and_assets}).
541 \section{Cut and Paste Editing}%
542 \label{sec:cut_paste_editing}
543 \index{cut and paste}
545 This is the more traditional method of editing in \CGG{} and
546 therefore is the default. To enable the cut and paste editing mode
547 on the timeline, select the I-beam \index{i-beam} toggle on the control bar at the
548 top of the main program window. You can copy edits in the same
549 track, copy from different tracks in the same instance, start a
550 second instance of \CGG{} and copy from one instance to the other or
551 load a media file into the Viewer and copy from there.
553 To start editing, load some files onto the timeline. Select a
554 region of the timeline by click dragging on it and select the cut
555 button to cut it. Move the insertion point to another point in the
556 timeline and select the paste button. Assuming no In/Out points are
557 defined on the timeline this performs a cut and paste operation.
559 Most editing operations are listed in the \textit{Edit} pulldown \index{edit!pulldown}. Some of
560 them have a button on the program control toolbar as well as a
561 keyboard shortcut. The keyboard shortcut is in parenthesis here.
564 \item [Split | Cut] (x) Delete the selected area and put it in
565 the cut buffer for future pasting.
566 \item[Copy] (c) Copy the selected area and put it in the cut
567 buffer for future pasting.
568 \item[Paste] (v) Paste the material that is in the cut buffer.
569 \item[Clear] (Del) Clear the selected area. If the insertion
570 point is over an edit boundary and the edits on each side of the
571 edit boundary are the same resource, the edits are combined into one
572 edit comprised by the resource. The start of this one edit is the
573 start of the first edit and the end of this one edit is the end of
574 the second edit. This either results in the edit expanding or
576 \item[Paste silence] (Shift+Space) Paste blank audio/video for
577 the length of the selected area. Following edits will be pushed to
579 \item[Mute Region] (m) Overwrite blank audio/video on the
580 selected area. Following edits don't move.
581 \item[Trim Selection] Delete everything but the selected region.
582 \item[Select All] (a) Select the whole timeline.
585 In Cut and Paste editing mode you can \textit{edit labels} \index{label} as
586 well. By enabling Edit labels in the \textbf{Settings pulldown}, or
587 by disabling the Lock labels from moving button on the Program
588 Control Tool Bar, labels will be cut, copied or pasted along with
589 the selected regions of the armed tracks.
591 Using labels and In/Out points are useful in editing audio. You can
592 set In/Out points for the source region of the source waveform and
593 set labels for the destination region of the destination
594 waveform. Perform a cut, clear the In/Out points, select the region
595 between the labels, and perform a paste.
597 \paragraph{In / Out Points} \index{in/out point} The In and Out bracket placement is
598 explained here to illustrate their usage. Because of the shape of
599 the markers [ and ] you may assume that they are inclusive -- that
600 everything placed in between would be included in the clip \index{clip}, such as
601 in the case of being transferred to the timeline from the Viewer.
602 In reality, one of the two markers will not include the frame that
603 was visible at the time the marker was affixed. Depending on whether
604 the \textit{Always show next frame} option is used or not, it is the
605 In or Out marker that will not be inclusive.
607 To obtain a clip on the timeline exactly as you saw in the Viewer,
608 you must necessarily move the In mark back from the beginning before
609 the first desired frame or move the Out mark forward after the last
610 desired frame, depending on the \textit{Always show next frame}
613 Some of the confusion can be attributed to the fact that the Viewer
614 shows frames, while the markers determine spaces, i.e.\ times, that
615 are not visible between frames. You have to think of each frame as
616 being delimited by two spaces -- one preceding and one following.
617 The In mark is always placed before the displayed frame and the Out
618 mark is always placed after the displayed frame, while taking into
619 account in its calculations whether the \textit{Always show next
620 frame }option is used or not. If you just remember that the
621 reference of the markers is in the middle of the icon, you will
624 \paragraph{Overwrite} \index{overwrite} To perform overwriting within the timeline
625 paste on a selected region (highlighted or between In/Out
626 points). The selected region will be overwritten. If the clip pasted
627 from the clipboard is shorter than the selected region, the selected
628 region will be shrunk. Following edits will move. If the clip pasted
629 from the clipboard is longer than the selected region, the selected
630 region will be overwritten with the first part of the clip and the
631 remaining part of the clip will be written after the
632 overwriting. Following edits will move.
634 \paragraph{Tracks $\rightarrow$ Concatenate tracks} This operation
635 copies all the assets of every disarmed but playable track and
636 concatenates it by pasting those assets at the end of the first set
637 of armed tracks. They are pasted one after the other, keeping the
638 same order they have on the stack.
640 \paragraph{Split -- blade cut and hard edges:} \index{split} You can cut the
641 tracks into 2 pieces on the timeline by putting the hairline cursor
642 on the place you want to do a cut and then using the character “x”
643 or the scissors tool (figure~\ref{fig:cut}).
645 \begin{wrapfigure}[16]{O}{0.3\linewidth}
648 \includegraphics[width=0.9\linewidth]{cut.png}
653 A \textit{cut} uses a non-empty selection region, where the
654 \textit{blade cut} or \textit{split} has no duration in the
655 selection, just a hairline. As usual the use of cut when a
656 selection is set, deletes/cuts the highlighted area. In the case
657 where an In point or an Out point exists on the timeline, the clip
658 is split at the location of the In/Out point since it has priority
659 over the cursor location. A blade cut simply splits the edit into
660 two edits. In order to have the video and audio aligned, it works
661 best to have \texttt{Settings $\rightarrow$ Align cursor on
662 frames} \index{align cursor on frames}. When a blade cut occurs, the edges are created as
663 \textit{hard edges}. \index{hard edge} These are edges that cannot be deleted by
664 track optimizations \index{timeline!optimization}.
666 \CGG{} has built-in optimization on the timeline. So that whenever
667 two parts on the timeline are sequential frames, it automatically
668 optimizes by making them into 1 item. So if you are cutting,
669 dragging, editing, or whatever and somehow frame \# 40 ends up
670 right next to frame \# 41, it optimizes them together. This
671 optimization affects many areas throughout the program code. When
672 you do a blade cut/split, all armed tracks will be included in the
673 cut and green-colored triangles will show on the bottom of the
674 track on both the left and the right side of the cut. This is a
675 \textit{hard edge} marker toggle, as opposed to the soft edge
676 designation for an ordinary edit. The \textit{hard edge} marker
677 can be toggled off/on if so desired. In order to not interfere
678 with the usual drag handles, only a few pixels are used for the
679 toggle so you have to be sure you have the cursor right over the
680 hard edge triangle -- when in position, it will be obvious because
681 you can see an arrow pointing to the corner. Use Shift-left mouse
682 button 1 to toggle off/on the hard edge marker on all tracks
686 \section{Drag and Drop Editing}%
687 \label{sec:drag_drop_editing}
688 \index{drag and drop}
690 To enable the drag and drop editing mode on the timeline, select the
691 arrow toggle \index{arrow} on the control bar at the top of the main program
692 window. Drag and drop editing is a quick and simple way of working
693 in \CGG{}, using mostly only the mouse. The basic idea is to create
694 a bunch of clips \index{clip}, then drag them in order into the timeline, thus
695 building prototype media that you can watch in the compositor. If
696 after watching it, you wish to re-arrange your clips, set effects,
697 add transitions or insert/delete material, just drag and drop them
700 To simply get started, perform the following operations which are
701 useful for working in a drag and drop editing session. First load
702 your media by using the main menu \textit{File} pulldown \index{file pulldown} and choose
703 \textit{Load files} \index{load media files}; make sure the insertion mode is set to
704 \textit{Create new resources only} \index{insertion strategy}. This loads the files into the
705 Resources window \index{resources window}.
708 \item Create some video and audio tracks on the timeline using
709 the \textit{Video} \index{video!pulldown} and \textit{Audio} \index{audio!pulldown} pulldowns.
710 \item Open the Media folder in the Resources window. Make sure
711 the necessary tracks are armed and drag a media file from the
712 Resources window to the timeline \index{timeline}. If the media has video, drag it
713 onto a video track or if just audio, drag it onto an audio
714 track. For a still image, drag it onto a video track.
717 You can also drag multiple files from the Resources window. When
718 dropped in the timeline they are concatenated. If you have
719 \textit{Display Icons} selected in the Resources window, drawing a
720 box around the files selects contiguous files. If you have
721 \textit{Display Text} selected, Ctrl-clicking on media files selects
722 additional files one at a time; Shift-clicking on media files
723 extends the number of highlighted selections. In addition to
724 dragging media files, if you create clips and open the clip folder
725 you can drag clips onto the timeline.
727 \CGG{} fills out the audio and video tracks below the dragging
728 cursor with data from the file. This affects what tracks you should
729 create initially and which track to drag the media onto. To drag and
730 drop a file on the Program window, you need to create on the
731 timeline the same set of tracks as your media file.
733 When you drag your chosen media from the media folder to the
734 timeline, your mouse pointer will drag a thumbnail and, once over
735 the timeline, the outline of a white rectangle, as big as the edit
736 you are going to have appears. Drag the media to the desired
737 position of an empty track of the timeline and drop it. If there
738 are other edits on that track, when you move the white outline over
739 an edit, you will see a bow tie symbol $\bowtie$ appearing at edit
740 boundaries. If you drop the media there, the new edit will start
741 from the edit boundary indicated by the center of the bow tie
744 Since the mouse pointer is in the middle of the white outline, when
745 this rectangle is bigger than the visible part of the timeline, it
746 is quite cumbersome to precisely insert it for long
747 media. Lengthening the duration visible in the timeline by changing
748 the sample zoom in the zoom panel will reduce the size of the white
749 rectangle, making a precise insertion possible.
751 When you drag and drop edits within the timeline:
754 \item If you drop an edit when bow ties $\bowtie$ are shown,
755 that edit will be cut and pasted starting at the edit boundary
756 indicated by the center of the bow tie $\bowtie$. Following edits
757 on the same track will move.
758 \item If you drop an edit when there are no bow ties $\bowtie$
759 shown, the original edit will be muted and pasted where you dropped
760 it. No edits will move. A silence will appear in place of the
762 \item If you have more armed tracks on the timeline than in the
763 asset you are dragging, only the following edits of the tracks
764 affected by the drag and drop operation will move to the right. This
765 will cause loss of synchronization \index{sync}. To restore it, disarm the tracks
766 affected by the drag and drop operation, highlight the just dropped
767 edit and paste silence over it using the \textit{Edit} pulldown,
768 \textit{Paste Silence}.
771 Labels sometimes work differently in Drag and Drop editing mode in
772 that you can't drag and drop them. They might be locked to the
773 timebar \index{timebar}, even with the Edit labels option enabled. Although with
774 the Edit labels option enabled, if a selected area of a resource is
775 spliced from the Viewer to the timeline in a position before labels,
776 these labels will be pushed to the right for the length of the
779 In/Out points can be used to perform Cut and Paste operations in
780 Drag and Drop mode as well as in Cut and Paste mode. Use the \textit{Edit}
781 pulldown to view the list and their keyboard shortcuts.
784 \subsection{Copy/Paste Behavior}%
785 \label{sub:copy_paste_behavior}
786 \index{drag and drop!MMB options}
788 There are many options for moving, copying, pasting, inserting, and
789 deleting selected \textit{edits}, more commonly referred to by the
790 user as \textit{clips}, when in the Drag and Drop (arrow) editing
791 mode. This makes it easier to avoid constantly having to disarm/arm
792 tracks. To create a selection \index{edit!selection} move the cursor over the clip and
793 just click the left mouse button; remove a selection by left mouse
794 button click again. This will mark your selection with a colored
795 border which contains some red. The easiest way to initially use
796 the various modes is to click on the middle mouse button when your
797 cursor is over a track and a popup displays the modes and shortcuts.
798 However, for those users who prefer the addition of the Ctrl key to
799 add multiple selections as is commonly done for listbox operations,
800 there is a preference in \texttt{Settings $\rightarrow$ Preferences
801 $\rightarrow$ Appearance} tab, called \textit{Clears before
802 toggle} \index{clears before toggle} that changes the behavior.
804 When an edit is marked as selected, it can be cut/copied into the
805 paste clip buffer. The constructed clip buffer will begin with the
806 leftmost edit and end with the rightmost edit. The edits may
807 contain media, or be silence, or skipped if they are not selected.
808 The clip tracks are copied from the first track with an active edit
809 selection to the last track with an active edit selection. A clip
810 track can be completely empty if no selection was made on the track.
811 The word \textit{packed} means that the silent edits and empty
812 tracks are not included in the copy to the clip buffer, and all of
813 the elements are packed together, no gaps. Packing a clip buffer
814 makes it easier to move \textit{blobs} of data around. Once the
815 edits have moved and have a relative relationship applied, an
816 unpacked clip buffer allows the media to be copied with the relative
817 positions of the edits preserved.
819 The \textit{edits} popup is activated on a track and a red and
820 yellow colored reticle appears to temporarily mark the location when
821 you click on the middle mouse button. An expanded explanation is
824 \renewcommand{\arraystretch}{1.15}
826 \begin{longtable}{p{0.3\textwidth-2\tabcolsep} p{0.7\textwidth-2\tabcolsep}}
828 \textbf{Key} & \textbf{Operations}\\
830 Drag & Hold down the Ctrl key while dragging to move a single
832 Left mouse button & Selects and highlights the edit under the
833 cursor with a red selection box. Left mouse
834 button also will toggle that clip selection
841 \begin{longtable}{p{0.2\textwidth-2\tabcolsep}
842 p{0.2\textwidth-2\tabcolsep} p{0.6\textwidth-2\tabcolsep}
845 \textbf{Popup Label} & \textbf{Key} & \textbf{Operation}\\ \midrule
847 Clear Select & Ctrl-Shift-A & Deselect all selected edits --
848 ones that have the red lines
851 Select Edits & Ctrl-Alt-' & Select all edits within a highlighted area of the timeline \\
853 Deselect Edits & & Deselect all edits within a highlighted area of the timeline \\
855 Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
857 Cut & Ctrl-x & Delete the selected edits after copying them into
858 the buffer. The edits\\
860 Mute & Ctrl-m & Delete the selected edits after copying them
861 into the buffer. The space previously occupied
862 by the edits will be replaced with silence.\\
864 Copy Pack & Ctrl-Shift-C & Copy the selected edits into the
865 buffer and remove any silent
868 Cut Pack & Ctrl-z & Delete the selected edits after copying them
869 into the buffer. The edits after the
870 election will move left to occupy the
871 vacated space. The edits in the copy buffer
872 will be packed together within each track.\\
874 Mute Pack & Ctrl-Shift-M & Delete the selected edits after
875 copying them into the buffer. The
876 deleted edits will be replaced with
877 silence. The edits in the copy
878 buffer will be packed together within
881 Paste & Ctrl-v & Paste contents of the copy buffer at the
882 insertion point marked by the red \& yellow
883 reticle of the popup menu or the position of
884 the hairline cursor. This is a splice
885 operation which creates space for the edits.\\
887 Overwrite & Ctrl-b & Paste contents of the copy buffer at the
888 insertion point marked by the red \& yellow
889 reticle of the popup menu or the position
890 of the hairline cursor. This destroys the
891 current edits in that space.\\
893 Overwrite & Ctrl-Shift-P & Pastes plugins that are in the Copy
894 buffer to current location but no
899 \renewcommand{\arraystretch}{1}
901 The copy/paste behavior respects the armed/disarmed tracks
902 state. A paste of audio on a video track will fail and vice versa.
903 In addition if you attempt to paste edits consisting of more tracks
904 than what is available at that location it will not allowed.
906 Attaching transitions to multiple selected edits via the \textit{Video} or
907 \textit{Audio} pulldowns is also available. The new transitions are attached
908 at the start of the edits, and will replace any existing attached
909 transitions. As a side note, when in drag and drop mode the end
910 transition does not drag.
912 \subsection{Snapping while Cutting and Dragging}%
913 \label{syb:snapping_cutting_dragging}
916 \paragraph{Cutting/Snapping edits} \index{edit!cut with snap} cuts from an edit handle to the
917 insert point. There are Edit Panel buttons which normally are used
918 to move to the previous or next edit handle/label.
920 \begin{wrapfigure}[3]{r}{0.2\linewidth}
923 \includegraphics[width=0.7\linewidth]{snap.png}
926 They look like tags and the letter E on the menu bar and are
927 oriented forward/backward. These same buttons can be used to
928 \textit{cut} from the insert pointer to the previous or next
929 edit/label when the ctrl+alt keys are both pressed when the buttons
930 are used. They \textit{snap} off the media instead of doing the
931 standard re-positioning. This is useful to minimize the number of
932 operations necessary to cut between edits/labels.
934 Instead of using the edit panel buttons, you can more easily use the
935 following keyboard shortcuts to perform the same functions:
940 snap\_right\_edit & ctrl+alt+ '.' &\\
941 snap\_left\_edit & ctrl+alt+ ',' &\\
942 snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
943 snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
948 \paragraph{Drag Snapping} \index{edit!drag with snap} if you hold down the Ctrl + Alt keys while
949 dragging using the mouse, once the clip gets near to an edit, a
950 label, an in/out pointer or the start/end of the timeline, the
951 dragged clip will snap next to that marker. The 2 will now be
952 exactly aligned with no gap and no overlap. As you drag the clip
953 close to one of the markers, when they are within a short distance
954 they start to stick and stay that way until you move further away
955 from that distance. Also, the line will turn color from green to
956 yellow while in the sticky phase. In addition, this works for a
957 plugin while dragging so that it will be the same length as the edit.
959 \subsection{Copy/Paste clips/medias across Multiple Instances}%
960 \label{sub:copy_paste_multiple_instances}
961 \index{multiple instances: copy/paste}
963 It is easy to copy/paste clips/media within a single instance of
964 \CGG{} or across multiple instances. The reason this works is
965 because there are hidden X cut buffers and these are used to
966 transmit EDL from 1 instance to another.
968 Steps to copy from a source timeline and paste to a target timeline:
971 \item highlight a selection on the timeline in 1 instance of \CGG{}
972 \item use the Copy icon (shortcut c) on the main menu bar to copy
974 \item move the pointer to another instance of \CGG{} and set an
975 insertion point in its timeline
976 \item use the Paste icon (shortcut v) to paste the clip to that
977 other instance selection target
980 \subsection{Grouping edits}%
981 \label{sub:grouping_edits}
982 \index{edit!grouping}
984 \CGG{} recognizes as a group, the edits of different armed tracks
985 that have aligned beginnings, regardless of whether they have the
986 same source or aligned ends. You can drag these edits around on the
987 timeline to construct your movie by rearranging scenes. If more than
988 one track is armed, \CGG{} will drag any edits which start on the
989 same positions the edit the mouse pointer is currently over. Another
990 method of Grouping of edits is performed as follows:
993 \item Select \index{edit!selection} each of the clips you would like to be part of a
995 \item Use the desired Copy mode as described above to get into
997 \item Go to the Resources window Clip folder and right click on
999 \item Choose the Paste Clip option. Now you have a named clip
1000 of the current selection.
1001 \end{enumerate} A more traditional Grouping of edits which make a
1002 Permanent Group works as described next. A temporary group is just
1003 a set of selected clips and works the same as a single selection.
1005 \item Create a group:
1006 \begin{itemize}[noitemsep]
1007 \item Select multiple clips/edits with left mouse button
1009 \item Hold down shift and left mouse click over any of the
1010 selected clips to create a group;
1011 \item A Group Id and color are assigned to this group making
1012 it easy to distinguish.
1015 \begin{itemize}[noitemsep]
1016 \item Move your cursor over any of the clips within the
1017 group; click to select the clip group.
1018 \item Click and Hold down the left mouse button to drag.
1020 \item Dissolve a permanent group:\\
1021 To ungroup select any of the group edits/clips and shift left
1022 mouse click to ungroup (same as creating). The edits will be
1023 ungrouped, and the current selection will be replaced with the
1027 The color of the created groups are not muted and are assigned by
1028 Group Id going sequentially through the number of 1 to 64.
1029 Therefore if you dissolve a group and make it again, it will have a
1030 different Group Id and a different color.
1032 \subsection{Dragging Groups}%
1033 \label{sub:dragging_groups}
1034 \index{edit!dragging group}
1036 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
1037 is really easy. Just select \index{edit!selection} the clip or clips you want to drag
1038 using the left mouse button, then put your cursor over one of them
1039 and drag while holding down the left mouse button. Keyframes,
1040 autos, labels, and plugins will also be dragged. Dragging honors
1041 armed/disarmed tracks. When you drag there will be some possible
1042 colors as defined; depends on how the edges of edits and groups
1046 \item Green color means OK to drop in that position as it will
1048 \item Yellow color means you can drop here and when you do it
1049 will be exactly next to that existing edit.
1050 \item Blue color means it overlaps something and this includes
1052 \item Red color means can not drop here because it will not fit
1054 \item Orange color means the track types do not match so it can
1055 not be dropped here.
1058 Remember: With the \texttt{Shift} key on, it will always
1059 \textit{overwrite}. Without the \texttt{Shift} key enabled, it
1060 always \textit{inserts} only.
1062 The original (older) method of dragging while in Arrow \index{arrow} mode, lets
1063 you just left mouse click on a single clip or aligned clips and just
1064 drag. This older method of dragging does not move any of its
1065 effects with it at this time. There will only be a white outline
1066 while dragging and it will let you drop only if it fits. You can
1067 also perform some dragging and grouping while in the \textit{Cut and
1068 Paste editing mode} (ibeam mode \index{i-beam}) by taking advantage of the Ctrl
1069 button in conjunction with the left mouse button.
1072 \item Double click selects a column so you can move, for
1073 example, the audio and video together by holding down the Ctrl key
1075 \item A single clip can be dragged without any of its aligned
1076 clips, by holding down and Ctrl key and drag.
1079 This last section on Dragging, outlines the difference
1080 between \textit{column selection} \index{column selection} and \textit{marking selection} \index{marking selection}.
1081 Column selection is available to make it easy to still be able to do
1082 some dragging in I-beam mode whereas Marking selection makes it easy
1083 to drag clips together that are not columnated.
1086 \subsection{Selection Methods}%
1087 \label{sub:selection_method}
1088 \index{edit!selection}
1089 \index{active region}
1091 Concerning \textit{Selection} methods, the following information is
1092 partially pertinent to all editing, but is most important to keep in
1093 mind when using Drag and Drop Editing.
1095 Originally, there was the column oriented timeline drag selection
1096 which can be seen in 1 of 3 ways:
1099 \item a highlighted vertical column
1100 \item the colored line region between the [~in and out~] marker
1102 \item a single flashing line
1105 The selection priority works like this. When the highlighted
1106 vertical drag column is in use (1), it has the highest precedence
1107 and is used as the selection. When the column is a single line (2),
1108 then the fall back selection is the [~in/out~] marker region, if
1109 they are set. When they are not set, and the cursor is flashing,
1110 then the selection start=end and the selection is empty, but it does
1111 have a position on the timeline which can be used for editing. This
1112 is input for the vertical style cut/paste drag/drop editing.
1114 More recently, in addition to the column oriented timeline drag
1115 selection, there is now \textit{group} \index{edit!grouping} capabilities which have
1116 various \textit{edit} selections. These are created in the Drag and
1117 Drop editing mode by clicking edits to toggle
1118 select/deselection. These groups are input to a different (more
1119 modern) set of cut, paste and overwrite drag/drop editing. You
1120 can see this set of operations when you click on an edit with the
1121 middle mouse button, and are also available using the shortcuts
1122 shown. They are more like text editor commands to include
1123 \texttt{ctrl+x=cut}, \texttt{ctrl+c=copy}, \texttt{ctrl+v=paste},
1124 and so on \dots The keyboard Delete key is not hooked to these
1125 operations, and is hooked to the original editing methods.
1127 In this \textit{group} mode, if there are In/Out \index{in/out point} markers set, they
1128 enter the selection priority queue between the column selection and
1129 the cursor only. You can see the In/Out markers selected region
1130 colored line across the timebar (slightly underneath where the time,
1131 samples or frames show ) on the main timeline extending between the
1132 [ and ]. This means that when the highlighted cursor selection is
1133 empty, the In/Out selection will be used.
1135 Summarizing: to select multiple edits/clips on the timeline you can simply use LMB on each edit. Or, if in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ appearence tab $\rightarrow$ Flags} we have enabled \textit{Clears before toggle}, use CTRL + LMB on each edit.
1137 There is also a faster way:
1140 \item Arm the tracks you want to be used.
1141 \item Highlight the area as usually you do with \textit{I-beam} mode (or use \textit{In/Out Points}; or position \textit{Insert Point} over the stack of edits). If you miss an edit that you want included, the same method can be used to add it. It is an additive operation. And, it will include the partial edits in the selected area, thus making it easy to disinclude ones you do not want.
1142 It will include silence also but you can remove that or any other edit with CTRL + LMB.
1143 \item Press MMB on a clip inside the highlight area and the PopUp menu is shown with the \textit{Select edits} option on the top.
1144 \item Choose the \textit{Select or Deselect edits} option and the clips inside the highlight area will be selected or deselected.
1147 And there is a Drag mouse way (this requires that the cursor be on the first
1148 clip and from there you start the drag):
1150 \item To Drag Select edits, hold down Alt+Left Mouse Button (LMB) and drag over the selection area. Releasing the mouse results in selecting.
1151 \item To Drag Deselect edits. hold down Alt+Ctrl+LMB and drag over the area to be desected. Releasing the mouse results in deselecting.
1154 If using certain operating systems (for example Ubuntu and Arch) that might field the Alt key before it gets to \CGG{}, you can use the following for both Select and Deselect instead:
1156 \item Press and hold down Ctrl+Alt+LMB on an edit
1157 \item Drag on the edits you want to select
1158 \item Release the Ctrl key
1159 \item Release the LMB
1160 \item Release the Alt key
1163 \section{Inter-View Mode -- Identifying Source Targets}%
1164 \label{sec:inter-view_identifying_source_target}
1167 Inter-View mode provides a mapping of a particular media file to its
1168 timeline \index{timeline} usages. It is somewhat similar to Two Screen Editing in
1169 that you make use of the Viewer. It makes it possible to precisely
1170 trace and indicate in the media the origin of a particular segment
1171 of the timeline and visually indicate the use and distribution that
1172 the timeline makes of a particular media. A good example usage
1173 would be in the case of a 30 minute interview where you use a few
1174 short pieces to make a shorter 10 minute section, find out that you
1175 have made the timeline 12 minutes instead and need to cut out
1176 another 2 minutes. This feature provides the following capabilities:
1179 \item You can see on the timeline all of the places where a
1180 particular piece of media was used.
1181 \item You can see which parts of that particular media are
1182 already used so you do not reuse that same piece again.
1183 \end{itemize} Figure~\ref{fig:inter-view01} shows an example of the
1184 Inter-View mode mapping preview mini-window.
1186 \includegraphics[width=0.8\linewidth]{inter-view01.png}
1187 \caption{Inter-View mode: white bar$\rightarrow$source; red
1188 bar$\rightarrow$timeline}
1189 \label{fig:inter-view01}
1192 There is a second usage of Inter-View mode that can be helpful if
1193 some tracks have become misaligned, such as in the case of 2 audio
1194 channels no longer being in sync. You can use this mode to get them
1197 Explanation of how to use Inter-View mode will be described here
1201 \item Do your editing as usual on the timeline until you are
1202 ready to see what is used or unused.
1203 \item Make sure you are in any of the Preview modes \index{preview mode} in the
1204 Resources window \index{resources window}; you enable the mode using the pulldown to the left
1205 of the word \textit{Search}. The option looks like this \quad
1206 \includegraphics[height=\baselineskip]{fullplay.png}.
1207 \item Middle mouse click on a thumbnail in the Resources window and
1208 a popup occurs of that media with a white colored bar at the top
1209 and a red colored bar at the bottom with black sections.
1212 The red/white bars represent the presence and the black sections
1213 represent the absence of where that media is used on the timeline.
1214 To get to a bigger representation, use the “\texttt{f}” key for a
1215 full screen. Now you can operate the following buttons to display
1216 what you need to see and to move around. It is important to note
1217 that \textit{locked tracks} will not be represented. This makes it
1218 easy to ignore the audio track segments if you want so there is less
1219 confusion in the display.
1222 \item Clicking on the top white or black spaces in the top time
1223 bar loads the Viewer with the source media, and sets the In/Out [
1224 and ] pointers to be the selection of that edit.
1225 \item Click on a location in the bottom red or black bar, and
1226 the main cursor and composer will re-position to the corresponding
1227 location on the session timeline.
1228 \item Dragging on the red/black bar will correspondingly update
1229 the position in the timeline and composer.
1230 \item Ctrl-click on the bottom bar and the timeline and composer
1231 are re-positioned to the beginning of that edit.
1232 \item Shift-click on the bottom bar and a \textit{selection} is
1233 made of that section in the timeline and the compqoser is updated
1234 with that start position.
1238 Figure~\ref{fig:inter-view02} displays Inter-View window and its
1239 relation to the timeline, viewer, and compositor.
1242 \includegraphics[width=1.0\linewidth]{inter-view02.png}
1243 \caption{Inter-View mode and the timeline}
1244 \label{fig:inter-view02}
1247 The Inter-View mode works for Media, Proxy, and User Bins. When the
1248 preview window has only black bars on the top and bottom, it means
1249 that this particular media is not loaded in the timeline. So when
1250 you are in Proxy, meaning that the Proxy files are loaded on the
1251 timeline, there will be only black bars for the corresponding Media
1252 file UNLESS there is an audio track associated with the video.
1253 Because audio tracks are not proxied, they will show for Media but
1256 \section{Edit Tools}%
1257 \label{sec:edit-tools}
1260 \subsection{Edit Length}%
1261 \label{sub:edit-lenght}
1264 To set the length of an edit in the timeline, select the region
1265 which contains the edit to be modified. Now select the menu bar
1266 \texttt{Edit $\rightarrow$ Edit Length}\dots menu item to activate
1267 the \textit{edit length} popup (figure~\ref{fig:lenght}). The
1268 duration of the edit can be reset by entering the desired edit
1269 length in seconds. Pressing OK will change all of the selected
1270 edits (in armed tracks) to the specified length.
1272 \begin{figure}[htpb]
1274 \includegraphics[width=0.5\linewidth]{lenght.png}
1275 \caption{Edit Length window}
1279 \subsection{Align Edits}%
1280 \label{sub:align_edits}
1283 When loading media, a common problem is that the various audio/video
1284 tracks do not always have exactly the same lengths. For example, you
1285 might load audio/video recordings from your camera and be dismayed
1286 to see that the audio for each segment is a half second longer than
1287 the video. If you load a large set of media clips by concatenation,
1288 the audio and video will be more skewed as more media is
1289 loaded. Align Edits makes it possible to adjust the edits so the
1290 audio and/or video align by adjusting
1291 the edits so that the track lengths are consistent. To use this
1292 feature, load all of the desired media and select a region which
1293 contains all of the edits to be aligned in the timeline. Now select
1294 the menu bar \texttt{Edit $\rightarrow$ Align Edits} menu item to
1295 operate the change. The topmost armed track is used as a template
1296 reference, and the rest of the tracks are either cut or padded to
1297 align the edit boundaries. Besides aligning audio with the video,
1298 you can also align video with the audio if the first armed track is
1299 audio. The code performs the following algorithm:
1302 \item Use the first armed track as the master track (it must
1304 \item Collect the \textit{edit project start times} on the
1305 selected master track. Only edits that are 100\% inside the selected
1307 \item Set all other tracks to match the \textit{edit times} of
1308 the template track, either by putting in silence or cutting the
1309 region to align the edits on the \textit{edit times} of the master
1313 The start time sequence of media and silence edits
1314 along the master track are collected as the target alignment
1315 boundaries. All armed tracks after the master track are modified so
1316 that if the next edit edge is too soon, it adds silence; if it is
1317 too late, edits are shortened or deleted past the point of the next
1318 target alignment boundary time. Align Edits works best if there are
1319 an equal number of Video and Audio sections. Also, it is better to
1320 use cuts instead of adding silence -- if there are silence edits
1321 together, the algorithm will combine the silence edits into a single
1322 edit and results may not be as desired.
1324 The first two screenshots in figure~\ref{fig:align} show the Before,
1325 the Highlighted Edits to be manipulated, and the After results for
1326 the Align Edits. The third screenshot \textit{adds silence} in the
1327 second section as noted in red letters.
1329 \begin{figure}[htpb] \centering
1330 \includegraphics[width=1.0\linewidth]{align.png}
1331 \caption{Align edits}
1336 \subsection{Reverse Edits}%
1337 \label{sub:reverse_edits}
1338 \index{reverse edits}
1340 The Reverse Edits can be useful to change the order of 2 edits in
1341 the case where you would like to put a \textit{teaser} section that
1342 occurred in the middle of a movie at the beginning instead, that is,
1343 reversed positions. To operate, highlight completely the edit areas
1344 you would like reversed and then use the pulldown \texttt{Edit
1345 $\rightarrow$ Reverse Edits}.
1347 Figure~\ref{fig:reverse01} shows the selected / highlighted area to
1348 which Edits will be applied. Note the first edit is 0002, followed
1349 by 0003, 0004, and 0005 in that order.
1351 \begin{figure}[htpb]
1353 \includegraphics[width=0.9\linewidth]{reverse01.png}
1354 \caption{Selected area for Reverse Edits}
1355 \label{fig:reverse01}
1358 Figure~\ref{fig:reverse02} shows the results of executing
1359 \textit{Reverse Edits}. Now you will see the reversed order of
1360 0005, 0004, 0003, and last 0002.
1362 \begin{figure}[htpb]
1364 \includegraphics[width=0.9\linewidth]{reverse02.png}
1365 \caption{Results of the Reverse Edits}
1366 \label{fig:reverse02}
1370 \subsection{Shuffle Edits}%
1371 \label{sub:shuffle_edits}
1372 \index{shuffle edits}
1374 The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
1375 randomly exchange the location of the edits. This feature can be
1376 used to change the order of the music like you would do from your
1377 MP4 player where you have a playlist of your favorite music. Or
1378 perhaps you are creating an advertisement background, you can
1379 randomly change it, thus the viewer sees a different order of scenes
1382 Figure~\ref{fig:shuffle} illustrating Shuffle Edits of the
1383 highlighted area of the first screenshot on the page. Note the
1384 permutation of the fragments resulting in 0002 now being first, then
1385 0004, 0003, and 0005 last.
1387 \begin{figure}[htpb]
1389 \includegraphics[width=0.9\linewidth]{shuffle.png}
1390 \caption{Shuffle edits: the edits are permutated}
1394 \section{Multi-Session}%
1395 \label{sec:multi_session}
1396 \index{multi-session}
1398 You can run as many sessions of \CGG{} as your computer resources allow. However, if you are using the same \texttt{\$HOME/.bcast5}, changes you make for one may impact the others. You can always create and rename a new \texttt{.bcast5} from:\\
1399 \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface $\rightarrow$ Index files:} and press \textit{Index files go here}
1401 \section{Multi-Viewer Window Support}%
1402 \label{sec:multi_viewer_window_support}
1403 \index{multi-viewer window}
1405 You can create as many Viewer windows as you want in \CGG{}. These are handy for users who are adept at working with a lot of different clips simultaneously. By bringing up multiple Viewer windows, each clip can be edited in its own area, making it easy to see all of the separate pieces. After you have loaded some media files, to start another Viewer window, right click on one of the pieces of media in the Resources window. This brings up a menu of several options, one of which is \textit{view in new window}. Choose this option and that media will come up in a new Viewer window for you to work (figure~\ref{fig:multi-view01}).
1407 \begin{figure}[htpb]
1409 \includegraphics[width=1.0\linewidth]{multi-view01.png}
1410 \caption{Shown here are 3 Viewer windows and the \textit{View in new window} popup}
1411 \label{fig:multi-view01}
1414 \section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing}%
1415 \label{sec:shuttle_jog_wheels_editing}
1416 \index{shuttle pro v2 and shuttlexpress}
1418 The ShuttlePROv2 and ShuttleXpress are affordable jog wheels\protect\footnote{programmatic specifications from Eric Messick} which
1419 can be useful for working with Cin, especially if you do a lot of
1420 playing forward/backward, fast/slow/normal, and single frames
1421 (figure~\ref{fig:shuttle}).
1423 Directions for using the ShuttlePROv2 and the ShuttleXpress with
1424 \CGG{} are described next. These devices work by sending keystrokes
1425 used in Cin, corresponding to the shuttle action, to the keyboard
1426 buffer. The shuttle has been fully integrated into the \CGG{} code
1427 so that after the one initial setup, no further intervention is
1428 required. The multi-speed outer wheel works the same and has the
1429 same number of S positions on both shuttles but the shuttle Xpress
1430 has only 5 keys. Since the majority of user operations will most
1431 likely be with the use of the 2 wheels, the slightly smaller Xpress
1432 could be a better choice with its 5 easy to reach keys. The Pro is
1433 approximately $4\times7$\,inches whereas the Xpress is about
1436 \begin{figure}[htpb]
1438 \includegraphics[width=0.9\linewidth]{shuttle.png}
1439 \caption{ShuttlePROv2 and ShuttleXpress}
1443 The vendor supplied \textit{string} device names for the shuttles
1446 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePRO\_v2-event-if00}\\
1447 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttleXpress-event-if00}\\
1448 \texttt{/dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00}
1450 Only 1 necessary initial setup is required due to permission
1451 settings for non-root usage. As root, just copy a file that provides
1452 the necessary permissions to use the shuttle, then reboot, Example
1455 \begin{lstlisting}[style=sh]
1456 sudo cp {cindat_path}/doc/99-ShuttlePRO.rules /etc/udev/rules.d/
1459 then the next time after you reboot, the permissions should be
1460 correct. This file only needs to contain one of the following lines
1461 depending on which shuttle version you have/use, but all will be in
1464 \begin{lstlisting}[style=sh]
1465 # for newer PRO model
1466 ATTRS{name}=="Contour Design ShuttlePro" MODE="0644"
1467 # for older PRO model
1468 ATTRS{name}=="Contour Design ShuttlePRO v2" MODE="0644"
1469 # for the Xpress model
1470 ATTRS{name}=="Contour Design ShuttleXpress" MODE="0644"
1471 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0020", MODE="0666"
1472 SUBSYSTEMS=="usb", ATTRS{idVendor}=="0b33", ATTRS{idProduct}=="0030", MODE="0666"
1475 If you swap your shuttle, for example upgrade from an Xpress to a
1476 PROv2, just stop Cin, unplug the original shuttle, plug in the
1477 replacement shuttle, and restart Cin. If you start the \CGG{}
1478 program and the shuttle does not function as before, stop \CGG{} and
1479 then simply unplug it and plug it in again. There are a couple of
1480 reasons why it may stop functioning. One is because \CGG{} was not
1481 stopped with the usual Quit command and the shuttle was improperly
1482 shut down when there was a crash. The other possibility is that a
1483 static discharge occurred in the area.
1485 A default shuttlerc file is automatically used when a shuttle device
1486 is plugged in when Cin is started. This file sets up the key
1487 bindings for \CGG{} to use. You can override any default settings by
1488 having a local file in your \texttt{\$HOME} directory, named
1489 \texttt{.shuttlerc} to reflect your personal preferences.
1492 \subsection{How to Modify the Default Key Settings}%
1493 \label{sub:modify_default_key_settings}
1495 Detailed information on how to modify your local \texttt{.shuttlerc}
1496 file is described next, but if you need help you can request more
1497 information in the forum at {\small
1498 \url{https://cinelerra-gg.org}}. In the \texttt{shuttlerc} file, a
1499 \# always represents a comment and blank lines are ignored. The
1500 first thing you must do is copy the system supplied
1501 \texttt{shuttlerc} file to your \texttt{\$HOME} directory and rename
1502 it as \texttt{.shuttlerc} (with a period).
1504 The \texttt{shuttlerc} file has sections that in the case of \CGG{},
1505 represent different windows allowing you to set the keys, K1-K15 for
1506 the Pro and K5-K9 for the Xpress, the shuttle wheel positions of
1507 S0/S1/S-1 for stop, S2 through S7 for wheeling to the right, and S-7
1508 through S-2 for wheeling to the left for reverse. Then there is JR
1509 to jog right (clockwise) and JL to jog left (counter-clockwise) for
1510 the inner smaller wheel for single frame movement. See the key
1511 arrangement on a later page for location of the keys for each of the
1512 two different shuttles.
1514 The sections are surrounded by brackets for windows such as \CGG{}
1515 (the main window), Viewer, Composer, Resources, Load, and Default.
1516 If you want the keys to be defined the same in every window, you can
1517 bracket each window on lines one right after the other and then just
1518 define one set of keys. The other lines will have the key
1519 name/shuttle position followed by its assigned value. The values
1520 you use for the keys are usually shortcuts and have to be
1521 operationally defined within \CGG{}. For example, the shortcut “f”
1522 to go fullscreen is defined so can be used; however the shortcut “h”
1523 is not defined so will not do anything. You can check the file,
1524 shortcuts.html, for some options to use.
1526 Next are a few actual examples from the default
1527 \texttt{{cindat\_path}/shuttlerc} file.
1529 The next brackets represent sections. Default, Resources, Load
1530 windows all use the same key values.
1532 \begin{lstlisting}[style=sh]
1537 K6 XK_Button_1 # same as mouse button 1
1538 K7 XK_Button_2 # same operation as mouse button 2
1541 # for example, in the Load menu, use scroll up to get to the next file name
1546 Cinelerra with brackets around it next, is the section with some key
1547 definitions for the main window.
1549 \begin{lstlisting}[style=sh]
1552 # Most useful functions have to be on K5-K9
1553 # because Xpress only has 5 keys
1554 K5 XK_Home # Beginning
1555 K6 XK_KP_6 # Reverse, or if playing Stop
1557 K8 XK_KP_3 # Play, or if playing Stop
1560 S-7 REV_16 # Next 6 are reverse keys
1561 S-6 REV_8 # the number on the end represents speed
1562 S-5 REV_4 # number can be decimal up to 64
1563 S-4 REV_2 # 2 means 2x or double speed
1565 S-2 REV_0.5 # 0.5 represents 1/2 speed
1566 S-1 XK_KP_0 # Because the Shuttle does not generate S0,
1568 S0 XK_KP_0 # Hardware does not generate S0
1569 S1 XK_KP_0 # Because the Shuttle does not generate S0,
1576 An explanation for the above REV and FWD key symbol values is
1577 necessary to facilitate user preferences. Obviously REV stands for
1578 reverse and FWD for forward. You can set any speed up to and
1579 including 64x (that is, 64 times the normal speed) on any of the S
1580 keys. First in the line is the key name such as S-3 and then the
1581 key direction of FWD or REV followed by the symbol for underscore
1582 (\_) and then the numerical value to use. For example, if you want
1583 the $5^{th}$ forward position, S5, to play 10$\frac{1}{2}$ times
1584 faster, you would use the statement \texttt{S5 FWD\_10.5}. Integer
1585 or decimal numbers are legal.
1587 For the Viewer, you may want keys defined to do a Splice or an
1588 Overwrite so define differently. Note that assignments that contain
1589 single character letters must be enclosed in quotes.
1591 \begin{lstlisting}[style=sh]
1593 # Splice - Viewer only; may be defined
1594 # differently than Composer or Cinelerra
1599 To change any key value to an alternative value, just edit the file
1600 and make the changes. Besides just keys and alphabetic letters of
1601 numbers, you can also use any \CGG{} value that contains the
1602 combination with Shift, Alt, and Ctrl. For keys that are not
1603 printable characters, you can look up the symbol name to use for a
1604 specific operation in the file called:
1605 \texttt{/usr/include/X11/keysymdef.h}. Some examples:
1607 \begin{lstlisting}[style=sh]
1608 K10 Alt-XK_Left # Go to previous edit \\
1609 K13 Ctrl-XK_Right # Go to next label
1612 For sequences of one or more \textit{printable} characters, you can
1613 just enclose them in double quotes. For example in the
1614 \texttt{[Composer]} section, to go into or out of fullscreen mode,
1615 automatically start playing and put a label there, you could define
1616 a key like this: K7 “f~l” - that is printable character f, a space,
1617 and printable character l.
1619 After modifying \texttt{.shuttlerc}, the next time you use the
1620 shuttle, your changes will automatically take affect without even
1621 having to stop and restart Cin. However, the first thing to try if
1622 problems is to stop \CGG{}, unplug the shuttle, wait a few seconds,
1623 plug it in again, and then restart cin. If for some reason, the
1624 shuttle keys still do not work after that, you may have an incorrect
1625 setup and you will have to correct that first. For example, if you
1626 define S5 twice within the \CGG{} setup, it will fail. It is
1627 suggested that if you make changes, you should initially uncomment
1628 DEBUG in the \texttt{.shuttlerc} file and start up \CGG{} from a
1629 terminal window so that you can make sure it is working and has no
1630 output errors. An error might look like:
1632 \begin{lstlisting}[style=sh]
1633 dupl key name: [Cinelerra]K1
1634 shuttle config err file: /root/.shuttlerc, line:37
1637 Keep in mind when changing the values, that the ShuttleXpress has
1638 fewer buttons so if you define K1 it will only work for the
1641 Any time you are having trouble with your shuttle, you can copy the
1642 default \texttt{shuttlerc} file from
1643 \texttt{{cindat\_path}/shuttlerc} to your local \texttt{.shuttlerc}
1644 file, and edit that to\ switch to DEBUG mode by removing the \#
1645 comment from the DEBUG line. But you will have to have started Cin
1646 from a terminal window to see the key values. The first time you use
1647 the shuttle or after you change the file, the current assignments
1648 will show in the terminal window so will look something like:
1650 \begin{lstlisting}[style=sh]
1656 When you are in DEBUG mode and are just working away, what you will
1657 see is something like this:
1659 \begin{lstlisting}[style=sh]
1666 \begin{lstlisting}[style=sh]
1667 shuttle: 00 00 00 00 00
1671 When you change the focus from one window to another, you will see
1672 something like this:
1674 \begin{lstlisting}[style=sh]
1676 new translation: Viewer
1680 You can also set an environment variable to temporarily use an
1681 alternative shuttle configuration file for testing as in:
1683 \begin{lstlisting}[style=sh]
1684 export SHUTTLE_CONFIG_FILE=/tmp/shuttlerc_test
1687 The shuttle wheel occasionally will not \textit{stop} after you have
1688 wheeled it to play forward. This is a documented known problem from
1689 the original code so you just have to joggle it a little in the
1690 other direction and then it will stop. S0 does not always generate
1691 a signal to do a stop and that is why S1 and S-1 have to be used to
1692 relay the stop instead. Also, if you have a fullscreen Composer or
1693 Viewer up and the regular one also, the fullscreen takes precedence.
1696 \subsection{Troubleshooting auxilliary information}%
1697 \label{sub:troubleshooting_auxilliary_information}
1699 In order to see if you hardware was recognized by the operating
1702 \begin{lstlisting}[style=sh]
1703 lsusb -v -d 0b33:0030 # for the Shuttle Pro or PROv2\\
1704 lsusb -v -d 0b33:0020 # for the Shuttle Xpress
1707 \paragraph{Note 1} Currently, the keys K14 and K15 do not function
1708 on the \textit{Contour Design ShuttlePro} but do on the
1709 \textit{Contour Design ShuttlePRO v2} due to a Report Descriptor
1710 error. You can workaround this by uncommenting \texttt{USB\_DIRECT}
1711 in your local \texttt{.shuttlerc} file. This directly uses libusb
1712 rather than the generic Linux hid driver. \texttt{USB\_DIRECT}
1713 works for any of the currently tested shuttles.
1715 \paragraph{Note 2} If you are not sure if your shuttle is fully
1716 functional, you can verify that the hardware device has been seen by
1717 your operating system with this procedure.
1719 \item From a terminal window as an ordinary user key in: lsusb (the
1720 first character is a lower case L for list). You will see
1721 something like the following depending on which usb device you
1722 have the ShuttlePro plugged into:
1723 \begin{lstlisting}[style=sh]
1724 Bus 003 Device 002: ID 0b33:0030 Contour Design, Inc. ShuttlePro v2
1726 \item To make sure you have usbmon installed key in:
1727 \begin{lstlisting}[style=sh]
1728 sudo modprobe usbmon
1730 \item Next key in the following:
1731 \begin{lstlisting}[style=sh]
1732 sudo od -tx1 /dev/usbmon3
1734 where the last 3 is the same \# as the Bus in above. If it lists
1735 \texttt{Bus 002}, then use \texttt{/dev/usbmon2} instead.
1736 \item Now with focus in that same terminal window, press any shuttle
1737 key just to see what happens and should see about 12 lines similar
1738 to these below -- a new set every time you press a single key or
1739 the wheel. The lines are usually not important, just the fact
1740 that you get a response is. However if you have multiple devices
1741 on the same bus, you will get responses from any and all of them.
1742 Attempt to isolate your shuttle by temporarily unplugging
1743 unnecessary devices on the same bus or plug the shuttle into a
1744 different usb port that has fewer devices.
1745 \begin{lstlisting}[style=sh]
1746 0000000 80 70 99 75 53 8c ff ff 43 01 81 02 03 00 2d 00
1747 0000020 4e 61 5c 5c 00 00 00 00 8d 2c 06 00 00 00 00 00
1748 0000040 05 00 00 00 05 00 00 00 00 00 00 00 00 00 00 00
1749 0000060 01 ff 00 00 00 80 70 99 75 53 8c ff ff 53 01 81
1750 0000100 02 03 00 2d 3c 4e 61 5c 5c 00 00 00 00 b1 2c 06
1751 0000120 00 8d ff ff ff 05 00 00 00 00 00 00 00 00 00 00
1752 0000140 00 00 00 00 00 80 70 99 75 53 8c ff ff 43 01 81
1753 0000160 02 03 00 2d 00 4e 61 5c 5c 00 00 00 00 3d d7 09
1754 0000200 00 00 00 00 00 05 00 00 00 05 00 00 00 00 00 00
1755 0000220 00 00 00 00 00 00 ff 00 00 00 80 70 99 75 53 8c
1756 0000240 ff ff 53 01 81 02 03 00 2d 3c 4e 61 5c 5c 00 00
1757 0000260 00 00 64 d7 09 00 8d ff ff ff 05 00 00 00 00 00
1759 \item Next press the key that you want to verify is functioning --
1760 if no new lines show up, then the key is non-functional so there
1761 is a hardware problem. If you get output, then perhaps there is a
1762 problem with your software setup.
1763 \item Use Ctrl-C on the terminal window when done to get back to the
1767 \paragraph{Note 3} Another method for testing to make sure your
1768 model of the Shuttle does not have different key definitions than
1769 the one that \CGG{} was coded for is to do the following.
1772 \item Locate the shudmp.C program in your \CGG{} directory.
1773 \item Compile that with the command: \texttt{c++ shdmp.C -o shudmp}
1774 \item Make the file executable with the command: \texttt{chmod +x shudmp}
1776 \begin{lstlisting}[style=sh]
1777 sudo ./shdmp /dev/input/by-id/usb-Contour\_Design\_ShuttlePro-event-if00 # substitute your shuttle
1781 Then press your shuttle key that is having problems and check the
1782 results. They should look like:
1784 \begin{lstlisting}[style=sh,caption={Example for K7}]
1785 event: (4, 4, 0x90007) #The last number, 7, is the expected Key number.
1786 event: (1, 262, 0x1)
1788 event: (4, 4, 0x90007)
1789 event: (1, 262, 0x0)
1793 \begin{lstlisting}[style=sh,caption={Example for K15}]
1795 event: (4, 4, 0x9000f) #The last number f is 15 in hexadecimal and is the expected Key.
1796 event: (1, 270, 0x1)
1798 event: (4, 4, 0x9000f)
1799 event: (1, 270, 0x0)
1803 When done, you will have to Ctrl-C to get out of the program.
1805 \paragraph{Note 4} For developers, if you have a pre-UEFI Secure
1806 Boot kernel it is also possible to do the following for further in
1809 \begin{lstlisting}[style=sh]
1810 ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
1811 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc" # substitute your own numerical value
1812 cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/events" # press keys to see the results
1815 %\item \texttt{ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
1816 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” \# substitute your own numerical value}
1817 %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” \# press keys to see the results}
1820 \subsection{Shuttle key default arrangement for \CGG{} / Composer / Viewer:}%
1821 \label{sub:shuttle_key_default_cinelerra}
1823 The following is the default setting for the ShuttlePROv2 and
1824 ShuttleXpress (table~\ref{tab:shuttleprov2} and
1825 table~\ref{tab:xpress}). This page can be quickly requested from \CGG{} by
1826 pressing both the left and right Alt keys on the keyboard followed by pressing
1827 any button on the Shuttle. To cancel this mode, press any single modifier key
1828 (\texttt{Alt, \texttt{Ctrl}} or Shift) once.
1830 \renewcommand{\arraystretch}{1.15}
1832 \caption{ShuttlePROv2 key default arrangement for \CGG{} /
1834 \label{tab:shuttleprov2}
1835 % Tell table to adjust font to fix on the page using \resize
1836 \resizebox{\textwidth}{!}{%
1837 \begin{tabular}{c c c c c c c}
1839 K1 & K2 & & K3 & K4 & &\\
1840 Label & Future use & & Future use & Clip & &\\
1841 & Splice (viewer) & & Copy & Overwrite (viewer) & &\\
1843 K5 & K6 & K7 & K8 & K9 & &\\
1844 Home & Reverse & Stop & Play & End & &\\
1845 & & Fullscreen & & & &\\
1846 & & (viewer / compositor) & & & &\\
1848 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
1850 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
1851 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
1852 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
1853 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
1855 K14 & & Jog Left & (Inner Wheel) & Jog Right & & K15\\
1856 Toggle In & & Frame reverse & & Frame forward & & Toggle Out\\
1857 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
1859 & & K10 & & K11 & &\\
1860 & & Previous Edit & & Next Edit & &\\
1861 & & Future Use(Viewer) & & Future Use(Viewer) & &\\
1863 & & K12 & & K13 & &\\
1864 & & Previous Edit & & Next Edit & &\\
1865 & & Previous Label & & Next label & &\\
1871 \caption{ShuttleXpress key default arrangement for \CGG{} / Composer / Viewer}
1873 % Tell table to adjust font to fix on the page using \resize
1874 \resizebox{\textwidth}{!}{%
1875 \begin{tabular}{c c c c c c c}
1877 K5 & K6 & K7 & K8 & K9 & &\\
1878 Home & Reverse & Stop & Play & End & &\\
1879 & & Fullscreen & & & &\\
1880 & & (viewer / compositor) & & & &\\
1882 Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & &\\
1884 \multicolumn{7}{c}{Shuttle Outer Wheel}\\
1885 \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)}\\
1886 S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x\\
1887 S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x\\
1889 & & Jog Left & (Inner Wheel) & Jog Right & &\\
1890 & & Frame reverse & & Frame forward & &\\
1891 & & Scroll up(Defaults) & & Scroll down(Defaults) & &\\
1897 %%% Local Variables:
1899 %%% TeX-master: "../CinelerraGG_Manual"