1 \chapter{The 4+ Windows}%
2 \label{cha:the_4_windows}
4 \section{Program Window}%
5 \label{sec:program_window}
7 The main window is called the Program window and contains the timeline as well as the entry point for all menu driven operations.
8 It is often just called the “timeline”.
9 The timeline consists of a vertical stack of tracks with a horizontal representation of time.
10 This defines the output of rendering operations and what is saved when you save files.
11 To the left of the timeline is the patchbay which contains options affecting each track.
12 The patchbay is described in detail in the Editing section.
14 The \emph{Window} pulldown on this main window contains options that affect the 4 main windows.
15 \emph{Default} positions repositions all the windows to a 4 screen editing configuration.
16 On dual headed displays,
17 the Default positions operation fills only one monitor with windows.
19 \subsection{Video and Audio Tracks and Navigation}%
20 \label{sub:video_and_audio_tracks_and_navigation}
22 The program window (figure~\ref{fig:pathbay}) contains many features for navigation and displays the timeline as it is structured in memory: tracks stacked vertically and extending across time horizontally.
23 The horizontal scroll bar allows you to scan across time.
24 The vertical scroll bar allows you to scan across tracks.
28 \includegraphics[width=0.8\linewidth]{images/pathbay.png}
29 \caption{Patchbay | Timeline with pulldowns \& navigation icons, Video/Audio tracks \& bottom Zoom}
34 Video tracks represent the duration of your videos and clips, just as if you placed real photographic film stock end-to-end on a table.
35 The individual images you see on the track are samples of what is located at that particular instant on the timeline.
37 Audio tracks represent your sound media as an audio waveform.
38 Following the film analogy, it would be as if you "viewed" magnetic tape horizontally on your table.
39 You can adjust the horizontal and vertical magnification of the tracks and the magnification of the audio "waveform" display using the zoom panel controls.
40 Every track on the timeline has a set of attributes on the left, called the patch-bay.
41 It is used to control some of the behavior of the tracks.
43 Track Navigation involves both selecting a specific audio or video track and moving to a certain time in the track.
44 The vertical scroll bar allows you to scan across tracks.
45 For vertical scrolling you can also use the mouse wheel.
46 The horizontal scroll bar allows you to scan across time. For horizontal scrolling you can use the mouse wheel with the Ctrl key.
48 In addition to the graphical tools, you can use the keyboard to navigate.
49 There is a shortcuts document for keyboard navigation; it includes, for example, shortcuts like use the Home and End keys to instantly go to the beginning or end of the timeline.
50 Or in the default cut and paste mode, hold down Shift while pressing Home or End in order to select the region of the timeline between the insertion point and the key pressed.
52 \subsection{Zoom Panel}%
53 \label{sub:zoom_panel}
55 Below the timeline, you will find the zoom panel.
56 The zoom panel contains values for sample zoom (duration visible on the timeline), amplitude (audio waveform scale), track zoom (height of tracks in the timeline), and curve zoom (automation range).
57 In addition to the scrollbars, these zooms are the main tools for positioning the timeline.
58 Also on the zoom panel is selection change and alpha slider.
62 \includegraphics[width=0.99\linewidth]{images/zoompanel.png}
63 \caption{Zoom panel on the bottom of the main program window}
67 Changing the \emph{sample zoom} causes the unit of time displayed in the timeline to change size.
68 It allows you to view your media all the way from individual frames to the entire length of your project.
69 The higher the setting, the more frames you can see per screen.
70 The sample zoom value is not an absolute reference for the unit of time since it refers to the duration visible on the timeline and thus changes also as you modify the length of the program window horizontally.
71 Use the Up and Down arrows to change the sample zoom by a power of two.
72 Or if your mouse has a wheel, mouse over the tumblers and use the wheel to zoom in and out.
75 The \emph{amplitude} only affects audio which determines how large the waveform appears. Ctrl-up and Ctrl-down cause the amplitude zoom to change.
77 The \emph{track zoom} affects all tracks.
78 It determines the height of each track.
79 If you change the track zoom, the amplitude zoom compensates so that the audio waveforms look proportional.
80 Ctrl-pgup and Ctrl-pgdown cause the track zoom to change.
82 The \emph{curve zoom} affects the curves in all the tracks of the same type.
83 It determines the value range for curves.
84 First select the automation type (audio fade, video fade, zoom, X,Y) then use the left tumblers for the minimum value and the right tumblers for the maximum value or manually enter the values in the text box.
85 Normally you will use -40.0 to 6.0 for audio fade and 0.0 to 100.0 for video fade.
86 The tumblers change curve amplitude, but the only way to curve offset is to use the fit curves button.
88 The \emph{selection start time}, \emph{selection length}, and \emph{selection end time} display the current selected timeline values.
89 The \emph{alpha slider} allows for varying the alpha value when using colors on the tracks as set in your appearance preferences for Autocolor assets.
90 It has no function without that flag set.
92 \subsection{Track Popup Menu}%
93 \label{sub:track_popup_menu}
95 Each Track has a popup menu.
96 To activate the track popup menu, Right mouse click on the track.
97 The popup menu affects the track whether the track is armed on the patchbay or not.
98 The Track Menu contains a number of options:
101 \item[Attach Effect] opens a dialog box of effects applicable to the type of track of audio or video.
102 \item[Move up] moves the selected track one step up in the stack.
103 \item[Move down] moves the selected track one step down in the stack.
104 \item[Delete track] removes the track from the timeline.
105 \item[Add Track] adds a track of the same media type, audio or video, as the one selected above that track.
106 \item[Find in Resources] that media file will be highlighted in the media folder in the Resources window.
107 \item[Show edit] will point out the exact start and stop points along with the length of the current edit on
108 that track as well as the media name.
109 \item[User title] is used to change the title name. This is really handy for files that have very long and
110 similar names that would get cut off during edits. You can use short names to better differentiate the
111 media. If you select multiple, all those clips will have title name changed.
112 \item[Bar color] allows the user to select a specific color for the title bar. This helps ease of locating.
113 \item[Resize Track] resizes the track.
114 \item[Match Output Size] resizes the track to match the current output size.
118 \subsection{Insertion Point}%
119 \label{sub:insertion_point}
121 The insertion point (figure~\ref{fig:insertion-points}) is the flashing hairline mark that vertically spans the timeline in the program window.
122 Analogous to the cursor on your word processor, the insertion point marks the place on the timeline where the next activity will begin.
123 It is the point where a paste operation takes place.
124 When rendering, it defines the beginning of the region of the timeline to be rendered. It is also the starting point of all playback operations.
126 Normally, the insertion point is moved by clicking inside the main timebar.
127 Any region of the timebar not obscured by labels and in or out points is a hotspot for repositioning the insertion point.
128 In cut and paste editing mode only, the insertion point can be moved also by clicking in the timeline itself.
129 When moving the insertion point the position is either aligned to frames or aligned to samples.
130 When editing video, you will want to align to frames. When editing audio you will want to align to samples. Select your preference by using Settings$\rightarrow$Align cursor on frames.
134 %\includegraphics[width=0.8\linewidth]{name.ext}
135 \begin{tikzpicture}[scale=1, transform shape]
136 \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{images/insertion-point.png}};
137 \node [yshift=-13mm, xshift=-1cm,anchor=east] at (img1.north west) (Pulldowns) {Pulldowns};
138 \node [yshift=-20mm, xshift=-1cm,anchor=east] at (img1.north west) (Transport) {Transport \& Buttons Bar};
139 \node [yshift=-27mm, xshift=-1cm,anchor=east] at (img1.north west) (Timebar) {Timebar};
140 \node [yshift=-33mm, xshift=-1cm,anchor=east] at (img1.north west) (Title) {Media Title };
141 \node [yshift=-43mm, xshift=-1cm,anchor=east] at (img1.north west) (Video) {Video Track};
142 \node [yshift=-63mm, xshift=-1cm,anchor=east] at (img1.north west) (Audio) {Audio Track};
143 \draw [->, line width=1mm] (Pulldowns) edge ([yshift=-13mm] img1.north west);
144 \draw [->, line width=1mm] (Transport) edge ([yshift=-20mm] img1.north west);
145 \draw [->, line width=1mm] (Timebar) edge ([yshift=-27mm] img1.north west);
146 \draw [->, line width=1mm] (Title) edge ([yshift=-33mm] img1.north west);
147 \draw [->, line width=1mm] (Video) edge ([yshift=-43mm] img1.north west);
148 \draw [->, line width=1mm] (Audio) edge ([yshift=-63mm] img1.north west);
151 \caption{Insertion point is at 0:00:25:10 in Hr:Mn:Sec:Frames}
152 \label{fig:insertion-points}
156 \subsection{Editing Modes}%
157 \label{sub:editing_modes}
159 There are 2 different editing methods of operation that affect the insertion point and the editing on the timeline.
160 There is: \emph{drag and drop mode} and \emph{cut and paste mode}.
161 The editing mode is determined by selecting the arrow or the I-beam in the Transport and Buttons bar.
163 If the arrow is highlighted, it enables \emph{drag and drop mode}.
164 In drag and drop mode, clicking in the timeline does not reposition the insertion point.
165 Double-clicking in the timeline selects the entire edit the mouse pointer is over.
166 Dragging in the timeline repositions the edit the mouse pointer is over.
167 This is useful for reordering audio playlists, sorting movie scenes, or moving effects around.
168 To cut and paste in drag and drop mode you need to set in/out points to define an affected region.
170 If the I-beam is highlighted it enables \emph{cut and paste mode}.
171 In cut and paste mode, clicking in the timeline repositions the insertion point.
172 Double-clicking in the timeline selects the entire edit the cursor is over.
173 Dragging in the timeline highlights a region.
174 The highlighted region becomes the region affected by cut and paste operations and the playback range during the next playback operation.
175 Shift-clicking in the timeline extends the highlighted region.
177 When highlighting a region, the start and end points are either aligned to frames or aligned to samples. When editing video, you will want to align to frames. When editing audio you will want to align to samples. Select your preference by using settings$\rightarrow$align cursor on frames.
181 \includegraphics[width=0.4\linewidth]{images/i-beam.png}
182 \caption{I-beam + in/out + labels}
186 \subsection{In/Out Points}%
187 \label{sub:in_out_points}
189 In both editing modes, you can set one In point and one Out point.
190 The in/out points define the affected region.
191 In drag and drop mode, they are the only way to define an affected region.
192 In both cut and paste mode and drag and drop mode, the highlighted area overrides the In/Out points.
193 If a highlighted area and In/Out points are set, the highlighted area is affected by editing operations and the In/Out points are ignored.
194 If no region is highlighted, the In/Out points are used.
195 To avoid confusion, it is better to use either highlighting or In/Out points but not both simultaneously.
197 To set in/out points, go to the timebar and position the insertion point somewhere.
198 Select the In point button.
199 Move the insertion point to a position after the In point and click the Out point button.
200 Instead of using the button bar, you can use the [ or < and ] or > keys to toggle in/out points.
202 If you set the insertion point somewhere else while In/Out points already exist, when you click the In/Out buttons the existing points will be repositioned.
203 If you click on in/out points while a region is highlighted, the insertion point will be ignored and In/Out points will be set at the beginning and at the end of the highlighted area.
205 If you select either the In point or the Out point, the insertion point will jump to that location.
206 After selecting an In point, if you click the In point button the In point will be deleted.
207 After selecting an Out point, if you click the Out point button the Out point will be deleted.
208 Shift-clicking on an In/Out point highlights the region between the insertion point and that In/Out point.
209 If a region is already highlighted, it extends the highlighted region up to that In/Out point.
211 To quickly get rid of In/Out points, without caring about where they are or if they are set or not, just double click on [ and ] buttons.
212 The first click will set a new point or reposition an old one at the insertion point; the second click will delete it. This trick does not work if the In point or the Out point is already set at insertion point.
214 Some of the useful operations concerning the In/Out pointers are listed next.
217 \item[Ctrl-KeyPad\#] if in/out set, KP 2,3,5,6 + Enter, play between In/Out point
218 \item[Shift-Ctrl] loops play between In/Out points
219 \item[Click in/out] while holding the left mouse button, drags In/Out pointer elsewhere
220 \item[Shift-Ctrl] with transport button, loops play between In/Out points
221 \item[Ctrl-t] clears both In/Out points
227 The insertion point and the In/Out points allow you to define an affected region, but they do not let you jump to exact points on the timeline very easily.
228 Labels are an easy way to set exact locations on the timeline that you want to jump to.
229 When you position the insertion point somewhere and click the label button, a new label appears on the timeline.
230 With label traversal you can quickly seek back and forth on the timeline.
232 No matter what the zoom settings are, clicking on the label highlights it and positions the insertion point exactly where you set the label.
233 The lower case letter “L” is a shortcut for the label button.
235 Labels can reposition the insertion point when they are selected but they can also be traversed with the label traversal buttons. When a label is out of view, the label traversal buttons reposition the timeline so the label is visible. Keyboard shortcuts for label traversal are:
238 \item[Ctrl-left] repositions the insertion point on the previous label.
239 \item[Ctrl-right] repositions the insertion point on the next label.
242 The Label folder in the Resources window lists the timestamp of every label.
243 You can edit the label list and add a title for every item using the popup menu.
244 To open the Label info dialog right click on the label icon in the Resources window or directly on the label symbol on the timebar.
245 With labels you can also select regions:
248 \item[Shift-Ctrl-left] highlights the region between the insertion point and the previous label.
249 \item[Shift-Ctrl-right] highlights the region between the insertion point and the next label.
250 \item[Double-clicking] on the timebar between two labels highlights the region between the labels.
251 \item[Shift-clicking] on a label highlights the region between that label and the insertion point.
252 If a region is already highlighted, it extends the highlighted region up to that label.
256 If you hit the label button when a region is highlighted, labels are created at each end of the highlighted region.
257 However, if one end already has a label, then the existing label is deleted.
258 Hitting the label button again when a label is selected deletes it.
259 Manually hitting the label button or L key over and over again to delete a series of labels can get tedious.
260 To delete a set of labels, first highlight a region, then use the Edit$\rightarrow$Clear labels function.
261 If in/out points exist, the labels between the in/out points are cleared and the highlighted region is ignored.
264 In Cut and Paste editing mode only, by enabling \emph{Edit labels} in the settings menu or by disabling the \emph{Lock labels from moving} button on the program toolbar, labels will be cut, copied or pasted along with the selected region of the first armed track.
265 Similarly, if a selected area of a resource is spliced from the viewer to the timeline in a position before labels, these labels will be pushed to the right on the timebar for the length of the selected area.
266 To prevent labels from moving on the timebar, just disable the \emph{Edit labels} option or enable the \emph{Lock labels from moving} button.
269 Originally in Drag and Drop editing mode labels will be always locked to the timebar, even with the \emph{Edit labels} option enabled.
270 This may no longer be correct in all cases.
272 \subsection{Color Title Bars and Assets}%
273 \label{sub:color_title_bars_and_assets}
275 In order to visually aid in locating clips on the timeline that are from the same media file, you can have them auto-colored or self-colored.
276 Use of this feature requires additional memory and cpu on every timeline redraw, therefore it is recommended that smaller computers leave it turned off.
278 For auto-color the color will be based on a hashed filename so that whenever you load this particular media, it will always have the same color on the title bar even if you use proxy.
279 To enable auto-color (figure~\ref{fig:autocolor_assets}, go to Settings$\rightarrow$Preferences, Appearance tab and check on “Autocolor assets”.
280 It is disabled by default.
281 Each media will have a random muted color and there could easily be close duplicates as generated by the program algorithm. There will be no total black, but some dark shades are possible.
283 Screencast shows the red colored checkmark to enable Autocolor assets.
284 In the lower left corner is Highlighting Inversion color which can also be set and is discussed elsewhere.
288 \includegraphics[width=0.8\linewidth]{images/autocolor-assets.png}
289 \caption{Autocolor assets}
290 \label{fig:autocolor_assets}
293 To change a specific clip to your own chosen color, middle mouse button over that clip and an Edits popup will be displayed.
294 Choose the option \emph{Bar Color} to bring up the color picker and choose a color.
295 You can also change the alpha value in the color picker and this alpha takes precedence over the current alpha slider bar value unless it was set to 1.0.
296 The color will only change after you click on the checkmark.
297 The \emph{Bar Color} option works in either Drag and Drop or Cut and Paste editing mode and also works if “Autocolor assets” is not set.
298 In Drag and Drop editing mode, if you select several clips and then bring up the Edits popup with the middle mouse button over a track, you can use the \emph{Bar Color} option to change all of those selected to the same color.
300 To go back to the default colors, uncheck “Autocolor assets” in Preferences, but this does not affect the specially chosen self-colored ones as they are preserved.
301 To change these individually or selectively use the Edits popup \emph{Bar Color} option and click on “Default” in the color picker window. Auto-color does not honor armed/disarmed tracks.
302 Self-color does honor armed/disarmed tracks.
305 There is an \emph{alpha fader slider bar} on the bottom of the main window on the right hand side of what is referred to as the Zoom Panel.
306 With this alpha slider, you can colorize your video and audio tracks to either see only the color at 0.0 or see only the image/audio waveform at 1.0.
307 This slider bar affects all colored areas of the Autocolor assets and the self-colored ones.
308 In the case when a specifically changed edit alpha value is any value except 1, the slider bar will not affect that.
309 Once you use the slider bar, it is activated so gets first shot at any keystrokes in the main window.
310 You deactivate this by simply clicking in a different part of the main window.
312 As long as we are on the subject of color, just a reminder that you can also change the “Highlighting Inversion color” in Settings$\rightarrow$Preferences, Appearance tab.
313 This is on right left hand side of the menu more than half the way down and you can see this in the figure~\ref{fig:autocolor_assets}.
314 That setting defaults to white (ffffff) but sometimes this is a little bright so you can put any hex value in that suits you.
316 Screencast (figure~\ref{fig:autocolor_assets_alpha}a) which shows an example of the Autocolor assets with alpha set to 0.0.
317 In this screencast (figure~\ref{fig:autocolor_assets_alpha}b), the alpha is set to show the image as well as the colors. The pink media file has been self-colored rather than the autocolor to make it easy to see.
321 \begin{minipage}[h]{0.55\linewidth}
322 \center{\includegraphics[width=0.99\linewidth]{images/autocolor-assets_alpha0.png}} \\ a)
324 \begin{minipage}[h]{0.4\linewidth}
325 \center{\includegraphics[width=0.99\linewidth]{images/autocolor-assets_alpha1.png}} \\ b)
327 \caption{An example of the Autocolor assets}
328 \label{fig:autocolor_assets_alpha}
332 \subsection{More about Pulldowns}%
333 \label{sub:more_about_pulldowns}
335 The main window pulldowns are quite obvious in their meaning and usage, so here is only a summary.
336 %TODO Figure 3 shows an example of the pulldowns as displayed in the main window.
340 \item[File] options for loading, saving, and rendering as described in other sections.
341 \item[Edit] edit functions; most of which have shortcuts that you will quickly learn.
342 \item[Keyframes] keyframe options which are described in the Keyframe section.
343 \item[Audio] audio related functions such as “Add track”, “Attach transition/effect”.
344 \item[Video] video functions such as “Default/Attach transition”.
345 \item[Tracks] move or delete tracks are the most often used.
346 \item[Settings] this is mostly described in other sections.
347 However, typeless keyframes are not described
349 They allow keyframes from any track to be pasted on either audio or video tracks.
350 \item[View] for display or modifying asset parameters and values to include Fade, Speed, and Cameras.
351 \item[Window] window manipulation functions.
355 \subsection{Window Layouts}%
356 \label{sub:window_layouts}
358 If you like to use different window layouts than the default for certain scenarios, you can setup, save, and load 4 options.
359 First position your Cinelerra windows where you want them to be and then use the Window pulldown and choose \emph{Save layout}.
360 To use the default name of Layout \#, when the popup comes up, just click the green checkmark OK on the Layout popup menu.
361 If you would like a specific name for your layout so you can remember what it is for, keyin 1-8 english characters that are meaningful to you (english characters mean you can not use the German umlaut or the French accent).
362 Legal characters are a-z, A-z, 0-9, \_ (the underscore character) and a limit of 8 total.
363 If you keyin more than 8, only the last 8 characters will be used.
364 To rename a currently existing layout, use the Save layout option again on the one to rename, and keyin a different name into the text box or blank for the default name (figure~\ref{fig:window_layouts}).
368 \begin{minipage}{.49\linewidth}
369 \center{\includegraphics[width=1\linewidth]{images/window_layout1.png}}\\ a)
370 %TODO High res image replace
372 \begin{minipage}{.49\linewidth}
374 \center{\includegraphics[width=1\linewidth]{images/window_layout2.png}}\\ b)
377 \caption{Window Layouts}
378 \label{fig:window_layouts}
381 The files containing the coordinates for your layouts will automatically be saved in the \texttt{\$HOME/.bcast} directory as \texttt{layout\#\_rc} or \texttt{layout\#\_8chars\_rc}.
383 To use the desired layout, keyin the shortcut or use the Window pulldown and choose \emph{Load layout} and then make your choice.
385 \subsection{Just Playing!}%
386 \label{sub:just_playing_}
387 What if you are just using Cinelerra to play media and listen to tunes?
388 After loading your media, just hit the space bar to start playing and then again to stop playing.
389 Other than that, use the transport buttons on the top bar of the Program window.
390 Other ways, not previously mentioned to “play around” are described next.
392 \subsubsection*{Repeat Play / Looping Method}%
393 \label{ssub:repeat_play_looping_method}
395 There are 2 methods for repeat play or looping on the timeline and 1 method for both the Compositor and the Viewer. This works in conjunction with any of the transport buttons or shortcuts in either forward or reverse as usual. The 1 exception is that the Shift button can not be used to either add or subtract audio within the repeat area.
398 \emph{Shift-L on the Timeline}, repeats the selection per the algorithm outlined next.
399 When setup, long green lines are displayed across the entire set of tracks which shows the start and end of the loop.
401 \item Highlighted selection repeats loop and takes precedence over all other possibilities.
402 If the cursor is before the highlighted area, it will play up to the area and then repeat the highlighted section.
403 If the cursor is after the highlighted section, play will start at the beginning until you get to the
404 highlighted section and then repeat.
405 \item When both In and Out pointers are set, it repeats the section between [ and ].
406 \item If only one of the In or Out pointers is set, it loops the whole media.
409 \emph{Ctrl+Shift+transport button on the Timeline, Viewer, and Compositor}
412 \item Repeats entire media if no In or Out pointer set.
413 \item In and Out pointer set, repeats area between pointers.
414 \item Only In pointer set, repeats from In to end of media.
417 \subsubsection*{Last Play Position Memory}%
418 \label{ssub:last_play_position_memory}
421 When you play media, the start/end playback positions are saved as if they had been made into temporary labels.
422 They appear on the timeline as purple/yellow hairline markers representing the last start/end labels for the last playback.
423 They can be addressed as if they are label markers using:
426 \item[Ctrl$\leftarrow$] tab to the label before the cursor, that is “play start”
427 \item[Ctrl$\rightarrow$] tab to the label after the cursor, that is “play stop”
431 You can use these markers for re-selection.
432 Additionally, the selection region can be expanded by “pushing” the markers using single frame playback.
433 Use frame reverse (keypad 4) to push the start play marker backward, or use frame forward (keypad 1) to push the end play marker forward.
435 Another handy feature is to use the combination of Ctrl-shift-arrow (left or right) to select the media from the cursor position (red hairline) to the start or end marker by “tabbing” to the label markers.
436 For example, tab to the beginning of the previous play region using Ctrl-left-arrow to move the cursor to the beginning of last play, then press Ctrl-Shift-right-arrow to tab to the end of the playback region.
437 Now you can clip/play/expand or edit the previous playback selection.
440 \item[Ctrl SHIFT$\rightarrow$] tab cursor to label right of cursor position and expand selection
441 \item[Ctrl SHIFT$\leftarrow$] tab cursor to label left of cursor position and expand selection
445 \subsubsection*{Playback Speed Automation Support}%
446 \label{ssub:playback_speed_automation_support}
449 The speed automation causes the playback sampling rate to increase or decrease to a period controlled by the speed automation curve.
450 This can make playback speed-up or slow-down according to the scaled sampling rate, as “time is multiplied by speed” (speed X unit\_rate).
452 \subsubsection*{Alternative to using Numeric Keypad for Playing}%
453 \label{ssub:alternative_to_using_numeric_keypad_for_playing}
456 For the keyboards without a numeric keypad or if you prefer to use keys closer to where you normally type, there are alternative keys for the play/transport functions. These are listed below.
459 Alt + m&=&stop playback\\
461 Alt + j&=&forward single frame\\
463 Alt + k&=&forward slow playback\\
465 Alt + l&=&forward normal playback\\
467 Alt + ;&=&forward fast playback\\
469 Alt + u&=&reverse single frame\\
471 Alt + i&=&reverse slow playback\\
473 Alt + o&=&reverse normal playback\\
475 Alt + p&=&reverse fast playback\\
477 \begin{minipage}{.45\linewidth}
478 + Shift key, results in the reverse of whether audio is included or not.
481 + Ctrl, results in the transport function operating only between the in/out pointers.
484 \section{Compositor Window}%
485 \label{sec:compositor_window}
487 The Compositor window (figure~\ref{fig:compositor_window}) displays the output of the timeline.
488 It is the interface for most compositing operations or operations that affect the appearance of the timeline output.
489 Operations done in the Compositor affect the timeline but do not affect clips.
493 \includegraphics[width=0.99\linewidth]{images/compositor_window.png}
494 \caption{Upper right side contains navigation tools / bottom bar has manu control functions}
495 \label{fig:compositor_window}
498 \subsection{Compositor controls}%
499 \label{sub:compositor_controls}
502 Navigating the video output does not affect the rendered output; it just changes the point of view in the compositor window.
503 The video output has several navigation functions.
504 The video output size is either locked to the window size or unlocked with scrollbars for navigation.
505 The video output can be zoomed in and out and panned.
506 If it is unlocked from the window size, middle clicking and dragging anywhere in the video pans the point of view. Hitting the + and - keys zooms in and out of the video output.
508 Underneath the video output are copies of many of the functions available in the main window.
509 In addition there is a zoom menu and a tally light.
510 The zoom menu jumps to all the possible zoom settings and, through the Auto option, locks the video to the window size.
511 The zoom menu does not affect the window size.
512 The tally light turns red when rendering is happening. This is useful for knowing if the output is current.
513 Right clicking anywhere in the video output brings up a menu with all the zoom levels, zoom auto mode, and some other options.
514 In this particular case the zoom levels resize the entire window and not just the video.
515 The \emph{Reset camera} and \emph{Reset projector} options center the camera and projector.
516 The \emph{Hide controls} option hides everything except the video.
518 On the left of the video output is a toolbar specific to the compositor window. The toolbar has the following functions:
520 \emph{Protect video} --- disables changes to the compositor output from clicks in it. It is an extra layer on top of the track arming toggle to prevent unwanted changes.
522 \emph{Magnifying glass} --- this tool zooms in and out of the compositor output without resizing the window. If the video output is currently locked to the size of the window, clicking in it with the magnifying glass unlocks it and creates scrollbars for navigation.
525 \item[Left clicking] in the video zooms in;
526 \item[Ctrl clicking] in the video zooms out;
527 \item[Rotating the wheel] on a wheel mouse zooms in and out.
530 In addition, if you enable the Magnifying glass, a zoom slider for fine-viewing appears below these tools.
531 It allows you to zoom to most any size.
532 A “zoom slider” will pop-up towards the bottom on the left-hand side of the Compositor when you enable “Zoom view” via the magnifying glass or when you click on the icons for “Adjust camera automation” or “Adjust projector automation”.
533 This will allow for adjusting the amount of zoom at any level between 0.01 and 100 based on a logarithmic scale.
534 When using the zoom slider, the number by which the view is zoomed can be seen in the textbox where the original-also-working \% zoom is located.
535 The zoom slider size is in the form of “times”, such as x 0.82 which indicates that the picture is zoomed to 82/100th of the original size as seen in Settings$\rightarrow$Format.
536 Once you have set the zoom to the desired size, use the vertical and horizontal scroll bars to position the view as needed.
538 Screencast (figure~\ref{fig:zoom_slider}) shows below at a zoom slider bar with the diamond shaped slider in the middle. Note
539 that the magnifying glass is enabled which automatically pops-up the slider.
543 \includegraphics[width=0.99\linewidth]{images/zoom_slider.png}
544 \caption{A zoom slider bar with the diamond shaped slider in the middle}
545 \label{fig:zoom_slider}
547 The Format shows a large 5204x3468 video and the box at the arrow shows x 0.82 size.
550 \item[Masks tool] this tool brings up the mask editing tool. Enable “Show tool info” to see the options.
551 \item[Camera] the camera brings up the camera editing tool. Enable “Show tool info” to see options.
552 \item[Projector] the projector brings up the projector editing tool. Enable “Show tool info” for options.
553 \item[Crop tool] this tool brings up the cropping tool. “Show tool info” must be enabled to use this tool.
554 \item[Eyedropper] brings up the eyedropper. The eyedropper detects whatever color is under it and stores it
555 in a temporary area. Enabling the “Show tool info” shows the currently selected color. Click
556 anywhere in the video output to select the color at that point. The eyedropper not only lets you see
557 areas which are clipped, but its value can be applied to many effects. Different effects handle the
558 eyedropper differently.
559 \item[Show tool info] this tool button works only in conjunction with the other controls on the compositor.
560 Based on what compositing control is active, the toggle button will activate or deactivate the
561 appropriate control dialog box. Controls with dialog boxes are: Edit mask, Camera and Projector
562 automation, Crop control, and Get color.
563 \item[Safe regions tool] draws the safe regions in the video output. This does not affect the rendered output
566 \subsection{Compositing}%
567 \label{sub:compositing}
569 A large amount of Cinelerra's editing is directed towards compositing.
570 Changing the resolution of a show, making a split screen, and fading in and out among other things are all compositing operations in Cinelerra.
571 Cinelerra detects when it is in a compositing operation and plays back through the compositing engine only then.
572 Otherwise, it uses the fastest decoder available in the hardware.
574 Compositing operations are done on the timeline and in the Compositor window. Shortcuts exist in the Resource window for changing some compositing attributes.
575 Once some video files are on the timeline, the compositor window is a good place to try compositing.
577 \subsection{Camera and Projector}%
578 \label{sub:camera_and_projector}
580 In the compositor window, two of the more important functions are the adjust camera automation and the adjust projector automation which control operation of the camera and projector.
581 Cinelerra's compositing routines use a "temporary", a frame of video in memory where all graphics processing is performed.
582 Inside Cinelerra's compositing pipeline, the camera determines where in the source video the "temporary" is copied from.
583 The projector determines where in the output the "temporary" is copied to.
584 Each track has a different "temporary" which is defined by the track size. By resizing the tracks you can create split screens, pans, and zooms.
586 In compositing, each frame can be digitally altered using various options, such as a color correction plugin (figure~\ref{fig:camera_and_projector}).
587 Once the image has been transformed, the finished image is then projected to the compositor thus creating a modified version of the original.
591 \includegraphics[width=0.8\linewidth]{images/camera_and_projector.png}
592 \caption{Camera and Projector}
593 \label{fig:camera_and_projector}
596 When editing the camera and projector in the compositing window, the first track with record enabled is the track affected.
597 Even if the track is completely transparent, it is still the affected track.
598 If multiple video tracks exist, the easiest way to select one track for editing is to Shift-click on the record icon of the track.
599 This solos the track.
601 The purpose of the projector is to place the contents of the "temporary" into the project's output.
602 The intent of the projector is to composite several sources from the various tracks into one final output track.
603 The projector alignment frame is identical to the camera's viewport, except that it guides where on the output canvas to put the contents of each temporary.
605 \subsubsection*{Compositing projector controls}%
606 \label{ssub:compositing_projector_controls}
608 When the projector button is enabled in the compositor window, you are in projector editing mode.
609 A guide box appears in the video window.
610 Dragging anywhere in the video window causes the guide box to move along with the video.
611 Shift-dragging anywhere in the video window causes the guide box to shrink and grow along with the video. Once you have positioned the video with the projector, you may want to work with adjusting the camera automation.
613 \subsubsection*{Compositing camera controls}%
614 \label{ssub:compositing_camera_controls}
616 Select the camera button to enable camera editing mode.
617 In this mode, the guide box shows where the camera position is in relation to past and future camera positions but not where it is in relation to the source video.
618 Dragging the camera box in the compositor window does not move the box but instead moves the location of the video inside the box.
619 The viewport is a window on the camera that frames the area of source video to be scanned.
620 The viewport is represented as a red frame with diagonal cross bars.
622 \subsubsection*{Viewport sizes}%
623 \label{ssub:viewport_sizes}
625 The size of the viewport is defined by the size of the current track.
626 A smaller viewport (640x400) captures a smaller area.
627 A larger viewport (800x200) captures an area larger than the source video and fills the empty spaces with blanks.
628 Once we have our viewport defined, we still need to place the camera right above the area of source video we are interested on. To control the location of the camera:
631 \item Open the compositor window with a track selected.
632 \item Select the camera button to enable camera editing mode.
633 \item Drag over the display window.
636 When we drag over the viewport in the compositor window, the way it looks is as if you “move the camera with the mouse”. The viewport also moves with it.
638 In the compositing window, there is a popup menu of options for the camera and projector. Right click over the video portion of the compositing window to bring up the menu.
641 \item[Reset Camera] causes the camera to return to the center position.
642 \item[Reset Projector] causes the projector to return to the center.
645 \subsubsection*{The camera and projector tool window}%
646 \label{ssub:the_camera_and_projector_tool_window}
648 The camera and projector have shortcut operations that do not appear in the popup menu and are not represented in video overlays.
649 These are accessed in the \emph{Show tool info} window.
650 Most operations in the Compositor window have a tool window which is enabled by activating the question mark icon.
652 \begin{wrapfigure}[12]{O}{0.3\linewidth}
654 \includegraphics[width=0.9\linewidth]{images/camera_tool.png}
655 \caption{Camera and Projector tool}
656 \label{fig:camera_tool}
659 In the case of the camera and projector, the tool window shows x, y, and z coordinates.
660 By either tumbling or entering text directly, the camera and projector can be precisely positioned.
661 Justification types are also defined for easy access.
662 A popular justification operation is upper left projection after image reduction.
663 This is used when reducing the size of video with aspect ratio adjustment.
664 In the last figure you see the choices for justification as the red stripe in the 6 boxes in the order of left, center horizontal, right, top, center vertical, and bottom.
666 The translation effect allows simultaneous aspect ratio conversion and reduction but is easier to use if the reduced video is put in the upper left of the “temporary” instead of in the center.
667 The track size is set to the original size of the video and the camera is centered.
668 The output size is set to the reduced size of the video.
669 Without any effects, this produces just the cropped center portion of the video in the output.
671 The translation effect is dropped onto the video track. The input dimensions of the translation effect are set to the original size and the output dimensions are set to the reduced size.
672 To put the reduced video in the center subsection that the projector shows would require offsetting out x and out y by a complicated calculation.
673 Instead, we leave out x and out y at 0 and use the projector's tool window.
674 By selecting left justify and top justify, the projector displays the reduced image from the top left corner of the “temporary” in the center of the output.
679 Masks select a region of the video for either displaying or hiding.
680 Masks are also used in conjunction with another effect to isolate the effect to a certain region of the frame.
681 A copy of one video track may be delayed slightly and unmasked in locations where the one copy has interference but the other copy does not.
682 Color correction may be needed in one subsection of a frame but not another.
683 A mask can be applied to just a subsection of the color corrected track while the plain track shows through.
684 Removal of boom microphones and airplanes are a common kind of mask uses.
686 The order of the compositing pipeline affects what can be done with masks. Mainly, masks are performed on the temporary after effects and before the projector. This means multiple tracks can be bounced to a masked track and projected with the same mask.
688 The compositing pipeline graph has a masking stage.
689 There are 8 possible masks per track. Each mask is defined separately, although they each perform the same operation, whether it is addition or subtraction.
691 \subsubsection*{Compositing pipeline with masks}%
692 \label{ssub:compositing_pipeline_with_masks}
695 \item To define a mask, go into the Compositor window and enable the mask toggle.
696 \item Next go over the video and click-drag.
697 Note: You have to select automatic keyframes if you wish to move a mask over time.
698 If you do not, the mask position will be the same even if you edit at different places on the timeline.
699 \item Click-drag again in another part of the image to create each new point of the mask.
700 While it is not the conventional Bezier curve behavior, this masking interface performs in realtime what the effect
701 of the mask is going to be. Creating each point of the mask expands a rubber band curve.
703 Once points are defined, they can be moved by Ctrl-dragging in the vicinity of the corner.
704 Shift-drag allows you to move existing points to new locations, thus altering the shape of the mask.
705 However, this does not smooth out the curve.
706 The In/Out points of the Bezier curve are accessed by Ctrl-dragging in the vicinity of the corner.
707 Then Ctrl-dragging near the In or Out point causes the point to move.
708 Shift-drag activates bezier handles to create curves between mask points.
710 \item Finally once you have a mask, the mask can be translated in one piece by Alt-dragging the mask.
711 The effect of the mask is always on.
712 Ctrl-Alt-drag translates an entire mask to a new location on the
716 The masks have many more parameters which could not be represented with video overlays.
717 These are represented in the tool window for masks.
718 Selecting the question mark when the mask toggle is highlighted brings up the mask options window (figure~\ref{fig:mask_window}).
722 \includegraphics[width=0.6\linewidth]{images/mask_window.png}
723 \caption{Mask options window}
724 \label{fig:mask_window}
727 The mode of the mask determines if the mask removes data or makes data visible.
728 If the mode is \emph{Subtract alpha}, the mask causes video to disappear.
729 If the mode is \emph{Multiply alpha}, the mask causes video to appear and everything outside the mask to disappear.
731 The \emph{Value of the mask}, set by a slider bar, determines how extreme the subtraction or addition is.
732 In the subtractive mode, higher values subtract more alpha.
733 In the additive mode, higher values make the region in the mask brighter while the region outside the mask is always hidden.
735 The \emph{Mask number} determines which one of the 8 possible masks we are editing.
736 Each track has 8 possible masks.
737 When you click-drag in the compositor window, you are only editing one of the masks.
738 Change the value of mask number to cause another mask to be edited.
739 The previous mask is still active but only the curve overlay for the currently selected mask is visible.
740 When multiple masks are used, their effects are OR-ed together.
741 Every mask in a single track uses the same value and mode.
743 The edges of a mask are hard by default but this rarely is desired.
744 The \emph{Feather} parameter determines how many pixels to feather the mask.
745 This creates softer edges but takes longer to render.
747 Two checkbox options are \emph{Apply mask} before plugins and \emph{Disable OpenGL masking}.
748 Note that the OpenGL mask renderer is of low quality and only suitable as a preview for initial work.
749 For fine-tuning of masks (with large feather values) \emph{OpenGL masking} should be switched off so that the software renderer is used instead.
751 Finally, there are parameters which affect one point on the current mask instead of the whole mask.
752 These are \emph{Delete}, \emph{X}, and \emph{Y}.
753 The active point is defined as the last point dragged in the compositor window.
754 Any point can be activated merely by Ctrl-clicking near it without moving the pointer.
755 Once a point is activated, \emph{Delete} deletes it and \emph{X}, \emph{Y} allow repositioning by numeric entry.
757 \subsection{Cropping}%
762 Cropping reduces the visible picture area of the whole project. It changes the values of the output dimensions (width and height in pixels) and the X, Y values of the projector in a single operation. Since it changes project settings it affects all the tracks for their entire duration and it is not keyframable.
766 \includegraphics[width=0.5\linewidth]{images/cropped_area.png}
767 \caption{Cropped area is in the top right corner}
768 \label{fig:cropped_area}
772 \item Enable the crop toggle and the tool window in the compositor window to display the Crop control dialog box.
773 \item Click-drag anywhere in the video to define the crop area. This draws a rectangle over the video.
774 \item Click-drag anywhere in the video to start a new rectangle.
775 \item Click-drag over any corner of the rectangle to reposition the corner.
776 \item Alt-click in the cropping rectangle to translate the rectangle to any position without resizing it.
777 \item The crop control dialog allows text entry of the top left coordinates (X1,Y1) and bottom right coordinates (X2,Y2) that define the crop rectangle.
778 When the rectangle is positioned, hit the \emph{Do it} button in the crop control dialog to execute the cropping operation: the portion of the image outside the rectangle will be cut off and the projector will make the output fit the canvas.
779 \item The Set Format window will show the new project Width and Height values.
780 \item The projector tool window will show the new X, Y values.
781 \item Track size will remain unchanged.
784 To undo the cropping enter the original project dimensions in the Set Format window and click on Reset projector in the popup menu of the compositor.
786 \subsection{Safe Regions}%
787 \label{sub:safe_regions}
789 On consumer displays the borders of the image are cut off and within the cut-off point is a region which is not always square like it is in the compositor window.
790 The borders are intended for scratch room and vertical blanking data.
791 You can show where these borders are by enabling the safe regions toggle.
792 Keep titles inside the inner rectangle and keep action inside the outer rectangle.
796 \includegraphics[width=0.6\linewidth]{images/safe_regions.png}
797 \caption{Note the black frames showing the safe regions}
798 \label{fig:safe_regions}
801 \subsection{Track and Output Sizes}%
802 \label{sub:track_and_output_sizes}
805 The size of the temporary and the size of the output in our compositing pipeline are independent and variable.
806 The camera's viewport is the temporary size.
807 Effects are processed in the temporary and are affected by the temporary size.
808 Projectors are rendered to the output and are affected by the output size.
809 If the temporary is smaller than the output, the temporary is bordered by blank regions in the output.
810 If the temporary is bigger than the output, the temporary is cropped.
812 \subsubsection*{Track size}%
813 \label{ssub:track_size}
815 The temporary size is defined as the track size.
816 Each track has a different size.
817 Right click on a track to bring up the track's menu.
818 Select \emph{Resize Track} to resize the track to any arbitrary size.
819 Alternatively you can select \emph{Match output size} to make the track the same size as the output.
820 If you resize a track, then its appearance on the compositor changes accordingly.
821 Using the relationship between the track and the project's output size you can effectively reduce or magnify the size of a particular track with regards to the final output and therefore create visual effects like split screens, pans, and zooms on the compositor.
823 \subsubsection*{Output size}%
824 \label{ssub:output_size}
827 The output size is set in either File$\rightarrow$\emph{New} when creating a new project or Settings $\rightarrow$ \emph{Format}.
828 In the Resources window there is another way to change the output size.
829 Right click on a video asset and select \emph{Match project size} to conform the output to the asset.
830 When new tracks are created, the track size always conforms to the output size specified by these methods.
832 When rendering, the project's output size is the final video track size where the temporary pipeline is rendered into.
833 If the output size is larger than the temporary then the image transferred from the temporary will fit inside the Output Track.
834 Any space left on the Output is left blank.
835 If the output size is smaller than the temporary then some of the temporary video will be cropped.
837 \section{Viewer Window}%
838 \label{sec:viewer_window}
840 The viewer window (figure~\ref{fig:viewer_window}) is a place to load and preview your source media and clips.
841 Here you can quickly browse through an asset using the slider control, focus on an area of work with the preview region or you use editing controls to cut and paste segments into the project or create a clip for later use.
845 \includegraphics[width=0.99\linewidth]{images/viewer_window.png}
846 \caption{Viewer Window}
847 \label{fig:viewer_window}
850 To open the viewer window, go to Window$\rightarrow$Show Viewer.
851 The display is the area on the viewer where you actually see media playing.
852 Before you can play any media, you must first load it on the viewer.
853 To load media into the viewer:
856 \item Open the resources manager window and select the Media folder or the Clip folder.
857 \item Drag a file from the Media or the Clip folder to the viewer.
860 You can also load media onto the viewer by right clicking on a file in the asset manager and selecting View from the popup menu or by double clicking on the icon.
861 Once your media loads you will see it appear on the display.
862 To play, rewind or forward through it use the slider control or the transport controls.
863 You can change the media display size by right clicking on the screen to activate the display zoom menu.
864 Select zoom levels of 50\%, 100\% or 200\% of the original media size.
866 When displaying media, the viewer uses the project's defined output size format settings, not the original assets format.
867 You can change the project's output to match the asset's format using the match project size menu option in the asset manager.
868 In the Viewer you can move around in the source media or clips and select regions to paste into the project.
869 Operations done in the viewer affect a temporary EDL or a clip, but not the timeline.
871 \section{Options in both the Compositor and Viewer Windows}%
872 \label{sec:options_in_both_the_compositor_and_viewer_windows}
874 The next sections describe capabilities that are available in both the Compositor and Viewer windows.
876 \subsection{Click to Play in Viewer and Compositor}%
877 \label{sub:click_to_play_in_viewer_and_compositor}
879 In both the Viewer and Compositor windows, there is an arrow on the right hand side of the other buttons in the edit panel.
880 Mouse action can be toggled on/off via this arrow, which has a tooltip of “Click to play” with the letter ‘p’ to be used for a shortcut.
881 When enabled there is a gold-colored shadow around the usual green-colored arrow.
882 The purpose of enabling this capability is to make it really easy to play the media in the window by just using the left mouse button to start or stop the play.
883 The entire main canvas surface becomes a big play button!
884 Although the default is initially off, a good reason to enable this, at least temporarily, is so that you can quickly review your video before a render.
887 \item[left click] forward play or stop forward play if already playing
888 \item[middle wheel] single frame forward or back
889 \item[middle click] reverse play or stop reverse play if already playing.
890 Note that some 3 button mice do not accommodate a middle click for reverse but you can find out by testing from a terminal window with the command xev.
893 \subsection{Timebar + Preview Region Usage in the Compositor and Viewer}%
894 \label{sub:timebar_preview_region_usage_in_the_compositor_and_viewer}
896 The navigation features of the Viewer and Compositor behave very similarly.
897 Each has a timebar and slider below the video output.
898 The timebar represents the entire time covered by the program.
899 When you have a file loaded in the main window and then slide around it using the compositor slider. The insertion point in the main window follows the compositor.
901 Labels and in/out points are fully supported in the viewer and compositor.
902 In the viewer and compositor, labels and in/out points are displayed in the timebar.
903 But there is a difference between the viewer and compositor in that the compositor reflects the state of the program while the viewer reflects the state of a clip but not the program.
904 When you hit the label button in the compositor, the label appears both in the compositor timebar and the program timebar.
905 When you select a label or in/out point in the compositor, the insertion point in the program window jumps to that position.
907 The timebar in the compositor and the viewer can be used to define a region known as the preview region.
908 This preview region is the region of the timeline which the slider affects.
909 By using a preview region inside the entire program and using the slider inside the preview region you can very precisely and relatively quickly seek in the compositor and viewer.
910 The preview region can be especially handy when you have large pieces of media by previewing one section, then move to the next section.
912 The active preview region is the zone between the edge bars.
913 The full range of the window slider pointer action is down-scaled to the active preview region.
914 To use this, set the preview active region as a media time region of interest.
915 Now addressing the timebar with the mouse only operates as if the timebar is zoomed to the scale of the active preview zone.
916 This has the effect of magnifying the interesting media in terms of the mouse pointer addressing, for fine-tuning.
920 \includegraphics[width=0.8\linewidth]{images/timebar1.png}
921 \caption{The arrow above the green colored “play forward” transport button is on the timebar.}
925 To create and use a preview region, hold down the right mouse button inside the timebar on either end of the timebar close to the edge until you see the resize pointer.
926 While continuously holding the right mouse button down, drag the arrow away from the end towards the middle of the timebar until you have the desired area outlined.
927 The slider will be a light blue color while the selected preview region will remain the same initial black color.
928 There are either a left or right resize pointer and you can click and drag in either direction to expand or shrink the region.
932 \includegraphics[width=0.8\linewidth]{images/timebar2.png}
933 \caption{ A left-facing arrow on the right side of the blue slider bar is used to drag the bar.}
939 \includegraphics[width=0.8\linewidth]{images/timebar3.png}
940 \caption{Here you can see the right-facing arrow used to drag the other end of the slider bar.
941 The black area between is the actual preview area.}
945 You can slide the preview zone left or right by holding the right mouse button over the preview zone where you will see a fat double headed arrow.
946 The selected area will move left or right as you drag and still retains the same size.
950 \includegraphics[width=0.8\linewidth]{images/timebar4.png}
951 \caption{Note the double-headed fat arrow in the preview area used to move the selection over.}
958 \item If no preview region is set, increasing the length of the media on the timeline by inserting media or
959 appending, has no effect on the non-selected preview region. That is, you will not see the blue slider
960 suddenly mysteriously appear.
961 \item If the preview region is set, when you replace the current project or file, the preview region is
962 automatically disabled.
963 \item If the preview region is set, when you append data or change the size of the current project, the
964 preview region may appear to either move, shrink, or grow depending on the new length of the
965 media on the timeline.
966 \item To disable the preview region, you will have to drag both the right and the left blue slider bars
967 completely to their corresponding end so that there is no longer any visible blue slider.
970 A good method for taking advantage of the preview region is described here.
971 On the main track canvas, scroll to the beginning of the area of interest.
972 When you do that, you will see in the compositor the red indicator line of that location.
973 Now in the compositor window, right mouse drag from the left side of the edge of the timebar to create the blue slider bar line up to the red indicator.
974 Back in the main track canvas, move to the location of the area you want to end looking and again you will see the red indicator line in the compositor.
975 Use the right mouse drag from the right to stop at that end point. Using this method is often easier than continuous usage of the single frame move which can be tedious.
977 One last interesting item of note --- sometimes you may wish to see just a little more that is outside the preview region and you can do so! You can actually move outside the compositor or viewer window space and view more, at least until you hit the end of the monitor space.
979 \section{Resources Window}%
980 \label{sec:resources_window}
982 Effects, transitions, labels, clips, proxies, user bins, and media assets are accessed here.
983 Most of the resources are inserted into the project by dragging them out of the resource window.
984 Management of resource allocation is also performed here.
988 \includegraphics[width=0.99\linewidth]{images/resource_window.png}
989 \caption{Folders are in the first column with contents of that folder on the right hand side}
990 \label{fig:resource_window}
993 The resources window is divided into two areas (figure~\ref{fig:resource_window}.
994 One area lists folders and another area lists the folder contents.
995 Going into the folder list and clicking on a folder updates the contents area with the contents of that folder.
996 The folders can be displayed as icons or text.
997 There are several variations for displaying the contents; select \emph{Display text}, \emph{Display icons}, \emph{Display icons packed}, \emph{Display icons list} as types of display for the assets or plugins.
998 Use the letter “v” to easily scroll through the choices and see which you prefer.
999 You can also get to these options from the menu by a right mouse click in the window.
1001 A \emph{Search} option is available for any of the folders in the Resources window (and when using “Attach effect” on the main track canvas for the Plugins).
1002 As you type in characters a match is made with that substring.
1003 Names that do not match are filtered out making it a lot easier to find the item you are looking for.
1004 The characters can be any where within the phrase and it does not matter if upper or lower case.
1006 Other options you will see if you \textbf{right mouse click in the folder} which brings up the menu are described next.
1009 \item[ Load files ] for convenience to load files same as from the main window so you do not have to move the mouse so far in case you have multiple monitors.
1010 \item[Display text/icons] as described previously for format variations preference.
1011 \item[Select] options are All, Used, Unused, and None. This gives you the capability to have a set of the
1012 contents highlighted for ease of use so you can see what is or is not loaded, or unset the highlight.
1013 \item[Sort items] to sort the contents of the folder alphabetically. Especially helpful if you accidentally did a
1014 drag and changed your mind or dropped suddenly so that the assets no longer look nicely aligned.
1015 \item[Copy/Paste file list] use to easily copy a set of files or paste a set of files between Cin and windows.
1016 \item[Snapshot/Grabshot] described elsewhere in more detail.
1019 Using the right mouse click to bring up a menu in the folder area, you can also switch from Display text to Display icons, Sort items and create, delete and manipulate user defined folders/bins. Select Folder to create a user Folder or modify an existing folder.
1021 If you \textbf{right mouse click on a highlighted/selected resource}, several options are available depending on whether the resource is an effect or transition or a piece of media.
1022 You can highlight several for some options so that it is applicable to all of them, such as Info.
1023 Those listed immediately below are the available choices for media assets.
1027 \item[Info] provided basic Asset information; details are described later in this section.
1028 \item[Display text/icons] same as mentioned previously.
1029 \item[Sort] same as mentioned previously.
1030 \item[Rebuild index] if you switch from/to using ffmpeg/native for media loading, you should rebuild
1031 indexes. Or if you get hangs on media or strange looking tracks, you might want to rebuild indexes.
1032 \item[View] use this option to bring up the media in the Viewer window.
1033 \item[View in new window] in order to not overwrite your current viewer window, you can open any
1034 number of viewer windows to simultaneously view multiple media.
1035 \item[Open mixers] when you record with multiple cameras setup, you can work with them most easily
1036 using the mixer mode. This is described in detail
1038 \item[Match] if you need to change your media parameters you can choose from the following: Match frame
1039 rate, Match project size, Match all
1040 \item[Remove] use to Remove the asset from the project or with caution, to Remove from disk permanently.
1043 In the case of Effects or Transitions, a right mouse click on a highlighted selection leads to an \emph{Info} button which gives a short 1 line description of what the effect/transition can be used for.
1044 For Labels, choices are \emph{Edit}, \emph{Label}, and \emph{Go to}.
1045 For Clips, \emph{Nest} and \emph{UnNest} as described elsewhere are available.
1047 \subsection{Info Asset Details}%
1048 \label{sub:info_asset_details}
1050 The asset \emph{Info} window also can be used to display detailed information about the selected/highlighted media file --- available for any loaded media of type mpeg or ffmpeg.
1051 This is extremely helpful in determining what type of media it is, size, resolution, format, and type/number of audio streams. It is especially useful for multiple program streams. You can have the info window popped on several of your assets simultaneously.
1053 Figure~\ref{fig:info_asset_details} shows the “Detail” box to click on the left side and a simple, typical output in the Asset Detail window on the right side. Also, note the highlighted media in the Resources window.
1055 \begin{figure}[htpb]
1057 \includegraphics[width=0.99\linewidth]{images/info_asset_details.png}
1058 \caption{The “Detail” box}
1059 \label{fig:info_asset_details}
1062 \subsection{User Folders/Bins}%
1063 \label{sub:user_folders_bins}
1065 Creating folders that are more specific to a particular project is helpful in better organizing your work.
1066 This can be done by utilizing the files already loaded to the “master” Media or Clips folders in the Resources window.
1067 Below are steps illustrating an easy way to set up a folder.
1069 %TODO Below part need to be rewriten
1071 \item In the Resources window (figure~\ref{fig:folder_resources}), in the location of the Video/Audio effects and Media folders, bring up the “Folder...” popup by clicking the right mouse button.
1072 Highlight, then click “New Media or Clips”.
1073 \begin{figure}[htpb]
1074 \begin{minipage}{.55\linewidth}
1076 \includegraphics[width=0.9\linewidth]{images/folder_resources.png}
1077 \caption{Highlight, then click “New Media or Clips”.
1078 “Modify folder” can be used to change the name of a folder.
1079 “Delete folder” in the popup can be used to delete a folder.
1081 \label{fig:folder_resources}
1084 \begin{minipage}{.35\linewidth}
1088 \includegraphics[width=0.9\linewidth]{images/folder_new.png}
1089 \caption{Type in your folder name in the textbox. Click OK.}
1090 \label{fig:folder_new}
1093 \item In the “New folder” popup as shown below (figure~\ref{fig:folder_new}), type in your folder name in the textbox. Click OK.
1094 \begin{figure}[htpb]
1097 \item Select the “master” Media folder to see which files are currently loaded, figure~\ref{fig:folder_master}.
1098 Highlight the files there that you want to copy to your new folder (named Photos of Garden).
1099 Drag the files to the left and when you see the Photos of Garden folder become highlighted, then drop there.
1100 You can drag and drop any of the media from the “master” Media at any time.
1101 It flashes when the drop is successful.
1104 \begin{wrapfigure}[12]{O}{0.53\linewidth}
1107 \includegraphics[width=0.9\linewidth]{images/folder_master.png}
1108 \caption{The “master” Media folder}
1109 \label{fig:folder_master}
1112 Adding the Shift key before the actual drop, will allow for relative path filenames instead of full path.
1113 But you might want to include or eliminate some of the media that exists in one of the folders that you have set up already.
1114 In this case you will want to click on the “Modify folder” in the popup.
1115 When you bring up the Modify folder window, if you already have files in that folder, you will see filters that were generated automatically when you did a Drag and Drop.
1118 \begin{figure}[htpb]
1120 %\includegraphics[width=0.8\linewidth]{name.ext}
1121 \begin{tikzpicture}[scale=1, transform shape]
1122 \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.7\linewidth]{images/folder_modify.png}};
1123 \node [yshift=-29mm, xshift=-1cm,anchor=east] at (img1.north west) (Arrow1) {\parbox{8em}{Here is the filter that was generated with the original drop }};
1124 \node [yshift=-85mm, xshift=0cm,anchor=east] at (img1.north west) (Arrow2) {\parbox{10em}{When you click on the Value portion of that filter, the entire set of files that are covered by the filter rules pops up. Now you can highlight a target filename that you would like to remove, and just erase that line and check the green checkmark for OK.}};
1125 \draw [->, line width=1mm] (Arrow1) edge ([yshift=-29mm] img1.north west);
1128 \caption{Modify target}
1129 \label{fig:insertion-points}
1132 To delete the entire set of files listed on the filter rule, highlight the rule line and hit the “Del” button.
1133 To add a new filter rule, click on the “Add” button which will automatically add a default line after any current lines.
1134 The default line will be a line that matches everything in the “master” Media folder which is “Or Patterns Matches *”.
1135 Click the right mouse button on the current field underneath the column header to see the choices available for each column.
1137 Modifications will not be in effect until you click on the green arrow OK button or click on the Apply button.
1138 But once you hit Apply, clicking on the red X button will not undo your changes.
1139 The filter/search rules are applied in the order listed in the Modify folder window.
1140 You can change the order of the filter rules by highlighting the rule you want to move and then drag and drop to a new location.
1142 The figure~\ref{fig:} below displays the available choices for each field.
1144 \begin{figure}[htpb]
1146 %\includegraphics[width=0.8\linewidth]{name.ext}
1147 \begin{tikzpicture}[scale=1, transform shape]
1148 \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{images/modify_folder1.png}};
1149 \node (img2) [yshift=-1cm, xshift=4cm, rotate=0] at (img1) {\includegraphics[width=0.6\linewidth]{images/modify_folder2.png}};
1150 \node (img3) [yshift=-1cm, xshift=3cm, rotate=0] at (img2){\includegraphics[width=0.3\linewidth]{images/modify_folder3.png}};
1152 \caption{The available choices for each field}
1153 \label{fig:modify_folder}
1156 Information about the columns and rules for the search filters in the Modify folder window follows.
1161 \item[ Enable] this column is used to designate the state of that filter rule
1163 \item[ Off] disable the filter
1164 \item[And] narrow your search; all of your search terms must be present
1165 \item[Or] broaden your search to include more values
1166 \item[And Not] exclude terms that do not contain the given value from your search results
1167 \item[Or Not] include terms that do not contain the given value from your search results
1169 \item [Target] – this column designates which media asset attribute to look at
1171 \item[ Patterns] each line contains a filename filter, matches the file path
1172 \item[Filesize] number of bytes in a file
1173 \item[Time] date file was created
1174 \item[Track Type] track type of video, audio, or audio video (for both)
1175 \item[Width] Format width
1176 \item[Height] Format height
1177 \item[Framerate] Video framerate
1178 \item[Samplerate] Audio samplerate
1179 \item[Channels] Number of audio channels
1180 \item[Duration] Playback time in seconds --- it uses the largest of audio or video if contains both
1182 \item[Op] – boolean operators used to narrow or broaden the relationship between your search terms
1184 \item[Around] about this value; use “+radius” for a search range: [target–radius ... target+radius]
1186 \item[Ge] greater than or equal to
1187 \item[Gt] greater than
1189 \item[Le] less than or equal
1191 \item[Matches] exactly matches for strings
1195 \textbf{Value} --- the characteristic you are looking for with expressions that can be written with the following:
1198 \item[Number] (decimal points are allowed and will be converted to a standard form):
1200 \item[inf] representing infinity
1201 \item[\#[TtGgMmKk]] --- where \# represents a number and the characters mean:
1204 \begin{tabular}{rcl}
1223 \begin{tabular}{rcl}
1225 date&=&year/month/day\\
1226 time&=&hour:minute\\
1227 time&=&hour:minute:second\\
1228 date\_time&=&date time\\
1232 \begin{tabular}{rcl}
1233 day &=& \#day | \#days\\
1234 week &=& \#week | \#weeks\\
1235 month&=& \#month | \#months\\
1236 year &=& \#year | \#years\\
1239 delta&=&hours:mins:secs\\
1245 \item[Around length:]
1250 Table showing the allowed usage:
1252 %TODO crate table for below code
1254 target: | eq ge gt ne le lt matches around
1255 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++
1256 patterns | <---- strcmp ---------> + filter + nearest
1257 file_size | <---- arithmetic -------+------> + radius
1258 mod_time | <---- arithmetic -------+------> + radius
1259 track_type | <---- member test ------+--------+------>
1260 width | <---- arithmetic -------+------> + radius
1261 height | <---- arithmetic -------+------> + radius
1262 framerate | <---- arithmetic -------+------> + radius
1263 samplerate | <---- arithmetic -------+------> + radius
1264 channels | <---- arithmetic -------+------> + radius
1265 duration | <---- arithmetic -------+------> + radius
1268 where in the above, the filter can be:
1270 \begin{tabular}{rcl}
1274 list&=&[token]list\\
1275 string&=&<chars>|<empty>\\
1277 token&=&string*token\\
1280 Examples with some caveats first:
1283 \item “Or” generally includes or adds whereas “And” generally excludes or subtracts.
1284 \item The filters only work on media in the folder; if there is no media, then there is nothing to search.
1285 \item The examples below are not meant to be executed as a list of filters in Modify folder, they are just single line examples to indicate what can work.
1286 \item Sort is by filename base name (directory path not included automatically) except when the “Around” operation is used and then it is sorted by that Target distance first and then filename.
1294 \begin{tabular}{llllm{10em}} \toprule
1295 Enable& Target& Op& Value& meaning\\\midrule
1296 Or &Patterns &Matches &*& all files from the Media folder are included\\
1297 And Not&Filesize&Lt &160000000& no files that are less than 160MB in size \\
1298 Or Not& Time &Ge &2018/07/30 06:13:00 & files not greater than or equal date\\
1299 And &Duration&Eq &01:00 & files included must have 60 secs. Duration\\
1300 Off &Samplerate&Ne &44000 & off for now, but may want to include later\\
1301 And &Framerate&Around&24+1 & files included all have 24 to 25 framerate\\
1302 Or &Patterns&Matches&[*.mp4] & all files with the extension of mp4\\
1303 Or &Time& Around&2018/08/02 06:00:00 + 02:00:00 & files at 4AM to 8 AM\\\bottomrule
1308 \subsection{Vicons \& Aicons – aka Video Icons / Audio Icons}%
1309 \label{sub:vicons_aicons_aka_video_icons_audio_icons}
1311 Vicons are video icons.
1312 Aicons are audio icons.
1313 By default the Resources window will play the first 5 seconds of video or audio waveform looped in the area occupied by the media icons (figure~\ref{fig:vicons1}).
1314 This is enabled for the Media/Proxy folders in icon mode when the mouse pointer is inside the Resources window.
1316 \begin{figure}[htpb]
1318 \includegraphics[width=0.99\linewidth]{images/vicons1.png}
1319 \caption{Note "Full Play" mode and Vicons and Aicons in Media folder}
1323 The waveform in the figure~\ref{fig:vicons2} is displayed in the Resources window in the color green/yellow for the 2 audio tracks.
1324 There is a colored bar on the top of each a-icon where the color is based on the Color Spectrum --- the smaller the time duration, the redder the color; then as the time duration goes up, the color goes up so that you will go to green, then yellow, then blue, then really dark blue, then purple for the audio files 1 hour and over.
1325 There are various other colors between these colors same as that seen in the color spectrum in the screenshot below.
1326 Colors are utilized from the hue wheel in the counter-clockwise direction.
1327 Note that the horizontal line in the middle of the a-icon is yellow/red representing the 2 audio tracks and is only red for mono.
1331 \begin{figure}[htpb]
1333 %\includegraphics[width=0.8\linewidth]{name.ext}
1334 \begin{tikzpicture}[scale=1, transform shape]
1335 \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.99\linewidth]{images/vicons2.png}};
1336 \node (img2) [yshift=0cm, xshift=2.8cm, rotate=0] at (img1.south west) {\includegraphics[width=0.3\linewidth]{images/hue_wheel.png}};
1337 \node [yshift=-5mm, xshift=1cm,anchor=west] at (img2.east) (Arrow1) {\parbox{18em}{Color hue wheel. For illustration only}};
1338 \draw [->, line width=1mm] (Arrow1) edge ([yshift=-5mm] img2.east);
1340 \caption{Draw Vicons | Screenshot display various audio file lengths; red is shortest.}
1344 Note that if in Settings$\rightarrow$Preferences under the Appearance tab, you have unchecked “Use thumbnails in resource window” you will only have default icons and none of the above capabilities.
1347 \subsection{Resources Window Preview Mode}%
1348 \label{sub:resources_window_preview_mode}
1351 Preview mode can be used to pop up a window which draws the vicons/aicons thumbnails in a larger size.
1352 Preview or “draw vicons” mode is a helpful feature of cinelerra that lets you see and/or hear the first 5 seconds of the video for identification purposes.
1353 The Preview mode/playback toggle is to the right of the Visibility label as seen in the screenshot above.
1354 Preview mode is available for the Media, Proxy, Media User Bins, and Clips but clips are only 1 image.
1356 When “Preview”/“draw vicons” is enabled/active, if you click on one of the video icons or an audio waveform icon, a view pops up that increases the size to 4 times the surface area larger.
1357 This makes it easier to see or hear if it is the media you are looking for in case you have many similar media files.
1358 To conserve memory, the video is stored 8-bits per pixel which results in low image quality while the audio is 16-bit.
1359 The reason for playing 5 seconds of a video for a vicon is that until the first I-frame, the media frequently does not decode properly.
1360 In other words, a lot of media does not begin at the “beginning” point and will not be properly rendered until enough data has been read to assemble a picture.
1361 You can increase the thumbnail size, clarity of pixels (memory size) and color mode but it takes a lot more memory.
1362 Change these values in Settings$\rightarrow$Preferences, Appearance tab, right hand side of the Layout section – be aware that when you click OK, your session will re-initialize.
1363 You can also temporarily increase the preview mini-window by use of the mouse wheel up or down.
1365 There are 4 options for the preview mode.
1368 \item \emph{Full Play} is the default mode.
1369 This means all of the media will automatically play when the mouse is in the Resources window and you can use the left mouse button to click on specific media to see it pop up in a larger view.
1370 Audio only files do not play the audio until the icon is clicked on and the waveform aicon pops up into the 4x larger mode.
1371 \emph{Full Play} includes the \emph{Mouse Over} capabilities as described below as well as the Inter-View \emph{Src Target} functions.
1373 \item \emph{No Play} mode is especially useful on smaller computers and for users who find the constant loop play to be somewhat distracting.
1375 \item \emph{Mouse Over} mode is activated by a single click on one of the vicons/aicons and deactivated with another single click over any of the icons.
1376 Once activated, whenever you just move the mouse over an icon, it automatically pops up the increased size preview.
1377 The first time in your session that you enable this feature, it may take a few seconds to load all of the icon previews into memory so be patient and just wait.
1378 \emph{Mouse Over} mode makes it quick and easy to preview without having to drag the media to the viewer.
1379 You can still drag the media same as without preview enabled.
1381 \item \emph{Src Target} mode gives easy access to the Inter-View source target available by using the middle mouse button on media.
1382 There are 2 advantages to this mode --- there is no 5 second play loop taking up cpu time and the popup allows for the use of the letter “f” on that popup to have it go to fullscreen mode.
1383 \emph{Src Target} mode in any scenario never plays sound as that is nonsensical usage.
1384 After the initial click to pop media in this mode, you also have the \emph{Mouse over} feature.
1387 For any of the options, but not \emph{No Play}, you can temporarily turn off that option by clicking on the button using the middle mouse button.
1388 This helps to avoid having the thumbnail get in the way of dragging or other functions.
1389 When you do, a line will be drawn through the current preview mode so that you are aware that it is in \emph{No Play} mode until click it again.
1391 Note that if in Settings$\rightarrow$Preferences under the Appearance tab, you have unchecked “Use thumbnails in resource window” you will only have default icons and no active previews.
1393 \begin{figure}[htpb]
1394 \begin{minipage}{.69\linewidth}
1396 \includegraphics[width=0.99\linewidth]{images/preview_icon_mode.png}
1397 \caption{The location of the Preview/Draw Icons mode.}
1398 \label{fig:preview_icon_mode}
1401 \begin{minipage}{.29\linewidth}
1404 \includegraphics[width=0.7\linewidth]{images/line_through_mode.png}
1405 \caption{Note the line through the mode.}
1406 \label{fig:line_through_mode}
1412 \subsection{Moving clips/media from/to Resources window}%
1413 \label{sub:moving_clips_media_from_to_resources_window}
1415 If you have several media files loaded into the Resources window of one instance of Cinelerra and want to load some of the same ones into another instance or just want a listing to save in a file for later use, you can do this with these set of steps:
1417 Copy or paste a list of files in the Media Resources window:
1421 \item create a highlighted selection of the desired media files in the media Resources window
1422 \item right click on an unused portion of that window to bring up the popup menu
1423 \item select the “Copy file list” item and a file list box will appear that contains the full path filenames
1424 \item wipe the textbox using your standard copy/paste method to put the list of files in the copy buffer
1425 \item in another cinelerra instance, choose the “Paste file list” of the media Resources window
1426 \item paste the list of files, again using your standard paste method, into the new file list box; press OK
1427 \item the status bar of the main window will be updated as the file list is loaded to the media folder (the purpose of displaying the status is simply to show that the load is progressing normally).
1430 Obviously this “Paste file list” feature means you can create a list of files outside of cinelerra using an editor, wipe the names, and then use “Paste file list” to load them into the media Resources window.
1432 It is important to note that in the steps above, the Operating System cut and paste capabilities are in use for steps 4 and 6 as opposed to Cinelerra’s c/v shortcuts.
1433 Since the procedure varies among the distros, you will have to adapt to your specific one. For example, a usage for ubuntu consists of:
1435 \setcounter{enumi}{3}
1436 \item Ctrl-c to copy the list of files; open gedit; Ctrl-v to paste the list of files into gedit
1437 \item Ctrl-c or the standard way using the right click to copy this list from gedit
1438 \item Ctrl-v paste the list of files into the new file list box, and press OK
1441 \begin{figure}[htpb]
1443 \begin{minipage}{.49\linewidth}
1445 \includegraphics[width=0.99\linewidth]{images/copy_files1.png}
1448 \begin{minipage}{.49\linewidth}
1450 \includegraphics[width=0.99\linewidth]{images/copy_files2.png}
1452 \caption{Example of copy file list}
1453 \label{fig:copy_files1}
1456 In the Figure~\ref{fig:copy_files1}, one instance of cinelerra has 6 items in the Media area highlighted that were copied to the file list.
1457 Note how it includes the full pathname.
1459 In this screenshot on another instance of cinelerra, there are only 2 items in the media but the “Paste file list” box is ready to have the items inserted via the standard text box paste method. When that is done, the additional 6 media files will be available on this other instance too.
1462 Another possible usage of this capability:
1465 \item Right Click on the Clips Resources window and use the “Paste Clip” option to paste the Copy selection as a clip.
1466 \item Similarly, by highlighting a clip in the Resources window and selecting its copy popup menu item using the right mouse button, that copy buffer can now be loaded onto the timeline.
1470 \subsection{Snapshot / Grabshot}%
1471 \label{sub:snapshot_grabshot}
1473 \begin{figure}[htpb]
1475 \begin{minipage}{.49\linewidth}
1477 \includegraphics[width=0.8\linewidth]{images/snapshot.png}
1478 \caption{Snapshot menu and choices}
1481 \begin{minipage}{.49\linewidth}
1483 \begin{tikzpicture}[scale=1, transform shape]
1484 \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.65\linewidth]{images/grabshot.png}};
1485 \node (img2) [yshift=2cm, xshift=-1cm, rotate=0] {\includegraphics[width=0.07\linewidth]{images/reticle.png}};
1487 \caption{Grabshot reticle \& orange box}
1492 To take a snapshot, perform the following steps:
1495 \item set your timeline insert marker where you want the snapshot --- this frame shows in the compositor
1496 \item right click in an empty spot in the media folder and the popup shows snapshot as the 5th item down
1497 \item highlight that and the submenu comes up allowing you to choose png, jpg, ppm or tiff
1500 The snapshot shows up in the Media folder.
1501 It is saved by default in \texttt{/tmp} as \texttt{snap\_date-time.ext} BUT you can change the default directory path in Settings $\rightarrow$ Preferences $\rightarrow$Interface tab in the right hand side of the Editing section.
1503 Grabshot is the 6\textsuperscript{th} menu item.
1504 A red circle reticle can be moved to the area to grab; use left mouse drag to surround an area; and right click to grab.
1509 \section{Other Options and Other Windows}%
1510 \label{sec:other_options_and_other_windows}
1512 \subsection{Transport Controls}%
1513 \label{sub:transport_controls}
1515 Transport controls are useful for navigation and for playing media.
1516 Each of the Viewer, Compositor, and Program windows has its own transport panel.
1517 The controls generally all contain a yellow colored tooltip when you mouse over the control, providing a hint of their function and shortcuts for usage.
1519 The transport panel is controlled by the keyboard as well as the graphical interface.
1520 For each of the operations it performs, the starting position is the position of the insertion point in the Program window and the slider in the Compositor and Viewer windows.
1521 The ending position is either the end or start of the timeline or the end or start of the selected region if there is one.
1523 The orientation of the end or start depends on the direction of playback.
1524 If it is forward the end position is the end of the selected region.
1525 If it is backward the end position is the start of the selected region.
1526 The insertion point moves to track playback.
1527 When playback stops, the insertion point stays where playback stopped.
1528 Thus, by playing back you change the position of the insertion point.
1529 The keyboard interface of either the numeric pad or alternative keys has more speeds with the addition of \emph{Forward Slow}(2) and \emph{Reverse Slow} (5).
1530 Hitting any key on the keyboard twice pauses it.
1531 The shortcuts section of this manual as well as a Shell Command available from the Cinelerra main window has a listing of each of the keys.
1533 When using frame advance functions the behavior may seem odd.
1534 If you frame advance forward and then frame advance backward, the displayed frame does not change.
1535 This is because the playback position is not the frame but the time between two frames.
1536 The rendered frame is the area that the playback position crosses.
1537 When you increment the time between two frames by one and decrement it by one, you cross the same frame both times and so the same frame is displayed.
1538 There is an option in Settings$\rightarrow$Preferences, Appearance tab to “Always show next frame” that may help make this clearer for some users.
1540 The transport behavior changes if you hold down Ctrl when issuing any of the transport commands. This causes the starting point to be the In point if playing forward and the Out point if playing backward. If playing forward, the Out point becomes the ending point and if playing backward, the In point becomes the ending point. If no In/Out points are specified, the behavior falls back to using the insertion point and track boundaries as the starting and ending points.
1542 The transport behavior also changes if you hold down the Shift key along with KeyPad 1--6.
1543 If normally audio is included in the play, it will be removed and if normally audio is not included in the play, it will be added.
1546 \subsection{Zoombar}%
1549 The compositor has zoom capability.
1550 The pull-down menu on the bottom of the compositor window has a number of zoom options.
1551 When set to Auto the video is zoomed to match the compositor window size as closely as possible.
1552 When set to any other percentage, the video is zoomed a power of 2 and scrollbars can be used to scroll around the output.
1553 When the video is zoomed bigger than the window size, you can use scrollbars to scan around or if the zoom icon is enabled, the middle mouse button can be used to zoom in or out the video.
1555 The zoom toggle also causes the Compositor window to enter zoom mode.
1556 In zoom mode, clicking in the video output zooms in while a Ctrl-click in the video output zooms out.
1557 If you have a wheel mouse, rotating the wheel zooms in or out too.
1558 Zooming in or out with the zoom tool does not change the rendered output.
1559 It is merely for scrutinizing video or fitting it in the desktop. Playing video on the compositor when zoomed to any size other that 100\%, the original size, requires Cinelerra to do extra processing steps.
1560 This could affect performance on slower systems
1562 \subsection{Show Overlays}%
1563 \label{sub:show_overlays}
1565 Color Coded Keyframe Curves are a big feature in the “Show Overlays” window because by changing the colors to suit the user, it helps to remove confusion from multiple curves on the track canvas.
1566 They can be viewed from the pulldown menu of Window$\rightarrow$Show overlays but they will operate the same as when used from the View pulldown menu.
1567 The “Color Coded Keyframe Curves” have distinct colors associated with each type for ease of identification.
1568 By clicking button 1 on the “Color Ball” to the right of any keyframe type in the “Show overlays” menu you have the ability to change the colors to whatever works best for your video.
1569 The color ball changes made will be retained across sessions.
1571 There is a line separating the first 4 items, which are just non-automation type settable values as opposed to “auto” keyframe types.
1572 The color is not changeable for the 3 items of Mode, Pan, and Mask which simply display their symbol icon.
1574 Screenshot below displays the Show overlays popup with all of its options and color coded types such as yellow for Speed and blue for Camera Z.
1575 Upon clicking on the associated “color ball” to the right of any keyframe type, for example “Fade” in this screenshot, the color wheel palette window pops up so that you can manipulate the color as desired.
1577 \begin{figure}[htpb]
1579 \includegraphics[width=0.99\linewidth]{images/overlays_window.png}
1580 \caption{Show Overlays window on the left with the Color ball window to the right to set color}
1581 \label{fig:overlays_window}
1584 Screenshot below shows several color coded lines for different keyframes along with the Fade slider for manipulation.
1585 The slider is in the same color as the color coded keyframe type line which is the same color as in the “Show overlays” window.
1587 \begin{figure}[htpb]
1589 \includegraphics[width=0.8\linewidth]{images/overlays1.png}
1590 \caption{Lines are colored here on the timeline as designated in Show Overlays}
1591 \label{fig:overlays1}
1594 Overlays Window Nuances:
1596 The Overlays window is an alternative to the main track canvas View pulldown, and thus the order is mostly maintained to match each other.
1597 To make it easier to get a quick temporary look at a specific option, there is a shortcut of Shift-LMB (left mouse button) that can be used as opposed to having to uncheck everything that is currently checked and then having to recheck them on when done.
1598 Here is a list of how they work. Keep in mind that if the Expander on the patchbay is enabled, you still see the track.
1601 \item Shift+LMB (left mouse button) in the Overlays Window on a checkbox will turn off all other
1602 checkboxes except for the one you are on. Then this named box will have outline for a "hot" spot.
1603 \item Shift+LMB on this "hot" spot will return to "cool" of the previous settings with all of the previous
1604 checkboxes checked again.
1605 \item Shift+LMB on a non-"hot" spot will simply check or uncheck a box and there is no previous state.
1606 \item This all works in conjunction with the View pulldown menu which, of course, has no hot spots.
1607 \item Caveat \#1 - Shift+LMB on the top 4 choices of Assets, Titles, Transitions, Plugin Keyframes will turn
1608 off all of the checkboxes below because it makes sense to do so.
1609 \item Caveat \#2 - Shift+LMB on the Autos will not turn off Assets, Titles, Transitions, or Plugin Keyframes
1610 because you need to be able to see what is going on.
1611 \item Caveat \#3 - XYZ toggle on/off of Camera and Projector are not affected.
1614 \begin{figure}[htpb]
1615 \begin{minipage}{.29\linewidth}
1617 \includegraphics[width=0.99\linewidth]{images/overlays_list1.png}
1618 \caption{Original Settings --- cool spot}
1619 \label{fig:overlays_list1}
1622 \begin{minipage}{.29\linewidth}
1624 \includegraphics[width=0.99\linewidth]{images/overlays_list1.png}
1625 \caption{Note Titles box hot spot }
1626 \label{fig:overlays_list1}
1629 \begin{minipage}{.29\linewidth}
1631 \includegraphics[width=0.99\linewidth]{images/overlays_list1.png}
1632 \caption{Cam/Proj XYZ toggle to fine tune}
1633 \label{fig:overlays_list1}
1639 \subsection{Sound Level Meters Window}%
1640 \label{sub:sound_level_meters_window}
1642 An additional window, the levels window, can be brought up from the Window pulldown.
1643 The levels window displays the output audio levels after all mixing is done.
1644 The visible range of the sound level meters is configurable in Settings$\rightarrow$Preferences, Interface tab under the Operations section.
1646 \begin{wrapfigure}[16]{O}{0.3\linewidth}
1649 \includegraphics[width=0.5\linewidth]{images/volume_meter.png}
1650 \caption{Sound Level Meters Window}
1651 \label{fig:volume_meter}
1654 Sound level meters can be toggled in the viewer and compositor windows with the show meters button.
1655 They also appear in the patchbay when the track is expanded and in the recording monitor when audio is being recorded.
1657 The sound levels in the levels window, compositor, and viewer correspond to the final output levels before they are clipped to the sound card range.
1658 In the record monitor they are the input values from the sound card.
1659 In the patchbay they are the sound levels for each track after all effects are processed and before down-mixing for the output.
1660 Most of the time, audio levels have numerical markings in dB but in the patchbay there is not enough room.
1664 The sound level is color coded as an extra means of determining the sound level.
1665 Even without numerical markings, the sound level color can distinguish between several ranges and overload.
1666 Look at the color codings in a meter with numerical markings to see what colors correspond to what sound level.
1667 Then for meters in the patchbay in expanded audio tracks, use the color codings to see if it is overloading.
1669 Be aware that sound levels in Cinelerra can go above 0 dB.
1670 This allows for not only seeing if a track is overloading but how much information is being lost by the overloading.
1671 Overloading by less than 3 dB is usually acceptable.
1672 While overloading is treated as positive numbers in Cinelerra, it is clipped to 0 when sent to a sound card or file.