updates to add link to Workflow.pdf +

[goodguy/cin-manual-latex.git] / parts / Advanced.tex

diff --git a/parts/Advanced.tex b/parts/Advanced.tex
index b056b2cf8197b29db2dd4ecbd878530dc4c5f874..49a1b25a5a5035ffb7ba8b194d8fc7fa46344e46 100644 (file)
--- a/parts/Advanced.tex
+++ b/parts/Advanced.tex
@@ -249,6 +249,11 @@ The BIGGEST gain from using this is if you have media that is not \textit{seekab
 
 Another important function of Transcode is being able to convert the project's media into a high-quality \textit{mezzanine} codec \index{mezzanine codec} (sometimes also called \textit{intermediate} codec \index{digital intermediate}), which makes timeline work lighter and more efficient. In fact such codecs (ffv1, ProRes, DNxHD, OpenEXR, huffyuv, etc) are generally little or not at all compressed; the type of compression is intraframe --more suitable for editing, and the image quality (4:2:2 up; 10-bit color up; floating point; etc) is suitable for \textit{Color Correction}, \textit{Chroma Key} and \textit{Rotoscoping}. The use of mezzanine codecs leads to very large files, so you need to make sure you have enough storage space.
 
 
 Another important function of Transcode is being able to convert the project's media into a high-quality \textit{mezzanine} codec \index{mezzanine codec} (sometimes also called \textit{intermediate} codec \index{digital intermediate}), which makes timeline work lighter and more efficient. In fact such codecs (ffv1, ProRes, DNxHD, OpenEXR, huffyuv, etc) are generally little or not at all compressed; the type of compression is intraframe --more suitable for editing, and the image quality (4:2:2 up; 10-bit color up; floating point; etc) is suitable for \textit{Color Correction}, \textit{Chroma Key} and \textit{Rotoscoping}. The use of mezzanine codecs leads to very large files, so you need to make sure you have enough storage space.
 

+\paragraph{NOTE:} \CGG{} cannot do \textit{remuxing} without transcoding. For remuxing only, use \textit{ffmpeg} as shown in the following script. First move to the folder containing the files to be remuxed; the script takes all video files of a certain extension (in the following example \texttt{avi}) from the folder and its subfolders and makes a remux in a new container (in this example \texttt{mkv}) inside the new folder \texttt{remux}. The internal codec will remain the original one.  Here is an example script:
+
+\begin{lstlisting}[numbers=none]
+       for f in $(find . -name '*.avi'); do ffmpeg -i "$f" -c:v copy -c:a copy "remux/{f%.*}.mkv "; done
+\end{lstlisting}

 
 \section{OpenEDL}%
 \label{sec:openedl}
 
 \section{OpenEDL}%
 \label{sec:openedl}


@@ -865,7 +870,7 @@ Figure~\ref{fig:multicam01} shows 9 media sources in the left corner, the compos
 \subsubsection*{But, I want to use only the first set of audio tracks\dots}%
 \label{ssub:but_use_only_first_audio}
 
 \subsubsection*{But, I want to use only the first set of audio tracks\dots}%
 \label{ssub:but_use_only_first_audio}
 

-There are many cases where you may want to compose using media from several different tracks while using the the same audio tracks as associated from a specific viewer.  Since mixer source tracks can be updated any time by using a mixer toggle \index{mixers!toggle}, this makes it possible to do this.  
+There are many cases where you may want to compose using media from several different tracks while using the the same audio tracks as associated from a specific viewer.  Since mixer source tracks can be updated any time by using a mixer toggle\index{mixers!toggle}, this makes it possible to do this.  

 
 Procedure to update the mixer audio source track list:
 
 
 Procedure to update the mixer audio source track list: