\end{figure}
In addition to the standard settings for sample rate, frame rate,
-and frame size, \CGG{} uses some less traditional settings like
+and frame size (canvas size), \CGG{} uses some less traditional settings like
channel positions, color model, and aspect ratio. The aspect ratio
refers to the screen aspect ratio (SAR).
frame rate that you load. Media is reframed to match the project
framerate.
-\item[Canvas size:] \index{canvas size} sets the size of the video output \index{output size}. In addition,
-each track also has its own frame size. Initially, the New Project
-dialog creates video tracks whose size match the video output. The
-video track sizes can be changed later without changing the video
-output.
+\item[Canvas size:] \index{canvas size} sets the size of the video output \index{output size}. In addition,
+each track also has its own frame size. Initially, the New Project dialog creates video tracks whose size match the video output. The video track sizes can be changed later without changing the video output. We have: Project size = $W \times H$ pixels = canvas size = output size
-\item[Aspect ratio:] \index{aspect ratio} sets the aspect ratio; this aspect ratio refers
-to the screen aspect ratio. The aspect ratio is applied to the
-video output. The aspect ratio can be different than the ratio that
-results from the formula: $\dfrac{h}{v}$ (the number of horizontal
-pixels divided into the number of vertical pixels). If the aspect
-ratio differs from the results of the formula above, your output
-will be in non-square pixels.
+\item[Aspect ratio:] \index{aspect ratio} sets the aspect ratio; this aspect ratio refers to the screen aspect ratio. The aspect ratio is applied to the video output (canvas). It can be convenient to vary the size of the canvas in percentage terms, instead of having to calculate the number of W x H pixels. The aspect ratio can be different than the ratio that results from the formula: $\dfrac{h}{v}$ (the number of horizontal pixels divided into the number of vertical pixels). If the aspect ratio differs from the results of the formula above, your output will be in non-square pixels.
\item[Auto aspect ratio:] if this option is checked, the Set Format
dialog always recalculates the Aspect ratio setting based upon the
\begin{enumerate}
\item Motion stabilization, and maybe some other preparations, to improve the quality of the source video is best done under the properties identical to the properties of the original video; it may be different codec, but same frame size and same frame rate. For stabilization you can use ffmpeg command line plugins called \textit{vidstabdetect} and \textit{vidstabtransform}.
- \item If you need to alter the frame rate, for example because different source clips have different frame rates, then recode all the necessary clips to the same future project frame rate. Here frame sizes can still have different sizes, but frame rates should be all the same.
- \item Whole editing: if you need to change frame rate of some restricted part, particularly when smooth acceleration/deceleration is needed, it can be done here. But if frame rate has to be changed only due to different source fps, it is better to do it during the preparation stage.
+ \item To have a workflow at the highest quality it may be convenient to convert the sources into image sequences (e.g. OpenEXR). Especially if we want to exchange files with other Color or Compositimg programs that preferably use image sequences.
+ \item Uniform the color models. It is convenient to unify the color models of the sources because they would give different and inconsistent results with each other once displayed in the Compositor window.
+ \item If we intend to do some color correction or compositing with VFX, it is convenient to do some de-noising on the sources to make their pixels more homogeneous and suitable for post processing. De-noising is a heavy operation for the system so it may be convenient to do it in pre-editing.
+ \item If you need to alter the frame rate, for example because different source clips have different frame rates, then recode all the necessary clips to the same future project frame rate. Here frame sizes can still have different sizes, but frame rates should be all the same. If you need to change frame rate of some restricted part, particularly when smooth acceleration/deceleration is needed, it can be done in timeline. But if frame rate has to be changed only due to different source fps, it is better to do it during the preparation stage.
\end{enumerate}
\CGG{} does not have color management \index{color management}, but we can still give some general advice on how to set color spaces:
editing} \index{two-screen} (or 3 point editing) where the Viewer is used to view media and then the
desired clip from the media is transferred to the timeline.
-The entire space comprised by the timebar (horizontal extent) and the stack of the tracks, whether empty or occupied, (vertical extent) is called the \textit{canvas}, in analogy of the workspace of raster graphics programs or the painter's canvas. It is usual to interchange the terms \textit{timeline} and \textit{canvas}. In the canvas, Audio tracks are different from Video tracks so a media including both audio and video will be split into 2 or more indipendent tracks. There is no \textit{Link/Unlink}-like function present in other programs, although there are workarounds.
+In the timeline, Audio tracks are different from Video tracks so a media including both audio and video will be split into 2 or more indipendent tracks. There is no \textit{Link/Unlink}-like function present in other programs, although there are workarounds.
The timeline \index{timeline} is where all editing decisions are made
(figure~\ref{fig:timeline}). This is a stack of tracks in the
loading your edit decisions is explained in the Load, Save and the
EDL \index{EDL} section and rendering is explained in the section on Rendering.
-\textbf{Nomenclature:} media loaded in the timeline (canvas), in whole or in part, are called \textit{edits}, unlike other programs that call them \textit{clips}. Clips in \CGG{} are those that are created in the Viewer window and can be brought into the timeline, where they become edits, or brought into the Resources window, inside the \texttt{Clips folder}, where they can be renamed and a description added. These too, once brought into the timeline, are renamed edits. In \CGG{} the difference edits/clips is not important; however, the difference of clips as it is intended in other NLEs is important. These are media (or parts of it) complete in themselves and indipendent from other clips and the timeline. Edits in \CGG{} on the other hand, can be a media (or part of it) but can also be any region of the timeline between In/Out Points or from a highlighted, on which we can do editing operations. This leads to some advantages (e.g. putting an effect only in a part of the edit) but one must always keep in mind that the edit remains dependent on the track and the entire canvas.
+\textbf{Nomenclature:} media loaded in the timeline, in whole or in part, are called \textit{edits}, unlike other programs that call them \textit{clips}. Clips in \CGG{} are those that are created in the Viewer window or in the timeline via the \texttt{to clip} command and brought into the Resources window, inside the \texttt{Clips folder}, where they can be renamed and a description added. These, once brought into the timeline, are renamed edits. In \CGG{} the difference edits/clips is not important and you can use them as synonyms; however, the difference of clips as it is intended in other NLEs is important. These are media (or parts of it) complete in themselves and indipendent from other clips and the timeline. Edits in \CGG{} on the other hand, can be a media (or part of it) but can also be any region of the timeline between In/Out Points or from a highlighted, on which we can do editing operations. This leads to some advantages (e.g. putting an effect only in a part of the active region) but one must always keep in mind that the edit remains dependent on the track and the entire timeline.
In the following editing sections, references to common operations
are scattered within any of the modes where they seem pertinent.
\label{fig:tracer-01}
\end{figure}
-\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.7\linewidth]{tracer-02.png}
- \caption{Rug in the top picture is traced in order to black it out or replace later}
- \label{fig:tracer-02}
-\end{figure}
-
\begin{description}
\item[New] to create a new point.
\item[Up/Dn] to move highlighted point up or down.
\item[Mouse wheel + shift] scale the outline, centered on cursor.
\end{description}
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.7\linewidth]{tracer-02.png}
+ \caption{Rug in the top picture is traced in order to black it out or replace later}
+ \label{fig:tracer-02}
+\end{figure}
+
Be sure to uncheck \textit{Draw} and \textit{Drag} before rendering so that the lines do not show in the video output.
export CIN_HW_DEV=vaapi
\end{lstlisting}
+In addition for a computer with dual graphics cards, you can select your specific device with an environment variable
+to decode and encode. For example:
+\begin{lstlisting}[numbers=none]
+CIN_DRM_DEC=/dev/dri/renderD129 CIN_DRM_ENC=/dev/dri/renderD128 ./cin
+\end{lstlisting}
+and substituting your specific location instead of /dev/dri/renderD129 or D128.
+
It might be more difficult to analyze problems as a result of using the GPU because of the wide variation in hardware. When you do not set the \texttt{CIN\_HW\_DEV} environment variable, the code will work exactly as before since this feature is self-contained.
There is also a \texttt{Settings $\rightarrow$ Preferences, Performance} tab, \textit{Use HW device} flag
\index{program window}
The main window is called the \textit{Program} window and is often just referred to as the \textit{timeline}\index{timeline}. Here is where you enter the main menu operations.
-This timeline (or \textit{canvas}) consists of a vertical stack of tracks with time represented horizontally on the track.
+This timeline consists of a vertical stack of tracks with time represented horizontally on the track.
It is the output of the rendering operations and this is what is saved when you run the \textit{File} pulldown, Save command.
Immediately to the left of the timeline is the patchbay\index{patchbay}. The patchbay contains options that affect each track.
These options are described in great detail in \nameref{sec:patchbay}.
\label{fig:compositor_window}
\end{figure}
-The Compositor window (figure~\ref{fig:compositor_window}) is used to display the timeline
-output. Playing and moving along the timeline video in the Program window shows in the
-Compositor window what the current image is. Here is where many compositing operations are
-performed that can change
-what the timeline will look like. When enabled, you can simply click the LMB in the Compositor
-window to start and stop play.
- You can zoom in and out to
-see small details, pan with the scrollbars, lock the window to prevent changes, add masks,
-and make changes with the Projector and Camera function operators. These will be explained
-in more detail in the following sections.
+The Compositor window (figure~\ref{fig:compositor_window}) is used to display the timeline output. Playing and moving along the timeline video in the Program window shows in the Compositor window what the current image is. Here is where many compositing operations are performed that can change what the timeline will look like and that is why it is called \textit{canvas}. The canvas dimesions correspond, by default, to the W/H values set in the project (\textit{Set Format} window).
+
+When enabled, you can simply click the LMB in the Compositor window to start and stop play. You can zoom in and out to see small details, pan with the scrollbars, lock the window to prevent changes, add masks, and make changes with the Projector and Camera function operators. These will be explained in more detail in the following sections.
\subsection{Compositor Controls}%
\label{sub:compositor_controls}
\label{ssub:output_size}
\index{temporary}
-\CGG{}'s compositing routines use a \textit{temporary} which is a single frame of video in
-memory where graphics processing takes place. The size of the temporary and of the output in
-the compositing pipeline are different and vary for any particular frame. Effects are processed in
-the temporary and as such are affected by the temporary size. In the case of the camera, its
-viewport is the temporary size. However, projectors are rendered to the output and so are affected
-by the output size. When the temporary is smaller than the output, the temporary will have blank
-borders around the region in the output. When the temporary is larger than the output, it will be
-cropped.
+\CGG{}'s compositing routines use a \textit{temporary} which is a single frame of video in memory where graphics processing takes place. By default the size of the temporary is that of the project ($W \times H$), i.e., the output size. But if the tracks on the timeline have various sizes different from those of the project, then the temporary will take the size of the active track (viewport = green border). We can also change the size of the viewport using the Camera tool, as well as pans and zooms the temporary displayed in it. Effects are processed in the temporary and as such are affected by the temporary size. In the case of the camera, its viewport is the temporary size. The size of the temporary and of the output in the compositing pipeline can be different and vary for any particular frame. However, projectors are rendered to the output and so are affected by the output size. The temporary is the basis on which the Projector tool acts to display the canvas on the Compositor window. The canvas always has the size of the project, although with the projector we can make pans and resizes of the red border inside it. When the temporary is smaller than the output, the temporary will have blank borders around the region in the output. When the temporary is larger than the output, it will be cropped.
\subsubsection*{Track and Output size}%
\label{ssub:track_size}
a video asset and choosing \texttt{Match $\rightarrow$ Match project size}. When you \emph{Match project size}, you
are conforming the output to the asset. To change the size and aspect ratio of the output (Projector) we have to change the whole project, which will alter all the tracks in the timeline. Once you have set the output size in 1 of these 3 ways,
any newly created tracks will conform to the specified output size. When rendering, the project's
-output size is the final video track size where the temporary pipeline is rendered into.
+output size is the final video track size where the temporary pipeline is rendered into.
+
+To clarify, let's take an example.
+
+If we load a media (M) into Resources and adjust the size of the project to the size of M, we will get the canvas size of the media $W_{M} \times H_{M}$). We can see in the Set Format window that the project's default values ($W \times H$) have changed to those of M ($W_{M} \times H_{M}$). The tracks on the timeline can have different sizes, but what we will see on the canvas, that is, in the Compositor window, is always the output size i.e. the size of the project. Tracks with smaller sizes will be seen with black bands; tracks with larger sizes will be cropped. Each track has its own size but we will see it inserted in the output size. If we change the output size the tracks will not change, remaining in their original size. We can only change the size of the tracks by manually acting on each one in the ways seen before. Finally, if we create a new track in a project of size $W \times H$, it will assume the size of the project automatically.
\subsubsection*{Aspect Ratio (Theory)}%
\label{ssub:aspect_ratio_theory}
Other options you will see if you \textit{right mouse click in the folder} which brings up the menu are described next \index{folders!RMB options}.
\begin{description}
- \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.
+ \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.
\item[Display text/icons] as described previously for format variations preference.
\item[Select] options are All, Used, Unused, and None. This gives you the capability to have a set of the
contents highlighted for ease of use so you can see what is or is not loaded, or unset the highlight.
\begin{description}
\item[ Enable] this column is used to designate the state of that filter rule
\begin{description}
- \item[ Off] disable the filter
+ \item[Off] disable the filter
\item[And] narrow your search; all of your search terms must be present
\item[Or] broaden your search to include more values
\item[And Not] exclude terms that do not contain the given value from your search results
\end{description}
\item [Target] – this column designates which media asset attribute to look at
\begin{description}
- \item[ Patterns] each line contains a filename filter, matches the file path
+ \item[Patterns] each line contains a filename filter, matches the file path
\item[Filesize] number of bytes in a file
\item[Time] date file was created
\item[Track Type] track type of video, audio, or audio video (for both)
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