Proxies was introduced to allow for a smoother timeline experience. Full HD and everything from 4K size up are usually very large in file size. In addition, some commonly used codecs (e.g. h264/5) are very compressed and interframe type, so they are more stressful for timeline playback. These files cause performance problems on weaker PCs. As a solution the developers have introduced proxies to reduce the file size. Reduced means to minimize the resolution/dimension, as usually not the full resolution is needed, because the compositor usually takes only a fraction of the computer screen. Therefore the scaling factor, which indicates how much the original resolution should be reduced.
There is also the \textit{proxy 1:1} \index{proxy!1:1} that maintains the original resolution but still allows you to act on the codec (lowering the bit rate, for example). See also next section: \ref{sec:transcode}.
-When rendering, the original setting will be used to avoid loss of image quality.
+When we want to render the project, remember to remove the proxy to return to the original settings with the highest quality.
To use the proxy in a classic way, i.e. as a scaling, select \texttt{Settings $\rightarrow$ Proxy settings} and change the Scale factor from Original size to your downsized choice. You can choose ffmpeg as the File Format \index{file format} and a choice of various codecs associated with that. A good choice is the default of mpeg which can usually be quite fast. In addition, to modify values for that codec, click on the wrench icon.
More specific information on which plugins need to use \textit{Proxy 1:1}. is provided here next. If the keyframe data uses coordinate data that is absolute, then the Factor scale = 1 should be used. If the data is normalized (like always $0-100\%$) then the proxy can be done with downsize (i.e. classic \textit{Proxy}). The session geometry format, shown in \texttt{Settings $\rightarrow$ Format} as $width \times height$, is changed if scale factor $\neq$ 1 is used to cause all of the data to be in the reduced format. If this affects the plugin operation, then \textit{Proxy 1:1} should be used. Examples of plugins that need the \textit{Proxy 1:1} are: Title, AutoScale, Scale, ScaleRatio, and Translate. Most others are safe to use with downsize.
+\subsection{Proxies with Alpha channel}%
+\label{sub:proxies_alpha_channel}
+
+Next are some examples of tested and working configurations that maintain the alpha channel:
+
+\begin{lstlisting}[numbers=none]
+Proxy #1
+ Scale factor: 1/4
+ Rescaled to project size (FFMPEG only) = unchecked
+ File Format: FFMPEG | qt
+ Video Preset-->
+ Compression: png.qt
+ Bitrate: 0
+ Quality: -1
+ Pixels: rgba (or rgba64be)
+
+
+Proxy #2
+ Scale factor: 1/4
+ Rescaled to project size (FFMPEG only) = unchecked
+ File Format: FFMPEG | qt
+ Video Preset-->
+ Compression: magicyuv.qt
+ Bitrate: 0
+ Quality: -1
+ Pixels: yuva444p
+
+
+Proxy #3
+ Scale factor: 1/4
+ Rescaled to project size (FFMPEG only) = unchecked
+ File Format: FFMPEG | qt
+ Video Preset-->
+ Compression: openjpeg.qt
+ Bitrate: 0
+ Quality: -1
+ Pixels: yuva420p
+
+
+Proxy #4
+ Scale factor: 1/4
+ Rescaled to project size (FFMPEG only) = unchecked
+ File Format: FFMPEG | pro
+ Video Preset-->
+ Compression: prores_4444.pro
+ prores_4444xq.pro
+ Bitrate: 0
+ Quality: -1
+ Pixels: yuva444p10le
+
+
+Proxy #5
+ Scale factor: 1/4
+ Rescaled to project size (FFMPEG only) = unchecked
+ File Format: FFMPEG | mkv
+ Video Preset-->
+ Compression: user_ffvhuff.mkv
+ Bitrate: 0
+ Quality: -1
+ Pixels: yuva4--p
+ yuva4--p--le
+\end{lstlisting}
+
\section{Transcode}%
\label{sec:transcode}
\index{transcode}
It is sometimes handy to have EDL \index{EDL} assets not as a copy, but as a
reference that is automatically updated into your project. Suppose
you have several short videos that at the end have the same credits
-which include the current year such as 2019. But now it is 2020 and
+which include the current year such as 2021. But now it is 2022 and
all of the videos would have to be individually updated with the new
date. By including a \textit{Referenced File} as the EDL file type
when you create each of the videos, you can just change the one
Instead just use the X to dismiss the warning.
\end{enumerate}
-Workaround cases for the alpha channel not working as intended when using an EDL inserted as a reference
-is described in \ref{sub:nested_clips}.
-
Here is a step by step example of how you can use \textit{File by
Reference}:
\begin{enumerate}
video track which is independent from the redrawing of the audio tracks. The playback is still synchronized.
\end{itemize}
-Workaround cases for the alpha channel not working as intended when using an EDL inserted as a reference
-or when an EDL is nested, is described here.
-
-\paragraph{Case 1 using the Projector on the EDL within a Master Project:} follow these next steps.
-\begin{itemize}
- \item Open your EDL with \textit{Open EDL} by using the middle mouse button on the Nested edit on its track.
- \item In this nested EDL, insert a new Video track below the last video track.
- \item Add the Alpha plugin to the new Video track for the entire length of the nested EDL.
- \item Change the value of the Alpha to 0.00.
- \item Close the EDL.
-\end{itemize} This solves the alpha channel not working as expected and the Master Project now looks correct.
-
-\paragraph{Case 2 using FadeIn/Out with autos:}
-In the Master Project for the Videeo track containing the nested EDL, in its Patchbay change
-the \textit{Overlay Mode} from \textit{Normal} to \textit{PorterDuff->SrcOver}.
-
-
\paragraph{Usage Examples of Nested Clips}
\begin{description}
\index{multi-camera}
\index{mixers}
-Use the Mixer Viewer to see multiple media playing simultaneously in re-sizable mini-viewers. This can be used in various ways and is useful to edit videos shot by multiple cameras from different viewpoints that were simultaneously recorded in order to create a single good video. Everything will have to be initially synced so you can decide which one of the camera angles is best suited at any time.
+Use the Mixer Viewer to see multiple media playing simultaneously in re-sizable mini-viewers. This can be used in various ways and is useful to edit videos shot by multiple cameras from different viewpoints that were simultaneously recorded in order to create a single good video. Everything will have to be initially synced so you can decide which one of the camera angles is best suited at any time. Mixer mode does not support audio only tracks but there is a workaround described at \nameref{cha:faq_problems_workarounds}.
The number of cameras/mixers you can have is generally limited to the available resources on your computer. Currently, the number of File Descriptors available in the OS limits cameras to about 50. If you have many \textit{mixer viewers} you will probably want to use proxy mode whenever possible. Also, in the \texttt{Settings $\rightarrow$ Playback A} tab \textit{Video Out} section, uncheck \textit{play every frame} and choosing a Video Driver of \textit{X11} with \textit{use direct X11 render if possible} checked, will provide better performance.
rate as a time standard.
\item Time Code Start in the Resources window on the bottom of \textit{Info} for the media if the timecode for that
asset has been scanned and is known. You can scan the asset’s Timecode by using the middle mouse
- button on its track which then displays the timecode for that on the timebar.
+ button on its track which then displays the timecode for that on the timebar (\texttt{MMB $\rightarrow$ Timecode}). Or you can use the shortcut \texttt{Ctrl+!}, after selecting the edit/track on the timeline.
\end{itemize}
\paragraph*{Notes}
projects / goodguy / cin-manual-latex.git / blobdiff