Editing comprises both time and track space. The timeline consists
of the time certain media appear on the track going left to right
and a set of tracks from the top to the bottom. There are 2 methods
-of timeline editing -- drag and drop editing, also called
-\textit{arrow mode}, and cut and paste editing or \textit{I-beam
- mode}. Cut and Paste is the default editing mode. An additional,
+of timeline editing -- drag and drop editing \index{drag and drop}, also called
+\textit{arrow mode} \index{arrow}, and cut and paste editing \index{cut and paste} or \textit{I-beam
+ mode} \index{i-beam}. Cut and Paste is the default editing mode. An additional,
but not often considered editing method is called \textit{two-screen
- editing} where the Viewer is used to view media and then the
+ 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 timeline is where all editing decisions are made
+The timeline \index{timeline} is where all editing decisions are made
(figure~\ref{fig:timeline}). This is a stack of tracks in the
center of the main window. It can be scrolled up, down, left and
right with the scrollbars on the right and bottom. It can also be
\label{fig:timeline}
\end{figure}
-The active region is the range of time which is affected by editing
+The active region \index{active region} is the range of time which is affected by editing
commands on the timeline. The active region is determined first by
-the presence of in/out points on the timeline.
+the presence of in/out points \index{in/out point} on the timeline.
%
-If those do not exist the highlighted region is used. To reiterate,
+If those do not exist the highlighted region \index{highlighted region} is used. To reiterate,
\emph{highlighting} is done in \emph{cut and paste mode} by moving
the insertion point with the mouse in the timeline to where you want
to start. Then hold down the LMB\@, drag the mouse to where you want
down the Ctrl key and double click with the LMB with the mouse over
that column.
-If no highlighted region exists, the insertion point is used as the
+If no highlighted region exists, the insertion point \index{insertion point} is used as the
start of the active region. Some commands treat all the space to
the right of the insertion point as active while others treat the
active length as 0 (zero) if no end point for the active region is
modified media file at the end of your editing session which
represents the editing decisions, you need to render it. Saving and
loading your edit decisions is explained in the Load, Save and the
-EDL section and rendering is explained in the section on Rendering.
+EDL \index{EDL} section and rendering is explained in the section on Rendering.
In the following editing sections, references to common operations
are scattered within any of the modes where they seem pertinent.
\section{The Patchbay}%
\label{sec:patchbay}
+\index{patchbay}
On the left of the timeline is a region known as the patchbay. The
patchbay enables features specific to each track as described next.
The 7 \textit{attributes} are described here next followed by the other available feature icons and their description.
\begin{description}
-\item[Play Track] determines whether the track is rendered or
+\item[Play Track] \index{play track} determines whether the track is rendered or
not. If it is off, the track is not rendered. For example if you
turn it off in all the video tracks, the rendered media file will
have only audio tracks. If the track is chained to any other tracks
in this shared track, regardless of play status of the shared track
that in this particular case affects the media output but not fade
and effects.
-\item[Arm Track] determines whether the track is armed or not.
+\item[Arm Track] \index{arm track} determines whether the track is armed or not.
Only the armed tracks are affected by editing operations. Make sure
you have enough armed destination tracks when you paste or splice
material or some tracks in the material will get left out. In
\end{description}
\begin{description}
-\item[Draw Media] determines if picons or waveforms are drawn on
+\item[Draw Media] determines if picons \index{picons} or waveforms \index{waveform} are drawn on
the asset in the track. You may want to disable this if you know
that the media/format takes a long time to draw on the timeline. By
default it is set to on in order to see picons on the timeline.
-\item[Don’t send to output] -- more commonly called
+\item[Don’t send to output] \index{mute} -- more commonly called
\textit{mute} -- causes the output to be thrown away once the track is
completely rendered. This happens whether or not \textit{Play track}
is on. For example if you mute all the video tracks, the rendered
Mute track is used to keep the track with the shared track effect
from overlapping the output of the source track (the shared track)
where the shared track effect is not present.
-\item[Gang Fader] cause the fader to track the movement of
+\item[Gang Fader] \index{gang fader} cause the fader to track the movement of
whatever other fader you are adjusting by dragging either the fader
or the curve on the track. It doesn't affect the editing made with
menu controls. A fader is only ganged if the arm track is also on.
simultaneously. Gang also causes Nudge parameters to synchronize
across all the ganged tracks.
\item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged}
-\item[Track Data Height] this up/down toggle symbol to the immediate right
+\item[Track Data Height] \index{track!height} this up/down toggle symbol to the immediate right
of the 5 attributes, is used to individually resize each track. This makes
it very easy to temporarily expand or contract the size of that track either
by clickin with the left mouse button or using the middle wheel up/down.
-\item[Fader slider] fade values are represented on the timeline
+\item[Fader slider] \index{fader slider} fade values are represented on the timeline
with a pink (default color) curve that is keyframable. All tracks have a fader, but
the units of each fader depend on whether it is audio or video.
Audio fade values are in dB. They represent relative levels, where 0
with the arm option enabled, the other faders should follow. Hold
down the Shift key and drag a fader to center it on the original
source value (0 for audio, 100 for video).
-\item[Mixer] in the expanded patchbay for that track designates
+\item[Mixer] \index{mixers!toggle} in the expanded patchbay for that track designates
the multi-camera mixer mode.
-\item[Overlay mode] in the expanded patchbay is used for
+\item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for
porter-duff operations and is full explained in
\nameref{cha:overlays} chapter.
-\item[Nudge] is in the expanded patchbay. The nudge value is
+\item[Nudge] \index{nudge} is in the expanded patchbay. The nudge value is
the amount the track is shifted left or right during playback. The
track is not displayed shifted on the timeline, but it is shifted
when it is played back. This is useful for synchronizing audio with
sensitive menu. Nudge settings are ganged with the Gang faders
toggle and the Arm track toggle. Use the mouse wheel over the nudge
textbox to increment and decrement the value.
-\item[Pan] is available in the expanded patchbay for audio
+\item[Pan] \index{panning box} is available in the expanded patchbay for audio
tracks via a panning box. Position the pointer in the panning box
and click/drag to reposition the audio output among the speaker
arrangement. The loudness of each speaker is printed on the relative
toggle the track arming status. Press Shift-Tab while the cursor is
over a track to toggle the arming status of every other track.
-\paragraph{Automatic audio mappings} Several convenience functions
+\paragraph{Automatic audio mappings} \index{audio!map} Several convenience functions
are provided for automatically setting the panning to several common
standards. They are listed in the Audio menu. These functions only
affect armed audio tracks. They are:
\begin{description}
-\item[Audio~$\rightarrow$~Map 1:1] This maps every track to
+\item[Audio~$\rightarrow$~Map 1:1] \index{audio!map 1:1} This maps every track to
its own channel and wraps around when all the channels are
allocated. It is most useful for making 2 tracks with 2 channels map
to stereo and for making 6 tracks with 6 channels map to a 6 channel
sound card.
-\item[Audio~$\rightarrow$~Map 5.1:2] This maps 6 tracks to 2
+\item[Audio~$\rightarrow$~Map 5.1:2] \index{audio!map 5.1:2} This maps 6 tracks to 2
channels. The project should have 2 channels when using this
function. Go to \texttt{Settings $\rightarrow$ Format} to set the
output channels to 2. This is most useful for down-mixing 5.1 audio
\section{Manipulating Tracks}%
\label{sec:manipulating_tracks}
+\index{track!pulldown}
Tracks in \CGG{} either contain audio or video. There is no special
designation for tracks other than the type of media they contain.
\begin{description}
\item[Move tracks up | Move tracks down] shift all the armed
tracks up or down the stack.
+\item[Roll tracks up | Roll tracks down] wheel motion of the tracks up or down.
\item[Delete tracks] deletes the armed tracks.
+\item[Delete first track] deletes the first track, whether it is armed or not.
\item[Delete last track] deletes the last track, whether it is
armed or not.
\item[Concatenate tracks] operation copies all the assets of
track. The destination track wraps around until all the disarmed
tracks are concatenated. Disarmed tracks that are not playable are
not concatenated.
+\item[Align timecodes] see \nameref{sub:align_timecodes}
\item[Append to project] allows for creating new tracks after
any existing tracks.
\item[Add subttl] will add a track for subtitles at the top of
the other tracks.
\end{description}
-The \textbf{Audio} and \textbf{Video pulldowns} each contain an
+The \textbf{Audio} \index{audio!pulldowns} and \textbf{Video pulldowns} \index{video!pulldown} each contain an
option to add a track of their specific type. In the case of audio,
the new track is put on the bottom of the timeline and the output
channel of the audio track is incremented by one. In the case of
\subsection{Displaying tracks: Ganged mode}%
\label{sub:displaying_tracks_ganged}
+\index{track!ganged mode}
Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group.
-To get this capability, there is a \textit{Gang Tracks} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. Group masters are marked by the \textit{Master Track} toggle in the patchbays. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are:
+To get this capability, there is a \textit{Gang Tracks} \index{gang tracks toggle} toggle button on the main timeline controls to switch between 3 modes of working with multiple channels so that the tracks are automatically edited as a single unit. Operations affected include edits such as cuts, moving sections, and adding plugins. Group masters are marked by the \textit{Master Track} \index{master track} toggle in the patchbays \index{patchbay}. A track gang group begins on a master track, and extends to, but not including, the next master track. The 3 \textit{Gang Tracks} modes are:
\begin{enumerate}
\item \textbf{Gang None:} this is the default mode and is the traditional way Cinelerra operates. If you never toggle the "Gang Tracks" button, everything operates normally as it always has. In this mode, the button icon looks like 3 tracks with $\dots$ on the end and all tracks are visible on the timeline. See figure~\ref{fig:gang-track-01}
\end{figure}
\begin{enumerate}[start=2]
- \item \textbf{Gang Channels:} in this mode, only the \textit{Master Tracks} and the first track of video, audio, or subtitles not master will are shown. Stereo tracks, or 5:1 channels/any number of audio tracks, are drawn as 1 audio track for the purpose of making changes on that single track which are propagated to all of its other channel tracks automatically. This is the DAW-like mode. The \textit{Gang Tracks} button icon looks like 2 tracks and only the first video and first audio tracks will be shown. See figure~\ref{fig:gang-track-02}
+ \item \textbf{Gang Channels:} in this mode, all \textit{Master Tracks}
+are shown. The exception is when there is no
+Master video, no Master audio or no Master subtitle track, in which case for
+each the first track of video, audio, and subtitle will be shown. For users who
+routinely switch the track order frequently, the patchbay has the \textit{Master Track} icon to set your own preference.
+Stereo tracks, or 5:1 channels/any number of audio tracks, are drawn as 1 audio track for the purpose of making changes on that single track which are propagated to all of its other channel tracks automatically. This is the DAW-like mode. The \textit{Gang Tracks} button icon looks like 2 tracks and only the first video and first audio tracks will be shown. See figure~\ref{fig:gang-track-02}
\end{enumerate}
\begin{figure}[htpb]
\item When in \textit{Gang Channels} or \textit{Gang Media} mode, if the first audio track is not disarmed, but any of its connected channel tracks are, the disarm of those channels are ignored and all channels are treated as being armed. This is to be consistent with the purpose of using this mode; the purpose being that any edits to the first master track are automatically propagated to all other channels.
\item It may be better when using the \textit{Gang Channels} or \textit{Gang Media} mode to make any changes
to the first audio channel to be automatically duplicated before reverting to the \textit{Gang None} mode to make other changes. Once you start changing individual channels (that is, audio tracks) so that they are no longer coordinated in their edits/plugins, it may be more difficult to switch back to \textit{Gang Channels} mode and get the desired results since the channels may no longer be lined up.
+ \item Gang modes should not be used with Multi-camera/Mixers because they have very specific
+operational capabilities which are not compatible with the way that Ganging works.
\end{itemize}
\section{Two Screen Editing}%
\label{sec:two_screen_editing}
+\index{two-screen}
This is a fast way to construct a program out of movie files (in
other programs is called \textit{three points editing}). The idea
To begin a two screen editing session, load your media resources by
using the main menu \textbf{File pulldown} and choose \textit{Load
- files}; make sure the insertion mode is set to \textit{Create new
- resources only}. This insertion strategy is to ensure that the
+ files} \index{load media files}; make sure the insertion mode is set to \textit{Create new
+ resources only}. This insertion strategy \index{insertion strategy} is to ensure that the
timeline stays unchanged while new resources are brought in. Go to
-the Resources window and select the Media folder. The newly loaded
+the Resources window \index{resources window} and select the Media folder. The newly loaded
resources will appear. Double click on a resource or drag it from
-the media side of the window over to the Viewer window.
+the media side of the window over to the Viewer window \index{viewer!window}.
Check to make sure there are enough armed tracks on the timeline to
put the subsections of source material that you want. Usually this
bracket.
\item You will see a colored bar inside the brackets for easier
viewing.
-\item Drag the In/Out point with the mouse to conveniently
+\item Drag the In/Out point \index{in/out point} with the mouse to conveniently
change their position.
\end{enumerate}
-These In/Out points define a clip. You can now use this in a couple
+These In/Out points define a clip \index{clip}. You can now use this in a couple
of different ways.
-\paragraph{Splice} The splice icon, or shortcut letter “\texttt{v}”,
+\paragraph{Splice} \index{splice} The splice icon, or shortcut letter “\texttt{v}”,
inserts the selected area in the timeline after the insertion point.
After the splice has taken effect, the insertion point moves to the
end of the edit ready to be used as the next splice location. This
there are edits after your chosen splice location on the timeline,
they will be moved to the right.
-\paragraph{Overwrite} The overwrite icon, or shortcut letter
+\paragraph{Overwrite} \index{overwrite} The overwrite icon, or shortcut letter
“\texttt{b}”, overwrites the region of the timeline after the
insertion point with the clip. If an In point or an Out point exists
on the timeline the clip is overwritten after the In point or after
\subsection{Use Case – Working with Sequences}
\label{sub:use_case_working_sequences}
+\index{sequences}
-\textit{From the Viewer to the Timeline with the sequences imported
+\textit{From the Viewer to the Timeline \index{timeline} with the sequences imported
in a Master Project.}
A convenient methodology for working on a Master project along with
\section{Cut and Paste Editing}%
\label{sec:cut_paste_editing}
+\index{cut and paste}
This is the more traditional method of editing in \CGG{} and
therefore is the default. To enable the cut and paste editing mode
-on the timeline, select the I-beam toggle on the control bar at the
+on the timeline, select the I-beam \index{i-beam} toggle on the control bar at the
top of the main program window. You can copy edits in the same
track, copy from different tracks in the same instance, start a
second instance of \CGG{} and copy from one instance to the other or
timeline and select the paste button. Assuming no In/Out points are
defined on the timeline this performs a cut and paste operation.
-Most editing operations are listed in the \textit{Edit} pulldown. Some of
+Most editing operations are listed in the \textit{Edit} pulldown \index{edit!pulldown}. Some of
them have a button on the program control toolbar as well as a
keyboard shortcut. The keyboard shortcut is in parenthesis here.
\item[Select All] (a) Select the whole timeline.
\end{description}
-In Cut and Paste editing mode you can \textit{edit labels} as
+In Cut and Paste editing mode you can \textit{edit labels} \index{label} as
well. By enabling Edit labels in the \textbf{Settings pulldown}, or
by disabling the Lock labels from moving button on the Program
Control Tool Bar, labels will be cut, copied or pasted along with
waveform. Perform a cut, clear the In/Out points, select the region
between the labels, and perform a paste.
-\paragraph{In / Out Points} The In and Out bracket placement is
+\paragraph{In / Out Points} \index{in/out point} The In and Out bracket placement is
explained here to illustrate their usage. Because of the shape of
the markers [ and ] you may assume that they are inclusive -- that
-everything placed in between would be included in the clip, such as
+everything placed in between would be included in the clip \index{clip}, such as
in the case of being transferred to the timeline from the Viewer.
In reality, one of the two markers will not include the frame that
was visible at the time the marker was affixed. Depending on whether
reference of the markers is in the middle of the icon, you will
avoid confusion.
-\paragraph{Overwrite} To perform overwriting within the timeline
+\paragraph{Overwrite} \index{overwrite} To perform overwriting within the timeline
paste on a selected region (highlighted or between In/Out
points). The selected region will be overwritten. If the clip pasted
from the clipboard is shorter than the selected region, the selected
of armed tracks. They are pasted one after the other, keeping the
same order they have on the stack.
-\paragraph{Split -- blade cut and hard edges:} You can cut the
+\paragraph{Split -- blade cut and hard edges:} \index{split} You can cut the
tracks into 2 pieces on the timeline by putting the hairline cursor
on the place you want to do a cut and then using the character “x”
or the scissors tool (figure~\ref{fig:cut}).
over the cursor location. A blade cut simply splits the edit into
two edits. In order to have the video and audio aligned, it works
best to have \texttt{Settings $\rightarrow$ Align cursor on
- frames}. When a blade cut occurs, the edges are created as
-\textit{hard edges}. These are edges that cannot be deleted by
-track optimizations.
+ frames} \index{align cursor on frames}. When a blade cut occurs, the edges are created as
+\textit{hard edges}. \index{hard edge} These are edges that cannot be deleted by
+track optimizations \index{timeline!optimization}.
%
\CGG{} has built-in optimization on the timeline. So that whenever
two parts on the timeline are sequential frames, it automatically
\section{Drag and Drop Editing}%
\label{sec:drag_drop_editing}
+\index{drag and drop}
To enable the drag and drop editing mode on the timeline, select the
-arrow toggle on the control bar at the top of the main program
+arrow toggle \index{arrow} on the control bar at the top of the main program
window. Drag and drop editing is a quick and simple way of working
in \CGG{}, using mostly only the mouse. The basic idea is to create
-a bunch of clips, then drag them in order into the timeline, thus
+a bunch of clips \index{clip}, then drag them in order into the timeline, thus
building prototype media that you can watch in the compositor. If
after watching it, you wish to re-arrange your clips, set effects,
add transitions or insert/delete material, just drag and drop them
To simply get started, perform the following operations which are
useful for working in a drag and drop editing session. First load
-your media by using the main menu \textit{File} pulldown and choose
-\textit{Load files}; make sure the insertion mode is set to
-\textit{Create new resources only}. This loads the files into the
-Resources window.
+your media by using the main menu \textit{File} pulldown \index{file pulldown} and choose
+\textit{Load files} \index{load media files}; make sure the insertion mode is set to
+\textit{Create new resources only} \index{insertion strategy}. This loads the files into the
+Resources window \index{resources window}.
\begin{enumerate}
\item Create some video and audio tracks on the timeline using
- the \textit{Video} and \textit{Audio} pulldowns.
+ the \textit{Video} \index{video!pulldown} and \textit{Audio} \index{audio!pulldown} pulldowns.
\item Open the Media folder in the Resources window. Make sure
the necessary tracks are armed and drag a media file from the
- Resources window to the timeline. If the media has video, drag it
+ Resources window to the timeline \index{timeline}. If the media has video, drag it
onto a video track or if just audio, drag it onto an audio
track. For a still image, drag it onto a video track.
\end{enumerate}
\item If you have more armed tracks on the timeline than in the
asset you are dragging, only the following edits of the tracks
affected by the drag and drop operation will move to the right. This
- will cause loss of synchronization. To restore it, disarm the tracks
+ will cause loss of synchronization \index{sync}. To restore it, disarm the tracks
affected by the drag and drop operation, highlight the just dropped
edit and paste silence over it using the \textit{Edit} pulldown,
\textit{Paste Silence}.
Labels sometimes work differently in Drag and Drop editing mode in
that you can't drag and drop them. They might be locked to the
-timebar, even with the Edit labels option enabled. Although with
+timebar \index{timebar}, even with the Edit labels option enabled. Although with
the Edit labels option enabled, 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 for the length of the
\subsection{Copy/Paste Behavior}%
\label{sub:copy_paste_behavior}
+\index{drag and drop!MMB options}
There are many options for moving, copying, pasting, inserting, and
deleting selected \textit{edits}, more commonly referred to by the
user as \textit{clips}, when in the Drag and Drop (arrow) editing
mode. This makes it easier to avoid constantly having to disarm/arm
-tracks. To create a selection move the cursor over the clip and
+tracks. To create a selection \index{edit!selection} move the cursor over the clip and
just click the left mouse button; remove a selection by left mouse
button click again. This will mark your selection with a colored
border which contains some red. The easiest way to initially use
add multiple selections as is commonly done for listbox operations,
there is a preference in \texttt{Settings $\rightarrow$ Preferences
$\rightarrow$ Appearance} tab, called \textit{Clears before
- toggle} that changes the behavior.
+ toggle} \index{clears before toggle} that changes the behavior.
When an edit is marked as selected, it can be cut/copied into the
paste clip buffer. The constructed clip buffer will begin with the
ones that have the red lines
around them.\\
- Select Edits & Ctrl-Alt-a & Select all edits within an highlighted area of the timeline \\
+ Select Edits & Ctrl-Alt-' & Select all edits within a highlighted area of the timeline \\
+
+ Deselect Edits & & Deselect all edits within a highlighted area of the timeline \\
Copy & Ctrl-c & Copy the selected edits into the copy buffer.\\
\subsection{Snapping while Cutting and Dragging}%
\label{syb:snapping_cutting_dragging}
+\index{snap}
-\paragraph{Cutting/Snapping edits} cuts from an edit handle to the
+\paragraph{Cutting/Snapping edits} \index{edit!cut with snap} cuts from an edit handle to the
insert point. There are Edit Panel buttons which normally are used
to move to the previous or next edit handle/label.
\end{tabular}
\end{center}
-\paragraph{Drag Snapping} if you hold down the Ctrl + Alt keys while
+\paragraph{Drag Snapping} \index{edit!drag with snap} if you hold down the Ctrl + Alt keys while
dragging using the mouse, once the clip gets near to an edit, a
label, an in/out pointer or the start/end of the timeline, the
dragged clip will snap next to that marker. The 2 will now be
\subsection{Copy/Paste clips/medias across Multiple Instances}%
\label{sub:copy_paste_multiple_instances}
+\index{multiple instances: copy/paste}
It is easy to copy/paste clips/media within a single instance of
\CGG{} or across multiple instances. The reason this works is
\subsection{Grouping edits}%
\label{sub:grouping_edits}
+\index{edit!grouping}
\CGG{} recognizes as a group, the edits of different armed tracks
that have aligned beginnings, regardless of whether they have the
method of Grouping of edits is performed as follows:
\begin{enumerate}
-\item Select each of the clips you would like to be part of a
+\item Select \index{edit!selection} each of the clips you would like to be part of a
group.
\item Use the desired Copy mode as described above to get into
the buffer.
\subsection{Dragging Groups}%
\label{sub:dragging_groups}
+\index{edit!dragging group}
Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
-is really easy. Just select the clip or clips you want to drag
+is really easy. Just select \index{edit!selection} the clip or clips you want to drag
using the left mouse button, then put your cursor over one of them
and drag while holding down the left mouse button. Keyframes,
autos, labels, and plugins will also be dragged. Dragging honors
\textit{overwrite}. Without the \texttt{Shift} key enabled, it
always \textit{inserts} only.
-The original (older) method of dragging while in Arrow mode, lets
+The original (older) method of dragging while in Arrow \index{arrow} mode, lets
you just left mouse click on a single clip or aligned clips and just
drag. This older method of dragging does not move any of its
effects with it at this time. There will only be a white outline
while dragging and it will let you drop only if it fits. You can
also perform some dragging and grouping while in the \textit{Cut and
- Paste editing mode} (ibeam mode) by taking advantage of the Ctrl
+ Paste editing mode} (ibeam mode \index{i-beam}) by taking advantage of the Ctrl
button in conjunction with the left mouse button.
\begin{itemize}
\end{itemize}
This last section on Dragging, outlines the difference
-between \textit{column selection} and \textit{marking selection}.
+between \textit{column selection} \index{column selection} and \textit{marking selection} \index{marking selection}.
Column selection is available to make it easy to still be able to do
some dragging in I-beam mode whereas Marking selection makes it easy
to drag clips together that are not columnated.
\subsection{Selection Methods}%
\label{sub:selection_method}
+\index{edit!selection}
+\index{active region}
Concerning \textit{Selection} methods, the following information is
partially pertinent to all editing, but is most important to keep in
is input for the vertical style cut/paste drag/drop editing.
More recently, in addition to the column oriented timeline drag
-selection, there is now \textit{group} capabilities which have
+selection, there is now \textit{group} \index{edit!grouping} capabilities which have
various \textit{edit} selections. These are created in the Drag and
Drop editing mode by clicking edits to toggle
select/deselection. These groups are input to a different (more
and so on \dots The keyboard Delete key is not hooked to these
operations, and is hooked to the original editing methods.
-In this \textit{group} mode, if there are In/Out markers set, they
+In this \textit{group} mode, if there are In/Out \index{in/out point} markers set, they
enter the selection priority queue between the column selection and
the cursor only. You can see the In/Out markers selected region
colored line across the timebar (slightly underneath where the time,
There is also a faster way:
\begin{enumerate}
- \item Arm the tracks you want to be used
+ \item Arm the tracks you want to be used.
\item Highlight the area as usually you do with \textit{I-beam} mode (or use \textit{In/Out Points}; or position \textit{Insert Point} over the stack of edits). If you miss an edit that you want included, the same method can be used to add it. It is an additive operation. And, it will include the partial edits in the selected area, thus making it easy to disinclude ones you do not want.
It will include silence also but you can remove that or any other edit with CTRL + LMB.
\item Press MMB on a clip inside the highlight area and the PopUp menu is shown with the \textit{Select edits} option on the top.
- \item Choose the \textit{Select edits} option and the clips inside the highlight area will be selected.
+ \item Choose the \textit{Select or Deselect edits} option and the clips inside the highlight area will be selected or deselected.
\end{enumerate}
-\section{Inter-View Mode\;/\;Identifying Source Targets}%
+And there is a Drag mouse way (this requires that the cursor be on the first
+clip and from there you start the drag):
+\begin{enumerate}
+ \item To Drag Select edits, hold down Alt+Left Mouse Button (LMB) and drag over the selection area. Releasing the mouse results in selecting.
+ \item To Drag Deselect edits. hold down Alt+Ctrl+LMB and drag over the area to be desected. Releasing the mouse results in deselecting.
+\end{enumerate}
+
+If using certain operating systems (for example Ubuntu and Arch) that might field the Alt key before it gets to \CGG{}, you can use the following for both Select and Deselect instead:
+\begin{enumerate}
+ \item Press and hold down Ctrl+Alt+LMB on an edit
+ \item Drag on the edits you want to select
+ \item Release the Ctrl key
+ \item Release the LMB
+ \item Release the Alt key
+\end{enumerate}
+
+\section{Inter-View Mode -- Identifying Source Targets}%
\label{sec:inter-view_identifying_source_target}
+\index{inter-view}
Inter-View mode provides a mapping of a particular media file to its
-timeline usages. It is somewhat similar to Two Screen Editing in
+timeline \index{timeline} usages. It is somewhat similar to Two Screen Editing in
that you make use of the Viewer. It makes it possible to precisely
trace and indicate in the media the origin of a particular segment
of the timeline and visually indicate the use and distribution that
\begin{itemize}
\item Do your editing as usual on the timeline until you are
ready to see what is used or unused.
-\item Make sure you are in any of the Preview modes in the
- Resources window; you enable the mode using the pulldown to the left
+\item Make sure you are in any of the Preview modes \index{preview mode} in the
+ Resources window \index{resources window}; you enable the mode using the pulldown to the left
of the word \textit{Search}. The option looks like this \quad
\includegraphics[height=\baselineskip]{fullplay.png}.
\item Middle mouse click on a thumbnail in the Resources window and
\item Ctrl-click on the bottom bar and the timeline and composer
are re-positioned to the beginning of that edit.
\item Shift-click on the bottom bar and a \textit{selection} is
- made of that section in the timeline and the composer is updated
+ made of that section in the timeline and the compqoser is updated
with that start position.
\end{itemize}
\section{Edit Tools}%
\label{sec:edit-tools}
+\index{edit tools}
\subsection{Edit Length}%
\label{sub:edit-lenght}
+\index{edit!length}
To set the length of an edit in the timeline, select the region
which contains the edit to be modified. Now select the menu bar
\subsection{Align Edits}%
\label{sub:align_edits}
+\index{align edits}
When loading media, a common problem is that the various audio/video
tracks do not always have exactly the same lengths. For example, you
\subsection{Reverse Edits}%
\label{sub:reverse_edits}
+\index{reverse edits}
The Reverse Edits can be useful to change the order of 2 edits in
the case where you would like to put a \textit{teaser} section that
\subsection{Shuffle Edits}%
\label{sub:shuffle_edits}
+\index{shuffle edits}
The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
randomly exchange the location of the edits. This feature can be
\section{Multi-Session}%
\label{sec:multi_session}
+\index{multi-session}
You can run as many sessions of \CGG{} as your computer resources allow. However, if you are using the same \texttt{\$HOME/.bcast5}, changes you make for one may impact the others. You can always create and rename a new \texttt{.bcast5} from:\\
\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface $\rightarrow$ Index files:} and press \textit{Index files go here}
\section{Multi-Viewer Window Support}%
\label{sec:multi_viewer_window_support}
+\index{multi-viewer window}
You can create as many Viewer windows as you want in \CGG{}. These are handy for users who are adept at working with a lot of different clips simultaneously. By bringing up multiple Viewer windows, each clip can be edited in its own area, making it easy to see all of the separate pieces. After you have loaded some media files, to start another Viewer window, right click on one of the pieces of media in the Resources window. This brings up a menu of several options, one of which is \textit{view in new window}. Choose this option and that media will come up in a new Viewer window for you to work (figure~\ref{fig:multi-view01}).
\section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing\protect\footnote{programmatic specifications from Eric Messick}}%
\label{sec:shuttle_jog_wheels_editing}
+\index{shuttle pro v2 and shuttlexpress}
The ShuttlePROv2 and ShuttleXpress are affordable jog wheels which
can be useful for working with Cin, especially if you do a lot of
projects / goodguy / cin-manual-latex.git / blobdiff