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
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,
(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
(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
\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
\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
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
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
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
In the following editing sections, references to common operations
are scattered within any of the modes where they seem pertinent.
In the following editing sections, references to common operations
are scattered within any of the modes where they seem pertinent.
On the left of the timeline is a region known as the patchbay. The
patchbay enables features specific to each track as described next.
On the left of the timeline is a region known as the patchbay. The
patchbay enables features specific to each track as described next.
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
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.
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.
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
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
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.
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.
\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
\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.
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.
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.
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}
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}
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.
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.
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 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).
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).
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
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.
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.
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
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.
toggle the track arming status. Press Shift-Tab while the cursor is
over a track to toggle the arming status of every other track.
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}
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}
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.
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.
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
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
Tracks in \CGG{} either contain audio or video. There is no special
designation for tracks other than the type of media they contain.
Tracks in \CGG{} either contain audio or video. There is no special
designation for tracks other than the type of media they contain.
\item[Delete last track] deletes the last track, whether it is
armed or not.
\item[Concatenate tracks] operation copies all the assets of
\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.
track. The destination track wraps around until all the disarmed
tracks are concatenated. Disarmed tracks that are not playable are
not concatenated.
\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}
\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}
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
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
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.
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}
\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}
This is a fast way to construct a program out of movie files (in
other programs is called \textit{three points editing}). The idea
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
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
Check to make sure there are enough armed tracks on the timeline to
put the subsections of source material that you want. Usually this
Check to make sure there are enough armed tracks on the timeline to
put the subsections of source material that you want. Usually this
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
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.
there are edits after your chosen splice location on the timeline,
they will be moved to the right.
“\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
“\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
This is the more traditional method of editing in \CGG{} and
therefore is the default. To enable the cut and paste editing mode
This is the more traditional method of editing in \CGG{} and
therefore is the default. To enable the cut and paste editing mode
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
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.
timeline and select the paste button. Assuming no In/Out points are
defined on the timeline this performs a cut and paste operation.
them have a button on the program control toolbar as well as a
keyboard shortcut. The keyboard shortcut is in parenthesis here.
them have a button on the program control toolbar as well as a
keyboard shortcut. The keyboard shortcut is in parenthesis here.
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
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.
waveform. Perform a cut, clear the In/Out points, select the region
between the labels, and perform a paste.
explained here to illustrate their usage. Because of the shape of
the markers [ and ] you may assume that they are inclusive -- that
explained here to illustrate their usage. Because of the shape of
the markers [ and ] you may assume that they are inclusive -- that
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
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
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
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.
of armed tracks. They are pasted one after the other, keeping the
same order they have on the stack.
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}).
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
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
%
\CGG{} has built-in optimization on the timeline. So that whenever
two parts on the timeline are sequential frames, it automatically
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
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
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
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
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}.
\item Open the Media folder in the Resources window. Make sure
the necessary tracks are armed and drag a media file from the
\item Open the Media folder in the Resources window. Make sure
the necessary tracks are armed and drag a media file from the
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}
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
\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
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}.
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
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
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
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
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
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
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
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
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
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
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
insert point. There are Edit Panel buttons which normally are used
to move to the previous or next edit handle/label.
insert point. There are Edit Panel buttons which normally are used
to move to the previous or next edit handle/label.
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
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}
\subsection{Copy/Paste clips/medias across Multiple Instances}%
\label{sub:copy_paste_multiple_instances}
It is easy to copy/paste clips/media within a single instance of
\CGG{} or across multiple instances. The reason this works is
It is easy to copy/paste clips/media within a single instance of
\CGG{} or across multiple instances. The reason this works is
\CGG{} recognizes as a group, the edits of different armed tracks
that have aligned beginnings, regardless of whether they have the
\CGG{} recognizes as a group, the edits of different armed tracks
that have aligned beginnings, regardless of whether they have the
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
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.
\textit{overwrite}. Without the \texttt{Shift} key enabled, it
always \textit{inserts} only.
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
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
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.
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.
Concerning \textit{Selection} methods, the following information is
partially pertinent to all editing, but is most important to keep in
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
is input for the vertical style cut/paste drag/drop editing.
More recently, in addition to the column oriented timeline drag
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
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.
and so on \dots The keyboard Delete key is not hooked to these
operations, and is hooked to the original editing methods.
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,
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,
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
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
-\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
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
\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
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
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
When loading media, a common problem is that the various audio/video
tracks do not always have exactly the same lengths. For example, you
When loading media, a common problem is that the various audio/video
tracks do not always have exactly the same lengths. For example, you
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
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
The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
randomly exchange the location of the edits. This feature can be
The file pulldown \texttt{Edit $\rightarrow$ Shuffle Edits} will
randomly exchange the location of the edits. This feature can be
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}
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}
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}).
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}).
can be useful for working with Cin, especially if you do a lot of
playing forward/backward, fast/slow/normal, and single frames
(figure~\ref{fig:shuttle}).
can be useful for working with Cin, especially if you do a lot of
playing forward/backward, fast/slow/normal, and single frames
(figure~\ref{fig:shuttle}).