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
combination with the active region determine where material is
inserted when loading files. If the files are loaded with one of
the insertion strategies which do not delete the existing project,
- the armed tracks will be used as destination tracks.
+ the armed tracks will be used as destination tracks. Note that disarming
+ a track does not prevent you from dragging or attaching an Effect/Plugin
+ onto a disarmed track - this is not considered an edit in this case.
\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.
This is often used to adjust audio levels on all the tracks
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 \ref{sub:displaying_tracks_ganged}
-\item[Track Data Height] this up/down toggle symbol to the immediate right
+\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] \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. In addition to letting you work on the tracks of a group as one, you also get a saving of space on the timeline that makes it easier to view and edit the tracks. 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{enumerate}
\begin{figure}[htpb]
\centering
\caption{Gang None: only the video track is master. We see all tracks both master and non-master (default)}
\label{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}
-\end{enumerate}
+ \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}
\begin{figure}[htpb]
\centering
\label{fig:gang-track-02}
\end{figure}
-\begin{enumerate}[start=3]
\item \textbf{Gang Media:} this mode only shows the \textit{Master Tracks} of the media but changes are propagated to the appropriate other related tracks (even if they are not visible). The \textit{Gang Tracks} button icon looks like a single track. See figure~\ref{fig:gang-track-03}
\end{enumerate}
The current \textit{Gang Tracks} mode is saved across sessions and will be saved in your project. Although most likely users will work in the \textit{Gang None} mode, users more familiar with DAW software will tend to use the \textit{Gang Channel}s mode.
-More details ares described next about master tracks. Each patchbay has a \textit{Master Track} button on the extreme right of the patchbay. These mark which tracks of the media are master tracks. The span of tracks between the gang group masters are the gang track group. The master track toggles can be disabled/enabled as the user wishes to create the desired track groups. Normal file loads will mark the first stream of each file loaded as a master, if the media is loaded with insertion strategy of\textit{ Replace current project}, \textit{Replace current project and concatenate tracks} or \textit{Append in new tracks}. Frequently, editing is done on video, audio, or audio/video groups to maintain timeline synchronization. By grouping related tracks, this procedure is much more automatic.
+More details are described next about master tracks. Each patchbay has a \textit{Master Track} button on the right of the patchbay. These mark which tracks of the media are master tracks. The span of tracks between the gang group masters are the gang track group. The master track toggles can be disabled/enabled as the user wishes to create the desired track groups. Normal file loads will mark the first stream of each file loaded as a master, if the media is loaded with insertion strategy of\textit{ Replace current project}, \textit{Replace current project and concatenate tracks} or \textit{Append in new tracks}. Frequently, editing is done on video, audio, or audio/video groups to maintain timeline synchronization. By grouping related tracks, this procedure is much more automatic.
Previously existing projects created before the addition of ganged tracks, will have ALL tracks marked as master tracks and changing the \textit{Gang Tracks} button mode will have no effect. The user will have to properly designate which track is the master track and disabling the others in order to make use of the toggle modes.
NOTES:
\begin{itemize}
- \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 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. \textit{Warning}: this behavior is contrary to the default of \CGG{} whereby an unarmed track never undergoes any alteration. This exception was made to mimic the behavior of DAWs, where the various channels of an audio track are combined into a single "line", and it makes no sense to talk about armed or unarmed 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.
+ \item Gang flags in the patchbay specifically when in \textit{Gang Channels} or \textit{Gang Media} modes will operate as set in the Master Track. For example, if when in \textit{Gang Channels} mode, you turn off “Play track” on the visible audio track, none of the associated channels (i.e. the other stereo or other 5 channels) will play. And if in \textit{Gang Media} mode, if you turn on “Play track” for the Master Track, all associated video and audio tracks will play unless you turned off “Play track” for some of the associated audio/video slave tracks which will not play.
+ \item When adding a Plugin/Effect in \textit{Gang Channels} or \textit{Gang Media} mode to the track, highlighted selected region, or In/Out pointers area via dragging the plugin from the Resources Window the plugin will be added on the master and all slave tracks. If using the Audio or Video pulldown, \textit{Attach Effect} option and you want to propagate the effect to all slave tracks, make sure that the checkbox for "Attach single standalone and share others" in the Dialog window is checked. However, currently when using the right mouse button (RMB) on the master track to \textit{Attach effect}, the effect will only be inserted on that track.
\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
same (or more) number of tracks in the Master project as you do in
the Sequence. To avoid having to know how many tracks you need, you
can use the Nest feature as described in the Nesting section
-(\ref{sub:nesting}).
+(\ref{sec:nesting_clips_and_assets}).
\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 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 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 Video and 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 Edit pulldown,
+ edit and paste silence over it using the \textit{Edit} pulldown,
\textit{Paste Silence}.
\end{itemize}
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
selected area.
In/Out points can be used to perform Cut and Paste operations in
-Drag and Drop mode as well as in Cut and Paste mode. Use the Edit
+Drag and Drop mode as well as in Cut and Paste mode. Use the \textit{Edit}
pulldown to view the list and their keyboard shortcuts.
\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
Clear Select & Ctrl-Shift-A & Deselect all selected edits --
ones that have the red lines
around them.\\
+
+ 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.\\
In addition if you attempt to paste edits consisting of more tracks
than what is available at that location it will not allowed.
-Attaching transitions to multiple selected edits via the Video or
-Audio pulldowns is also available. The new transitions are attached
+Attaching transitions to multiple selected edits via the \textit{Video} or
+\textit{Audio} pulldowns is also available. The new transitions are attached
at the start of the edits, and will replace any existing attached
transitions. As a side note, when in drag and drop mode the end
transition does not drag.
+\subsection{Snapping while Cutting and Dragging}%
+\label{syb:snapping_cutting_dragging}
+\index{snap}
+
+\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.
+
+\begin{wrapfigure}[3]{r}{0.2\linewidth}
+ \vspace{-2ex}
+ \centering
+ \includegraphics[width=0.7\linewidth]{snap.png}
+\end{wrapfigure}
+
+They look like tags and the letter E on the menu bar and are
+oriented forward/backward. These same buttons can be used to
+\textit{cut} from the insert pointer to the previous or next
+edit/label when the ctrl+alt keys are both pressed when the buttons
+are used. They \textit{snap} off the media instead of doing the
+standard re-positioning. This is useful to minimize the number of
+operations necessary to cut between edits/labels.
+
+Instead of using the edit panel buttons, you can more easily use the
+following keyboard shortcuts to perform the same functions:
+
+\begin{center}
+ \begin{tabular}{lll}
+ \toprule
+ snap\_right\_edit & ctrl+alt+ '.' &\\
+ snap\_left\_edit & ctrl+alt+ ',' &\\
+ snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
+ snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
+ \bottomrule
+ \end{tabular}
+\end{center}
+
+\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
+exactly aligned with no gap and no overlap. As you drag the clip
+close to one of the markers, when they are within a short distance
+they start to stick and stay that way until you move further away
+from that distance. Also, the line will turn color from green to
+yellow while in the sticky phase. In addition, this works for a
+plugin while dragging so that it will be the same length as the edit.
+
+\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
+because there are hidden X cut buffers and these are used to
+transmit EDL from 1 instance to another.
+
+Steps to copy from a source timeline and paste to a target timeline:
+
+\begin{enumerate}
+ \item highlight a selection on the timeline in 1 instance of \CGG{}
+ \item use the Copy icon (shortcut c) on the main menu bar to copy
+ into a buffer
+ \item move the pointer to another instance of \CGG{} and set an
+ insertion point in its timeline
+ \item use the Paste icon (shortcut v) to paste the clip to that
+ other instance selection target
+\end{enumerate}
+
\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,
[ and ]. This means that when the highlighted cursor selection is
empty, the In/Out selection will be used.
+Summarizing: to select multiple edits/clips on the timeline you can simply use LMB on each edit. Or, if in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ appearence tab $\rightarrow$ Flags} we have enabled \textit{Clears before toggle}, use CTRL + LMB on each edit.
+
+There is also a faster way:
-\section{Inter-View Mode\;/\;Identifying Source Targets Editing}%
-\label{sec:inter-view_identifying_source_target_editing}
+\begin{enumerate}
+ \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 or Deselect edits} option and the clips inside the highlight area will be selected or deselected.
+\end{enumerate}
+
+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
\label{fig:inter-view01}
\end{figure}
+There is a second usage of Inter-View mode that can be helpful if
+some tracks have become misaligned, such as in the case of 2 audio
+channels no longer being in sync. You can use this mode to get them
+back in alignment.
+
Explanation of how to use Inter-View mode will be described here
next.
\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
- of the word Search. The option looks like this \quad
+\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
a popup occurs of that media with a white colored bar at the top
\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}
Because audio tracks are not proxied, they will show for Media but
not for Proxy.
-
-\section{Some Specific Editing Tools}%
-\label{sec:specific_editing_tools}
-
-This section covers some more detailed editing tools and scenarios
-for edit management.
-
-\subsection{Editing EDLs within a Project}%
-\label{sub:edit-edls}
-
-To edit EDL that is included with your project as Clips, Nested
-Clips, Referenced File, or Xml you can use the option \textit{Open
- EDL} in the Resources window for the highlighted media. Then with
-a simple button click you can return to your main timeline project.
-For example, if you have a nested clip that originally had several
-plugins added to it before it was nested, you can edit those plugin
-parameter values. Previously to make any changes to these types of
-EDL you had to remake the whole clip from scratch.
-
-Here is how this works. In the Clip or Media folder or on a timeline
-EDL edit, the option \textit{Open EDL} for the highlighted clip or
-nested clip is available so that when you choose this option, that
-EDL will be brought up on the timeline superseding the current EDL
-that exists on the timeline. Now, once the clip is open on the
-timeline, you can edit it however you want. The previous timeline
-EDL is \textit{pushed onto a stack} so it can be recalled by
-\textit{popping the stack} with a click of the left mouse button in
-the upper right hand corner of the timeline to the left of the
-\textit{shell cmds} icon. Initially this button displays a 0 to
-indicate your initial timeline/project. Then this button will read
-1 if you choose \textit{Open EDL} and then back to 0 and your
-original timeline with the left mouse click. You can go several
-levels deep so instead of 1, it could be 2, 3, $\dots$ but this
-requires some thought to avoid potential confusion.
-
-An example of a typical set of steps to follow is:
-\begin{enumerate}
-\item Load your media using insertion strategy of \textit{Replace
- current project}. There will be \# 0 in the upper right hand corner
- of the main menu with the tooltip of \textit{Close EDL}.
-\item Highlight a selection on the timeline and press the
- \textit{To clip} icon and click the green checkmark OK.
-\item In the Resources window, open the Clip folder and you will
- see that Clip 1 is present.
-\item Highlight Clip1 and right mouse the item to bring up
- available options and select \textit{Open EDL}.
-\item Now you will see the timeline change from the original
- media to just the clip content and the \# in the upper right hand
- corner will change from 0 to 1.
-\item Add a visible effect, like AgingTV to the timeline.
-\item Click on the \# 1 in the main menu bar to see he timeline
- restored to the original media.
-\item Drag the clip from the Resources Clip folder to the
- timeline and you will see the AgingTV effect.
-\end{enumerate}
-
-You can follow the same steps as above by first using the option
-\textit{Nest to media} in the Clip folder which nests the clip and
-moves it out of the Clip folder to the Media folder. Then use
-\textit{Open EDL} on the Nested EDL in the media folder. When you
-Open EDL and edit the changes, those changes will take affect on any
-and all occurrences of that nested clip on the current and/or
-original timeline. The option to unnest that clip and put that back
-into the Clip folder is the option \textit{EDL to clip}. The nested
-clip is still in the Media folder. It will now have a name of the
-next available Clip \# but the comment contains the previous name so
-you can tell where it came from.
-
-Instead of using the \# number on the main menu to close the current
-EDL, both the Media and Clip folders have \textit{Close EDL} options
-with the left mouse button. Clicking on the \# number is quick and
-easy but for infrequent usage it is not obvious, whereas if you use
-\textit{Open EDL} you see \textit{Close EDL} right below that and so
-it is very obvious. In addition in the case of where you have
-opened a EDL, and you no longer see that clip in the folder, the
-right mouse button where no media is highlighted will also display
-the Close EDL option.
-
-%\pagebreak
-\begin{figure}[h]
- \centering
- \includegraphics[width=1\linewidth]{editing-img001.png}
- \caption{Once you have an Open EDL, the easiest way to close it.}
- \label{fig:open_edl}
-\end{figure}
-\relax
-
-In addition to the \textit{Open EDL} option in the Resources menu,
-this option is available on the timeline when the cursor is on an
-EDL-type edit. To get to this option, click on the middle mouse
-button on that edit. If it is not EDL, the option will not be
-shown. In summary:
-
-\begin{center}
- \begin{tabular}{ll}
- \toprule
- Media folder of Resources window & Open EDL for Nested or Referenced EDLs\\
- Clip folder of Resources window & Open EDL for clips\\
- Track timeline & Open EDL for Nested or Referenced EDLs\\
- \bottomrule
- \end{tabular}
-\end{center}
-
-An aside -- when nesting and unnesting clips to take advantage of
-this feature, names of the media can lead to some confusion. For
-example, if you nest a clip, the new name in the Media folder is the
-word \textit{Nested} followed by an underscore with the date and
-timestamp, another underscore, and then the clip name. Then when
-you unnest this Media folder clip via the \textit{EDL to clip}
-option, the name will be changed in the Clip folder to the next
-available Clip \#. However the comment field will reflect the
-nested clip name from which it was derived. To avoid confusion you
-can easily change the name for these clips in either the Clip or
-Media folder because they are not real files at this point. To do
-so, highlight the clip name in Resources, click on Info and type in
-a new name.
-
-For additional safety, the \textit{Open EDL} feature includes
-additional backup capabilities. Automatically \CGG{} saves a backup
-when certain changes are made or you can always use the shortcut `b'
-to do one yourself, although keep in mind it will be overwritten
-whenever \CGG{} wants to do another backup. Now there is a shortcut
-for the backup shortcut `b' so you can keep your hand on the mouse
-instead of the keyboard. Just click on the \# in the upper right
-hand corner of the main window. If \# is at 0, it backs up to
-backup.xml, if at 1, it backs up to \texttt{backup1.xml} and so on
-\dots up to \texttt{backup9.xml}.
-
-When \textit{Open EDL} is invoked, the current EDL and current undo
-stack are both \textit{pushed}, and the active session EDL is
-replaced with the target clip/nested edl. A new undo stack is
-created, and the active \texttt{backup.xml} file name is decorated
-with the stack level. So, \texttt{backup.xml} is
-\texttt{backup1.xml} when your edits are at stack level 1,
-\texttt{back\-up2\-.xml} at stack level 2, and so on. This means
-that if you \textit{load backup} at stack level 1, the session will
-reload from history at stack level 1, not the main session.
-
-See a real-world workflow at appendix \nameref{sec:workflow_openedl_nested_clips}
-
-\subsection{Editing with File by Reference}%
-\label{sub:file-reference}
-
-It is sometimes handy to have 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
-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
-credits xml file and the next time you load one of the videos and
-render it, it will now automatically have the updated information.
-
-The purpose of this feature is to be able to rework a smaller
-section of a global master project at any time, which can be done by
-an "assistant" (i.e. external software like GIMP or Inkscape, $\dots$) and then this work is automatically reflected in the
-global master project. It is for \textbf{advanced usage only}.
-
-Up until the addition of this feature, \CGG{} has always used copies
-and no direct reference in order to ensure original data is never
-compromised. In the usual case, subprojects as xmls are copied into
-a master project where subprojects had been inserted, so that if you
-change something in a subproject or delete a subproject, it would
-have no affect on the master project. But now with \textit{File by
- Reference}, any project that uses a referenced file will
-automatically include any changes made to the referenced file when
-loaded. At the same time, if you use the EDL file NOT as a
-referenced file in a project since it is then just a copy, it will
-not be updated. Because of this difference, the user needs to be
-very aware of what using this feature could do.
-
-\textbf{Use with extreme caution}. However, there are several
-built-in safety features and a warning that should never be turned
-off even though it gives you the option to do so. These include:
-
-\begin{enumerate}
-\item When the \texttt{File, Load files} menu is opened, the EDL
- strategy will always be set to just EDL as default. Although, if
- you use Apply and leave the Load Menu open, it will stay changed to
- what you selected until it is re-opened.
-\item When an EDL is opened as \textit{Reference}, the color of
- that file name in the Resources Media folder is different in order
- to serve as a reminder that it is special.
-\item A warning message is displayed in a popup window when you
- load a \textit{File by Reference} that reads “Other projects can
- change this project and this can become a broken link”. Although
- you can check the warning box to never see this warning again, you
- would be well advised to not do so. It is a great reminder of
- consequences and you will not want to be cavalier about the warning.
- Instead just use the X to dismiss the warning.
-\end{enumerate}
-
-Here is a step by step example of how you can use \textit{File by
- Reference}:
-\begin{enumerate}
-\item Start up \CGG{} and use the Title plugin to create a new
- credits file. Save as credits.xml.
-\item Start a New project and then load an existing master
- project to the timeline.
-\item Load the credits file you created in step 1 with a Load
- Strategy of Create Resources Only and with EDL Strategy as
- \textit{Reference}.
-\item Note the color change in the credits.xml filename and the
- reference comment in the Resources Media folder.
-\item Drag the credits file to an empty spot on the timeline.
- Save this new master project and quit.
-\item Start \CGG{} up again. Load credits.xml and make a change
- to the Title and save again.
-\item Exit \CGG{}; restart \CGG{}; load your master project and
- now you will automatically see on the timeline the changes you just
- made in the previous step.
-\end{enumerate}
-
+\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
\label{fig:shuffle}
\end{figure}
+\section{Multi-Session}%
+\label{sec:multi_session}
+\index{multi-session}
-\subsection{Drag Handle Management / Trimming}%
-\label{sub:drag_handle_management_trimming}
-
-With some edits on the timeline it is possible to do trimming. By
-trimming you shrink or grow the edit boundaries by dragging them. In
-drag and drop mode or cut and paste mode, move the cursor over an
-edit boundary until it changes shape. The drag handle shows as a
-left or right facing fat arrow when you cursor near the clip start
-or end. If the cursor faces left, the dragging operation affects
-the beginning of the edit. If the cursor faces right, the dragging
-operation affects the end of the edit.
-
-The effect of each drag operation not only depends on the behavior
-button but whether the beginning or end of the edit is being
-dragged. When you release the mouse button, the trimming operation
-is performed.
-
-For all file formats, other than still images, the extent of the
-trimming operation is limited to the source file length. Attempting
-to drag the start of the edit beyond the start of the source, limits
-it to the source start. In all trimming operations, all edits which
-start on the same position as the cursor when the drag operation
-begins are affected. You have to disarm tracks in order to prevent
-edits from being affected.
-
-You have 6 different choices of which mouse button to use for
-specific types of editing while using the drag handle. You change
-the drag handle mouse effects by using the \texttt{Settings
- $\rightarrow$ Preferences $\rightarrow$ Interface} tab and
-modifying the Editing section as shown in the next
-figure~\ref{fig:trim}. The drag handle affects not only the clip you
-are working on but also frequently the entire duration of all clips
-on the timeline.
-
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.6\linewidth]{trim.png}
- \caption{Default choices for mouse: Ripple for button 1; Roll
- for button 2; Slip for button 3}
- \label{fig:trim}
-\end{figure}
-
-A description of the fundamental/common terminology for choices
-follows.
-
-\begin{description}
-\item[All Edits (ripple)] shorten or lengthen the start or end
- of a single piece of media while moving all media to the right of
- that clip up or down on the timeline correspondingly. Timeline
- duration is modified. In a drag \textit{All Edits} operation, the
- beginning of the edit either cuts data from the edit if you move it
- forward or pastes new data from before the edit if you move it
- backward. The end of the edit pastes data into the edit if you move
- it forward or cuts data from the end of the edit if you move it
- backward. All the following edits shift. If you drag the end of the
- edit past the start of the edit, the edit is deleted.
-\item[One Edit (roll)] move the in and out point of a single
- clip without changing the timeline duration. In a drag \textit{One
- Edit} operation, nothing is cut or pasted. If you move the beginning
- or end of the edit forward, the source reference in the edit shifts
- forward. If you move the beginning or end of the edit backward, the
- source reference shifts backward. The edit remains in the same spot
- in the timeline but the source shifts.
-\item[Src Only (slip)] move the in and out point of a single
- clip without changing the timeline duration. In a drag \textit{Src
- Only} operation, nothing is cut or pasted. If you move the beginning
- or end of the edit forward, the source reference in the edit shifts
- forward. If you move the beginning or end of the edit backward, the
- source reference shifts backward. The edit remains in the same spot
- in the timeline but the source shifts.
-\item[Slide] a single clip is moved but retains its current in
- and out point; however the out point of the clip to the left changes
- and the in point of the clip to the right also changes. Timeline
- duration remains the same.
-\item[Edge Left/Right] moves the edge of the clips.
-\item[No effect] no changes are made. You might want to use
- this choice to prevent accidental movements.
-\end{description}
-
-The next table displays the options and results
-with the Key Table here first.
-
-\begin{lstlisting}[style=sh]
- s = src media start
- p = proj position
- l = length
- c = cut distance
- rest == p+=c: for rest of clips
- 01 = flags edits_moved, rest_moved
-\end{lstlisting}
-
-\renewcommand{\arraystretch}{1.15}
-\begin{table}[ht]
- %\caption{}
- %\label{tab:}
- % Tell table to adjust font to fix on the page using \resize
- \resizebox{\textwidth}{!}{%
- \begin{tabular}{lllll}
- \toprule
- & & \textbf{Drag Left} & \textbf{Drag Right} &\\
- \midrule
- \multicolumn{2}{l}{\textit{curr s += c, l -= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
- abc12345xyz & \textbf{Ripple} left edge 11 $\rightarrow$ & abc012345xyz & abc2345xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{curr l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
- abc12345xyz & \textbf{Ripple} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{prev l += c; curr ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Roll} left edge 00 $\rightarrow$ & ab012345xyz & abcd2345xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{curr l += c; next ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Roll} right edge 00 $\rightarrow$ & abc1234wxyz & abc123456yz &\\
- \midrule
- \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Slip} left edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Slip} right edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Slide} left edge 10 $\rightarrow$ & ab012345wxyz & abcd12345yz &\\
- \midrule
- \multicolumn{2}{l}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ &\\
- abc12345xyz & \textbf{Slide} right edge 10 $\rightarrow$ & ab12345wxyz & abcd12345yz &\\
- \midrule
- \multicolumn{2}{l}{\textit{curr s -+= c, l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
- abc12345xyz & \textbf{Edge} left edge 11 $\rightarrow$ & abc2345xyz & abc0123456xyz &\\
- \midrule
- \multicolumn{2}{l}{\textit{curr l -+= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest}\\
- abc12345xyz & \textbf{Edge} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz &\\
- \bottomrule
- \end{tabular}
- }
-\end{table}
-\renewcommand{\arraystretch}{1}
-
-Next, a more immediate and colorful view shows these trimming
-options (figure~\ref{fig:trim-color}).
-
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{trim-color.png}
- \caption{The 5 types of Trim: note the different lengths of the results.}
- \label{fig:trim-color}
-\end{figure}
-
-\paragraph{How to do a J-cut or L-cut} A J-cut is a split edit film
-editing technique in which the audio from a following scene overlaps
-the picture from the preceding scene, so that the audio portion of
-the later scene starts playing before its picture as a lead-in to
-the visual cut. An L-cut is a different split edit film editing
-technique in which the audio from preceding scene overlaps the
-picture from the following scene, so that the audio cuts after the
-picture, and continues playing over the beginning of the next scene
-(figure~\ref{fig:j-cut}). To do either a J-cut or an L-cut, you
-first shorten the first or second video a little. Then you block
-the audio tracks from changing by disarming the appropriate tracks.
-Finally use \textit{One Edit (roll)} the cutting edge off the
-videos. Moving to the right creates a J-cut and moving to the left
-creates an L-cut.
-
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{j-cut.png}
- \caption{J-cut to left and L-cut to right}
- \label{fig:j-cut}
-\end{figure}
-
-
-\subsection{Split View in Compositor Using the Drag Handle with Trim}%
-\label{sub:split_view_compositor_using_drag_trim}
-
-The Trim Feature using the drag handle provides some good ways to
-view your video while editing. The playback position in the
-compositor is updated live and the view in the compositor can be
-split so that in the left half of the compositor you can see the
-last frame of the left clip and in the right half the first frame of
-the right clip. Dragging edits can not be extended past the
-beginning or the end.
-
-First familiarize yourself with button operation; check your setup
-by executing the following step. In the \texttt{Settings
- $\rightarrow$ Preferences $\rightarrow$ Interface} tab, Editing
-section, clicking on the edit boundaries can be set for Button 1, 2,
-3 as one of the following:
-
-\textit{Ripple}; \textit{Roll}; \textit{Slip}; \textit{Slide};
-\textit{Edge} or \textit{No effect}
-
-Now to use this feature, create a track with edits that have trims
-on the left and/or the right. The edit boundary can be modified
-using \textit{drag handles} at the boundary between the edits
-(figure~\ref{fig:trim-display}).
-
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=1\linewidth]{trim-display.png}
- \caption{Split compositor screen showing the result of the Trim feature}
- \label{fig:trim-display}
-\end{figure}
-
-\begin{description}
-\item[Left Mouse Button (LMB) usage:] If you grab the edit
- handle from the right side, you will see a left arrow and dragging
- the boundary will modify the right edit playback starting time. If
- you grab the edit handle from the left side, you will see a right
- arrow and dragging the boundary will modify the left edit playback
- ending time. In both cases, the composer will show the edit endpoint
- of the changed edit.
-\item[Shift LMB usage:] The effect on the edits is the same as
- described above, but the composer will show a split screen of the
- left and right edits as they appear at the drag handle
- boundary. Dragging will only change one of the two images, since
- only one edit is being changed.
-\item[Middle Mouse Button (MMB) usage:] Both the left and the
- right edit ending/starting times are updated. The image shown in
- the compositor will be drawn from the side of the drag grab, that is
- the left if it is grabbed from the left, and the right if it is
- grabbed from the right.
-\item[Shift MMB usage:] The effect on the edits is the same as
- described above, but the composer will show a split screen of the
- left and right edits as they appear at the drag handle boundary.
- Dragging will change both of the two images, since both edits are
- being changed.
-\item[Right Mouse Button (RMB) usage:] The start/end point of
- the current edit is moved, but the edit length is unchanged only one
- image changes since only one edit endpoint is view is updated.
-\item[Shift RMB usage:] The effect on the edits is the same as
- described above, but the composer will show a split screen of the
- left and right edits as they appear at the drag handle boundary.
- Dragging will only change one of the two images, since only one edit
- is being changed.
-\end{description}
-
-
-\subsection{Snapping while Cutting and Dragging}%
-\label{sub:snapping_cutting_dragging}
-
-\paragraph{Cutting/Snapping edits} 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.
-
-\begin{wrapfigure}[3]{r}{0.2\linewidth}
- \vspace{-2ex}
- \centering
- \includegraphics[width=0.7\linewidth]{snap.png}
-\end{wrapfigure}
-
-They look like tags and the letter E on the menu bar and are
-oriented forward/backward. These same buttons can be used to
-\textit{cut} from the insert pointer to the previous or next
-edit/label when the ctrl+alt keys are both pressed when the buttons
-are used. They \textit{snap} off the media instead of doing the
-standard re-positioning. This is useful to minimize the number of
-operations necessary to cut between edits/labels.
-
-Instead of using the edit panel buttons, you can more easily use the
-following keyboard shortcuts to perform the same functions:
+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}
-\begin{center}
- \begin{tabular}{lll}
- \toprule
- snap\_right\_edit & ctrl+alt+ '.' &\\
- snap\_left\_edit & ctrl+alt+ ',' &\\
- snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards\\
- snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards\\
- \bottomrule
- \end{tabular}
-\end{center}
+\section{Multi-Viewer Window Support}%
+\label{sec:multi_viewer_window_support}
+\index{multi-viewer window}
-\paragraph{Drag Snapping} 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
-exactly aligned with no gap and no overlap. As you drag the clip
-close to one of the markers, when they are within a short distance
-they start to stick and stay that way until you move further away
-from that distance. Also, the line will turn color from green to
-yellow while in the sticky phase. In addition, this works for a
-plugin while dragging so that it will be the same length as the edit.
-
-
-\subsection{Nesting}%
-\label{sub:nesting}
-
-\paragraph{Nested Assets} A nested asset is an EDL session that
-embeds an existing EDL session, all tracks, all plugins, editing,
-and effects into a media object that appears as one audio/video
-media object, no plugins, editing, or effects. It is as if the
-existing EDL was rendered, and loaded in its place. This has
-several interesting side effects. First, you don’t have to render
-the entire media file to see any portion. Second, it requires no
-rendering compute time or storage. Third, it changes the precedence
-of the composer so that you get more control over the projection and
-automation, so that the results can be sent into another rendering
-step, not simply part of the current stack. It groups the plugin
-stack in much the same way that an arithmetic expression is grouped
-by parenthesis.
-
-The EDL session and the rendered output are visually equivalent.
-Nested assets allow for complex grouping and stacking of effects,
-and makes media access much more flexible. This feature can be used
-recursively, that is, any number of sessions may be stacked and
-referenced as an asset, as long as all of the rendering resources
-are available. Nested assets are added to the timeline by using the
-pulldown \texttt{File $\rightarrow$ Load files}\dots on the main
-menu and selecting the \textit{Insertion strategy} of \textit{Nest
- asset}. The file will be pasted into the timeline over the current
-selection or at the insertion point.
-
-It is somewhat important to note that nested assets and nested clips
-will have index files automatically created. These index files can
-start to clutter up your \texttt{\$HOME/.bcast5} directory with
-files named \texttt{Nested\_\#\#\#.idx} and you may want to
-periodically delete any index files which are no longer in use.
-
-\paragraph{Nested Clips} It is also possible to create
-\textit{clips} and convert them to \textit{nested edl}. This is
-done by first creating a clip using the standard cut, clipboard,
-paste, and/or edit panel buttons. Now, using the resources
-\textit{clip} folder, select a clip to be nested, and use the right
-mouse button to select a clip. This activates the clip popup menu.
-Select the \textit{Nest to media} menu item, and the clip will be
-converted to a \textit{Nested: Clip} and put in Media
-folder. Conversely, you can select a \textit{Nested: Clip}, use the
-\textit{EDL to clip} menu item, and the clip will be reverted to a
-\textit{Clip}. This works similarly to the group / un-group editing
-features of many graphic design editing programs, but in this case
-the groups are rendered compositions (figure~\ref{fig:nesting}).
-
-Nested clips can be proxied and when they are, the resulting files
-are placed in the user's \$HOME/Videos directory by default. This
-can be modified by changing
-
-\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface}
-tab, Nested Proxy Path.
+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}).
\begin{figure}[htpb]
- \centering
- \includegraphics[width=1.0\linewidth]{nesting.png}
- \caption{Nested clips in Timeline and Resources window}
- \label{fig:nesting}
+ \centering
+ \includegraphics[width=1.0\linewidth]{multi-view01.png}
+ \caption{Shown here are 3 Viewer windows and the \textit{View in new window} popup}
+ \label{fig:multi-view01}
\end{figure}
-\paragraph{Notes:} creating nested clips is a complicated internal process for \CGG{}, especially for managing audio tracks. Therefore you need to make sure you have your project set up as you expect before you start nesting with the \texttt{Nest to Media} command. Below are several things to remember.
-
-\begin{itemize}
- \item The creation of the nested clip is based on the settings in \texttt{Settings $\rightarrow$ Format}. Be sure that the number of audio tracks and channels is the same as we want to have in the nested clip. In addition, it is better to make each audio track independent from the others (which could be linked in more than one channel) using the option: \texttt{Audio $\rightarrow$ Map 1:1}
- \item You can do any editing on the nested clip once it is loaded to the timeline. For example we can start an OpenEDL session to make the changes. Once out of the OpenEDL session it may be that the changes made are not visible in the original nested clip. You can fix this by doing RMB on the nested clip in the \textit{Resources/Media} window and choosing \texttt{Rebuild index}. This process may take some time depending on the size of
-the media; because of the additional time required to do this, it is not done automatically in order to allow
-the user to make the decision as to when they are done editing enough and need to see the exact results
-in order to save time.
- \item Because of the way the timeline thumbnails are displayed, after editing using OpenEDL of a
-nested clip, the thumbnails of the video track may be redrawn and may look different and out of sync with the
-way they did originally with respect to the audio waveforms. This is simply a result of the redrawing of the
- video track which is independent from the redrawing of the audio tracks. The playback is still synchronized.
-\end{itemize}
-
-\paragraph{Usage Examples of Nested Clips}
-
-\begin{description}
-\item[Example 1:] You want to make a flashback/rewind at the end
- of your video that represents a quick summary of the entire video in
- black and white. On he timeline, you have 60 seconds of edits with
- clips, cuts, zoom in, zoom out and any other edits. Now you want to
- get this 60 seconds \textit{compressed} to 10 seconds, play in
- reverse, and in black and white at the end of your video. You would
- copy the 60 seconds in a clip, nest the clip in the Clip folder of
- the Resources window and drag it to the timeline. You will see only
- a clean clip without all of the edits that were used to create it
- because nesting display a clip without having to actually use the
- Render menu. Now you can add a Reverse effect, Color3way plugin for
- black and white, and use the Speed auto to get the 60 seconds down
- to only 10 seconds.
-\item[Example 2:] You are working on a complex project with a
- team in a separate location. You create some sub projects, i.e.\
- sequences, that you or the team will use in the Master project to
- merge the sequences in the right order and to make the final color
- correction steps.
-\end{description}
-
-In each of the examples you can see the benefit of nesting to create
-clean looking timelines because of the automatic rendering
-capability of nesting.
-
-
-\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
-because there are hidden X cut buffers and these are used to
-transmit EDL from 1 instance to another.
-
-Steps to copy from a source timeline and paste to a target timeline:
-
-\begin{enumerate}
-\item highlight a selection on the timeline in 1 instance of \CGG{}
-\item use the Copy icon (shortcut c) on the main menu bar to copy
- into a buffer
-\item move the pointer to another instance of \CGG{} and set an
- insertion point in its timeline
-\item use the Paste icon (shortcut v) to paste the clip to that
- other instance selection target
-\end{enumerate}
-
-
-\section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing\protect\footnote{programmatic specifications from Eric Messick}}%
+\section[ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing]{ShuttlePROv2 and ShuttleXpress Jog Wheels for Editing}%
\label{sec:shuttle_jog_wheels_editing}
+\index{shuttle pro v2 and shuttlexpress}
-The ShuttlePROv2 and ShuttleXpress are affordable jog wheels which
+The ShuttlePROv2 and ShuttleXpress are affordable jog wheels\protect\footnote{programmatic specifications from Eric Messick} which
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}).
The following is the default setting for the ShuttlePROv2 and
ShuttleXpress (table~\ref{tab:shuttleprov2} and
-table~\ref{tab:xpress}):
+table~\ref{tab:xpress}). This page can be quickly requested from \CGG{} by
+pressing both the left and right Alt keys on the keyboard followed by pressing
+any button on the Shuttle. To cancel this mode, press any single modifier key
+(\texttt{Alt, \texttt{Ctrl}} or Shift) once.
\renewcommand{\arraystretch}{1.15}
\begin{table}[ht]
projects / goodguy / cin-manual-latex.git / blobdiff