Instead of media, the file contains pointers to the original media files on disk.
EDL files are specific to \CGG{}.
-The EDL files generally have an extension of .xml.
+The EDL files generally have an extension of \texttt{.xml}.
The purpose of the EDL is to separate the media from all of the editing operations so that the original media remains intact.
-When the .xml file is loaded, changes to the attributes of the current project are made based on the EDL. Edit decision lists are text files which means they can be edited in a text editor. EDL and XML are used interchangeably.
+When the \texttt{.xml} file is loaded, changes to the attributes of the current project are made based on the EDL\@. Edit decision lists are text files which means they can be edited in a text editor. EDL and XML are used interchangeably.
\section{Supported File Formats}%
\label{sec:supported_file_formats}
\subsection{Working with Still Images}%
\label{sub:working_with_still_images}
-Still images are played from 1 to any number of times, over and over; they have no duration. You can load still images on video tracks just like you do for any video file. When loaded on the track, use the down arrow on the timeline so you can see the single frame. To extend the length of the image, drag its boundaries just as you would do with regular video media. You can drag the boundaries of a still image as much as you want. Images in \CGG{} have the ability to be dragged to an infinite length. Alternatively, you can define the initial length of the loaded images. The parameter is set in the Images section of the \texttt{Settings $\rightarrow$ ~Preferences $\rightarrow$ ~Recording} window.
+Still images are played from 1 to any number of times, over and over; they have no duration. You can load still images on video tracks just like you do for any video file. When loaded on the track, use the down arrow on the timeline so you can see the single frame. To extend the length of the image, drag its boundaries just as you would do with regular video media. You can drag the boundaries of a still image as much as you want. Images in \CGG{} have the ability to be dragged to an infinite length. Alternatively, you can define the initial length of the loaded images. The parameter is set in the Images section of the \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Recording} window.
Unless your original material comes from a digital source using its best resolution (like a digital camera), the first thing you might have to do before you can use it is to somehow capture the assets into a usable digital medium. For old photos, paper maps, drawings or diagrams, you can scan them into a file format like PNG, TIF, TGA or JPG files by using a digital scanner.
%\vspace*{1ex}
Using the example of jpeg’s, the jpeg list sequence file type is the easiest and fastest way to access a sequence of jpg images as a single asset. First build a jpeglist sequence file and name it something like jpeglist.sh. There is an example script of how to do this in the Auxiliary Programs section of the Appendix (\ref{sec:image_sequence_creation}). Once the jpeglist.sh file is built you can then run it similar to this line:
-\begin{lstlisting}[language=bash,numbers=none]
-
$ jpeglist.sh /<path>/file.jpg /<path>/DSC*.jpg
+\begin{lstlisting}[style=sh]
+jpeglist.sh /<path>/file.jpg /<path>/DSC*.jpg
\end{lstlisting}
\vspace*{1ex} \noindent If <\texttt{path}> is the same on both outfile and infiles, then file.jpg is created in the same directory as infiles, the directory contains the entire asset, and the file list uses relative paths; otherwise the file list contains absolute paths. Since this creates outfile list as a single asset, the memory demand and access time is much lower. When you load the outfile in \CGG{}, you will need to set \textit{Try ffmpeg last} since ffmpeg does not work with jpeglist sequence files.
An example output file from running this script residing in the directory where \texttt{DSC*.jpg} files exist is shown below.
-To use this, turn off ffmpeg probes first, and open \texttt{timelapse.jpg} using File ~$\rightarrow$ ~Load files.
+To use this, turn off ffmpeg probes first, and open \texttt{timelapse.jpg} using File $\rightarrow$ Load files.
-\begin{lstlisting}[language=bash,numbers=none,caption={Example: timelapse.jpg},captionpos=t]
+\begin{lstlisting}[style=sh,caption={Example: timelapse.jpg},captionpos=t]
JPEGLIST
# First line is always JPEGLIST
# Frame rate:
\texttt{DSC0\%04d.opts} should contain the following lines which have to be modified to fit your exact requirements for duration, start\_number, and frame\_rate.
-\begin{lstlisting}[
-language=bash,
-numbers=none,
-caption={Example DSC0\%04d.opts},
-captionpos=t]
+\begin{lstlisting}[style=sh,caption={Example
+ DSC0\%04d.opts},captionpos=t]
loglevel=verbose
threads=auto
format=image2
\hspace{4em} {\small \url{https://www.cybercom.net/~dcoffin/dcraw/}}
-For example, included is the Canon Powershot SX60 (newly available in August, 2014). Because ffmpeg tries to load \textit{any and every} file if \textit{Try Ffmpeg first} is enabled. it will make an attempt to load Raw Camera files first before any other file driver gets the chance. In addition, there is the possibility that dcraw could conflict with the standard TIFF format, since it might be seen as format type \textit{tiff-pipe}. Therefore it is necessary to specifically enable CR2 and either move it to the top or disable \textit{FFMPEG\_Early} and enable \textit{FFMPEG\_late} in the \textit{Probe Order} as described in another section (\ref{sub:probe_order_loading_media} and \ref{sec:ffmpeg_early_probe_explanation}). These changed settings will be retained across \CGG{} sessions in .\texttt{bcast5}. Raw Camera mode is most likely going to be used by expert camera users.
+For example, included is the Canon Powershot SX60 (newly available in August, 2014). Because ffmpeg tries to load \textit{any and every} file if \textit{Try Ffmpeg first} is enabled. It will make an attempt to load Raw Camera files first before any other file driver gets the chance. In addition, there is the possibility that dcraw could conflict with the standard TIFF format, since it might be seen as format type \textit{tiff-pipe}. Therefore it is necessary to specifically enable CR2 and either move it to the top or disable \textit{FFMPEG\_Early} and enable \textit{FFMPEG\_late} in the \textit{Probe Order} as described in another section (\ref{sub:probe_order_loading_media} and \ref{sec:ffmpeg_early_probe_explanation}). These changed settings will be retained across \CGG{} sessions in \texttt{.bcast5}. Raw Camera mode is most likely going to be used by expert camera users.
-The first screenshot in figure~\ref{fig:raw} as in \texttt{Settings $\rightarrow$ ~Preferences $\rightarrow$ ~Playback A} Tab, shows the default checked settings of \textit{Interpolate CR2 images} and \textit{White balance CR2 images} which display the raw images in a way that you expect. However, you may want to uncheck them to ensure that no program manipulation has modified your images so that you can add plugins or make your own modifications. Unchecked indicates that the images are as closest as possible to unadulterated raw.
+The first screenshot in figure~\ref{fig:raw} as in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A} Tab, shows the default checked settings of \textit{Interpolate CR2 images} and \textit{White balance CR2 images} which display the raw images in a way that you expect. However, you may want to uncheck them to ensure that no program manipulation has modified your images so that you can add plugins or make your own modifications. Unchecked indicates that the images are as closest as possible to unadulterated raw.
The second screenshot showing CR2 for Raw Camera highlighed/enabled in the Preferences Probes’ screen.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{load.png}
+ \includegraphics[width=0.9\linewidth]{load.png}
\caption{Load file menu. Note the green checkmark for OK and the middle Apply option}
\label{fig:load}
\end{figure}
\CGG{} lets you change what happens when you load a file. In the Load dialog window go to the Insertion strategy box and select one of the options in the drop down menu. Each of these options loads the file a different way.
\begin{description}
- \item [Replace current project:] all tracks in the current project are deleted and a set of new tracks are created to match the source file. Project attributes are only changed when loading XML. If multiple files are selected for loading, \CGG{} adds a set of new tracks for each file. New resources are created in the Resources Window, replacing the current ones.
+ \item [Replace current project:] all tracks in the current project are deleted and a set of new tracks are created to match the source file. Project attributes are only changed when loading XML\@. If multiple files are selected for loading, \CGG{} adds a set of new tracks for each file. New resources are created in the Resources Window, replacing the current ones.
\item [Replace current project and concatenate tracks: ] same as replace current project, except that if multiple files are selected, \CGG{} will concatenate the tracks of each file, inserting different source files in the same set of tracks, one after another, in alphanumeric order, starting at 0. New resources are created in the Resources Window, replacing the current ones. Files go across the timeline.
\end{description}
For ffmpeg and mpeg files, when the Insertion strategy methodology in the \texttt{File $\rightarrow$ Load files} pulldown is chosen to be either \textit{Replace current project} or \textit{Replace current project and concatenate tracks}, the basic session format parameters are reinitialized to match new media. This selects the default asset and determines its width, height, and video length, frame rate, calculates the colormodel, and assumes square pixels to make an intelligent guess about aspect ratio for video. For audio, the sample rate, audio length, and channel count (mono, stereo, or 5.1) are reinitialized. In addition the \textit{Track Size} will be computed and is reinitialized to match the new loaded media. When using \textit{replace} type insertion strategy, the new asset list is the only media in use so that this update saves the user from immediately needing to change the session format to match the only possibility.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{load-sort.png}
+ \includegraphics[width=1.0\linewidth]{load-sort.png}
\caption{Load - Sort by File name, sort by file Size, and within Extension after a previous Size sort}
\label{fig:load-sort}
\end{figure}
\begin{description}
\item[0] this is the default and current behavior and shows bytes the same as the \textit{ls -l} command.
- \item[b] 3 significant digits suffixed by lower case k,m,g,t,b for representing magnitudes in $10^3$ (1000)
- \item[B] 3 significant digits followed by upper case characters for representing magnitudes in $2^{10}$ (1024)
- \item[;] like the exact default byte representation but with comma separators for easy reading. Periods can
+ \item[SI] 3 significant digits suffixed by lower case k,m,g,t,b for representing magnitudes in $10^3$ (1000)
+ \item[Ic$^{E}$] 3 significant digits followed by upper case characters for representing magnitudes in $2^{10}$ (1024)
+ \item[0,] like the exact default byte representation but with comma separators for easy reading. Periods can
not be used as separators due to locale conflict with ffmpeg coding.
\end{description}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{load-size.png}
+ \includegraphics[width=1.0\linewidth]{load-size.png}
\caption{Load windows with various Numeric Sizes}
\label{fig:load-size}
\end{figure}
\subsection{Probe Order when Loading Media}%
\label{sub:probe_order_loading_media}
-Why is this mentioned here? So many programs have been written whose functionalities overlap and you may want to ensure that the one you wish to use is actually used. Over time which one matches first may vary. Ffmpeg is so generic that if your setting is \textit{Try ffmpeg first} it will almost certainly get used and it leaves little chance that other methods will even get a chance. Some of the codec file drivers can open a variety of media, and some of the more common methods may have more than one file driver which could be useful to decode your media file, for example Tiff. For expert specialized usage, when you want to guarantee that a certain method is used, you can change the \textit{probe order}. Use the pulldown \texttt{Settings $\rightarrow$ Preferences} to get to the Interface tab where you will see a box in the Operation section on the left side called \textit{Probe Order}. Click on the box and use the up/down/enabled boxes to change the order of the item you have highlighted (figure~\ref{fig:probe}).
+Why is this mentioned here? So many programs have been written whose functionalities overlap and you may want to ensure that the one you wish to use is actually used. Over time which one matches first may vary. Ffmpeg is so generic that if your setting is \textit{Try ffmpeg first} it will almost certainly get used and it leaves little chance that other methods will even get a chance. Some of the codec file drivers can open a variety of media, and some of the more common methods may have more than one file driver which could be useful to decode your media file, for example Tiff. For expert specialized usage, when you want to guarantee that a certain method is used, you can change the \textit{probe order}. Use the pulldown \texttt{Settings $\rightarrow$ Preferences} to get to the \textit{Interface tab} where you will see a box in the \textit{Operation} section on the left side called \textit{Probe Order}. Click on the box and use the up/down/enabled boxes to change the order of the item you have highlighted (figure~\ref{fig:probe}).
\begin{description} [noitemsep]
\item[Up] move the item up 1 (if the item is currently on the top, it will be moved to the bottom)
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{probe.png}
+ \includegraphics[width=0.8\linewidth]{probe.png}
\caption{Three example of Probes window}
\label{fig:probe}
\end{figure}
-Screencast show the first few probe items. Note that the up arrow on the left, signifies \textit{enabled}.
+Figure~\ref{fig:probe} show the first few probe items. Note that the up arrow on the left, signifies \textit{enabled}.
Scrolling down shows the next 2 pages of possible drivers for a total of 18.
The order change will not take effect until you click on the checkmark in both the Probes window and the Preferences window. When you click on the FF button, which is in the upper right-hand corner of the main page to change \textit{Try FFMpeg first/last}, enabling of FFMPEG\_Late or FFMPEG\_Early will be toggled automatically in Probes to match that choice but does NOT change its position in the table. Be sure to only click on the FF button without the Preference/Probes window up to avoid unexpected results. It is also recommended to leave FFMPEG\_Early/FFMPEG\_Late close to the top/bottom positions. There is one case where you may want to disable all of the probes if you want to force PCM -- Pulse Code Modulator. This code is always run when all other probes fail.
\subsection{Program Selection Support after Load}%
\label{sub:program_selection_support_load}
-Some kinds of media have \textit{program} streams, like captured mpeg broadcast stream data. For example, you may be able to \textit{tune} to channel 9, but be able to see 9-1, 9-2, and 9-3 on your TV. If you open a capture of this kind of media, all of the channels are present in the timeline. To select and view just one program, you can use Alt-1 to select program 1, or Alt-2 to select program 2, etc. up to Alt-8. This will remove all of the other unrelated tracks and reset the format. This feature can be used even if there is only one program, by pressing Alt-1, and the effect will be to reset the session format to the parameters from the media probe. Note that there may be several audio \textit{programs} associated to a video stream;
+Some kinds of media have \textit{program} streams, like captured mpeg broadcast stream data. For example, you may be able to \textit{tune} to channel 9, but be able to see 9-1, 9-2, and 9-3 on your TV\@. If you open a capture of this kind of media, all of the channels are present in the timeline. To select and view just one program, you can use Alt-1 to select program 1, or Alt-2 to select program 2, etc.\ up to Alt-8. This will remove all of the other unrelated tracks and reset the format. This feature can be used even if there is only one program, by pressing Alt-1, and the effect will be to reset the session format to the parameters from the media probe. Note that there may be several audio \textit{programs} associated to a video stream;
for example, there may be dialog in another language or some kind of descriptive dialog. Since the first associated audio is always selected, this may not produce the intended results.
-Below are screenshots illustrating multiple program streams (figure~\ref{fig:stream}). The left screenshot is a partial main \CGG{} window showing a pre-recorded broadcast TV media/audio stream with 3 programs plus several associated audio tracks. The second screenshot of \textit{Asset Detail} provides detailed information on each of the streams obtained through executing the Info Details as explained in the section \textit{Info Asset Details}.
-
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{stream.png}
+ \includegraphics[width=1.0\linewidth]{stream.png}
\caption{Multiple program streams and Asset Detail}
\label{fig:stream}
\end{figure}
+Below are screenshots illustrating multiple program streams (figure~\ref{fig:stream}). The left screenshot is a partial main \CGG{} window showing a pre-recorded broadcast TV media/audio stream with 2 programs plus several associated audio tracks. The second screenshot of \textit{Asset Detail} provides detailed information on each of the streams obtained through executing the \texttt{Info $\rightarrow$ Details} as explained in the section \nameref{sub:info_asset_details}.
+
\section{Saving Your Work}%
\label{sec:saving_your_work}
\subsection{Saving Project Files}%
\label{sub:saving_project_files}
-Saving XML files is useful to save the current state of \CGG{} before quitting an editing session. \CGG{} saves projects as XML files. There are a few options you can use to save your work via the File pulldown menu: \textit{Save}, \textit{Save as\dots}, \textit{Export project}, \textit{Save backup}. You can either overwrite an existing file or enter a new filename. \CGG{} automatically concatenates .xml to the filename if no .xml extension is given.
+Saving XML files is useful to save the current state of \CGG{} before quitting an editing session. \CGG{} saves projects as XML files. There are a few options you can use to save your work via the File pulldown menu: \textit{Save}, \textit{Save as\dots}, \textit{Export project}, \textit{Save backup}. You can either overwrite an existing file or enter a new filename. \CGG{} automatically concatenates \texttt{.xml} to the filename if no \texttt{.xml} extension is given.
When \CGG{} saves a file, it saves the EDL of the current project but does not save any media, instead just pointers to the original media files. For each media file, the XML file stores either an absolute path or just the relative path. If the media is in the same directory as the XML file, a relative path is saved. If it is in a different directory, an absolute path is saved.
You have to be careful when moving files around to avoid breaking the media linkages. You can keep the media and the XML file in the same directory forever and freely move the whole directory, since relative paths are saved. Alternatively you can save the XML file in a different directory than the media but then you can't move the media. In this case you can freely move your XML file around, since absolute paths are saved. If you saved your XML file in the same directory as your media but you would like to move location, you can change the paths from relative to absolute by going
-to \texttt{File $\rightarrow$ Save as}$\dots$ and entering the new location. Similarly if you saved your project outside your media directory but you would like to move your media to another location, you can change the paths from absolute to relative by going to File $\rightarrow$ Save as\dots and saving your XML file in the same directory as the media.
+to \texttt{File $\rightarrow$ Save as}$\dots$ and entering the new location. Similarly if you saved your project outside your media directory but you would like to move your media to another location, you can change the paths from absolute to relative by going to \textit{File $\rightarrow$ Save as}\dots and saving your XML file in the same directory as the media.
You can also repair broken media linkage by editing the XML file in a text editor. For every media you moved, search for the old path and replace it with the new one. You should make a backup copy of your XML file before editing. You can also replace the path of every asset whose source file you moved also within the program, by entering the new location in the Asset info window. To open this window, right click on the asset in the Resources window and choose Info\dots in the popup menu. Directly type the path in the first field of the dialog or click on the magnifier on the right to browse your files. Operating
from the GUI is convenient only when a very small number of changes is needed.
\subsection{Export Project – Save or Moving Project to another Computer}%
\label{sub:export_project}
-A File pulldown called \textit{Export Project\dots} is also available (figure~\ref{fig:export}). Although, it can be used in the same manner as the other \textit{save} options, it is very useful when it is necessary to move a project to another computer that may have a different top level directory structure or if you want to include subdirectories to better organize your files.
-
-Originally, the easiest way to maintain a project for moving to another computer, was to put all of the files in a single directory with no subdirectories along with the EDL saved .xml file. This is commonly called a \textit{flat} file structure. So if the media was in the same directory as the XML file, a relative path was saved. If it was in a different directory, an absolute path was saved.
-
\begin{figure}[htpb]
\centering
\includegraphics[width=0.6\linewidth]{export.png}
\label{fig:export}
\end{figure}
+A File pulldown called \textit{Export Project\dots} is also available (figure~\ref{fig:export}). Although, it can be used in the same manner as the other \textit{save} options, it is very useful when it is necessary to move a project to another computer that may have a different top level directory structure or if you want to include subdirectories to better organize your files.
+
+Originally, the easiest way to maintain a project for moving to another computer, was to put all of the files in a single directory with no subdirectories along with the EDL saved \texttt{.xml} file. This is commonly called a \textit{flat} file structure. So if the media was in the same directory as the XML file, a relative path was saved. If it was in a different directory, an absolute path was saved.
+
\noindent Definition of Fields:
\begin{description}
\item to start \CGG{} without using your Perpetual session data even if enabled, use your\_cinelerra\_path\texttt{/cin/bin -S}
\end{itemize}
+
+%%% Local Variables:
+%%% mode: latex
+%%% TeX-master: "../CinelerraGG_Manual"
+%%% End:
projects / goodguy / cin-manual-latex.git / blobdiff