\label{fig:video-plugins}
\end{figure}
-There is a choice of plugin icons \index{plugins: icons} which can be displayed.
+There is a choice of plugin icons \index{plugins!icons} which can be displayed.
In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By -- \url{https://creativhecommons.org/licenses/by/3.0/}} -- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
\section{How to Use Plugins}%
\label{sec:how_use_plugins}
-\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected in which case the effect is pasted into that region only. If there is no data on the track the effect is not added.
+\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins!toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected in which case the effect is pasted into that region only. If there is no data on the track or no selected region set, the effect is not added.
-Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on.
+Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on. "The pipeline in Cinelerra's\protect\footnote{credit to Original Creator} plugin design is the \textit{pull} method. The rendering pipeline starts at the final output and the final steps in the rendering pipeline are reading the data from disk. Every step in the rendering chain involves requesting data from the previous step. When the rendering pipeline eventually requests data from a plugin chain, each plugin requests data from the plugin before it. This is less intuitive than the push method but is much more powerful. Realtime plugins written using the pull method can change the rate data is presented to the viewer and the direction of playback. The pull method allows plugins to take in data at a higher rate than they send it out." Side note: if you want to avoid the automatic \textit{top to bottom} application of
+plugins, you can take advantage of \textit{nested assets} to manipulate the order the plugins are applied (see
+ \ref{sec:nesting_clips_and_assets}).
-Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} \index{plugins: attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
-After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins: show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
+Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} \index{plugins!attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
+
+One more method to apply an effect is to use the Video or Audio pulldown \textit{Attach Effect} option. This brings up a menu which has a useful checkbox to \textit{Attach single standalone and share others} (see \ref{sec:shared_effect_tracks}). The default setting is checked on.
+
+After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins!show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
Besides the magnifying glass, for Show Controls, on the effect colored bar beneath the track, there are two more symbols.
\includegraphics[width=0.7\linewidth]{button-options.png}
\end{wrapfigure}
-The rightmost knob is used to Turn Off/Turn \index{plugins: turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins: preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
+The rightmost knob is used to Turn Off/Turn \index{plugins!turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins!preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
\section{Editing Effects}%
\label{sec:editing_effects}
-\index{plugins editing}
+\index{plugins!editing}
Many operations exist for manipulating effects once they are on the timeline. Because mixing effects and media is quite complex, the methods used in editing effects are not as concise as cutting and pasting. Some of the editing happens by dragging in/out points, some of the editing happens through popup menus, and some of it happens by dragging effects.
\label{fig:editing-effects}
\end{figure}
-To edit effects, you can move the timeline cursor over the effect borders until it changes to a resize left or resize right icon. In this state, if you drag the end of the effect, it performs an edit just like dragging an edit edge. The five editing behaviors of track trimming \index{trimming} apply to effect trimming and they are bound to the mouse buttons that you set in interface preferences as shown in the previous screencast. \textit{Trimming} simply means changes the duration dragging the edges.
+To edit effects, you can move the timeline cursor over the effect borders until it changes to a resize left or resize right icon. In this state, if you drag the end of the effect, it performs an edit just like dragging an edit edge. The five editing behaviors of track trimming \index{trim} apply to effect trimming and they are bound to the mouse buttons that you set in interface preferences as shown in the previous screencast. \textit{Trimming} simply means changes the duration dragging the edges.
When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown \textit{Settings} and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
-You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins: RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
+You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins!RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
-Finally, there is dragging of effects \index{plugins: dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track. The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards. It is recommended that you re-construct shared effect track references.
+Finally, there is dragging of effects \index{plugins!dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track. The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards. It is recommended that you re-construct shared effect track references.
Figure~\ref{fig:drag-effect} showing 3 plugins, two still plugin, two have already been dragged and the \textit{Color 3 Way} in the process of being dragged. Note the gold-colored frame which enables allow \textit{drag and drop} editing mode.
\label{fig:drag-effect}
\end{figure}
+\section{Copy/Paste Effects}%
+\label{sec:copy_paste_effects}
+\index{plugins!copy paste effects}
+
+In \textit{Drag and Drop} mode we can copy and paste edits containing plugins (see also \nameref{sub:copy_paste_behavior}). Start by selecting an edit (that contains plugins) with LMB and open the context menu with MMB. The possibilities offered are:
+
+\begin{description}
+ \item[Ctrl - c]: copy edits and plugins to buffer.
+ \item[Ctrl - v]: paste edits and plugins into the timeline (splice) at the Insertion point.
+ \item[Ctrl - b]: paste edits and plugins into the timeline (overwrite) at the Insertion point.
+ \item[Ctrl - Shift - p]: paste only the plugins into the timeline, at the Insertion point, keeping the original length (overwrite).
+ \item[Collect Effects]: copy only plugins into buffer.
+ \item[Paste Effects]: pastes the plugins into a selected target edit. The length of the plugins adapts to the length of the edit.
+\end{description}
+
\section{Shared Effects and Shared Tracks}%
\label{sec:shared_effect_tracks}
-\index{plugins: shared effect}
-\index{plugins: shared tracks}
+\index{plugins!shared effect}
+\index{plugins!shared tracks}
Two other effect types available in the Attach Effect dialog are \textit{Shared effects} and \textit{Shared tracks}. In the case of a shared effect, the following conditions must be true:
Before going into further detail about how to use \textit{Shared effects}, an easier
alternative method of application which is especially useful for Audio tracks is
available. In this method, all you have to do is use the \textit{Audio} pulldown and
-choose \textit{Attach effect} \index{plugins: attach effect}, highlight the effect you would like and make sure the
+choose \textit{Attach effect} \index{plugins!attach effect}, highlight the effect you would like and make sure the
default of \textit{Attach single standalone and share others} is checked on. It will
automatically be a "Shared Effect" on all audio tracks (be sure to disarm any audio
tracks that you do not want to have the effect shared on). This method also works for
\section{Saved Plugin Presets}%
\label{sec:saved_plugin_preset}
-\index{plugins: preset edit}
+\index{plugins!preset edit}
\textit{Presets} and \textit{Factory Presets} for Plugin settings are now combined with the Preset Keyframe Parameters allowing you to choose, apply, delete, and edit your own Presets which can then be easily saved in the file \texttt{\$HOME/.bcast5/Cinelerra\_presets}. In addition to your own saved presets, there are automatically available Factory presets for some plugins, for example the Lens video plugin. The Factory presets are preceded by an asterisk (*) and can not be modified permanently.
\subsection{How to see short Description of a Plugin}%
\label{sub:short_description_plugin}
-\index{plugins: short description}
+\index{plugins!short description}
To get a short one or a few lines description of a plugin, mouse over that plugin in the Resources window and a popup appears. You can disable the popup by right-clicking and choosing \textit{Info Off} (shortcut "i"). And again enable it with \textit{Info On}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
\label{fig:info-effect}
\end{figure}
+\textit{Context Help} provides more detailed information about the plugin in 4 possible
+ways using the Alt/h hotkey combination.
+\begin{enumerate}
+ \item Pressing \texttt{Alt/h} with the mouse in the dialog window of that plugin's settings menu.
+ \item Pressing \texttt{Alt/h} while pointing with the mouse on the plugin bar in a track, transition bar, or transition icon.
+ \item Pressing \texttt{Alt/h} while pointing on the plugin name (icon) in the Resources window. If plugin tooltips are on, help for the highlighted plugin under the mouse is shown. If plugin tooltips are off, help for the selected plugin is shown.
+ \item Pressing \texttt{Alt/h} while pointing on the plugin name in the \textit{Attach Effect} dialog menu.
+\end{enumerate}
+
\subsection{Delete Plugins to save Resources Space or make them Unavailable}%
\label{sub:delete_plugin_resouces_unavaible}
\subsection{Updatable Icon Image Support}%
\label{sub:updatable_icon_image_support}
-\index{plugins: change icons}
+\index{plugins!change icons}
When running \CGG{} Infinity builtin icons are loaded before the
program starts. Png files in the path:\\
\subsection{Plugins/Effects Visibility}%
\label{sub:plugins_effects_visibility}
-\index{plugins: visibility}
+\index{plugins!visibility}
\CGG{} contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In \CGG{} Infinity, the plugins have been categorized into the following subsets in the \textit{Visibility} section of the Resources window to make it easier to locate a particular one:
\begin{figure}[htpb]
\centering
\includegraphics[width=0.8\linewidth]{expander.png}
- \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
+ \caption{Down facing triangle, Right facing triangle = expander; "-" = options}
+% the next line causes problems for the HTML version so do not use
+% \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
\label{fig:expander}
\end{figure}
\subsection{Speed-up of Ffmpeg plugin usage with OPTS files}%
\label{sub:speedup_ffmpeg_plugin_opts}
-\index{plugins: speed-up via options}
+\index{plugins!speed-up via options}
You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU\@. For a specific color-based example, \CGG{} uses 6 primary rendering color models. All of them have 3 components at full scale. Direct usage of a particular ffmpeg plugin from the ffmpeg command line might handle the planar at less than full scale chroma (yuv420), which means there is less data to manipulate. But when cinelerra loads a video it uses full scale color models. In other words:
\section{Audio Effects - Native}%
\label{sec:audio_effects_native}
\settocdepth{subsection}
-\index{audio plugins}
+\index{audio!plugins}
\subsection{AudioScope}%
\label{sub:audioscope}
\label{sub:denoisefft}
\index{denoisefft}
-Noise removal from audio using FFT editing. Set the Denoise Power dial in dB and choose the number of reference samples.
+Audio sampling (time data) is converted to a frequency spectrum using FFT (\textit{Fast Fourier Transform}). Since the \textit{reference} contains only the background noise while the rest of the clip contains noise + audio to clean up, you get separate frequencies so you can subtract them to get the clean audio only. Set the Denoise Power dial in dB and choose the number of reference samples.
+
+For example, if you record a voice with a microphone\protect\footnote{credit fary54}:
+\begin{enumerate}
+ \item You record 15 seconds of background (without talking). This is represent the background noise that the filter uses as a reference.
+ \item After 15 seconds, start the voice. This is represents the recording whose filter should remove the background noise.
+ \item You stop recording.
+ \item You place the FFT effect on the whole length of the recording (including the 15 seconds of background noise).
+ \item Then place your cursor at the beginning of the 15 seconds. Enter the number of samples in the effect presets, e.g. 65536.
+\end{enumerate}
+
+This has the effect of creating a keyframe that marks the beginning of the reference range, mentioned in point 1, which in our example ends at 65536 samples later.
+
+During playback, the background noise is then automatically removed along the entire length of the effect.
\subsection{Despike}%
\label{sub:despike}
Loop some number of samples of audio over and over.
-\subsection{Overlay}%
+\subsection{Overlay (Audio)}%
\label{sub: overlay}
\index{overlay audio}
export LADSPA_PATH=/usr/lib/ladspa
\end{lstlisting}
-\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins\protect\footnote{Optional Feature - OS dependent}}%
+\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins}%
\label{sec:audio_lv2_calf_plugins}
\index{LV2 - Calf}
-LV2 is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to \CGG{} audio without having to change \CGG{} every time. Because the LV2 plugins are separate from \CGG{} Infinity, if one fails or does not perform as expected, \CGG{} should stay running and you will have to contact the programmers responsible for that plugin for a fix.
+LV2\protect\footnote{Optional Feature - OS dependent} is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to \CGG{} audio without having to change \CGG{} every time. Because the LV2 plugins are separate from \CGG{} Infinity, if one fails or does not perform as expected, \CGG{} should stay running and you will have to contact the programmers responsible for that plugin for a fix.
Typically, a user OS has specialized package groups installed. It is difficult to create one build of \CGG{} to accommodate all potential LV2 plugins. Specifically for the \textit{Calf-Studio LV2 plugins}, you should install the \textit{Calf Plugins} package. The user’s computer must have \textit{gtk-2-runtime} installed, which seems to be automatically done already for most distros. For users doing their own builds, you can build \CGG{} without LV2 support by including \texttt{-{}-without-lv2} in the configure step. The default build is \texttt{-{}-with-lv2=yes} and requires that \textit{GTK-2-devel} must be installed or the build will fail and notify you. In addition for some newer distros, you will need to install
\textit{lv2-calf-plugins-gui}; for example Fedora version 32.
When you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via:
-\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins: reload index}
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins!reload index}
or else before you bring up \CGG{}, delete \texttt{\$HOME/.bcast5/\CGG{}\_\\plugins} so that the plugins get properly reloaded.
There are some lv2 plugins that display a \textit{glitzy} UI (User Interface); for example the \textit{Calf plugins}. For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified UI interface, there is a flag to enable that. It is at:
\section[Video Effects --- Native]{Video Effects -- Native}%
\label{sec:video_effects_native}
\settocdepth{subsection}
-\index{video plugins}
+\index{video!plugins}
\subsection{1080 to 480}%
\label{sub:1080_to_480}
Makes your video burn where there are small light colored patches of video. This came from \url{https://effectv.com}.
-\subsection[C41]{C41\protect\footnote{credit Florent Delannoy, original program code author, and Edouard Chalaron}}%
+\subsection[C41]{C41}%
\label{sub:c41}
\index{C41}
-The C41 plugin takes a $16\,bit C41$ digital intermediate negative film as input and outputs a positive image. It became necessary because $C-41$ negatives can fade or color-shift over time which was a problem early on. It is still important today because there is a large amount of documentaries, video clips, and other media out there that was shot on super $16$ film. This works for RGB-float, RGB, and also YUV variations.
+The C41\protect\footnote{credit Florent Delannoy, original program code author, and Edouard Chalaron} plugin takes a $16\,bit C41$ digital intermediate negative film as input and outputs a positive image. It became necessary because $C-41$ negatives can fade or color-shift over time which was a problem early on. It is still important today because there is a large amount of documentaries, video clips, and other media out there that was shot on super $16$ film. This works for RGB-float, RGB, and also YUV variations.
There are two sets of data -- the scanned input values and your corrected values. Simple functionality of the plugin is to compute the data, transform to get corrected values, then apply that.
Normally threshold is very low when using a high slope. The two parameters tend to be exclusive because slope fills in extra threshold. The slope tries to soften the edges of the chroma key but it does not work well for compressed sources. A popular softening technique is to use a maximum slope and chain a blur effect below the chroma key effect to blur just the alpha.
-\subsection[Chroma Key (HSV)]{Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet \url{http://jcornet.free.fr/linux/chromakey.html}}}%
+\subsection[Chroma Key (HSV)]{Chroma Key (HSV)}%
\label{sub:chroma_key_hsv}
\index{chroma key HSV}
-Chroma Key (HSV) (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: {\small \url{http://en.wikipedia.org/wiki/Chromakey}}
+Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet \url{http://jcornet.free.fr/linux/chromakey.html}} (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: {\small \url{http://en.wikipedia.org/wiki/Chromakey}}
\begin{figure}[htpb]
\centering
\label{sub:foreground}
\index{foreground}
-Whatever the visual content of the frame, the Foreground plugin application applies a uniform color that can be chosen by color picker; color wheel; color presets; the various HSV, RGB, YUV sliders or by entering the hexadecimal value. The alpha slider is not missing either.
+Whatever the visual content of the frame, the Foreground plugin application applies a uniform color that can be chosen by color picker, color wheel, color presets, or by entering the hexadecimal value.
+In addition there are HSV, RGB, YUV, and alpha sliders to vary the color accordingly.
\subsection{Frames to fields}%
\label{sub:frames_to_fields}
The most used type of modification is to create a \textit{S curve}. There can be a lot of shapes that use the S curve; the simplest is to create a control point in the shadows, one in the midtones (anchors) and one in the highlights. Moving the highlight point upwards and the shadow point downwards increases the contrast, making the image sharper and improving the color rendering. With the type of \textit{linear} curve you can make hard adjustments, similar to the result of the use of \textit{Color 3 Way}, even if this acts on the color wheel (Hue) while the curves act on individual RGB channels.
-The \textit{Polynomial} and \textit{Bézier} types introduce \textit{control handles} that allow for more sophisticated and smoother adjustments. The quality of the result is much better, but they require more experience for their optimal use. Extending the handles away from the control point increases the \textit{radius} of the curve at that point. By varying the angle of the handles we change the \textit{tangent} and thus the curvature of the curve below. The difference between Polynomial and Bézier lies in the underlying mathematics, but for practical purposes the use is similar.
+The \textit{Polynomial} and \textit{Bézier} types introduce \textit{control handles} that allow for more sophisticated and smoother adjustments. The quality of the result is much better, but they require more experience for their optimal use. By varying the angle of the handles we change the \textit{tangent} and thus the slope of the curve below. Unlike true Bezier curves, there is no effect in extending the handles: there is no change in the radius of the curve. The difference between Polynomial and Bézier lies in the underlying mathematics, but for practical purposes the use is similar. By default Bézier starts with a slight S-curve, as opposed to Polynomial.
Some examples of the use of curves to demonstrate the variety of possible interventions (figure~\ref{fig:ex-bezier}):
\label{fig:motion}
\end{figure}
-Motion tracking parameters:
+Motion tracking parameters\protect\footnote{credit Georgy (sge)}:
\begin{description}
\item[Track translation] Enables translation operations. The motion tracker tracks $X$ and $Y$ motion in the \textit{master} layer and adjusts $X$ and $Y$ motion in the \textit{target} layer.
This effect makes video tracks appears as a painting. It can be controlled by \textit{Radius} slider and \textit{intensity of colors} can be chosen as an option.
-\subsection{Overlay}%
+% Leave the Video and Audio parenthesis due to latex2html dual conflict
+\subsection{Overlay (Video)}%
\label{sub:overlay}
\index{overlay video}
The \textit{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+\subsection{Posterize}%
+\label{sub:posterize}
+\index{posterize}
+
+Reduces the color depth so as to decrease the displayed color gradients, up to the bands typical of posterization. It is used by setting the number of \textit{steps} from 0 to 255.
+
\subsection{RGB-601}%
\label{sub:rgb-601}
\index{rgb-601}
\textit{Rate} allows you to choose the type of algorithm to use when switching between the start and end bands. You can reverse the direction with the \textit{Invers} button. The three modes are: \textit{Linear}, \textit{Log} or \textit{Quadratic} (exponential). This is a warping framework plugin based on this article: {\small \url{http://www.vision.huji.ac.il/videowarping/HUJI-CSE-LTR-2005-10_etf-tr.pdf}}
+\subsection{Timelapse Helper}%
+\label{sub:timelapse_helper}
+\index{timelapse helper}
+
+It is used to get a timelapse quickly and easily. It sets the number of frames to be skipped during playback. The default value of \textit{Number of Frames x block} is 10; playback (and rendering) displays frames 1 - 10 - 20 - ... and not the intermediate ones.
+
\subsection{Title}%
\label{sub:title}
\index{title}
\section{CUDA plugins}%
\label{sec:cuda_plugins}
\settocdepth{section}
-\index{CUDA plugin}
+\index{CUDA!plugin}
Only for Nvidia GPU and Cuda SDK
The location for most User installs is:
-\hspace{4em}\texttt{<cinlib\_path>/plugins/}
+\hspace{4em}\texttt{<cinlib\_path>/plugins/video}
Location for some System installs is:
-\hspace{4em}\texttt{/usr/lib/cin/plugins/} (most ubuntu distros)
+\hspace{4em}\texttt{/usr/lib/cin/plugins/video} (most ubuntu distros)
-\hspace{4em}\texttt{/usr/lib64/cin/plugins/} (Leap distro)
+\hspace{4em}\texttt{/usr/lib64/cin/plugins/video} (Leap distro)
\subsection{How to Build OpenCV Plugins}%
\label{sub:how_build_opencv_plugins}
FFmpeg’s plugin guide is at the link:
\href{https://ffmpeg.org/ffmpeg-filters.html}{ffmpeg-filters}.
-\subsection{FFmpeg Audio Plugins\protect\footnote{credit to WPfilmmaker}}%
+\subsection{FFmpeg Audio Plugins}%
\label{sub:ffmpeg_audio_plugins}
\index{ffmpeg!audio plugin}
-The following is a list of the integrated audio plug-ins.
+The following is a list of the integrated audio plug-ins\protect\footnote{credit to WPfilmmaker} .
\begin{description}
\item [F\_abench]~\\Benchmark part of a filtergraph.
\item [F\_acompressor]~\\Audio compressor.
\item [F\_astats]~\\Shows time domain statistics about audio
frames.
\item [F\_asubboost]~\\Boost subwoofer frequencies.
-\item [F\_atempo]~\\Adjusts audio tempo.
+\item [F\_atempo]~\\Adjusts audio tempo so that when you speed up audio, it will
+adjust the pitch accordingly to make audio sounds more normal, but faster without
+being badly distorted. Its behavior is similar to what can be seen when you watch
+a youtube video, click the gear icon, and select a speed greater or less than 1.
\item [F\_atrim]~\\Pick one continuous section from the input,
drop the rest.
\item [F\_bandpass]~\\Applies a two-pole Butterworth band-pass
\item [F\_volumedetect]~\\Detect audio volume.
\end{description}
-\subsection{FFmpeg Video Plugins\protect\footnote{credit to WPfilmmaker}}%
+\subsection{FFmpeg Video Plugins}%
\label{sub:ffmpeg_video_plugins}
\index{ffmpeg!video plugins}
-The following is a list of the integrated video plug-ins.
+The following is a list of the integrated video plug-ins \protect\footnote{credit to WPfilmmaker} .
\begin{description}
\item [F\_addroi]~\\Mark a region of interest in a video frame.
\item [F\_amplify]~\\Amplify changes between successive video
\item [F\_sierpinski]~\\Generate a Sierpinski carpet/triangle fractal, and randomly pan around.
\item [F\_signalstats]~\\Separates statistics from video
analysis.
+\index{over sharpened footage}
\item [F\_smartblur]~\\Blurs the input video without impacting
the outlines. Through the settings you can select the radius, the
strength and the threshold of luma and chroma. This plugin can be used to correct
- over-sharpened footage. For example, on a DJI 3840x2160 D-cinelike footage using
+ over sharpened footage. For example, on a DJI 3840x2160 D-cinelike footage using
these settings:
\begin{itemize}
\item luma radius: 3.247993
\subsubsection*{Time Stretch}%
\label{ssub:time_stretch}
+\subsubsection*{CD Ripper}%
+\label{ssub:cd_ripper}
+
+
\subsection{Rendered Video Effects}%
\label{sub:renederd_video_effets}
\item At the popup menu, enter the \textit{scale factor} $2$ to run twice as fast, and $0.5$ to run at half speed.
\end{itemize}
-\subsubsection*{CD Ripper}%
-\label{ssub:cd_ripper}
-
\subsubsection*{720 to 480}%
\label{ssub:720_to_480}
projects / goodguy / cin-manual-latex.git / blobdiff