\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 (wipe selection or In/Out points) 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 an armed 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.
+Instead of dragging from the Resources window, effects may be applied to a single armed track or a region via a popup menu. On the entire track or on a region determined by a selection wipe or by the In/Out points, right click 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 on all armed tracks of the same type (video or audio) is to use the \textit{Video} or \textit{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.
\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}
\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}
\label{sub:denoisefft}
\index{denoisefft}
-Audio sampling (time data) is converted to a frequency spectrum using FFT (\textit{Fast Fourier Transform}). Since the \textit{Signal} 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.
+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 noise (without talking). This is the \textit{Signal audio clip}.
- \item After 15 seconds, start the voice. This is the whole \textit{Noise Audio clip}
+ \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 signal noise).
+ \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 which, in our example, ends at 65536 samples later.
+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.
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.
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
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.
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}
varying the framerate. It is important to understand that the
plugin works by varying the frames, the possible change of
\textit{fps} is only a side effect of the creation of new frames due
-to interpolation.
+to interpolation. The interpolation algorithm is simply the slope of a linear curve. This plugin is keyframable and the \textit{Interpolate} option works between keyframes. A simpler and more handy version is the \textit{Speed PerCent} plugin.
\subsubsection*{Stretch}%
\label{ssub:stretch}
\textit{Example:} you have a clip that you want to put in slow motion. The clip starts at $33.792\, seconds$ and ends at $39.765$. The clip is $5.973\, seconds$ long. You want to play it at $\frac{4}{10}^{ths}$ normal speed. You divide the clip length by the playback speed ($5.973\div0.4$) to get a final clip length of $14.9325\,seconds$. You create an in point at the start of your clip: $33.792\,seconds$. You put an out point $14.9325\,seconds$ later, at $48.7245\,seconds$ ($33.792 + 14.9325$). You attach a \texttt{ReframeRT} effect, set it to $0.4$ and stretch. You change the out point at $48.7245$ to an in point. You start your next clip after the slow motion effect at the $48.7245$ out point. You can do this without making any calculations by first applying the effect and then lengthening or shortening the bar to where the stretched movie ends.
-Now in the timeline we have the affected part of the plugin where we see the slow/fast effect, and the continuation of the timeline from where the plugin ends. We then have to select the interval on which the plugin acts and render it or transform it into a nested clip or nested asset. In this way we can replace or overlap it with the part of the timeline that originally included all of the part we wanted to slow down/speed up.
+Now in the timeline we have the affected part of the plugin where we see the slow/fast effect, and the continuation of the timeline from where the plugin ends. We then have to select the interval on which the plugin acts and render it or transform it into a nested clip or nested asset. In this way we can replace or overlap it with the part of the timeline that originally included all of the part we wanted to slow down/speed up. See also the \textit{Reframe} render effect for direct rendering.
\subsubsection*{Downsample}%
\label{ssub:downsample}
\begin{itemize}
\item ReframeRT uses the fps indicated in \texttt{Settings $\rightarrow$ Format $\rightarrow$ fps} project and not the \texttt{fps} of the assets.
\item It can be associated with Nested Clips.
- \item As an alternative to ReframeRT you can use the \textit{speed curve}, or change the framerate in \texttt{Resources $\rightarrow$ info} and in the \texttt{Project}.
+ \item As an alternative to ReframeRT you can use the \textit{speed curve}, or change the framerate in \texttt{Resources $\rightarrow$ info} and in the \texttt{Project}; or using \textit{Reframe} render effect, or using \textit{Speed PerCent} plugin.
\item It is keyframmable.
\item ResampleRT with the same settings is used to act on audio tracks.
\end{itemize}
The \textit{fill} point is a marker point, and not really part of the curve. That point identifies the inside of the loop. It can also be used to identify the outside of the loop in order to fill that. The loop is created by drawing a line from the last point to the first point in the curve. The line of this last segment is from the last point of the curve. If there are isolated loops in the curve (it is self intersecting) then you will be able to use multiple fill points to fill these regions.
+\subsection{Speed PerCent}%
+\label{sub:speed_per_cent}
+\index{speed percent}
+
+It works like the \texttt{ReframeRT} plugin in \textit{Stretch} mode. The interpolation algorithm is simply the slope of a linear curve. It allows you to change the speed of the video track, or an edit, or a region of the track quickly and intuitively. There are presets to set the speed to 100\% (default) or 25\%; 50\%; 200\% and 400\%. Or we can enter the value directly in the text box or use the slider until the desired value is reached. \textit{Interpolate} option works between keyframes. It requires setting the right limits for applying the effect and then rendering that region, or turning it into a nested clip, which will replace the original one.
+
\subsection{Sphere Cam}%
\label{sub:sphere_cam}
\index{sphere cam}
\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}
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\_acrusher]~\\Reduces audio bit resolution.
\item [F\_acue]~\\Delay filtering to match a cue.
\item [F\_adelay]~\\Delays one or more audio channels.
+\item [F\_adenorm]~\\Remedy denormals by adding extremely
+ low-level noise.
\item [F\_aderivative]~\\Compute derivative of input audio.
\item [F\_aecho]~\\Adds echoing to the audio.
\item [F\_aemphasis]~\\Audio emphasis.
\item [F\_aeval]~\\Filters audio signal according to a
specific expression.
+\item [F\_aeexciter]~\\Enhance high frequency part of audio.
\item [F\_afade]~\\Fades in/out input audio.
\item [F\_aformat]~\\Convert the input audio to one of he
specified formats.
+\item [F\_afreqshift]~\\Apply frequency shifting to input audio.
\item [F\_agate]~\\Audio gate.
\item [F\_aintegral]~\\Compute integral of input audio.
\item [F\_allpass]~\\Applies a two-pole all-pass filter.
\item [F\_aperms]~\\Set permissions for the output audio
frame.
\item [F\_aphaser]~\\Adds a phasing effect to the audio.
+\item [F\_aphaseshift]~\\Apply phase shifting to input audio.
\item [F\_arealtime]~\\Slows down filtering to match realtime.
\item [F\_aresample]~\\Resamples audio data.
\item [F\_asetrate]~\\Change the sample rate without altering
\item [F\_astats]~\\Shows time domain statistics about audio
frames.
\item [F\_asubboost]~\\Boost subwoofer frequencies.
-\item [F\_atempo]~\\Adjusts audio tempo.
+\item [F\_asubcut]~\\Cut subwoofer frequencies.
+\item [F\_asupercut]~\\Cut super frequencies.
+\item [F\_asuperpass]~\\Apply high order Butterworth band-pass filter.
+\item [F\_asuperstop]~\\Apply high order Butterworth band-stop filter.
+\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\_cas]~\\Apply Contrast Adaptive Sharpen filter to video.
\item [F\_chromakey]~\\Turns a certain color into
transparency. Operates on YUV colors.
+\item [F\_chromanr]~\\Reduce chrominance noise.
\item [F\_ciescope]~\\Video CIE scope.
\item [F\_color]~\\Provide an uniformly colored input.
\item [F\_colorbalance]~\\Adjusts the color balance.
\item [F\_colorchannelmixer]~\\Adjusts colors by mixing color
channels.
+\item [F\_colorcontrast]~\\Adjust color contrast between RGB
+ components.
+\item [F\_colorcorrect]~\\Adjust color white balance selectivity
+ for blacks and whites.
\item [F\_colorkey]~\\Turns a certain color into
transparency. Operates on RGB colors.
\item [F\_colorlevels]~\\Adjusts the color levels.
\item [F\_colormatrix]~\\Converts color matrix.
+\item [F\_colorize]~\\Overlay a solid color on the video stream.
\item [F\_colorspace]~\\Converts color space.
+\item [F\_colortemperature]~\\Adjust color temperature of video.
\item [F\_cover\_rect]~\\Find and cover a user specified
object.
\item [F\_crop]~\\Crops the input video.
\item [F\_elbg]~\\Apply posterize effect, using the ELBG
algorithm.
\item [F\_entropy]~\\Measure video frames entropy.
+\item [F\_epx]~\\Scale the input using EPX algorithm.
\item [F\_eq]~\\Adjusts brightness, contrast, gamma and
saturation.
\item [F\_erosion]~\\Applies erosion effect.
+\item [F\_estdif]~\\Apply Edge Slope Tracing deinterlace.
+\item [F\_exposure]~\\Adjust exposure of the video stream.
\item [F\_fade]~\\Fade in/out input video.
\item [F\_fftdnoiz]~\\Denoise frames using $3D FFT$.
\item [F\_fftfilt]~\\Apply arbitrary expressions to pixels in
interlaced.
\item [F\_kerndeint]~\\Applies kernel deinterlacing to the
input.
+\item [F\_kirsch]~\\Apply kirsch operator.
\item [F\_lenscorrection]~\\Rectifies the image by correcting
for lens distortion.
\item [F\_life]~\\Generate a life pattern.
deinterlacing.
\item [F\_median]~\\Pick median pixel from rectangle defined by radius.
\item [F\_mestimate]~\\Generate motion vectors.
+\item [F\_monochrome]~\\Convert video to gray using custom color filter.
\item [F\_mpdecimate]~\\Remove near-duplicate frames.
\item [F\_mptestsrc]~\\Generate various test pattern.
\item [F\_negate]~\\Negates input video.
output video frame.
\item [F\_setrange]~\\Force color range for the output video
frame.
+\item [F\_shear]~\\Shear transform the input image.
\item [F\_showpalette]~\\Display frame palette.
\item [F\_shuffleframes]~\\Shuffles video frames.
+\item [F\_shufflepixels]~\\Shuffles video pixels.
\item [F\_shuffleplanes]~\\Shuffles video planes.
\item [F\_sierpinski]~\\Generate a Sierpinski carpet/triangle fractal, and randomly pan around.
\item [F\_signalstats]~\\Separates statistics from video
\item [F\_tlut2]~\\Compute and apply a lookup table from 2
successive frames.
\item [F\_tmedian]~\\Pick median pixels from successive frames.
+\item [F\_tmidequalizer]~\\Apply Temporal Midway Equalization.
\item [F\_tmix]~\\Mix successive video frames.
\item [F\_transpose]~\\Transposes input video.
\item [F\_unsharp]~\\Sharpen or blur the input videlo.
\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