The \textit{Visibility} tool in the Resources window (figure~\ref{fig:visibility01}) gives you the ability to turn off or on any of several sets of plugins. If you left-click the Visibility box, you will see the various categories of plugins, such as \textit{ladspa}, \textit{ffmpeg}, \textit{audio}, \textit{lv2}, and \textit{video} (figure~\ref{fig:visibility02}).
-Highlight the set you want to turn on and a check mark appears to show it is active. Highlight again to toggle it off. See the next screenshot which illustrates that all of the plugins are turned off (not visible) except for audio. There is also the ability to add your own personal directory of plugins which will show up here. All you have to do to have these plugins become visible is to create a directory, with some name that is meaningful to you, and put your .png files in your: \\
-\texttt{cinelerra\_path bin/plugins/<your\_directory\_name>}.
-
\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.6\linewidth]{visibility02.png}
- \caption{Screenshot showing the Visibility categories of plugins with all toggled on and audio highlighted.}
- \label{fig:visibility02}
+ \centering
+ \includegraphics[width=0.6\linewidth]{visibility02.png}
+ \caption{Screenshot showing the Visibility categories of plugins with all toggled on and audio highlighted.}
+ \label{fig:visibility02}
\end{figure}
+Highlight the set you want to turn on and a check mark appears to show it is active. Highlight again to toggle it off. See the next screenshot which illustrates that all of the plugins are turned off (not visible) except for audio. There is also the ability to add your own personal directory of plugins which will show up here. All you have to do to have these plugins become visible is to create a directory, with some name that is meaningful to you, and put your .png files in your: \\
+\texttt{cinelerra\_path bin/plugins/<your\_directory\_name>}.
+
\subsection{Expanders for Plugin Subtrees in the Resources Window}%
\label{sub:expanders_plugin_subtrees}
The \texttt{expanders.txt} file has very specific requirements. The most specific is that there are no blanks -- you must use tabs only. A \# (pound sign) can be used in column 1 to indicate a comment. Here is a short example:
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{expander.png}
+ \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
+ \label{fig:expander}
+\end{figure}
+
\begin{lstlisting}[style=sh]
Video Effects
- Color_Correction
Blue Banana
-#\qquad \qquad Color 3 Way
+ Color 3 Way
Color Balance
Audio Effects
- Calf
L2_Calf Fluidsynth
\end{lstlisting}
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{expander.png}
- \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}
\textit{Split output} is a checkbox that enables a diagonal split showing in the compositor.
\textit{Reset} returns the four curves to their initial state (neutral) as well as the Value/RGB histogram buttons.
+The histogram plugin ordinarily applies a value for a single frame. A
+new feature modifies histogram to show values for a selection of frames.
+You use several frames in a video that you want to use the \textit{average}
+color to determine the color you want the rest of the video to be. When
+there is a large light or color variation within a range of a few frames,
+you spend a lot of time correcting each frame when it would be better to
+just get an average value to use. If you want, then you can make a LUT for
+that set of frames instead of each frame.
+
+It works by selecting the area on the timeline for
+which you would like to see the Histogram averaged and then click on the
+\textit{Frames} button in the Histogram plugin.
+The parameters are:
+\textit{Linear to Log} slider: frequency in Linear range to Log range; default is 50\%, but if you want it to be the same as the Videoscope or Histogram Bezier, set the slider all the way to Log. The variation is by 10\% steps. Linear generally represents what the eye sees in the real world. Log is an exponential look where the small numbers are represented more - that is, the leading digit.
+\textit{Frames} button: if a Selection is set on the timeline, the number of frames
+will be calculated and shown in the box next to it.
+\textit{Frame Count box}: type in the number of frames you want to be looked at
+starting at the insert marker or use the up/down counter.
+\textit{Clear Frames} icon: reset the frame count to the default value of 0.
+
+A side note: by using a number of frames, you can get a \textit{dissolve-like
+transition effect}.
+
+\paragraph{Theory:}
+
+A histogram is a bunch of \textit{bins} (accumulators) that count the number of times a particular pixel channel intensity occurs in an image. Dim are on the left, bright on the right.
+
+The number of bins used depends on the color model bit depth:
+
+\begin{description}
+ \item[Histogram:] 256 for rgb8 and 65536 for all others.
+ \item[Bezier:] 256 for rgb8/yuv8 and 65536 for all others.
+ \item[Scopes:] always uses 65536
+\end{description}
+
+All of the bins are scanned when the graph is plotted. What is shown
+depends on which plugin is used:
+
+\begin{description}
+ \item[Histogram:] was max of the bins in the pixel range, now is the sum
+ \item[Bezier:] is the max of the bins in the pixel range
+ \item[Scopes:] is the max of the bins in the pixel range
+\end{description}
+
+When the color space and the bin size are the same, all of the values
+increment the indexed bins. When the color is the result of yuv $\rightarrow$ rgb conversion, the results \textit{spread} if there are more bins than colors. This is the same effect you see when you turn on \textit{smoothing} in the vectorscope histogram.
+
+The \textit{total} pixels for each value is approximately the same, but the \textit{max} value depends on the color quantization. More colors increment more bins. Fewer colors increment fewer bins. In both cases, the image size has the same
+number of pixels. The fewer color case increments the used bins, and skips the
+unused bins. This sums all of the pixels into fewer bins, and the bins have
+higher values. That is the \textit{rgb} vs \textit{yuv} case, fewer vs more bins are used.
+
+To report something more consistent, has been changed the reported value to
+the \textit{sum} of the accumulated counts for the bins reporting a pixel bar on the
+graph. The effect of this is to do this:
+
+\begin{center}
+ \begin{tabular}{ l l c r r }
+ \hline
+ 1 & & & & \\
+ 1 & & & 1 & \\
+ 000100 & 3 pixels & vs & 001000& 3 pixels \\
+ \hline
+ \end{tabular}
+\end{center}
+
+On the left, the course color model piles all 3 pixels into one bin. max
+value 3
+
+On the right, the fine color model puts the counts into 2 bins, max 2, sum 3
+
+So, by reporting the sum the shape of the results are more similar.
+
+
\subsection{Histogram Bezier / Curves}%
\label{sub:histogram_bezier_curves}
Curves are generally adjusted by introducing several control points, some to be kept fixed (as anchors) to prevent curve modification beyond them, and others to be dragged to make the desired correction. The power of the curves lies in being able to circumscribe a small interval at will and intervene only on this without involving the remaining parts of the frame. The precision with which you can work is such that you can almost arrive at a secondary color correction.
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{ex-bezier.png}
- \caption{Gain Up/Down; clamp; S-Shaped curve and Luma Key}
- \label{fig:ex-bezier}
-\end{figure}
-
-
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.
Some examples of the use of curves to demonstrate the variety of possible interventions (figure~\ref{fig:ex-bezier}):
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{ex-bezier.png}
+ \caption{Gain Up/Down; clamp; S-Shaped curve and Luma Key}
+ \label{fig:ex-bezier}
+\end{figure}
+
\begin{itemize}
\item Scale the image values by increasing the white point or decreasing the white point (gain up and gain down).
You can decide the scaling value with the formula: $(Input \div Output) = Scale Factor$
\subsection{Motion51}%
\label{sub:motion51}
-This plugin compensates for unwanted motion and stabilizes the picture. The \textit{Motion51} Plugin simplifies motion stabilization so that without a lot of tweaking you can easily achieve reasonable results, either by using the defaults or varying a single parameter. Since the motion in every clip is specific, there are some additional parameters useful to adjust the settings accordingly. Alternatively, the \textit{MotionCV} and \textit{MotionHV} plugins can still be used as the originals, if more control over specific parameters is needed. The Motion51 plugin uses different methods for tracking than the other motion plugins. Motion Stabilization is very useful if you have jittery video, for example when taken from a car window, or while walking.
+This plugin compensates for unwanted motion and stabilizes the picture. The \textit{Motion51} Plugin simplifies motion stabilization so that without a lot of tweaking you can easily achieve reasonable results, either by using the defaults or varying a single parameter. Since the motion in every clip is specific, there are some additional parameters useful to adjust the settings accordingly.
+The Motion51 plugin uses different methods for tracking than the other motion plugins. Motion Stabilization is very useful if you have jittery video, for example when taken from a car window, or while walking.
The better results require more samples. Setting the \textit{sample set size} is probably the most important setup change. Also, when computing motion compensation, the entire history of the image motion is important, and so it is desirable to enable the playback setting \textit{play every frame} in order to get good results. When every frame has to be processed, it can be time-consuming. Reasonable results are possible with small sample sets. After setup, the sample size can be increased to produce a high quality rendered result.
Motion tracker works by using one region of the frame as the region to track (Match Box). It compares this region between $2$ frames to calculate the motion. This region can be defined anywhere on the screen. Once the motion between $2$ frames has been calculated, a number of things can be done with that \textit{motion vector}. It can be scaled by a user value and clamped to a maximum range. It can be thrown away or accumulated with all the motion vectors leading up to the current position.
-To save time the motion result can be saved in a file for later reuse, recalled from a previous calculation, or discarded. The motion tracker has a notion of $2$ tracks, the \textit{master} layer and the \textit{target} layer. The master layer is where the comparison between $2$ frames takes place. The target layer is where motion is applied either to track or compensate for the motion in the master layer.
+To save time the motion result can be saved in a file for later reuse, recalled from a previous calculation, or discarded. The motion tracker has a notion of $2$ tracks, the \textit{master} layer and the \textit{target} layer. The \textit{master} layer is where the comparison between $2$ frames takes place. The \textit{target} layer is where motion is applied either to track or compensate for the motion in the \textit{master} layer (figure~\ref{fig:motion}).
+
+\begin{figure}[ht]
+ \centering
+ \includegraphics[width=0.9\linewidth]{motion.png}
+ \caption{Motion plugin GUI}
+ \label{fig:motion}
+\end{figure}
Motion tracking parameters:
\begin{description}
- \item[Track translation] Enables translation operations. The motion tracker tracks $X$ and $Y$ motion in the master layer and adjusts $X$ and $Y$ motion in the target layer.
+ \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.
\item[Translation block size] For the translation operations, a block is compared to a number of neighboring blocks to find the one with the least difference. The size of the Match Box to search for is given by this parameter.
\item[Translation search radius] The size of the area to scan for the translation block.
- \item[Translation search steps] Ideally the search operation would compare the translation block with every other pixel in the translation search radius. To speed this operation up, a subset of the total positions is searched. Then the search area is narrowed and re-scanned by the same number of search steps until the motion is known to $\frac{1}{4}$ pixel accuracy.
+ \item[Translation search steps] Ideally the search operation would compare the translation block with every other pixel in the \textit{Translation search radius}. To speed this operation up, a subset of the total positions is searched. Then the search area is narrowed and re-scanned by the same number of search steps until the motion is known to $\frac{1}{4}$ pixel accuracy.
\item[Translation direction] Tracking translation is possible in any direction, or in horizontal or vertical direction only, depending on this selection.
\item[Block X, Y] These coordinates determine the center of the translation block based on percentages of the width and height of the image. The center of the block should be part of the image which is visible at all times.
\item[Maximum absolute offset] The amount of motion detected by the motion tracker is unlimited if this is $100$. If it is under $100$ the amount of motion is limited by that percentage of the image size.
- \item[Settling speed] The motion detected between every frame can be accumulated to form an absolute motion vector. Settling speed determines how fast the accumulated translation fades away, and the image resettles to its actual appearance. If the settling speed is 0\% the total absolute vector is added to the next frame. So every frame that is processed accumulates the whole motion of the past. If the settling speed is 100\% the absolute vector is cancelled completely, adding no past translation to the next frame. If the settling speed is intermediate between 0\% and 100\% the absolute vector is downscaled by (100 $-$ settling amount) before being added to the next frame.
- \item[Track rotation] Enables rotation operations. The motion tracker tracks rotation in the master layer and adjusts rotation in the target layer.
- \item[Rotation block size] For rotation operations a single block is compared to
- equally sized blocks, each rotated by a different amount. This is the size
- of the rotation block. In this implementation of the Motion plugin the same
- block is used to track both translation and rotation, and this parameter is
- not used. However, in some other implementations, like MotionCV, rotation
- block size is specified explicitly via this extra parameter.
- \item[Rotation search radius] This is the maximum angle of rotation from the starting frame the rotation scanner can detect. The rotation scan is from this angle counterclockwise to this angle clockwise. Thus the rotation search radius is half the total range scanned.
- \item[Rotation search steps] Ideally every possible angle would be tested to get the rotation. To speed up the rotation search, the rotation search radius is divided into a finite number of angles and only those angles compared to the starting frame. Then the search radius is narrowed and an equal number of angles is compared in the smaller radius until the highest possible accuracy is achieved. Normally you need one search step for every degree scanned. Since the rotation scanner scans the rotation search radius in two directions, you need two steps for every degree in the search radius to search the complete range.
+ \item[Motion settling speed] The motion detected between every frame can be accumulated to form an absolute motion vector. Settling speed determines how fast the accumulated translation fades away, and the image resettles to its actual appearance. If the settling speed is 0\% the total absolute vector is added to the next frame. So every frame that is processed accumulates the whole motion of the past. If the settling speed is 100\% the absolute vector is cancelled completely, adding no past translation to the next frame. If the settling speed is intermediate between 0\% and 100\% the absolute vector is downscaled by (100 $-$ settling amount) before being added to the next frame.
+ \item[Track rotation] Enables rotation operations. The motion tracker tracks rotation in the \textit{master} layer and adjusts rotation in the \textit{target} layer.
+ \item[Rotation search radius] This is the maximum angle of rotation from the starting frame the rotation scanner can detect. The rotation scan is from this angle counterclockwise to this angle clockwise. Thus the \textit{Rotation search radius} is half the total range scanned.
+ \item[Rotation search steps] Ideally every possible angle would be tested to get the rotation. To speed up the rotation search, the \textit{Rotation search radius} is divided into a finite number of angles and only those angles compared to the starting frame. Then the search radius is narrowed and an equal number of angles is compared in the smaller radius until the highest possible accuracy is achieved. Normally you need one search step for every degree scanned. Since the rotation scanner scans the \textit{Rotation search radius} in two directions, you need two steps for every degree in the search radius to search the complete range.
\item[Rotation center] Usually this parameter is zero, and the rotation search
range is $+/-$ \textit{Rotation search radius}. Otherwise, it shifts the rotation search range to the area of angles between (\textit{Rotation center} $-$ \textit{Rotation search radius}) and (\textit{Rotation center} $+$ \textit{Rotation search radius}).
\item[Maximum angle offset] The total accumulated amount of rotation is unlimited
if this is 90 degrees. If it is under 90, the total amount of rotation is
limited by the given maximum angle.
\item[Rotation settling speed] This parameter determines how fast the accumulated
- rotation fades away. Analogously to the motion settling speed, if it is 0\%,
+ rotation fades away. Analogously to the \textit{Motion settling speed}, if it is 0\%,
the total accumulated rotation is added to the next frame, and every frame
accumulates the whole rotation of the past. If the settling speed is 100\%,
no past rotation is added to the next frame. If the settling speed is
of all examined match block positions. From all such positions whose
difference is found below noise level, that one is chosen which has the
shortest translation relative to the reference frame.
- \item[Rotation noise level] This parameter has similar meaning to the motion noise level. It influences rotation tracking. If set to 0\% (its normal value),
+ \item[Rotation noise level] This parameter has similar meaning to the \textit{Motion noise level}. It influences rotation tracking. If set to 0\% (its normal value),
it is not taken into account. The 100\% setting completely suppresses
rotation detection. An intermediate value between 0\% and 100\% defines the
proportional noise level between minimum and maximum difference of all
rotation angles whose match block differences are found below noise level,
that one is chosen which has the minimum rotation angle relative to the
reference frame.
- \item[Draw vectors] When translation is enabled, $2$ boxes are drawn on the frame. One box represents the translation block. Another box outside the translation block represents the extent of the translation search radius. In the center of these boxes is an arrow showing the translation between the $2$ master frames. When rotation is enabled, a single box the size of the rotation block is drawn rotated by the amount of rotation detected.
+ \item[Draw vectors] When translation is enabled, $2$ boxes are drawn on the frame. One box represents the translation block. Another box outside the translation block represents the extent of the \textit{Translation search radius}. In the center of these boxes is an arrow showing the translation between the $2$ master frames. When rotation is enabled, a single box the size of the rotation block is drawn rotated by the amount of rotation detected.
\item[Two pass tracking] Although this parameter can be enabled at any time, it is useful only while simultaneous tracking both translation and rotation, when
the rotation amount is large. The normal tracking algorithm firstly
examines translation, then rotation. However, comparison of a strongly
tilted picture with the reference one can lead to rather inaccurate
determination of the translation vector. The subsequent determination of
- rotation will also inexact because of the preceding translation error. The
+ rotation will be also inexact because of the preceding translation error. The
second tracking pass, if enabled, refines translation and rotation.
- If motion and/or rotation noise level is set above 0\% and two pass tracking
+ If motion and/or rotation noise level is set above 0\% and \textit{Two pass tracking}
is enabled, then both noise levels affect the first tracking pass only.
During the second tracking pass of two pass tracking both noise levels are
ignored.
with the accuracy reduced to 1 degree.
\item[Track single frame] When this option is used the motion between a single
starting frame and the frame currently under the insertion point is
- calculated. The starting frame is specified in the Frame number box. The
+ calculated. The starting frame is specified in the \textit{Frame number} box. The
motion calculated this way is taken as the absolute motion vector. The
absolute motion vector for each frame replaces the absolute motion vector
- for the previous frame. Settling speed has no effect on it since it does
+ for the previous frame. \textit{Settling speed} has no effect on it since it does
not contain any previous motion vectors. Playback can start anywhere on the
timeline since there is no dependence on previous results. We talk about
- Keep shape and it is the most precise way to calculate the motion vector;
+ \textit{Keep shape} and it is the most precise way to calculate the motion vector;
but it only works well when the object to be traced does not change along
the clip, remaining identical in shape, size and luminance.
Strong rotation of the picture can also have a bad impact on the tracking
accuracy. If it is the case, accuracy can be significantly improved by
- enabling two pass tracking.
+ enabling \textit{Two pass tracking}.
- Frame number The number of the reference frame used for motion tracking in
- the \textit{Track single frame mode} is specified in this input field. Frame
+ \item[Frame number] The number of the reference frame used for motion tracking in
+ the \textit{Track single frame} mode is specified in this input field. Frame
number is set as the 0-based absolute number starting from the very
beginning of the whole timeline. Instead of manual calculating, it is
- possible to get frame number directly from the current cursor position by
+ possible to get \textit{Frame number} directly from the current cursor position by
pressing the \textit{Get current} button.
- Get current Pressing this handy button provides a convenient way to set the
- Frame number parameter to the value of the current cursor position.
+ \item[Get current] Pressing this handy button provides a convenient way to set the
+ \textit{Frame number} parameter to the value of the current cursor position.
- Add (loaded) offset from tracked frame This toggle can help when the tracked
+ \item[Add (loaded) offset from tracked frame] This toggle can help when the tracked
object changes shape, leaves the screen area or becomes obscured by other
- objects somewhere in the middle of the motion effect. Sometimes it can help
+ objects somewhere in the middle of the \textit{Motion} effect. Sometimes it can help
also if a strong rotation causes the motion tracker to miss the right
tracked object and wildly spring away.
To overcome this problem, one has to define two keyframes: the first one at
- the start of the motion effect, the second shortly before the problematic
- location in the clip. At the first keyframe one defines the motion effect
+ the start of the \textit{Motion} effect, the second shortly before the problematic
+ location in the clip. At the first keyframe one defines the \textit{Motion} effect
parameters as usual, the \textit{Add offset} toggle being switched off. At the
second keyframe the match block can be redefined to cover another region of
the picture which remains visible during the following part of the effect.
The \textit{Frame number} parameter should be set several frames before position of this second keyframe, and the \textit{Add offset} toggle switched on.
After defining the two keyframes (even more can be added in the similar way)
- one switches at all the defined keyframes Calculation mode to \textit{Save coords
- to tracking file}, Action mode to \textit{Do Nothing}, rewinds the timeline cursor
- to the beginning of the motion effect, and starts playback. The determined
+ one switches at all the defined keyframes \textit{Calculation} mode to \textit{Save coords
+ to tracking file}, \textit{Action} mode to \textit{Do Nothing}, rewinds the timeline cursor
+ to the beginning of the \textit{Motion} effect, and starts playback. The determined
motion vectors will be written to the tracking file, the \textit{Add offset}
- parameter having no effect during the save stage.
+ parameter having no effect during the \textit{save} stage.
After playback finishes and all the relevant motion vectors are saved in the
- tracking file, one switches at all the defined keyframes Calculation mode to
- \textit{Load coords from tracking file}, Action mode to whatever one needs, rewinds again to the beginning of the motion effect and starts playback or
+ tracking file, one switches at all the defined keyframes \textit{Calculation} mode to
+ \textit{Load coords from tracking file}, \textit{Action} mode to whatever one needs, rewinds again to the beginning of the \textit{Motion} effect and starts playback or
rendering. After reaching the second keyframe, where \textit{Add offset} was
switched on, the program continues to follow the second object adding the
total motion and rotation, accumulated so far.
- Of course, the \textit{Add offset} toggle can be used in the \textit{Track single fram}e mode only. In the other tracking modi such a technics is unnecessary.
+ Of course, the \textit{Add offset} toggle can be used in the \textit{Track single frame} mode only. In the other tracking modi such a technics is unnecessary.
\item[Track previous frame] Causes only the motion between the previous frame and
- the current frame to be calculated (Follow shape). This is added to an
+ the current frame to be calculated (\textit{Follow shape}). This is added to an
absolute motion vector to get the new motion from the start of the sequence
to the current position. After every frame processed this way, the block
position is shifted to always cover the same region of the image. Playback
- must be started from the start of the motion effect in order to accumulate
+ must be started from the start of the \textit{Motion} effect in order to accumulate
all the necessary motion vectors. This method is less precise because you
have error propagation between frames. However, it is essential when the
object changes shape, size or luminance. Possible inaccuracies caused by
- rotation of the picture can partly be reduced by enabling two pass tracking
- \item[Previous frame same block] This is useful for stabilizing jerky camcorder footage. In this mode the motion between the previous frame and the current frame is calculated. Instead of adjusting the block position to reflect the new location of the image, like Track Previous Frame does, the block position is unchanged between each frame. Thus a new region is compared for each frame.
+ rotation of the picture can partly be reduced by enabling \textit{Two pass tracking}
+ \item[Previous frame same block] This is useful for stabilizing jerky camcorder footage. In this mode the motion between the previous frame and the current frame is calculated. Instead of adjusting the block position to reflect the new location of the image, like \textit{Track Previous Frame} does, the block position is unchanged between each frame. Thus a new region is compared for each frame.
\item[Master layer] This determines the track which supplies the frames for the
- motion calculation. If it is Bottom the bottom track of all the tracks
- sharing this effect is the master layer. Then the top track of all the
- tracks is the target layer. And vice versa, if the master layer is Top,
- then the target layer is bottom.
+ motion calculation. If it is \textit{Bottom} the bottom track of all the tracks
+ sharing this effect is the \textit{master} layer. Then the top track of all the
+ tracks is the \textit{target} layer. And vice versa, if the \textit{master} layer is \textit{Top},
+ then the \textit{target} layer is bottom.
\item[Calculation] This determines whether to calculate the motion at all and
- whether to save it to disk. If it is \textit{Don't Calculate} the motion calculation is skipped. If it is \textit{Recalculate} the motion calculation is performed every time each frame is rendered. If it is \textit{Load coords from tracking file}, the motion vectors are loaded from a previous save calculation. If the previous save calculation does not provide the data for the currently processed frames, a new motion calculation is performed for that frames. If the Calculation mode is \textit{Save coords to tracking file} the motion vectors can be still loaded from disk if the previously
+ whether to save it to disk. If it is \textit{Don't Calculate} the motion calculation is skipped. If it is \textit{Recalculate} the motion calculation is performed every time each frame is rendered. If it is \textit{Load coords from tracking file}, the motion vectors are loaded from a previous \textit{save} calculation. If the previous \textit{save} calculation does not provide the data for the currently processed frames, a new motion calculation is performed for that frames. If \textit{Calculation} mode is \textit{Save coords to tracking file} the motion vectors can be still loaded from disk if the previously
calculated data exist. Otherwise, a new motion calculation is performed,
- and the calculated motion vectors are saved. \textit{Load$\dots$}, the motion calculation is loaded from a previous save calculation. If there is no previous save calculation on disk, a new motion calculation is performed.
+ and the calculated motion vectors are saved.
\item[Tracking file] This parameter determines the name of the file where the
motion data are saved and/or loaded from. By default it is \texttt{/tmp/motion}
- but it can have any name and reside anywhere on the disk. Tracking file is
+ but it can have any name and reside anywhere on the disk. \textit{Tracking file} is
a text file where each line contains four numbers: the absolute frame number
(0-based integer), the X and Y translation displacements of subpixel
precision (a subpixel is $\frac{1}{4}$ pixel in size, and to give integer values of X and Y these subpixel coords are multiplied by 4), and the rotation angle in
As protection against accident clearing tracking file contents, right before
clearing the program ensures closing the current tracking file and renames
it to the same name with the suffix \texttt{.old}. This way, the user can undo an erroneous clearing action by manual restoring the saved file.
- \item[Action] Once the motion vector is known this determines whether to move the target layer opposing the motion vector or following the motion vector. If it is \textit{Do Nothing} the target layer is untouched. If it is \textit{Track\dots} the target layer is moved by the same amount as the master layer. This is useful for matching titles to objects in the frame. If it is \textit{Stabilize\dots} the target layer is moved opposite to the motion vector. This is useful for stabilizing an object in the frame. The motion operations can be accurate to single pixels or subpixels by changing the action setting.
+ \item[Action] Once the motion vector is known this determines whether to move the \textit{target} layer opposing the motion vector or following the motion vector. If it is \textit{Do Nothing} the \textit{target} layer is untouched. If it is \textit{Track\dots} the \textit{target} layer is moved by the same amount as the \textit{master} layer. This is useful for matching titles to objects in the frame. If it is \textit{Stabilize\dots} the \textit{target} layer is moved opposite to the motion vector. This is useful for stabilizing an object in the frame. The \textit{Motion} operations can be accurate to single pixels or subpixels by changing the \textit{Action} setting.
\end{description}
As motion tracking works consistently only in the \textit{Play every frame} mode,
\subsubsection*{Secrets of motion tracking}
\label{ssub:secrets_motion_tracking}
-Since it is a very slow effect, there is a method to applying the motion tracker to get the most out of it. First disable playback for the track to do motion tracking on. Then drop the effect on a region of video with some motion to track. Then rewind the insertion point to the start of the region. Set \textit{Action $\rightarrow$ Do Nothing}; set \textit{Calculation $\rightarrow$ Don't calculate}; Enable \textit{Draw vectors}. Then enable playback of the track to see the motion tracking areas.
+Since it is a very slow effect, there is a method to applying the motion tracker to get the most out of it. First disable playback for the track to do motion tracking on. Then drop the effect on a region of video with some motion to track. Then rewind the insertion point to the start of the region. Set \textit{Action $\rightarrow$ Do Nothing}; set \textit{Calculation $\rightarrow$ Don't calculate}; enable \textit{Draw vectors}. Then enable playback of the track to see the motion tracking areas.
-Enable which of translation motion or rotation motion vectors you want to track. By watching the compositor window and adjusting the \textit{Block x,y} settings, center the block on the part of the image you want to track. It is advisable to choose elements that have evident edges in the $x$ and $y$ directions because the calculations are made on these coordinates. Then set \textit{search radius}, \textit{block size} and \textit{block coordinates} for translation and rotation.
+Enable which of translation motion or rotation motion vectors you want to track. By watching the compositor window and adjusting the \textit{Block X, Y} settings, center the block on the part of the image you want to track. It is advisable to choose elements that have evident edges in the $x$ and $y$ directions because the calculations are made on these coordinates. Then set \textit{search radius}, \textit{block size} and \textit{block coordinates} for translation and rotation.
-Once this is configured, set the calculation to \textit{Save coords} and do test runs through the sequence to see if the motion tracker works and to save the motion vectors. Next, disable \textit{Draw vectors}, set the motion action to perform on the target layer and change the calculation to \textit{Load coords}.
+Once this is configured, set \textit{Calculation} to \textit{Save coords} and do test runs through the sequence to see if the motion tracker works and to save the motion vectors. Next, disable \textit{Draw vectors}, set the motion \textit{Action} to perform on the \textit{target} layer and change \textit{Calculation} to \textit{Load coords}.
-When using a single starting frame to calculate the motion of a sequence (Keep Shape), the starting frame should be a single frame with the least motion to any of the other frames. This is rarely frame $0$. Usually it is a frame near the middle of the sequence. This way the search radius need only reach halfway to the full extent of the motion in the sequence. The suitable reference frame number can be defined conveniently via the \textit{Get current} pushbutton.
+When using a single starting frame to calculate the motion of a sequence (\textit{Keep Shape}), the starting frame should be a single frame with the least motion to any of the other frames. This is rarely frame $0$. Usually it is a frame near the middle of the sequence. This way the search radius need only reach halfway to the full extent of the motion in the sequence. The suitable reference frame number can be defined conveniently via the \textit{Get current} pushbutton.
Summarizing:
\item \textit{Action}: Do Nothing
\item \textit{Calculation}: Save coords to Tracking File
\end{itemize}
- \item Clone the track, which becomes the Target Layer. The Motion plugin will also be copied.
+ \item Clone the track, which becomes the Target Layer. The \textit{Motion} plugin will also be copied.
\begin{itemize}
\item \textit{Draw vectors}: unchecked
\item \textit{Action}: Do Nothing
\item \textit{Calculation}: Load coords from Tracking File
\end{itemize}
- \item Add a third track to place the video of the object to be superimposed. Add the shared effects of the motion plugin taken from the Master Layer.
+ \item Add a third track to place the video of the object to be superimposed. Add the shared effects of the \textit{Motion} plugin taken from the Master Layer.
\begin{itemize}
\item \textit{Draw vectors}: unchecked
\item \textit{Action}: Track Subpixel
\end{itemize}
\end{enumerate}
-If the motion tracker is used on a render farm, Save coords and previous frame mode will not work. The results of the save coords operation are saved to the hard drives on the render nodes, not the master node. Future rendering operations on these nodes will process different frames and read the wrong coordinates from the node filesystems. The fact that render nodes only visualize a portion of the timeline also prevents previous frame from working since it depends on calculating an absolute motion vector starting on frame $0$.
+If the motion tracker is used on a render farm, \textit{Save coords} and \textit{Previous frame} mode will not work. The results of the \textit{Save coords} operation are saved to the hard drives on the render nodes, not the master node. Future rendering operations on these nodes will process different frames and read the wrong coordinates from the node filesystems. The fact that render nodes only visualize a portion of the timeline also prevents \textit{Previous frame} from working since it depends on calculating an absolute motion vector starting on frame $0$.
\subsubsection*{2 step motion tracking}
\label{ssub:2_step_motion_tracking}
-The method described above is \textit{two-step motion tracking}. One pass is used just to calculate the motion vectors. A second pass is used to apply the motion vectors to the footage. This is faster than a single pass because errors in the motion vector calculation can be discovered quickly. This also allows the motion tracking to use a less demanding colormodel like \textit{RGB888} in the scanning step and a more demanding colormodel like \textit{RGB Float} in the action step. The scanning step takes much longer than action. This has the disadvantage of not being practical for extremely long sequences where some error is acceptable and the picture quality is low to begin with, like stabilizing camcorder footage.
+The method described above is \textit{two-step motion tracking}. One step is used just to calculate the motion vectors. A second step is used to apply the motion vectors to the footage. This is faster than a single pass because errors in the motion vector calculation can be discovered quickly. This also allows the motion tracking to use a less demanding colormodel like \textit{RGB888} in the scanning step and a more demanding colormodel like \textit{RGB Float} in the action step. The scanning step takes much longer than action. This has the disadvantage of not being practical for extremely long sequences where some error is acceptable and the picture quality is low to begin with, like stabilizing camcorder footage.
The slower method is to calculate the motion vectors and apply them simultaneously. This method can use one track as the motion vector calculation track and another track as the target track for motion vector actions. This is useful for long sequences where some error is acceptable.
\label{ssub:pre_processing_shot}
\begin{enumerate}
- \item The motion plugin uses \textit{luminance} to do its own calculations, so we can edit the clip to enhance contrast and make it easier to calculate motion vectors. You can even create a copy of the monochrome clip and optimize it for the plugin. It lengthens the time but minimizes errors. The saved file can then be used for the original clip.
+ \item The \textit{Motion} plugin uses \textit{luminance} to do its own calculations, so we can edit the clip to enhance contrast and make it easier to calculate motion vectors. You can even create a copy of the monochrome clip and optimize it for the plugin. It lengthens the time but minimizes errors. The saved file can then be used for the original clip.
\item Correct lens distortion, especially if the object to be tracked moves to the edges of the frame.
- \item Study the entire shot well: if necessary, divide it into many edits, each with its own Motion plugin. For example, if the object to be tracked leaves the frame or is covered by some other element or changes in shape, size or rotation. You can try to use the \textit{Offset Tracking} technique described below.
+ \item Study the entire shot well: if necessary, divide it into many edits, each with its own \textit{Motion} plugin. For example, if the object to be tracked leaves the frame or is covered by some other element or changes in shape, size or rotation. You can try to use the \textit{Offset Tracking} technique described below.
\end{enumerate}
\subsubsection*{Using blur to improve motion tracking}
\label{ssub:blur_improve_motion_tracking}
-With extremely noisy or interlaced footage, applying a blur effect before the motion tracking can improve accuracy. Either save the motion vectors in a tracking pass and disable the blur for the action pass or apply the blur just to the master layer. You can even use a copy of the track formed only by the channels of Red + Green, because the channel of Blue is the noisiest. Another trick is to enlarge the Match Box to minimize the effect of noise.
+With extremely noisy or interlaced footage, applying a blur effect before the motion tracking can improve accuracy. Either save the motion vectors in a tracking pass and disable the blur for the action pass or apply the blur just to the \textit{master} layer. You can even use a copy of the track formed only by the channels of Red + Green, because the channel of Blue is the noisiest. Another trick is to enlarge the Match Box to minimize the effect of noise.
\subsubsection*{Using histogram to improve motion tracking}
\label{ssub:histogram_improve_motion_tracking}
-A histogram is almost always applied before motion tracking to clamp out noise in the darker pixels. Either save the motion vectors in a tracking pass and disable the histogram for the action pass or apply the histogram just to the master layer. Finally, you can use the histogram to increase contrast.
+A histogram is almost always applied before motion tracking to clamp out noise in the darker pixels. Either save the motion vectors in a tracking pass and disable the histogram for the action pass or apply the histogram just to the \textit{master} layer. Finally, you can use the histogram to increase contrast.
\subsubsection*{Using two pass tracking to improve accuracy and stability}
\label{ssub:two_pass_improve_accuracy}
each frame the translation vector first, and then the rotation angle. A
strong rotation can prevent motion tracker from finding accurate translation
displacements. Then the subsequent rotation search will be also inaccurate
-because translation has been estimated not sufficiently well. In the two
-pass tracking algorithm the first, coarse estimation of translation and
-rotation is followed by the second, refinement step yielding more exact
+because translation has been estimated not sufficiently well. In the \textit{Two
+pass tracking} algorithm the first, coarse estimation of translation and
+rotation is followed by the second, refinement pass yielding more exact
motion vectors.
Sometimes, particularly if the amount of rotation is large, the translation
tracker can lose its right object and wildly spring away. Then the
following strategy may help.
-Firstly switch \textit{two pass tracking} off, \textit{Track rotation} off, set \textit{Motion noise level} to zero. Switch \textit{Draw vectors} on, \textit{Action: Do Nothing}, \textit{Calculation: Save coords to tracking file}. Start playback and watch if the motion tracker has problems finding the right displacements (you can also examine the tracking file afterwards on the existence of discontinuities in coordinates). If there are such, try to increase Motion noise level, let's say, to 10\% or 20\%, \textit{clear tracking file contents}, repeat playback and look if tracker does not spring away any more. A single pass translation tracking can be relatively fast, while tracking rotation is expensive.
+Firstly switch \textit{Two pass tracking} off, \textit{Track rotation} off, set \textit{Motion noise level} to zero. Switch \textit{Draw vectors} on, \textit{Action: Do Nothing}, \textit{Calculation: Save coords to tracking file}. Start playback and watch if the motion tracker has problems finding the right displacements (you can also examine the tracking file afterwards on the existence of discontinuities in coordinates). If there are such, try to increase \textit{Motion noise level}, let's say, to 10\% or 20\%, \textit{clear tracking file contents}, repeat playback and look if tracker does not spring away any more. A single pass translation tracking can be relatively fast, while tracking rotation is expensive.
-When a sufficient motion noise level is found, switch Track rotation on, Two
-pass tracking on, clear tracking file contents and perform the complete
-translation + rotation tracking pass. As the refinement step uses
+When a sufficient motion noise level is found, switch \textit{Track rotation} on, \textit{Two
+pass tracking} on, \textit{clear tracking file contents} and perform the complete
+translation + rotation tracking pass. As the refinement pass uses
restricted search area and ignores the noise level parameters, the result
should be more stable and accurate.
This is an explanation of how to stabilize a video as in the case of a video taken from a vehicle.
-First select on the timeline the part of the footage you want to stabilize, using the in and out points. Then apply the motion effect on that part of the video. Select the \textit{Previous frame same block} option. That option is recommended for stabilizing jerky camcorder footage. Its goal is not to \textit{follow} an object. The block stays exactly at the same place during all the effect length.
+First select on the timeline the part of the footage you want to stabilize, using the in and out points. Then apply the \textit{Motion} effect on that part of the video. Select the \textit{Previous frame same block} option. That option is recommended for stabilizing jerky camcorder footage. Its goal is not to \textit{follow} an object. The block stays exactly at the same place during all the effect length.
-Enlarge the block and select almost half the size of the video. Select the \textit{Stabilize subpixel} option as it will give a finer stabilization. Reduce the \textit{Maximum absolute offset} value to limit the stabilization amplitude. You probably prefer to get a non-perfect stabilization on some places on the video rather than having a very large black border on one side of the picture during big shakes. Set the \textit{Translation search steps} value to $128$. Increasing that value will not give a better result and only considerably increases the rendering time. Make sure the \textit{Draw vectors} option is selected, and render the part of the video where the motion effect is applied.
+Enlarge the block and select almost half the size of the video. Select the \textit{Stabilize subpixel} option as it will give a finer stabilization. Reduce the \textit{Maximum absolute offset} value to limit the stabilization amplitude. You probably prefer to get a non-perfect stabilization on some places on the video rather than having a very large black border on one side of the picture during big shakes. Set the \textit{Translation search steps} value to $128$. Increasing that value will not give a better result and only considerably increases the rendering time. Make sure the \textit{Draw vectors} option is selected, and render the part of the video where the \textit{Motion} effect is applied.
If the result is good, deselect the \textit{Draw vectors} option so that the block and vectors are not drawn anymore on the video. Then, render your video to a \texttt{.dv} file, and import it into your project. You will notice the video is stabilized but there are black borders which appear on sides of the frame. You have to \textit{zoom in} and define projector keyframes to move the projector around the screen, in order to remove those black borders. The more your footage is jerky, the more you have to zoom in to discard the black borders. That is why the result is better with HDV footage than with DV footage.
-An interesting side note about \textit{add offset} usage is explained next\protect\footnote{credit Pierre Marc Dumuid}
+An interesting side note about \textit{Add offset} usage is explained next\protect\footnote{credit Pierre Marc Dumuid}
-To stabilize video, the motion plugin uses a \textit{tracking frame} to which to track to and a region within that frame to track (generally an object in the background) in the current frame. When the region is obscured, often by something in the foreground or by leaving the screen, then the motion compensation would fail, and the video jumps all over the place.
+To stabilize video, the \textit{Motion} plugin uses a \textit{tracking frame} to which to track to and a region within that frame to track (generally an object in the background) in the current frame. When the region is obscured, often by something in the foreground or by leaving the screen, then the motion compensation would fail, and the video jumps all over the place.
You set a second region to track, and then \textit{add offset}.
\subsection{Motion 2 Point}%
\label{sub:motion_2_point}
-Motion stabilization using 2 pass tracking. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
+Motion plugin using 2 \textit{Match box} for tracking. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
\subsection{Motion Blur}%
\label{sub:motion_blur}
\item[Steps] number of blur steps to be used in the calculation. Increasing the number takes more CPU.
\end{description}
-\subsection{MotionCV}%
-\label{sub:motioncv}
-
-Extended motion tracking/stabilization from the community version of \CGG{}. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
-
-\subsection{MotionHV}%
-\label{sub:motionhv}
-
-Updated motion tracking/stabilization of 2017 from the original author of \CGG{}. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
-
\subsection{Oil painting}%
\label{sub:oil_painting}
\item[Don’t buffer frames] in order to represent the accumulation of only the specified number of frames, the time average retains all the previous frames in memory and subtracts them out as it plays forward. It would run out of memory if it had to accumulate thousands of frames. By disabling subtraction the previous frames are not stored in memory and only the average function is affected by the frame count.
\end{description}
+\subsection{TimeBlur}%
+\label{sub:timeblur}
+
+The TimeBlur plugin provides a way to blur a number of \textit{Frames}.
+
\subsection{Timefront}%
\label{sub:timefront}
\label{ssub:some_recently_added_options}
\begin{description}
- \item[Drag] initial default checkbox is \textit{off} so that the Title plugin will work as it always has.
+ \item[Drag] initial default checkbox is \textit{off} so that the Title plugin will work as it always has. With Drag active, we can create a box that works as a region to the title; we can resize and translate it as we wish, and we can add a background image to it. See later how to use the background image.
\begin{description}
- \item[Anchors] When you turn on the Drag feature, nine different anchors/handles will appear on compositor window. The \textit{middle anchor} allows you to drag your title wherever you want in the compositor window ($X, Y$ coordinates). The other 8 handles, drawn as arrows in each corner and in the middle of each side, let you change the size of the drag area box so that your title is within that area if it fits and as it is directed. If you need to clear the Drag enabled, you can easily do this with \textit{Allow keyframe spanning} whose use is described in \nameref{sec:allow_keyframes_spanning}.
+ \item[Anchors] When you turn on the Drag feature, nine different anchors/handles will appear on compositor window. The \textit{middle anchor} allows you to drag your title wherever you want in the compositor window ($X, Y$ coordinates). The other 8 handles, drawn as arrows in each corner and in the middle of each side, let you change the size of the drag area box so that your title is within that area if it fits and as it is directed. If you need to clear the Drag enabled, you can easily do this with \textit{Allow keyframe spanning} whose use is described in \nameref{sec:allow_keyframes_spanning}. Another way to reset the box to default, i.e. the entire frame, is to set X and Y to 0 and W and H to the frame resolution (e.g. 1920x1080 for FullHD).
\item[W/H] the values in these 2 boxes specify the size of the drag area box measured in pixels as shown in the compositor window. You can set these manually and if you can't see the location of your box or find your handles, set them to zero because $0$ sets it to the same as the width/height of the media.
The Drag effect ignores all boundaries, including the \textit{Title Safe Region} of the Compositor so that if you drag your titles off the screen, it will look like they disappeared completely. Reset X and Y to reasonable values to have it reappear. The Title \textit{text}, \textit{background}, and \textit{pngs} are applied on a single layer so that they will drag together as an entity. All of the Title capabilities work in conjunction with dragging so if you want to justify the title, you can still use the \textit{Left/Center/Right/Top/Mid/Bottom} within the drag area. Be sure to turn off Drag when rendering or the box will show in the video; keep in mind that drag bars do not appear until there is some text in the text box and you can not actually drag until the Title window controls are available.
\end{description}
\paragraph{Special Characters (< > / \textbackslash \#)} Besides the previously described <, >, and / characters, there are two special characters: backslash “\textbackslash”, and the pound sign “\#”. The backslash character is used for two things. With the advent of the attribute name and value, your line may become quite long so you can use “\textbackslash” followed by the carriage return to continue on the next line as if it is just a single line. It also can be used to designate that the following character does not represent the beginning of an attribute. For example, if you want to use the opening angle character “<“ as a title character, precede it with the backslash character. The pound sign, “\#”, designates the whole line as a comment or if in the middle of the line, then the rest of the line is a comment (this includes the carriage return).
\begin{description}
- \item[Background] in this box you can keyin the name of a file of the type that \CGG{} accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \textit{On} and \textit{Off} to see what it looks like. Next to the background box is a \textit{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video.
+ \item[Background] in this box you can keyin the name of a file of the type that \CGG{} accepts and use that file as a background for your Title characters (media video or image). This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \textit{On} and \textit{Off} to see what it looks like. Next to the background box is a \textit{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video. By default the background image will occupy the whole frame, but if we activate drag mode and create a box of the desired size, the image will occupy only the box leaving the rest of the frame visible.
\item[Stroker] to add \textit{pen strokes} to the text letters, adjust the stroke width numerically. This looks particularly nice on certain fonts and with a negative adjustment of the \textit{Drop shadow}.
\item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. Press Ctrl-Shift-U followed by $2022$ and a carriage return is an example of the bullet. Refer to section \hyperref[sec:textbox_non_std_character_unicode]{17.5} for details.
\item[Popup Helper] put your cursor where you want to add an attribute, then right mouse will bring up a list of the available attributes for you to choose, along with a submenu to choose from. The program will insert that attribute for you and all you have to add is a value when required! (see figure~\ref{fig:title02}).
\subsection{YUVShift}%
\label{sub:yuvshift}
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.8\linewidth]{yuvshift.png}
+ \caption{Before and after YUVShift adjusting}
+ \label{fig:yuvshift}
+\end{figure}
+
This effect is used for YUV input video from older cameras using $3$ sensors. It is possible to have misalignment of the $3$ sets of numbers: \textit{Y}, which represents the luminance or brightness component, and for \textit{U} and \textit{V} representing the chrominance (color) components. If they were misaligned in the video, you can use \textit{YUVShift} to realign. To move a specific component up/down, modify the \textit{dy} value using the slider bar in the RGBShift window. To move a component left/right, modify the corresponding \textit{dx} value. With the Clear buttons we can bring the slider to default values without affecting the other parameters. If you are using an RGB color space, you will want to use the \textit{RGBShift} effect instead.
Figure~\ref{fig:yuvshift} (top) shows the blue \textit{U} component aligned too far to the left. And the red \textit{V} component is misaligned too far to the right. Note the \textit{U\_dx} current slider bar set to $0$ as shown by the yellow box value in the YUVShift plugin window. All components are currently at zero.
A corrected video image is shown in the bottom. Now the red and blue colors are correctly aligned. Note how \textit{U\_dx} is now at $+20$ and \textit{V\_dx} is now negative to realign the image.
-\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.8\linewidth]{yuvshift.png}
- \caption{Before and after YUVShift adjusting}
- \label{fig:yuvshift}
-\end{figure}
-
\subsection{Zoom Blur}%
\label{sub:zoom_blur}
projects / goodguy / cin-manual-latex.git / blobdiff