\item The insertion point or selected region must start inside the other effects.
\end{itemize}
+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}, 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
+Video tracks using the \textit{Video} pulldown choice of \textit{Attach effect}.
+
In the case of a shared track, there must be another track on the timeline of the same type as the track you are applying an effect to. If you right clicked on a video track to attach an effect, there will not be anything in the shared tracks column if no other video track exists. The same applies equally to audio tracks in that another audio track must exist. Shared tracks are often used as layers for titles, curves and keyframes.
If shared effects or shared tracks are available, they appear in the shared effects and shared tracks columns when you used the \textit{Attach effect} option (RMB on a track). When the green colored checkmark is clicked OK, anything highlighted in the column is attached under the current track.
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.
-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.
+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.
LV2 plugins have their own category in the \textit{Audio Plugins Visibility} as lv2. There is a simple text interface which is available via the usual \textit{Show controls} button when the plugin is attached to the audio track. This window has a Reset button to get back to the default settings. To change a value of one of the parameters, highlight that parameter and type in the new value in the topmost text box and then hit Apply to take effect -- the reason for requiring hitting apply is so that the audio is not moving all over the place while you are still typing a value. More easily, you can just move the \textit{pot dial} or the \textit{slider} bar which take effect automatically.
When the glitzy ui is up, the simple text window remains up also since it is the \CGG{} side and keeps track of the value changes so they remain in effect for further usage of the plugin. Changes to one or the other will occur in both with the exception of certain features in the glitzy window which are not communicated correctly back to \CGG{}; for example a reset button -- the simple interface Reset button must be used instead. To change values in the glitzy window you use the mouse and move up or down unlike a knob that turns! (Figure~\ref{fig:calf02})
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{calf02.png}
+ \caption{Screencast with a Calf plugin glitzy window that appears when clicking the simple interface UI button.}
+ \label{fig:calf02}
+\end{figure}
+
In order to test a particular plugin without bringing up \CGG{}, especially for ones that do not operate, it is possible to manually display an lv2ui gui with: \\
\texttt{/cin-path/lv2ui <lv2-uri>} \\
For example:
/tmp/cinelerra-5.1/bin/lv2ui http://calf.sourceforge.net/plugins/Flanger
\end{lstlisting}
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{calf02.png}
- \caption{Screencast with a Calf plugin glitzy window that appears when clicking the simple interface UI button.}
- \label{fig:calf02}
-\end{figure}
\section[Video Effects --- Native]{Video Effects -- Native}%
\label{sec:video_effects_native}
\subsection{Brightness/Contrast}%
\label{sub:brightness_contrast}
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.6\linewidth]{brightness.png}
+ \caption{How it works Brightness and Contrast}
+ \label{fig:brightness}
+\end{figure}
+
To brighten a dark shot, or add light, use this plugin. Do not overuse the effect or you risk degrading your video quality.
The \textit{Brightness} slider moves up or down the values of the entire channel and corresponds to the \textit{Master Offset} of the various grading programs.
The \textit{Contrast} slider expands or narrows the brightness values of the entire channel; corresponds to the use of the \textit{cursors} (small triangles) in the \textit{Histogram} plugin. Clear icons are present to reset its slider to default without affecting others.
Use the effect along with keyframing to brighten a long shot that is dark at the beginning but bright at the end. Generally you will want to change the brightness and contrast about the same amount (for example -- brightness $28$, contrast $26$) so that your original colors are kept intact. This effect is also keyframable (figure~\ref{fig:brightness}).
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.6\linewidth]{brightness.png}
- \caption{How it works Brightness and Contrast}
- \label{fig:brightness}
-\end{figure}
-
\subsection{BurningTV}%
\label{sub:burningtv}
\subsubsection*{Theory}
\label{ssub:theory}
-Each video has its own framerate. If we want to change it (for \textit{timelapse} or \textit{slowmotion}) the best thing is to shoot the scene with suitable framerate. But even in post production we can do something. The simplest method is to remove some frames to speed up the movie or add some to slow it down (from now on, for simplicity we will consider only the timelapse). Needless to say, the result is not smooth and the viewer will notice it immediately. A better method is to use the interpolation, mediating the pairs of frames that alternate. For example, if we have a sequence of frames $1, 2, 3, 4, 5, 6, 7, 8\dots$ we can make a timelapse mixing frames $1$ and $2$, $3$ and $4$, $5$ and $6$, $7$ and $8$ and so on. So we will have a new sequence of $4$ frames instead of the initial $8$: $\underline{12, 34, 56, 78}\dots$ We will get $50\%$ acceleration but it will always be of bad quality because of the too rough blending between the pairs of frames. Blending can be improved by weighing it differently by $50\% frame 1 + 50\% frame 2$, but the result is still unsatisfactory. Further improvements can be achieved by using $logarithmic$ or $exponential$ interpolation instead of $linear$ interpolation. But the most sophisticated methods that lead to better results are based on \textit{optical flow analysis}. These analyses the movement of circumscribed areas over a given period of time. With this method the intermediate frames do not derive from an approximate blending, but from the calculation of the \textit{vector} of the motion between two frames that determines the displacement (\textit{warping}) of the moving figure in the new intermediate frame. \textit{Interpolate Video} works this way.
+Each video has its own framerate. If we want to change it (for \textit{timelapse} or \textit{slow motion}) the best thing is to shoot the scene with suitable framerate. But even in post production we can do something. The simplest method is to remove some frames to speed up the movie or add some to slow it down (from now on, for simplicity we will consider only the timelapse). Needless to say, the result is not smooth and the viewer will notice it immediately. A better method is to use the interpolation, mediating the pairs of frames that alternate. For example, if we have a sequence of frames $1, 2, 3, 4, 5, 6, 7, 8\dots$ we can make a timelapse mixing frames $1$ and $2$, $3$ and $4$, $5$ and $6$, $7$ and $8$ and so on. So we will have a new sequence of $4$ frames instead of the initial $8$: $\underline{12, 34, 56, 78}\dots$ We will get $50\%$ acceleration but it will always be of bad quality because of the too rough blending between the pairs of frames. Blending can be improved by weighing it differently by $50\% frame 1 + 50\% frame 2$, but the result is still unsatisfactory. Further improvements can be achieved by using $logarithmic$ or $exponential$ interpolation instead of $linear$ interpolation. But the most sophisticated methods that lead to better results are based on \textit{optical flow analysis}. These analyses the movement of circumscribed areas over a given period of time. With this method the intermediate frames do not derive from an approximate blending, but from the calculation of the \textit{vector} of the motion between two frames that determines the displacement (\textit{warping}) of the moving figure in the new intermediate frame. \textit{Interpolate Video} works this way.
\subsubsection*{Practice}
\label{ssub:practice}
\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[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. If the settling speed is $100$ the absolute vector is added to the next frame. If the settling speed is less than $100$ the absolute vector is downscaled by the settling amount before being added to the next frame.
+ \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.
\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.
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 playback for the track, disable \textit{Draw vectors}, set the motion action to perform on the target layer and change the calculation to \textit{Load coords}. Finally enable playback for the track.
+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}.
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.
+Summarizing:
+
+\begin{enumerate}
+ \item In the Master Layer create and save the tracking file:
+ \begin{itemize}
+ \item \textit{Draw vectors}: checked
+ \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.
+ \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.
+ \begin{itemize}
+ \item \textit{Draw vectors}: unchecked
+ \item \textit{Action}: Track Subpixel
+ \item \textit{Calculation}: Load coords from Tracking File
+ \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 $0$.
\subsubsection*{2 pass motion tracking}
\subsection{MotionCV}%
\label{sub:motioncv}
-Motion tracking/stabilization from the community version of \CGG{}. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
+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}
Note that the red color lines in the box show the composer boundary.
-In order to see endpoints that go off the screen, you can use the zoom slider which changes only the zoom view and does nothing else. The slider uses a logarithmic scale ranging from $\frac{1}{100} to 100$.
+In order to see endpoints that go off the screen, you can use the zoom slider which changes only the zoom view and does nothing else. The slider uses a logarithmic scale ranging from $\frac{1}{100} to 100$. Although not shown in the
+image here, each endpoint is labeled in yellow with 1-4 and the Current X
+endpoint is shown in the menu to make it easier to tell which point is in play.
Figure~\ref{fig:perspective01} show the results of the 4 different smoothing options.
\label{fig:perspective01}
\end{figure}
+Just a side note about the possibility of ending up with a divide by 0 case when manipulating
+the endpoints. Sometimes this results in a single frame anomaly but you can workaround this
+by setting the X value for the middle keyframe of a series to just a little more than 0,
+such as .01 so that dividing by 0 is avoided. The actual cause of the problem is that the
+interpolated X1..X4 auto coordinates used by perspective eventually have x1==x2, x3==x4, so
+that all points x are scaled by zero. Another solution is to tweak the frame count to an even
+number, so that the center is not over the point where x1==x2, x3==x4, or perturb the midpoint
+position a little so that the answers are not exactly zero.
+
\subsection{Polar}%
\label{sub:polar}
Radial blur is a \textit{Bokeh} effect that creates a whirlpool which simulates a swirling camera. You can vary the location, type, and quality of the blur.
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.8\linewidth]{radial.png}
+ \caption{For clarity of presentation only 2 fields are shown}
+ \label{fig:radial}
+\end{figure}
+
\begin{description}
\item[X,Y] center of the circle of movement.
\item[Angle] angle of motion in one direction.
Figure~\ref{fig:radial} has the parameters: $Angle=-35$ and $Steps=2$.
-\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.8\linewidth]{radial.png}
- \caption{For clarity of presentation only 2 fields are shown}
- \label{fig:radial}
-\end{figure}
\subsection{ReframeRT}%
\label{sub:reframert}
Stretch mode multiplies the current frame number of its output by the \textit{scale factor} to arrive at the frame to read from its input. The scaling factor is not entered directly but using a number of \textit{input} frames to be divided by the number of \textit{output} frames.
-\vspace{1ex} \texttt{Scale factor = Input frames / Output frames}
+\vspace{1ex} \texttt{Scale factor (SF) = Input frames / Output frames}
-\[\frac{1}{8} \Rightarrow scale\, factor = 0.125 \qquad (slowmotion)\]
+\[\frac{1}{8} \Rightarrow scale\, factor = 0.125 \qquad (slow\, motion)\]
-That is, one input frame of the original movie corresponds to $8$ new output frames originated by interpolation. It is the opposite with regard to \textit{fast play}.
+For slow motion we leave 1 for the frames of the input and we increase the number of frames of the output (for example putting 8 for the output we have slow motion $8\times$, with $SF=\frac{1}{8}=0.125$). For fast motion we leave 1 for the output and we increase the number for the input (for example 8 to have $8\times$, with $SF=\frac{8}{1}=8$). Another possibility is to put the frame rate of the media (e.g 120 fps) in the input and the project frame rate in the output (e.g 30 fps) or the opposite.
The stretch mode has the effect of changing the length of output video by the inverse of the scale factor. If the scale factor is greater than $1$, the output will end before the end of the sequence on the timeline. If it is less than $1$, the output will end after the end of the sequence on the timeline. The ReframeRT effect must be lengthened to the necessary length to accommodate the scale factor. Change the length of the effect by clicking on the endpoint of the effect and dragging.
\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.
+
\subsubsection*{Downsample}%
\label{ssub:downsample}
\label{ssub:other_important_points}
\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 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}.
\item It is keyframmable.
+ \item ResampleRT with the same settings is used to act on audio tracks.
\end{itemize}
\subsection{Reroute}%
\subsection{Videoscope}%
\label{sub:videoscope}
-Videoscope summarizes intensity and color on a calibrated display. The Videoscope can be used in conjunction with other \CGG{} plugins such as \textit{Color 3 Way}, \textit{YUV}, \textit{Brightness}, \textit{Color Balance} or \textit{Histogram} to accurately correct video for contrast, clarity, conformance (to normalize various videos shot under different light settings), or for cinematic purposes. The human eye is not specialized to match precise level of light and color, but Videoscope is. Videoscope contains three displays: the waveform scope and the vectorscope, plus the histograms (figure~\ref{fig:videoscope01}). Instead of applying the plugin to the tracks/edits we want to examine, we can use the Videoscope button in the Composer and Viewer windows. The Videoscope menu window has many options. From the pulldown menu (\textit{Scopes}) we can choose between two histograms (Histogram and Histogram RGB); three waveforms (Waveform, Waveform RGB and Waveform Ply) and two vectorscopes (Vectorscope and VectorWheel). The \textit{Smooth} checkbox serves to make the graph more homogeneous while the \textit{sliders} allow for varying the 'solidity' of the dots shown. You can get to the subpixel
-level for precision.
+Videoscope summarizes intensity and color on a calibrated display. The Videoscope can be used in conjunction with other \CGG{} plugins such as \textit{Color 3 Way}, \textit{YUV}, \textit{Brightness}, \textit{Color Balance} or \textit{Histogram} to accurately correct video for contrast, clarity, conformance (to normalize various videos shot under different light settings), or for cinematic purposes. The human eye is not specialized to match precise level of light and color, but Videoscope is. Videoscope contains three displays: the waveform scope and the vectorscope, plus the histograms (figure~\ref{fig:videoscope01}). Instead of applying the plugin to the tracks/edits we want to examine, we can use the Videoscope buttons in the Composer and Viewer windows. \includegraphics[height=\baselineskip]{scope.png} In this way the monitors act on the frame indicated by the insertion point, without taking into account the stack of tracks or on which edits to apply the plugin.
+
+The Videoscope menu window has many options.
+
+\paragraph*{Scopes:} we can choose between two histograms:
+
+\begin{itemize}[noitemsep]
+ \item \textit{Histogram}
+ \item \textit{Histogram RGB}
+\end{itemize}
+three waveforms:
+\begin{itemize}[noitemsep]
+ \item \textit{Waveform}
+ \item \textit{Waveform RGB} (aka RGB Parade)
+ \item \textit{Waveform Ply} (which superimposes the three Waveform RGB graphs in a single view.)
+\end{itemize}
+and two vectorscopes:
+\begin{itemize}[noitemsep]
+ \item \textit{Vectorscope}
+ \item \textit{VectorWheel}
+\end{itemize}
\begin{figure}[hbtp]
- \centering
- \includegraphics[width=1.0\linewidth]{videoscope01.png}
- \caption{GUI of the Videoscope. You see Histogram, RGB Parade and Vectorscope}
- \label{fig:videoscope01}
+ \centering
+ \includegraphics[width=1.0\linewidth]{videoscope01.png}
+ \caption{GUI of the Videoscope. You see Histogram, RGB Parade and Vectorscope}
+ \label{fig:videoscope01}
\end{figure}
+\paragraph*{Settings:} It is divided into two sections. The upper section contains two items:
+
+\begin{description}
+ \item[Smooth:] serves to make the graph more homogeneous, improving its visualization.
+ \item[Refresh on Stop ON:] [checked -- only for Transport buttons] scopes are updated when you stop playback at a given location. Instead, they are locked at the start position while you playback. This saves system resources and makes playback smoother. By dragging the cursor the scopes are updated in realtime.
+ \item[Refresh on Stop OFF:] [unchecked -- for Transport buttons and dragging cursor] the display of the scopes is synchronized with the playback. Every variation of the graphs is in realtime. There may be some decrease in fps during playback.
+ \item[Refresh on Release:] This works for the Viewer and Compositor windows. Scopes are not updated during playback. The update occurs only when you stop playback, that is at the final position (either by dragging the cursor or using the Transport buttons). When in the timeline, if you drag on the TimeBar or reposition in the TimeBar in either Drag and Drop or Cut and Paste mode, the release of the button also will update the Scopes. This saves system resources and makes playback smoother. Because there is no update when playing in the main window, you can still easily get a videoscope update simply by moving the mouse to the Compositor and a single click there will update the scopes without changing the frame (as long as Click to Play is not enabled).
+\end{description}
+
+ The lower section, called \textit{VectorWheel Grids}, it is only active when VectorWheel is set up in Scopes pull-down and contains four entries (figure~\ref{fig:videoscope06}):
+
+ \begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=1.0\linewidth]{videoscope06.png}
+ \caption{Pull-down Settings}
+ \label{fig:videoscope06}
+ \end{figure}
+
+ \begin{description}
+ \item[None:] It only shows the colour wheel, without any superimposed graticula.
+ \item[All:] Shows the most complete grid that allows precise and useful measurements. It also shows the skintones area.
+ \item[Hue:] Show a more minimal grid. It also shows the I-Line.
+ \item[IQ:] Show shows only I-Line and Q-Line.
+ \end{description}
+
+
+You can create custom grids. These are raster .png images of adequate resolution and must be put in:
+
+\begin{lstlisting}[style=sh]
+[your cinelerra path]/bin/plugins/scopes/custom_grid.png
+\end{lstlisting}
+
+More information in the later section on Vectorscope.
+
+\paragraph*{Sliders:} allow for varying the \textit{solidity} of the dots shown in Waveforms and Vectorscope. You can get to the subpixel level for precision. They are accompanied by Reset buttons that restore them to default values.
+
+
+
\subsubsection*{Waveform/RGB Parade/Waveform Ply}%
\label{ssub:waveform_rgb_parade_ply}
-The \textit{Waveform Scope} displays image intensity (luminance) versus image $X$ position. The \textit{Waveform RGB} (or RGB Parade) displays image RGB intensity versus image $X$ position (one graph per channel). The \textit{Waveform Ply} shows the three channels in a single graph. The Waveform Scope appears on the left side or in the middle of the Videoscope window. The display is calibrated vertically from $0\%$ intensity (black) at the bottom up to $100\%$ intensity (white) at the top. Each column of pixels in the image corresponds to one column of pixels in the Waveform Scope (figure~\ref{fig:videoscope02}). Note that the height of the values of a waveform/RGB Parade corresponds exactly to the values on the $x\, axis$ in the \textit{histogram}. A vertical/horizontal correspondence is therefore obtained.
+The \textit{Waveform Scope} displays image intensity (luminance) versus image $X$ position. The \textit{Waveform RGB} displays image RGB intensity versus image $X$ position (one graph per channel). The \textit{Waveform Ply} shows the three channels in a single graph. The Waveform Scope appears on the left side or in the middle of the Videoscope window. The display is calibrated vertically from $0\%$ intensity (black) at the bottom up to $100\%$ intensity (white) at the top. Each column of pixels in the image corresponds to one column of pixels in the Waveform Scope (figure~\ref{fig:videoscope02}). Note that the height of the values of a waveform/waveform RGB corresponds exactly to the values on the $x\, axis$ in the \textit{histogram}. A vertical/horizontal correspondence is therefore obtained.
\begin{figure}[hbtp]
\centering
\includegraphics[width=1.0\linewidth]{videoscope02.png}
- \caption{Colortest 75\% with RGB Parade (left) and Waveform (right)}
+ \caption{Colortest 75\% with Waveform RGB (left) and Waveform (right)}
\label{fig:videoscope02}
\end{figure}
-On the left is shown RGB Parade: instead of the color shadows as in figure~\ref{fig:videoscope01}, we have lines representing the color bar test at $75\%$. They are pure colors, so all pixels have the same value. In fact, they are all at the level of $75\%$ except for the $100\%$ white band and the $0\%$ black band. In the waveform on the right, we have the same behavior with regard to luminance: the white band is $100\%$; the black band is $0\%$ and all the others $75\%$.
+On the left is shown waveform RGB: instead of the color shadows as in figure~\ref{fig:videoscope01}, we have lines representing the color bar test at $75\%$. They are pure colors, so all pixels have the same value. In fact, they are all at the level of $75\%$ except for the $100\%$ white band and the $0\%$ black band. In the waveform on the right, we have the same behavior with regard to luminance: the white band is $100\%$; the black band is $0\%$ and all the others $75\%$.
+
+If we left-click on the graph with the mouse, we will see a crosshair that we can place exactly where we want to measure. We can read the precise values of X and Luminance (Value) in the pop-up box that appears at the bottom right (figure~\ref{fig:videoscope03}).
-The Waveform scope helps correct image light levels for contrast range or for conforming light levels on various scenes originally shot on different light settings (figure~\ref{fig:videoscope03}). The same can be done with RGB Parade or the convenient overlapping representation (Waveform Ply).
+The Waveform scope helps correct image light levels for contrast range or for conforming light levels on various scenes originally shot on different light settings. The same can be done with Waveform RGB or the convenient overlapping representation (Waveform Ply).
\begin{figure}[hbtp]
\centering
\includegraphics[width=1.0\linewidth]{videoscope03.png}
- \caption{Examples of waveform, waveform RGB and waveform Ply}
+ \caption{Examples of waveform (with crosshair and the coordinates' box), waveform RGB and waveform Ply}
\label{fig:videoscope03}
\end{figure}
\begin{enumerate}
\item Add the \textit{Brightness/Contrast}, \textit{Histogram}, \textit{Color 3 Way} or another video adjustment effect on your track/edit.
- \item Add the Videoscope effect on the track below. Make sure that it is placed below so it can see the adjustment effect's results. If it is not, right-click and move it down. Or do not use the plugin but activate the Videoscope button in the Compositor window.
+ \item Add the Videoscope effect on the track. Make sure that it is placed below in the stack of effects, so it can see the adjustment effect's results. If it is not, right-click and move it down. Or do not use the plugin but activate the Videoscope button in the Compositor window.
\item Show both the effect and Videoscope.
\item Adjust the contrast while observing the waveform to match the desired light level.
- \item Precise adjustments can be made by measuring the values on the waveform with the crosshair (by clicking LMB, and reading numeric values on top left of the window) and reporting these numbers in the effects window (\textit{Histogram Bézier}, for example).
+ \item Precise adjustments can be made by measuring the values on the waveform with the crosshair (by clicking LMB, and reading numeric values on the pop-up box) and reporting these numbers in the effects window (\textit{Histogram Bézier}, for example).
\end{enumerate}
For example, if you are looking for maximum contrast range, adjust the \textit{Brightness/Contrast} levels to align the darkest point on the scope with the $0\%$ level and the brightest portion with $100\%$. Anything above $100\%$ is over saturated. Limits may be highlighted with checkbox controls.
\subsubsection*{Vectorscope}%
\label{ssub:Vectorscope}
-The Vectorscope displays \textit{hue} (angle on the color wheel) and \textit{saturation} (radius). Each pixel in the source image is drawn as a point on the color wheel. The distance from the center is the color saturation. Gray values are close to the center, and high saturation values are near the perimeter ($100\%$). In the center there is pure white ($0\%$). By clicking with the mouse on the color wheel a radius and circle
-will appear whose values of hue and saturation are shown at the top left of the window, similar to the values of $X$ and luminance of the Waveform and RGB Parade (figure~\ref{fig:videoscope05}).
+The Vectorscope displays \textit{hue} (angle on the color wheel) and \textit{saturation} (radius). Each pixel in the source image is drawn as a point on the color wheel. The distance from the center is the color saturation. Gray values are close to the center, and high saturation values are near the perimeter ($100\%$). In the center there is pure white ($0\%$). By clicking with the mouse on the color wheel a radius and circle will appear whose values of hue and saturation are shown in the pop-up box at the bottom right of the window, similar to the values of $X$ and luminance of the Waveform and RGB Parade (figure~\ref{fig:videoscope05}).
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{videoscope05.png}
- \caption{Vectorscope (with I-Line) and VectorWheel (with IQ-Hue-Tics reticule)}
+ \includegraphics[width=0.8\linewidth]{videoscope05.png}
+ \caption{Vectorscope (with H/S pop-up box) and VectorWheel (with 3 default grids)}
\label{fig:videoscope05}
\end{figure}
-Note that when you choose \textit{VectorWheel} from \textit{Scopes} pulldown, the \textit{Overlay} pulldown
-appears where you can choose between different grids. In addition, any number of user-supplied grid patterns
-can be added in the form of a square image of type png. The user can design and maintain individual grid
-overlays for various purposes. The user would keep their overlays in a safe spot on their disk and make
-a copy of them in the \{cinelerra\_pathname\}/bin/plugins/scopes every time a new version of \CGG{} is installed.
+Note that when you choose \textit{VectorWheel} from \textit{Scopes} pulldown, you can choose between different grids in the \textit{Settings} pulldown. In addition, any number of user-supplied grid patterns can be added in the form of a square image of type png. The user can design and maintain individual grid overlays for various purposes. The user would keep their overlays in a safe spot on their disk and make a copy of them in the \texttt{\{cinelerra\_pathname\}/bin/plugins/scopes} every time a new version of \CGG{} is installed.
Generally the Vectorscope has the following uses:
\begin{figure}[hbtp]
\centering
\includegraphics[width=0.9\linewidth]{videoscope04.png}
- \caption{Balancing a yellow dominace tint}
+ \caption{Balancing a yellow color cast}
\label{fig:videoscope04}
\end{figure}
\item create a temporary directory on your computer
\item \texttt{cd} that-directory
\item \texttt{tar -xf} location-of-the-tarball-you-downloaded
- \item \texttt{cp plugins/*obj.plugin <see below for your location>/.} (note the period on the end)
+ \item \texttt{cp plugins/opencv/*obj.plugin <see below for your location>/.} (note the period on the end)
\item Start \CGG{} and look for the six plugins in Video Effects
\item To reverse this, simply delete the six plugin files (for example:
Location for some System installs is:
-\hspace{4em}\texttt{/usr/lib/cin/plugins/} (most ubuntu distros)\\
+\hspace{4em}\texttt{/usr/lib/cin/plugins/} (most ubuntu distros)
+
\hspace{4em}\texttt{/usr/lib64/cin/plugins/} (Leap distro)
\subsection{How to Build OpenCV Plugins}%
the data.
\item [F\_astats]~\\Shows time domain statistics about audio
frames.
+\item [F\_asubboost]~\\Boost subwoofer frequencies.
\item [F\_atempo]~\\Adjusts audio tempo.
\item [F\_atrim]~\\Pick one continuous section from the input,
drop the rest.
The following is a list of the integrated video plug-ins.
\begin{description}
+\item [F\_addroi]~\\Mark a region of interest in a video frame.
\item [F\_amplify]~\\Amplify changes between successive video
frames.
\item [F\_atadenoise]~\\Apply an Adaptive Temporal Averaging
\item [F\_avgblur]~\\Apply average blur filter.
\item [F\_bbox]~\\Compute bounding box for each frame.
\item [F\_bench]~\\Benchmarks part of a filtergraph.
+\item [F\_bilateral]~\\Apply bilateral filter, spatial smoothing while preserving edges.
\item [F\_bitplaneoise]~\\Measure bit plane noise.
\item [F\_blackdetect]~\\Detect video intervals that are
(almost) black.
settings you are able to change the power and the radius of the
boxblur applied to luma, chroma and alpha.
\item [F\_bwdif]~\\Deinterlaces the input image.
+\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\_ciescope]~\\Video CIE scope.
\item [F\_cropdetect]~\\Auto-detect crop size.
\item [F\_curves]~\\Adjust components curves.
\item [F\_datascope]~\\Video data analysis.
+\item [F\_dblur]~\\Apply Directional blur filter.
\item [F\_dctdnoiz]~\\Denoise frames using $2D DCT$.
\item [F\_deband]~\\Debands video.
\item [F\_deblock]~\\Deblocks video.
on top of an image which is commonly used in filmmaking. The concept
is that you align the key elements in the image using this grid at
the intersection of the lines or along and within the
- vertical/horizontal lines.
+ vertical/horizontal lines. In general the bottom and right sides of
+ the video will not be bordered by the grid. So for example, if you
+ only add the effect to the video, there will be a frame around the
+ video with the size of the \textit{thickness}
+ but the frame is only visible on the top and left and not on the bottom
+ or left side. You can get a line to show by using a larger thickness
+ and specifying a negative value for x and y of -2, -3, or more.
\item [F\_edgedetect]~\\Detects and draws edge.
\item [F\_elbg]~\\Apply posterize effect, using the ELBG
algorithm.
\item [F\_fspp]~\\Applies Fast Simple Post-processing filter.
\item [F\_gblur]~\\Apply Gaussian Blur filter.
\item [F\_gradfun]~\\Debands video quickly using gradients.
+\item [F\_gradients]~\\Draws a transparent gradient.
\item [F\_graphmonitor]~\\Show various filtergraph stats.
\item [F\_greyedge]~\\Estimates scene illumination by grey
edge assumption.
\item [F\_mandelbrot]~\\Render a Mandelbrot fractal.
\item [F\_mcdeint]~\\Applies motion compensating
deinterlacing.
+\item [F\_median]~\\Pick median pixel from rectangle defined by radius.
\item [F\_mestimate]~\\Generate motion vectors.
\item [F\_mpdecimate]~\\Remove near-duplicate frames.
\item [F\_mptestsrc]~\\Generate various test pattern.
\item [F\_perms]~\\Set permissions for the output video frame.
\item [F\_perspective]~\\Corrects the perspective of video.
\item [F\_phase]~\\Phases shift fields.
+\item [F\_photosensitivity]~\\Filter out photosensitive epilepsy seizure-inducing flashes.
\item [F\_pixscope]~\\Pixel data analysis for checking color
and levels. It will display sample values of color channels.
\item [F\_pp]~\\Filters video using libpostproc.
\item [F\_sab]~\\Applies shape adaptive blur.
\item [F\_scale]~\\Scale the input video size and/or convert
the image format.
+\item [F\_scdet]~\\Detect video scene change.
+\item [F\_scroll]~\\Scroll input video horizontally and/or vertically by constant speed.
\item [F\_separatefields]~\\Split input video frames into
fields.
\item [F\_setparams]~\\Force field, or color property for the
\item [F\_showpalette]~\\Display frame palette.
\item [F\_shuffleframes]~\\Shuffles video frames.
\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
analysis.
\item [F\_smartblur]~\\Blurs the input video without impacting
\item [F\_tblend]~\\Blend successive frames.
\item [F\_testsrc]~\\Generate test pattern.
\item [F\_testsrc2]~\\Generate another test pattern.
+\item [F\_thistogram]~\\Compute and draw a color distribution histogram for the input video across time.
\item [F\_tile]~\\Tile several successive frames together.
\item [F\_tinterlace]~\\Performs temporal field interlacing.
\item [F\_tlut2]~\\Compute and apply a lookup table from 2
successive frames.
+\item [F\_tmedian]~\\Pick median pixels from successive frames.
\item [F\_tmix]~\\Mix successive video frames.
\item [F\_transpose]~\\Transposes input video.
\item [F\_unsharp]~\\Sharpen or blur the input videlo.
+\item [F\_untile]~\\Untile a frame into a sequence of frames.
\item [F\_uspp]~\\Applies Ultra Simple/Slow Post-processing
filter.
+\item [F\_v360]~\\Convert 360 videos between various formats.
\item [F\_vaguedenoiser]~\\Applies a Wavelet based Denoiser.
\item [F\_vectorscope]~\\Video vectorscope.
\item [F\_vflip]~\\Flips the input video vertically.
\item [F\_weave]~\\Weaves input video fields into frames.
\item [F\_xbr]~\\Scales the input using $xBR$ algorithm.
\item [F\_yadif]~\\Deinterlaces the input image.
+\item [F\_yaepblur]~\\Yet another edge preserving blur filter.
\item [F\_yuvtestsrc]~\\Generate YUV test pattern.
\item [F\_zoompan]~\\Applies Zoom \& Pan effect.
\end{description}
projects / goodguy / cin-manual-latex.git / blobdiff