There are realtime effects -- these are the most useful and probably all you will ever need -- and rendered effects.
The rendered effects are discussed separately in the \nameref{sec:rendered_effects} section.
+Effects that begin with the characters F\_ are effects that are part of the FFmpeg software
+as opposed to those coded within the \CGG{} program. These are discussed separately in
+\nameref{sec:ffmpeg_audio_video_plugins}.
Effect plugins modify the track when played, according to how they are set, with no permanent storage of the output except when the project is rendered. There are many Plugins in \CGG{} Infinity which are actually quite easy to use just by experimenting with them. The plugins are shown and selected from the \textit{Resources window} (figure~\ref{fig:video-plugins}). They are described in more detail later.
\begin{figure}[htpb]
\label{fig:video-plugins}
\end{figure}
-There is a choice of plugin icons \index{plugins: icons} which can be displayed.
+There is a choice of plugin icons \index{plugins!icons} which can be displayed.
In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By -- \url{https://creativhecommons.org/licenses/by/3.0/}} -- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
\section{How to Use Plugins}%
\label{sec:how_use_plugins}
-\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected in which case the effect is pasted into that region only. If there is no data on the track the effect is not added.
+\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins!toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected (wipe selection or In/Out points) in which case the effect is pasted into that region only. If there is no data on the track or no selected region set, the effect is not added.
-Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on.
+Plugins are layered under the track they apply to. When dragging more than one effect onto an armed track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on. "The pipeline in Cinelerra's\protect\footnote{credit to Original Creator} plugin design is the \textit{pull} method. The rendering pipeline starts at the final output and the final steps in the rendering pipeline are reading the data from disk. Every step in the rendering chain involves requesting data from the previous step. When the rendering pipeline eventually requests data from a plugin chain, each plugin requests data from the plugin before it. This is less intuitive than the push method but is much more powerful. Realtime plugins written using the pull method can change the rate data is presented to the viewer and the direction of playback. The pull method allows plugins to take in data at a higher rate than they send it out." Side note: if you want to avoid the automatic \textit{top to bottom} application of plugins, you can take advantage of \textit{nested assets} to manipulate the order the plugins are applied (see \ref{sec:nesting_clips_and_assets}).
-Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} \index{plugins: attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
+Instead of dragging from the Resources window, effects may be applied to a single armed track or a region via a popup menu. On the entire track or on a region determined by a selection wipe or by the In/Out points, right click and select \textit{Attach effect} \index{plugins!attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
+
+One more method to apply an effect on all armed tracks of the same type (video or audio) is to use the \textit{Video} or \textit{Audio} pulldown \textit{Attach Effect} option. This brings up a menu which has a useful checkbox to \textit{Attach single standalone and share others} (see \ref{sec:shared_effect_tracks}). The default setting is checked on.
-After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins: show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
+After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins!show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
Besides the magnifying glass, for Show Controls, on the effect colored bar beneath the track, there are two more symbols.
\includegraphics[width=0.7\linewidth]{button-options.png}
\end{wrapfigure}
-The rightmost knob is used to Turn Off/Turn \index{plugins: turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins: preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
+The rightmost knob is used to Turn Off/Turn \index{plugins!turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins!preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
\section{Editing Effects}%
\label{sec:editing_effects}
-\index{plugins editing}
+\index{plugins!editing}
Many operations exist for manipulating effects once they are on the timeline. Because mixing effects and media is quite complex, the methods used in editing effects are not as concise as cutting and pasting. Some of the editing happens by dragging in/out points, some of the editing happens through popup menus, and some of it happens by dragging effects.
\label{fig:editing-effects}
\end{figure}
-To edit effects, you can move the timeline cursor over the effect borders until it changes to a resize left or resize right icon. In this state, if you drag the end of the effect, it performs an edit just like dragging an edit edge. The five editing behaviors of track trimming \index{trimming} apply to effect trimming and they are bound to the mouse buttons that you set in interface preferences as shown in the previous screencast. \textit{Trimming} simply means changes the duration dragging the edges.
+To edit effects, you can move the timeline cursor over the effect borders until it changes to a resize left or resize right icon. In this state, if you drag the end of the effect, it performs an edit just like dragging an edit edge. The five editing behaviors of track trimming \index{trim} apply to effect trimming and they are bound to the mouse buttons that you set in interface preferences as shown in the previous screencast. \textit{Trimming} simply means changes the duration dragging the edges.
When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown \textit{Settings} and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
-You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins: RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
+You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins!RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
-Finally, there is dragging of effects \index{plugins: dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track. The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards. It is recommended that you re-construct shared effect track references.
+Finally, there is dragging of effects \index{plugins!dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track. The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards. It is recommended that you re-construct shared effect track references.
Figure~\ref{fig:drag-effect} showing 3 plugins, two still plugin, two have already been dragged and the \textit{Color 3 Way} in the process of being dragged. Note the gold-colored frame which enables allow \textit{drag and drop} editing mode.
\label{fig:drag-effect}
\end{figure}
+\section{Copy/Paste Effects}%
+\label{sec:copy_paste_effects}
+\index{plugins!copy paste effects}
+
+In \textit{Drag and Drop} mode we can copy and paste edits containing plugins (see also \nameref{sub:copy_paste_behavior}). Start by selecting an edit (that contains plugins) with LMB and open the context menu with MMB. The possibilities offered are:
+
+\begin{description}
+ \item[Ctrl - c]: copy edits and plugins to buffer.
+ \item[Ctrl - v]: paste edits and plugins into the timeline (splice) at the Insertion point.
+ \item[Ctrl - b]: paste edits and plugins into the timeline (overwrite) at the Insertion point.
+ \item[Ctrl - Shift - p]: paste only the plugins into the timeline, at the Insertion point, keeping the original length (overwrite).
+ \item[Collect Effects]: copy only plugins into buffer.
+ \item[Paste Effects]: pastes the plugins into a selected target edit. The length of the plugins adapts to the length of the edit.
+\end{description}
+
\section{Shared Effects and Shared Tracks}%
\label{sec:shared_effect_tracks}
-\index{plugins: shared effect}
-\index{plugins: shared tracks}
+\index{plugins!shared effect}
+\index{plugins!shared tracks}
Two other effect types available in the Attach Effect dialog are \textit{Shared effects} and \textit{Shared tracks}. In the case of a shared effect, the following conditions must be true:
Before going into further detail about how to use \textit{Shared effects}, an easier
alternative method of application which is especially useful for Audio tracks is
available. In this method, all you have to do is use the \textit{Audio} pulldown and
-choose \textit{Attach effect} \index{plugins: attach effect}, highlight the effect you would like and make sure the
+choose \textit{Attach effect} \index{plugins!attach effect}, highlight the effect you would like and make sure the
default of \textit{Attach single standalone and share others} is checked on. It will
automatically be a "Shared Effect" on all audio tracks (be sure to disarm any audio
tracks that you do not want to have the effect shared on). This method also works for
\section{Saved Plugin Presets}%
\label{sec:saved_plugin_preset}
-\index{plugins: preset edit}
+\index{plugins!preset edit}
\textit{Presets} and \textit{Factory Presets} for Plugin settings are now combined with the Preset Keyframe Parameters allowing you to choose, apply, delete, and edit your own Presets which can then be easily saved in the file \texttt{\$HOME/.bcast5/Cinelerra\_presets}. In addition to your own saved presets, there are automatically available Factory presets for some plugins, for example the Lens video plugin. The Factory presets are preceded by an asterisk (*) and can not be modified permanently.
\subsection{How to see short Description of a Plugin}%
\label{sub:short_description_plugin}
-\index{plugins: short description}
+\index{plugins!short description}
To get a short one or a few lines description of a plugin, mouse over that plugin in the Resources window and a popup appears. You can disable the popup by right-clicking and choosing \textit{Info Off} (shortcut "i"). And again enable it with \textit{Info On}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
\label{fig:info-effect}
\end{figure}
+\textit{Context Help} provides more detailed information about the plugin in 4 possible
+ways using the Alt/h hotkey combination.
+\begin{enumerate}
+ \item Pressing \texttt{Alt/h} with the mouse in the dialog window of that plugin's settings menu.
+ \item Pressing \texttt{Alt/h} while pointing with the mouse on the plugin bar in a track, transition bar, or transition icon.
+ \item Pressing \texttt{Alt/h} while pointing on the plugin name (icon) in the Resources window. If plugin tooltips are on, help for the highlighted plugin under the mouse is shown. If plugin tooltips are off, help for the selected plugin is shown.
+ \item Pressing \texttt{Alt/h} while pointing on the plugin name in the \textit{Attach Effect} dialog menu.
+\end{enumerate}
+
\subsection{Delete Plugins to save Resources Space or make them Unavailable}%
\label{sub:delete_plugin_resouces_unavaible}
-Maybe you just don't ever use certain plugins or would prefer to only find the ones that are useful to you. To save space in the Resources Window so you don't have to scroll to find the plugins you want as much, a feature to delete others is available. If you have a System install, you will have to be root for this function to be usable. The plugins will be permanently deleted, but only until you rebuild or download a new set of \CGG{} binaries. To delete a plugin, highlight the plugin you no longer want in the Resources window then press Ctrl-Shift-delete. A small window will come up allowing you to change your mind and red-X out or check-OK to remove plugin. This feature may come in handy if you have personnel working on media for you and you only want them to exercise certain functions. Or maybe you can't remember which is the good \textit{deinterlace} plugin out of the available five or so and want to delete the extras so as not to be confused. The ffmpeg, \textit{ladspa}, and \textit{lv2} plugins can not be deleted in this manner but, of course, you can always turn them off from view by clicking on \textit{Visibility} and unchecking them (figure~\ref{fig:remove-effect}).
+Maybe you just don't ever use certain plugins or would prefer to only find the ones that are useful to you. To save space in the Resources Window so you don't have to scroll to find the plugins you want as much, a feature to delete others is available. If you have a System install, you will have to be root for this function to be usable. The plugins will be permanently deleted, but only until you rebuild or download a new set of \CGG{} binaries. To delete a plugin, highlight the plugin you no longer want in the Resources window then press Ctrl-Shift-delete. A small window will come up allowing you to change your mind and red-X out or check-OK to remove plugin.
+AppImage does not provide this capability unless you use the workaround as described in the Appendix \nameref{cha:faq_problems_workarounds}.
+
+This feature may come in handy if you have personnel working on media for you and you only want them to exercise certain functions. Or maybe you can't remember which is the good \textit{deinterlace} plugin out of the available five or so and want to delete the extras so as not to be confused. The ffmpeg, \textit{ladspa}, and \textit{lv2} plugins can not be deleted in this manner but, of course, you can always turn them off from view by clicking on \textit{Visibility} and unchecking them (figure~\ref{fig:remove-effect}).
\begin{figure}[htpb]
\centering
\subsection{Updatable Icon Image Support}%
\label{sub:updatable_icon_image_support}
-\index{plugins: change icons}
+\index{plugins!change icons}
When running \CGG{} Infinity builtin icons are loaded before the
program starts. Png files in the path:\\
(or cinfinity2, original or smoother -- Leap distro)
+AppImage does not provide this capability unless you use the workaround as described in the Appendix \nameref{cha:faq_problems_workarounds}.
+
\subsection{Details on where to put your own Plugin Icons}%
\label{sub:details_put_plugin_icons}
\label{sub:example_plugin_icon_testing}
For a simple test just copy an existing \texttt{<plugin\_name>.png} file into the cinfinity directory with the name \texttt{bluebanana.png} to write over the existing file. This icon will now show up in \CGG{} and still execute the Blue Banana function.
+AppImage does not provide this capability unless you use the workaround as described in the Appendix \nameref{cha:faq_problems_workarounds}.
For an ffmpeg plugin, create \texttt{ff\_loop.png} and copy it to: \\
\texttt{<cinlib\_path>/plugins/picon/original}. This icon will show up in \CGG{} if original is selected and execute the \textit{F\_loop} function.
\subsection{Plugins/Effects Visibility}%
\label{sub:plugins_effects_visibility}
-\index{plugins: visibility}
+\index{plugins!visibility}
\CGG{} contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In \CGG{} Infinity, the plugins have been categorized into the following subsets in the \textit{Visibility} section of the Resources window to make it easier to locate a particular one:
\CGG{}’s default setup is in the file \texttt{\$CIN\_DAT/expan\-ders.txt} but if the user wants their own specific setup and if the file in \texttt{\$HOME/.\\bcast5/expanders.txt} exists, it will take precedence.
If there are recommendations for other relevant categories, they can be added. The subtree structure is applicable to any of the \textit{Video Effects/Transitions} or \textit{Audio Effects/Transitions}. You can not sort once an expansion is in effect (figure~\ref{fig:expander}).
-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:
+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. A short example of what the txt file looks like is shown below.
\begin{figure}[htpb]
\centering
\includegraphics[width=0.8\linewidth]{expander.png}
- \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
+ \caption{Down facing triangle, Right facing triangle = expander; "-" = options}
+% the next line causes problems for the HTML version so do not use
+% \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
\label{fig:expander}
\end{figure}
\begin{lstlisting}[style=sh]
Video Effects
+ -Favorites
+ Brightness/Contrast
+ Title
+ VideoScope
- Color_Correction
Blue Banana
Color 3 Way
L2_Calf Fluidsynth
\end{lstlisting}
+NOTE: The capability to put the expanders.txt file in \texttt{./bcast5} (see \nameref{sec:bcast5}) allows for customizations such as grouping favorite plugins in one section so that they can be recalled more quickly. For this purpose, the \textit{Favorites} section has been included at the top of Video Effects, the contents can be changed as desired. Once your modified file is saved to hard disk as \$HOME/.bcast5/expanders.txt it will remain in use on every update as long as you do not delete it or remove the .bcast subdirectory.
+For users running \CGG{} using the AppImage, to make an initial copy of expanders.txt, execute the
+following lines on /tmp:
+\begin{lstlisting}[numbers=none]
+ git clone --depth 1 "git://git.cinelerra-gg.org/goodguy/cinelerra.git" cinelerra5
+ cp /tmp/cinelerra5/cinelerra-5.1/expanders.txt $HOME/.bcast5/expanders.txt
+\end{lstlisting}
+
\subsection{Speed-up of Ffmpeg plugin usage with OPTS files}%
\label{sub:speedup_ffmpeg_plugin_opts}
-\index{plugins: speed-up via options}
+\index{plugins!speed-up via options}
You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU\@. For a specific color-based example, \CGG{} uses 6 primary rendering color models. All of them have 3 components at full scale. Direct usage of a particular ffmpeg plugin from the ffmpeg command line might handle the planar at less than full scale chroma (yuv420), which means there is less data to manipulate. But when cinelerra loads a video it uses full scale color models. In other words:
\section{Audio Effects - Native}%
\label{sec:audio_effects_native}
\settocdepth{subsection}
-\index{audio plugins}
+\index{audio!plugins}
\subsection{AudioScope}%
\label{sub:audioscope}
\index{delay audio}
In the Delay Audio effect you can specify the number of seconds you want to delay the video track.
+An alternative ffmpeg plugin is F\_adelay.
\subsection{DeNoise}%
\label{sub:denoise}
\label{sub:denoisefft}
\index{denoisefft}
-Noise removal from audio using FFT editing. Set the Denoise Power dial in dB and choose the number of reference samples.
+Audio sampling (time data) is converted to a frequency spectrum using FFT (\textit{Fast Fourier Transform}). Since the \textit{reference} contains only the background noise while the rest of the clip contains noise + audio to clean up, you get separate frequencies so you can subtract them to get the clean audio only. Set the Denoise Power dial in dB and choose the number of reference samples.
+
+For example, if you record a voice with a microphone\protect\footnote{credit fary54}:
+\begin{enumerate}
+ \item You record 15 seconds of background (without talking). This is represent the background noise that the filter uses as a reference.
+ \item After 15 seconds, start the voice. This is represents the recording whose filter should remove the background noise.
+ \item You stop recording.
+ \item You place the FFT effect on the whole length of the recording (including the 15 seconds of background noise).
+ \item Then place your cursor at the beginning of the 15 seconds. Enter the number of samples in the effect presets, e.g. 65536.
+\end{enumerate}
+
+This has the effect of creating a keyframe that marks the beginning of the reference range, mentioned in point 1, which in our example ends at 65536 samples later.
+
+During playback, the background noise is then automatically removed along the entire length of the effect.
\subsection{Despike}%
\label{sub:despike}
\item[Damp:] echo envelope decay factor used to smooth the cepstrum/correlation data.
\item[Peaks:] number of maximal envelope values used in the echo gain calculation.
\item[Cutoff Hz:] low frequency cutoff value to prevent beat frequency (\textit{heterodyne}) echo canceling.
- \item[Mode:] \textit{MAN}, \textit{Off}, or \textit{On}. When Off is selected, the plugin is not active. When MAN is used, the only one peak is used for the echo gain envelope. It is set by pressing mouse button $1$ in the ceptstrum graphical output. The Gain and Offset are updated as the pointer drag operation resets the indicated gain and offset values. When On is selected, the echo gain envelope is automatically calculated by cepstrum and auto-correlation of the input audio in the last window size audio samples.
+ \item[Mode:] \textit{MAN}, \textit{Off}, or \textit{On}. When Off is selected, the plugin is not active. When MAN is used, the only one peak is used for the echo gain envelope. It is set by pressing mouse button $1$ (LMB) in the ceptstrum graphical output. The Gain and Offset are updated as the pointer drag operation resets the indicated gain and offset values. When On is selected, the echo gain envelope is automatically calculated by cepstrum and auto-correlation of the input audio in the last window size audio samples.
\item[Windows size:] parameter can be set to \textit{Default}, $1024$, $2048$, \dots \textit{doubled values\dots} up to $262144$.
\item[Amplitude:] the cepstrum value at the drag point during manual envelope selection.
\item[Gain:] echo gain setting determined by manual selection.
Loop some number of samples of audio over and over.
-\subsection{Overlay}%
+\subsection{Overlay (Audio)}%
\label{sub: overlay}
\index{overlay audio}
Allows you to convert an audio file from one sample rate to another. This effect works similarly to ReframeRT in videos.
\begin{center}
- \begin{tabular}{l l}
+ \begin{tabular}{ll}
\toprule
Input / output > 1 & fast rate \\
Input / output < 1 & slow rate \\
export LADSPA_PATH=/usr/lib/ladspa
\end{lstlisting}
-\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins\protect\footnote{Optional Feature - OS dependent}}%
+\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins}%
\label{sec:audio_lv2_calf_plugins}
\index{LV2 - Calf}
-LV2 is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to \CGG{} audio without having to change \CGG{} every time. Because the LV2 plugins are separate from \CGG{} Infinity, if one fails or does not perform as expected, \CGG{} should stay running and you will have to contact the programmers responsible for that plugin for a fix.
+LV2\protect\footnote{Optional Feature - OS dependent} is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to \CGG{} audio without having to change \CGG{} every time. Because the LV2 plugins are separate from \CGG{} Infinity, if one fails or does not perform as expected, \CGG{} should stay running and you will have to contact the programmers responsible for that plugin for a fix.
-Typically, a user OS has specialized package groups installed. It is difficult to create one build of \CGG{} to accommodate all potential LV2 plugins. Specifically for the \textit{Calf-Studio LV2 plugins}, you should install the \textit{Calf Plugins} package. The user’s computer must have \textit{gtk-2-runtime} installed, which seems to be automatically done already for most distros. For users doing their own builds, you can build \CGG{} without LV2 support by including \texttt{-{}-without-lv2} in the configure step. The default build is \texttt{-{}-with-lv2=yes} and requires that \textit{GTK-2-devel} must be installed or the build will fail and notify you. In addition for some newer distros, you will need to install
+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. Note that because the Calf Plugins have a graphics UI interface which is dependent on specific hardware, they will not work with AppImage. 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 you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via:
-\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins: reload index}
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins!reload index}
or else before you bring up \CGG{}, delete \texttt{\$HOME/.bcast5/\CGG{}\_\\plugins} so that the plugins get properly reloaded.
There are some lv2 plugins that display a \textit{glitzy} UI (User Interface); for example the \textit{Calf plugins}. For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified UI interface, there is a flag to enable that. It is at:
\section[Video Effects --- Native]{Video Effects -- Native}%
\label{sec:video_effects_native}
\settocdepth{subsection}
-\index{video plugins}
+\index{video!plugins}
\subsection{1080 to 480}%
\label{sub:1080_to_480}
\label{sub:alpha}
\index{Alpha}
-Allows you to apply an alpha value (transparency) to one or more tracks or one or more edits. Being also keyframable, it allows an excellent variety and possibility of use in the most disparate occasions.
+Allows you to apply an alpha value (transparency) to one or more tracks or one or more edits. You can use the slider or have maximum precision by entering numbers in the input box. You can use the \textit{Clear} button to reset to the default value. Being also keyframable, it allows an excellent variety and possibility of use in the most disparate ways.
\subsection{Auto Scale}%
\label{sub:auto_scale}
\label{sub:blue_banana}
\index{blue banana}
-Blue Banana\protect\footnote{credit to Monty Montgomery programmer} is an \textit{HSL Qualifier} \index{HSL Qualifier} (HSL= hue, saturation, lightness), one of the basic tools of any grading software that are based on circumscribing a zone of the frame by extracting a chromatic key and producing a \textit{matte} in the alpha channel (Secondary Color Correction). Blue Banana differs not by creating a real matte, but by creating a \textit{selection mask} exclusively for use within the plugin. The BlueBanana plugin has a couple of useful purposes. It can be used for color transformation or remapping -- by isolating a specific color and then performing color change/correction on only that color (or color ranges). Another useful purpose is for chroma-key filtering, using multiple BlueBanana plugins on the same track. Also, it can be used in conjunction with the mask operation of the Compositor. Usage of BlueBanana may seem complicated at first, but it is necessarily so in order to get enough control to produce the desired effect simply and quickly. Just changing a single color is actually quite easy. BlueBanana is keyframable (figure~\ref{fig:bluebanana}).
+Blue Banana\protect\footnote{credit to Monty Montgomery programmer} is an \textit{HSL Qualifier} \index{HSL Qualifier} (HSL= Hue, Saturation, Luminance; HSV in our plugin, with V = Value), one of the basic tools of any grading software that are based on circumscribing a zone of the frame by extracting a chromatic key and producing a \textit{matte} in the alpha channel (Secondary Color Correction). Blue Banana differs not by creating a real matte, but by creating a \textit{selection mask} exclusively for use within the plugin. The three H, S and V sliders are called \textit{qualifiers}. The BlueBanana plugin has a couple of useful purposes. It can be used for color transformation or remapping -- by isolating a specific color and then performing color change/correction on only that color (or color ranges). Another useful purpose is for chroma-key filtering, using multiple BlueBanana plugins on the same track. Also, it can be used in conjunction with the mask operation of the Compositor. Usage of BlueBanana may seem complicated at first, but it is necessarily so in order to get enough control to produce the desired effect simply and quickly. Just changing a single color is actually quite easy. BlueBanana is keyframable (figure~\ref{fig:bluebanana}).
The basic strategy for BlueBanana is to:
\begin{itemize}
- \item Select a specific target color.
+ \item Select a specific target color with the eyedropper tool.
\item Create a selection region by expanding color ranges around that color.
\item Optionally reduce or expand the alpha plane as a regional selection mask.
\item Optionally apply a color remapping or transformation to the selection.
\begin{enumerate}
\item There are color strips under color Adjustment which will show color changes as you modify values.
\item Uncheck Mark Selected Areas and check the Filter Active box to the right of Color Adjustment.
- \item As needed, you can individually check and uncheck all the various parameters using the boxes to the left of each line. Again, these are intuitive and broadly similar to the above. The arrows at the bottom widen the range, the circle at the bottom moves the range, and the top slider, which is an arrow this time, affects distribution. It provides a little histogram effect to give you an idea of what you're changing. The fade adjusts the level of color blending. The alpha is basically the opacity of your changes.
+ \item As needed, you can individually check and uncheck all the various parameters using the boxes to the left of each line. Again, these are intuitive and broadly similar to the above. The arrows at the bottom widen the range, the circle at the bottom moves the range, and the top slider, which is an arrow this time, affects distribution. It provides a little histogram effect to give you an idea of what you are changing. The fade adjusts the level of color blending. The alpha is basically the opacity of your changes.
\end{enumerate}
\end{description}
Definition of Wording/Checkboxes/Buttons/Operators are being described next. Some of the commentary was adopted from information provided by \textit{Monty Montgomery} and from questions and answers from email by \textit{Igor Ubuntu}, who did extensive testing.
-\subsubsection*{Operational characteristics for the \textbf{color-related adjusters}:}
+\subsubsection*{Operational characteristics for the color-related adjusters:}
\label{ssub:operational_characteristic_color}
\begin{description}
- \item[left arrow slider] operates the range minimum; the numerical value shows in the left-most textbox.
- \item[right arrow slider] operates the range maximum; resulting numerical value is in the middle textbox.
+ \item[left arrow slider] operates the range minimum (left edge); the numerical value shows in the left-most textbox.
+ \item[right arrow slider] operates the range maximum (right edge); resulting numerical value is in the middle textbox.
\item[middle circle slider below] can move the current range up or down and the numerical results will show in the left and middle textbox. Move the dot and you move the range.
- \item[top pad slider] operates the edge slopes (selection attack/decay) and the value will be displayed in the
- rightmost textbox. Sharp edges are represented by 0; 100 represents smooth edges.
- \item[top arrow] affects the distribution skew.
+ \item[top pad slider] operates the edge slopes (selection attack/decay) and the value will be displayed in the rightmost textbox. Sharp edges are represented by 0; 100 represents smooth edges. It is only for "Mask Selection" (Pane 1). It applies simultaneously to the left and right edges (symmetric).
+ \item[top arrow] affects the distribution skew. It is the equivalent of Top Pad Slider for Pane 2 ("Color Adjusting").
\end{description}
-\subsubsection*{Operational characteristics for \textbf{Fill}:}
+\textit{Left/Right Arrow} determine the edges of the color range. They are precise edges independent of each other, so we can get asymmetrical ranges with respect to the center of the interval indicated by \textit{middle circle slider below}.
+
+\subsubsection*{Operational characteristics for Fill:}
\label{ssub:operational_characteristic_fill}
\begin{description}
RGBA = red/green/blue color planes, alpha data plane.
YUVA = luma/Cb/Cr color values, alpha data plane.
-The alpha data normally is input to the blending operations in the patchbay overlay mode. The alpha data usually creates the appearance of stacking order, and determines which color planes are visible in the rendered result. When BlueBanana is used, the meaning of the alpha data is changed to the selection. It is useful to think of the alpha data as more solid when it is transparency in blending, and more selected when it is used in BlueBanana. In both cases, the greater the alpha value, the more the effect is expressed.
+The alpha data normally is input to the blending operations in the patchbay overlay mode. The alpha data usually creates the appearance of stacking order, and determines which color planes are visible in the rendered result. When BlueBanana is used, the meaning of the alpha data is changed to the selection. It is useful to think of the alpha data as more solid then it is transparency in blending, and more selected when it is used in BlueBanana. In both cases, the greater the alpha value, the more the effect is expressed.
-Usually, alpha is normalized to a range from $0$ to $1$, zero = no effect, $1$ = total effect, $0.5$ = partial effect. In both cases, alpha is what math people call an auxiliary variable. It is needed, but is not part of the answer. In this case, the answer is the visible rendered result. Alpha is like meta-data.
+Usually, alpha is normalized to a range from $0$ to $1$, zero = no effect, $1$ = total effect, $0.5$ = partial effect. In both cases, alpha is what math people call an auxiliary variable. It is needed, but is not part of the answer. In this case, the answer is the visible rendered result. Alpha is like meta-data. Note that the "alpha" slider works with both "Filter Active" and "Mask Selection" checkboxes
+checked. The "Filter Active" checkbox enables the options: red, green, blue, hue, saturation, value, fade, alpha. If "Mask Selection" is not checked "alpha" will not work.
Let us now examine the instruments in \textbf{pane 1}:
\item[Hue] select a hue domain; click on the Pick button to select or check the box to the left of hue or uncheck to ignore.
\item[Saturation] select a saturation domain; click on the Pick button to select or check the box to the left.
\item[Value] select a value domain; click on the Pick button to select or check the box to the left.
- \item[Fill] will fill more area or less area of your selected region. This describes how it works. Fill control is an automated way of doing grow and shrink on the selected area, to fill in small holes, or get rid of scattered speckles. If none of the Hue, Saturation, or Value sliders are active -- meaning that the whole frame is selected -- the Fill slider will have no effect even when enabled. The word fill will appear ghosted to indicate this.
+ \item[Fill] will fill more area or less area of your selected region. This describes how it works. Fill control is an automated way of doing grow and shrink on the selected area, to fill in small holes in the middle of the selection, or to eliminate spurious pixels that are on the outer or inner edge of the selection. Be careful how much you shrink, because it can lead to edge segmentation with visible and annoying blocks of pixels. This is where Blur plugin can help. Blur should not be overdone so as not to create unsightly halos.
+
+ If none of the Hue, Saturation, or Value sliders are active -- meaning that the whole frame is selected -- the Fill slider will have no effect even when enabled. The word Fill will appear ghosted to indicate this.
The three lower handles in the fill slider correspond to \textit{Shrink} (the left hand slider), \textit{Final} (the middle slider), and \textit{Grow} (the right hand slider). These are used in combination to alter the selection by first growing it by the amount specified by the right hand Grow slider, shrinking it to the amount specified by the left hand Shrink slider, and then growing it again to the final size specified by the middle Final slider. The top slider then feathers the resulting selection.
- Growing the selection and then shrinking it has the effect of filling small holes in the selected area. Similarly, shrinking and then growing tends to remove small flecks of unwanted selection. The Final slider specifies the overall desired shrinkage or growth of the selection when finished. To specify a pure Grow or Shrink operation, set the Final slider and the Grow/Shrink slider to the same value and leave the other slider at zero.
+ Growing the selection it has the effect of filling small holes in the selected area. Similarly, shrinking and then growing tends to remove small flecks of unwanted selection. The Final slider specifies the overall desired shrinkage or growth of the selection when finished. To specify a pure Grow or Shrink operation, set the Final slider and the Grow/Shrink slider to the same value and leave the other slider at zero.
\item[Pre-erode] this control reverses the order of operation to Shrink, then Grow, then Final. The change is subtle on most images, but overall removes more small features because it first removes flecks before filling in holes.
\end{description}
\item[Alpha] controls the output alpha (this is not available when End Mask is set); click the Reset button to revert to default. Result is reflected in the numerical textboxes on the right-hand side.
\end{description}
-Let's see two examples of HowTo:
+\subsubsection*{Tips}
+\begin{enumerate}
+ \item In Pane 1, for mask selection creation, you can also use only one or two (checked or Pick button) of the three qualifiers Hue/Saturation/Value. With Hue alone you get a precise range of hues. With Saturation you select those saturation values for all hues, and with Value you do a "Luma Key," that is, you isolate only certain gray values. It may be useful to start with only one qualifier, and then gradually activate the others; but there are important cases that require all three bars. For example, skin tones, which are always characterized by a mixture of shadows, highlights, and different levels of saturation.
+ \item Hue and Saturation Qualifiers can be inaccurate if the file is highly compressed and with Subsampling type $4:2:0$. There are indeed blocks and macroblocks of pixels, visible especially along the edges, that disturb the creation of the selection mask. Better to use high quality files at least $4:2:2$, better still $4:4:4$. The brightness Y channel, on the other hand, is always at the highest quality (4). The presence of color noise can also be a problem because it creates spurious pixels. A tip may be to work on and enhance the clip before applying Blue Banana.
+ \item If there are unwanted (spurious) selections in the frame that are small and far from the main selection, they can be eliminated or minimized with some Blur. Larger spurious selections can be eliminated by masking them (with the \texttt{Mask selection} option enabled in Blue Banana and with the \texttt{Apply mask before plugins} option in Mask tool). This is an action analogous to \textit{garbage matte} in Chroma Key. If there are many spurious areas, perhaps with complex motions, it is best to mask only the selection we are interested in and then bring the \texttt{Fade} slider to $-100$ to reverse the mask.
+ \item To select multiple colors in the same clip we can use multiple instances of Blue Banana.
+ \item Once a satisfactory selection mask has been created, scroll through the entire clip to see the presence of artifacts, defects, or spurious areas in the other frames.
+ \item It is known that primary Color Correction precedes secondary CC. However, if we use primary CC tools that cause the highlights and deep blacks to clip, for example the histogram, we will get clipped areas that then, in secondary CC, cannot be recovered. We can then first do a secondary CC for the areas near the white point and the black point using Blue Banana which works at 32bit Float. For example, we can turn down the highlights so as to reveal details and the same can be done in the shadows. Once we have worked in these details without causing clipping (that is, reported within the standard range) we can switch to primary CC.
+\end{enumerate}
+
+Let's see two examples of HowTo:
\subsubsection*{BlueBanana Use Case \#1: (Color Transform/Remapping)}
\label{ssub:bb_use_case_1}
\item[Alpha determines radius] use alpha to define the amount of blur to apply. (radius=gray value of alpha)
\item[Blur alpha, red, green, blue] specifies which color channels is to be blurred.
\end{description}
+If you are getting confusing results with old projects it may be a
+result of the discontinued parameter \textit{alpha determines radius}.
+For compatibility reasons and for possible future development it
+has been left in the code but hidden in the plugin's GUI.
+The parameter for \textit{alpha determines radius} is
+\texttt{A\_KEY}, which can be 0 or 1. When you press the
+\texttt{Reset} button in the Blur plugin window \texttt{A\_KEY=0}.
+
+Old projects may have saved that parameter (A\_KEY) to 1 instead
+of 0 and that may present a problem so you should do one of
+the following workarounds to change it to 0. Then be sure to save
+your project with these changes applied.
+\begin{enumerate}
+ \item Click on the \textit{Reset} button in the dialogue/controls popup box and re-enter any of your other parameter desired values.
+ \item OR in the \CGG{} program, open the project. Click on the cog icon
+(\textit{Preset edit}) of the Blur effect bar and the \textit{Keyframe
+parameters} window is open. There, you can see the A\_KEY parameter
+and change it: select the \texttt{A\_KEY} parameter and in the
+\texttt{Edit value} box, change it from 1 to 0, then press the \texttt{OK}
+button.
+\end{enumerate}
\subsection{BoxBlur}%
\label{sub:boxblur}
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.
+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. For maximum precision you can use the input box. \textit{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}).
\subsection{BurningTV}%
Makes your video burn where there are small light colored patches of video. This came from \url{https://effectv.com}.
-\subsection[C41]{C41\protect\footnote{credit Florent Delannoy, original program code author, and Edouard Chalaron}}%
+\subsection[C41]{C41}%
\label{sub:c41}
\index{C41}
-The C41 plugin takes a $16\,bit C41$ digital intermediate negative film as input and outputs a positive image. It became necessary because $C-41$ negatives can fade or color-shift over time which was a problem early on. It is still important today because there is a large amount of documentaries, video clips, and other media out there that was shot on super $16$ film. This works for RGB-float, RGB, and also YUV variations.
+The C41\protect\footnote{credit Florent Delannoy, original program code author, and Edouard Chalaron} plugin takes a $16\,bit C41$ digital intermediate negative film as input and outputs a positive image. It became necessary because $C-41$ negatives can fade or color-shift over time which was a problem early on. It is still important today because there is a large amount of documentaries, video clips, and other media out there that was shot on super $16$ film. This works for RGB-float, RGB, and also YUV variations.
There are two sets of data -- the scanned input values and your corrected values. Simple functionality of the plugin is to compute the data, transform to get corrected values, then apply that.
\label{fig:chroma-key}
\end{figure}
-Chroma key uses either the \textit{lightness} or the \textit{hue} to determine what is erased. Use value singles out only the lightness to determine transparency.
+Chroma key uses either the \textit{lightness} or the \textit{hue} to determine what is erased. Use value singles out only the lightness to determine transparency (Luma Key).
Select a center color to erase using the \textit{Color} button. Alternatively a color can be picked directly from the output frame by first using the \textit{color picker} in the compositor window and then selecting the \textit{Use color picker} button. This sets the chroma key color to the current color picker color.
Be aware that the output of the chroma key is fed back to the compositor, so selecting a color again from the compositor will use the output of the chroma key effect. The chroma key should be disabled when selecting colors with the color picker.
Normally threshold is very low when using a high slope. The two parameters tend to be exclusive because slope fills in extra threshold. The slope tries to soften the edges of the chroma key but it does not work well for compressed sources. A popular softening technique is to use a maximum slope and chain a blur effect below the chroma key effect to blur just the alpha.
-\subsection[Chroma Key (HSV)]{Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet \url{http://jcornet.free.fr/linux/chromakey.html}}}%
+\subsection[Chroma Key (HSV)]{Chroma Key (HSV)}%
\label{sub:chroma_key_hsv}
\index{chroma key HSV}
-Chroma Key (HSV) (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: {\small \url{http://en.wikipedia.org/wiki/Chromakey}}
+Chroma Key (HSV)\protect\footnote{Credit for Plugin by Jerome Cornet \url{http://jcornet.free.fr/linux/chromakey.html}} (figure~\ref{fig:chroma-key-hsv}) replaces a color with another color or transparency using HSV variables; it is frequently used to remove a color from a video to composite with another image. This process is generally referred to as green screen or blue screen process (because of the color that is keyed out). More information: {\small \url{http://en.wikipedia.org/wiki/Chromakey}}
\begin{figure}[htpb]
\centering
\subsubsection*{Requirements}
\label{ssub:requirements}
-The subject in the movie should have a good background. The lighting is crucial and good lighting during production will save you time with much less effort than in post-production.
+The subject in the movie should have a good background. The lighting is crucial and good lighting during production will save you time with much less effort than in post-production. Another tip is to use a low-compressed, intraframe codec with as high a color depth as possible. In case of YUV-type source signal, it is better to have subsampling $4:4.4$ or $4:2:2$.
Here we assume that we have a good video, filmed on green (or blue) screen that we want to use. Important: Make sure you are using a color model that has an alpha channel, such as \textit{RGBA8}, \textit{RGBAFloat}, \textit{YUVA8}. To change color model, go to \texttt{Settings $\rightarrow$ Format $\rightarrow$ Color Model}.
\subsubsection*{Usage}
\item Allows you to automate the \textit{white balance} by simply choosing a neutral color in the output of the Compositing window using the Color Picker and pressing the corresponding button in the plugin.
\item Allows you to vary the \textit{Saturation} with sliders in the same manner as contrast was varied by the Value slider. For istance, to decrease the incidence of color dominants present in the shadows or in the highlights, vary the Saturation.
\item With the \textit{color wheels} you can make very sophisticated adjustments to the shades of the images, in each of the three main areas of shadows, midtones and highlights.
- \item Allows you to copy exactly the setting of one zone to the other two zones using \textit{Copy to all} button.
+ \item Allows you to copy exactly the setting of one zone to the other two zones using \textit{Copy to all} button. With this option, it is like using a fourth wheel called \textit{OffSet} in other programs.
\item In addition to the three reset buttons, each slider and each wheel has its own Clear button, to return it to the default value without affecting the others.
\end{itemize}
\item Create a Stylized look.
\end{itemize}
+When using the X11 graphics driver and RGBA-FLOAT color model, this plugin allows for greater than (0 - 1.0f) values (HDR). This does not work when using X11-OpenGL because it is an 8-bit limited driver. HDR values will only work for the color wheel, while the Value and Saturation sliders are always clipped to 1.0.
+
\subsection{Color Balance}%
\label{sub:color_balance}
\index{color balance}
\label{sub:foreground}
\index{foreground}
-Whatever the visual content of the frame, the Foreground plugin application applies a uniform color that can be chosen by color picker; color wheel; color presets; the various HSV, RGB, YUV sliders or by entering the hexadecimal value. The alpha slider is not missing either.
+Whatever the visual content of the frame, the Foreground plugin application applies a uniform color that can be chosen by color picker, color wheel, color presets, or by entering the hexadecimal value.
+In addition there are HSV, RGB, YUV, and alpha sliders to vary the color accordingly.
\subsection{Frames to fields}%
\label{sub:frames_to_fields}
Mathematically, the gamma function is exponential
($output = input^{\gamma}$) and therefore the inverse of the
-logarithmic function [$output = \log(input)$]. Actually the formula
+logarithmic function [$\gamma = \log_{input}{(output)}$]. Actually the formula
used by the \CGG{} plugin is: $output = input^{\frac{1}{\gamma}}$
which allows for a range of values $0 \div 1.0$. The gamma effect
converts the logarithmic colors to linear colors through a
determines how steep the output curve is (i.e.\ the value of the
gamma parameter; for color space Rec709 is $2.4$
($\frac{1}{\gamma} =0.41\dots$), for sRGB is $2.2$
-($\frac{1}{\gamma} =0.45\dots$), etc.). The maximum value is where
+($\frac{1}{\gamma} =0.45\dots$), etc.). We use $ \dfrac{1}{\gamma}$ because with $\gamma < 1$ there is gamma compression of the curve, increasing the output values relative to the linear (see figure~\ref{fig:gamma02}.). With $\gamma > 1$ we have gamma expansion, typically used to linearize a compressed gamma curve (\textit{Log}). The maximum value is where
$1.0$ in the output corresponds to maximum brightness in the
input. It serves to avoid clipped values because it allows you to
set the maximum value of the output, $1.0$, whenever range
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{gamma01.png}
+ \includegraphics[width=0.8\linewidth]{gamma01.png}
\caption{settting \textit{Maximun} to $0.6900$}
\label{fig:gamma01}
\end{figure}
\begin{itemize}
\item Look at the highest peak on the \textit{waveform} and measure it with the crosshair observing the numerical value at the top left.
- \item Set this value with the \textit{maximum} slider.
+ \item Set this value with the \textit{maximum} slider or \textit{textbox}.
\item Then adjust the slider of the \textit{gamma} to our liking, always checking the result on the waveform so to be sure never to exceed the values of clipping, $0 \div 1.0$.
\end{itemize}
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{gamma02.png}
+ \includegraphics[width=0.8\linewidth]{gamma02.png}
\caption{Setting \textit{Maximun} to $0.6100$ and \textit{Gamma} to $0.3300$}
\label{fig:gamma02}
\end{figure}
\label{fig:histeq}
\end{figure}
-Histeq equalizes the colorspace through use of a \textit{histogram equalization algorithm} -- a technique for adjusting image intensities to enhance contrast. Parameters are:
+If the histogram is as wide as the entire range ($0 - 1.0$), the image is high contrast. If the range is small (i.e., the values are close together) the contrast is small. In this case HistEQ is used to distribute the few clustered values across the entire range ($0 - 1.0$), increasing the contrast of the frame.
+In order to do this HistEQ equalizes the colorspace through use of a \textit{histogram equalization algorithm}. Parameters are:
\begin{description}
\item[Gain:] when set to $1$, the colorspace is best effort. If the gain is set to $0$, the result is the entire regression line of the color map.
\label{sub:histogram}
\index{histogram}
-The histogram allows an immediate view of the contrast amplitude of an image with its distribution of \textit{luma} and \textit{colors} values. If the columns of values occupy the whole range $0-100\%$ then we have maximum contrast; if the range is smaller the contrast is smaller. If most of the values are on the right of the histogram you have an image with highlights at the limit with values clamped to $1.0$. This is called \textit{overexposure}. However, if most of the values are moved to the left, with the limit of the values clamped to $0$, we have a lowlight image and we talk about \textit{underexposure}. Histogram is keyframble (figure~\ref{fig:histogram}).
+The histogram allows an immediate view of the contrast amplitude of an image with its distribution of \textit{luma} and \textit{colors} values. If the columns of values occupy the whole range $0-1.0$ (also expressed as a percentage above the graph) then we have maximum contrast; if the range is smaller the contrast is smaller. In fact, contrast is mathematically given by the highest value of the abscissa minus the lowest value. If the values are similar and close together, the difference is smaller and the lower the contrast. If most of the values are on the right of the histogram you have an image with highlights at the limit with values clamped to $1.0$. This is called \textit{overexposure}. However, if most of the values are moved to the left, with the limit of the values clamped to $0$, we have a lowlight image and we talk about \textit{underexposure}. This plugin is a tool for Primary Color Correction, that is, affecting the entire frame. Histogram is keyframable (figure~\ref{fig:histogram}).
\begin{figure}[htpb]
\centering
\label{fig:histogram}
\end{figure}
-The Histogram is always performed in floating point RGB regardless of the project color space. The histogram has two sets of transfer parameters: the \textit{input transfer} and the \textit{output transfer}. The input transfer has value on the horizontal axis of $x$; it is a scale of values ranging from 0 to 255 in the case of an $8\,bit$ image, or it can have normalized values in the range ($0-1.0$) or even be a scale in percentage ($0-100\%$). In the output transfer (the $y\,axis$) is represented the number of times (that is, $y$) a given value $x$ appears. A higher column ($y$ greater) indicates that many pixels have the corresponding value $x$; a lower column indicates that fewer pixels have that value. On the left we have the minimum value $0$, which is the black point. On the right we have the maximum value $1.0$ which is the white point. The intermediate values pass smoothly from one extreme to the other. The three important points (including the midtones, i.e.\ the Master Offset) are indicated by cursors (small triangles) at the base of the histogram. You can adjust them to change the values of the three points if you want.
+The Histogram is always performed in floating point RGB regardless of
+the project color space, but with clipping at 1.0. When using the X11
+graphics driver and RGBA-FLOAT color model, Histogram allows you to
+display greater than (0 - 1.0f) values to accomodate HDR. This does
+not work when using X11-OpenGL because it is an 8-bit limited driver.
+The display will stop at +110\%, but there is no clipping. By lowering
+the brightness all out-of-range values become visible, even those
+initially above 110\%.
-There are 4 possible histograms in the histogram viewer. The red, green, blue histograms show the input histograms for red, green, blue and multiply them by an input transfer to get the output red, green, blue. Then the output red, green, blue is scaled by an output transfer. The scaled red, green, blue is converted into a value and plotted on the value histogram. The value histogram thus changes depending on the settings for red, green, blue. The value transfers are applied uniformly to R, G, B after their color transfers are applied. Mathematically, it is said that the values of $x$ are linked to the values of $y$ by a transfer function. This function is represented by a line that leaves the values of $x$ and $y$ unchanged, but we can intervene by modifying this line with the cursors.
+The histogram has two sets of transfer parameters: the \textit{input transfer} and the \textit{output transfer}. The input transfer has value on the horizontal axis of $x$; it is a normalized scale of values ranging from 0 - 1.0 (which for a depth color of 8 bits corresponds to the range 0 - 255, for 10 bits corresponds to 0 - 65536, etc). The output transfer (the $y axis$) represents the height of the column where a given value $x$ appears. A higher column ($y$ greater) indicates that many pixels have the corresponding value $x$; a lower column indicates that fewer pixels have that value. On the left we have the minimum value $0$, which is the black point. On the right we have the maximum value $1.0$ which is the white point. The intermediate values pass smoothly from one extreme to the other. The three important points (including the midtones) are indicated by cursors (small triangles) at the base of the histogram. You can adjust them to change the values of the three points if you want. Acting on the white or black point involves horizontal shifts only; acting on the midtones triangle also involves vertical movements leading to a "gamma" correction of the curve (Linear to Log or Reverse Log or vice versa). Further down is an additional bar with related cursors and textboxes. It is used to adjust input and output values (on the vertical).
+
+There are 4 possible histograms in the histogram viewer. The red, green, blue histograms show the input histograms for red, green, blue and multiply them by an input transfer to get the output red, green, blue. Then the output red, green, blue is scaled by an output transfer. The scaled red, green, blue is converted into a value and plotted on the value histogram. The value histogram thus changes depending on the settings for red, green, blue. The value transfers are applied uniformly to R, G, B after their color transfers are applied. Mathematically, it is said that the values of $x$ are linked to the values of $y$ by a transfer function. This function, by default, is represented by a line that leaves the values of $x$ and $y$ unchanged, but we can intervene by modifying this line with the cursors or the textboxes.
You need to select which transfer to view by selecting one of the channels on the top of the histogram. You can also choose whether to display the master, i.e.\ only the values of the \textit{luma}, or show the \textit{Parade}, i.e.\ the three RGB channels. You can switch from one to the other with the two buttons in the upper right corner. The input transfer is defined by a graph overlaid on the histogram; this is a straight line. Video entering the histogram is first plotted on the histogram plot, then it is translated so output values now equal the output values for each input value on the input graph.
-After the input transfer, the image is processed by the output transfer. The output transfer is simply a minimum and maximum to scale the input colors to. Input values of $100\%$ are scaled down to the output's maximum. Input values of $0\%$ are scaled up to the output minimum. Input values below $0$ are always clamped to $0$ and input values above $100\%$ are always clamped to $100\%$. Click and drag on the output gradient's triangles to change it. It also has textboxes to enter values into.
+After the input transfer, the image is processed by the output transfer. The output transfer is simply a minimum and maximum to scale the input colors to. Input values of $1.0$ are scaled down to the output's maximum. Input values of $0$ are scaled up to the output minimum. Input values below $0$ are always clamped to $0$ and input values above $1.0$ are always clamped to $1.0$. Click and drag on the output gradient's triangles to change it. It also has textboxes to enter values into.
-Enable the \textit{Automatic} toggle to have the histogram calculate an automatic input transfer for the red, green, and blue but not the value. It does this by scaling the middle $99\%$ of the pixels to take $100\%$ of the histogram width. The number of pixels permitted to pass through is set by the \textit{Threshold} textbox. A threshold of $0.99$ scales the input so $99\%$ of the pixels pass through. Smaller thresholds permit fewer pixels to pass through and make the output look more contrasty.
-\textit{Plot histogram} is a checkbox that enables plotting the histogram.
-\textit{Split output} is a checkbox that enables a diagonal split showing in the compositor.
+Enable the \textbf{Automatic} toggle to have the histogram calculate an automatic input transfer for the red, green, and blue but not the value. It does this by scaling the middle $99\%$ of the pixels to take $100\%$ of the histogram width. The number of pixels permitted to pass through is set by the Threshold \textbf{textbox}. A threshold of $0.99$ scales the input so $99\%$ of the pixels pass through. Smaller thresholds permit fewer pixels to pass through and make the output look more contrasty.
+\textit{Plot histogram} is a checkbox that enables plotting the histogram. It can be useful because having a histogram that changes in real-time can use a lot of system resources for computation. In this case it is enabled only at times when it is needed.
+\textit{Split output} is a checkbox that enables a diagonal split showing in the compositor, so we can see the effects of the changes from the original frame.
\textit{Reset} returns the four curves to their initial state (neutral) as well as the Value/RGB histogram buttons.
+\textbf{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, which are of type Log, 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.
+
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}
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.
-
+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.
+\textbf{sum frames} button in the Histogram plugin. If a Selection is set on the timeline, the number of frames will be calculated and equalized to the mean value.
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.
+For more on the mathematical aspect see here:
+
+{\small \url{https://thirdspacelearning.com/gcse-maths/statistics/histogram/}}
+
+For our discussion, it is enough to understand a few concepts. Each vertical line we see in the histogram is not a simple line, but a rectangle having a certain base. This base is given by the values of $x_i$ present at the edges of the rectangle \textit{i} (pixel range, $x_{max_i} - x_{min_i}$). Rectangles are called \textit{Bins} or Accumulators. The bin's number is of fixed and known size because it depends on the color depth. The bin height is our output $y$ and the bin area ($A_i = f(x_i)$) is known because it represents the \textit{number of occurrences} that are read in bin, also called \textit{frequency ($f_x$)}. The plugin scans the entire range of $x_i$, from 0 to 1.0, and records all the occurrences within each bin. The value of $f_x$ for each bin is the \textit{max} value. At this point knowing base and area, we can obtain the value of $y$ axis that is reported in the histogram.
+
+$width = b_i = x_{max_i} - x_{min_i}$
+
+Having established the depth color, the bin width is always the same (b) for every $bin_i$:
-The number of bins used depends on the color model bit depth:
+$b_i = b = \dfrac{range(1.0-0)}{\# bins}$
+
+$A_i = f(x_i) = max_i = Base \times High = b \times y_i$
+
+Hence:
+
+$y_i = \dfrac{f(x_i)}{b}$
+
+Dim bins are on the left, bright bins on the right.
+You can have discordance of results, looking in the scopes, either by switching from Histogram to Histogram Bezier or after a conversion between color spaces (with associated change in depth color). 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[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:
+All of the bins are scanned when the graph is plotted. What is shown on the graph, in the Compositor window, and finally on the scopes, depends on which plugin is used:
\begin{description}
- \item[Histogram:] was max of the bins in the pixel range, now is the sum
+ \item[Histogram:] was max of the bins in the pixel range, now is the sum (to make it congruent with Bezier and the Scopes)
\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.
+Another difference in behavior is regarding the type of curve, whether Linear or Log:
-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.
+\begin{description}
+ \item[Histogram:] the curve is Linear, but it is editable with the Linear/Log slider
+ \item[Bezier:] the curve is Log
+ \item[Scopes:] the curve is Log
+\end{description}
+
+This diversity also leads to different visual results from Histogram Bezier or Videoscope.
+
+When the color space and the bin size are the same, all of the values increment the indexed bins. But if we start from YUV type edits, the plugin will automatically do the conversion to RGB. When the color is the result of yuv $\rightarrow$ rgb float conversion, we go from 256 bins of YUV to 65536 bins of RGB Float and 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.
-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:
+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. So the pixels will distribute into more bins if you go to a higher depth color; those bins will have a lower count. 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 get more consistent visual feedback (and on scopes), the concept of \textit{sum} was used instead of the maximum number of occurrences (max).
+
+To report something more consistent, the reported value has been changed from the original code to be the \textit{sum} of the accumulated counts for the bins reporting a pixel bar on the
\begin{center}
- \begin{tabular}{ l l c r r }
+ \begin{tabular}{clccr}
\hline
1 & & & & \\
1 & & & 1 & \\
- 000100 & 3 pixels & vs & 001000& 3 pixels \\
+ 000100 & 3 pixels & vs & 0011000& 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.
+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 to Bezier.
\subsection{Histogram Bezier / Curves}%
\label{sub:histogram_bezier_curves}
\index{histogram Bezier}
-Histogram Bézier allows an immediate view of the contrast amplitude of an image with its distribution of luma and colors values using a piecewise linear method. In addition it uses a Bézier curve (parametric) on the histogram plot. When mapping color spaces, it has a variety of presentations to get smoother transitions and more pleasing output. It uses more general remapping, not just straight lines but more contour lines. Curves are perhaps the most powerful and sophisticated tool for color correction. For some repetitive details, see the previous description of the Histogram plugin. Histogram Bézier is keyframable.
+Histogram Bézier allows an immediate view of the contrast amplitude of an image with its distribution of luma and colors values using a piecewise linear method (bins). In addition it uses a Bézier curve (parametric) on the histogram plot. When mapping color spaces, it has a variety of presentations to get smoother transitions and more pleasing output. It uses more general remapping, not just straight lines but more contour lines. Curves are perhaps the most powerful and sophisticated tool for color correction. For some repetitive details, see the previous description of the Histogram plugin. Histogram Bézier is keyframable. The scale is given in percent ($0 - 100\% \pm 10\%$). The default curve is Log type and can use either RGB or YUV sources without implementing conversions.
+
+NOTE: Histogram Bezier may give results that are not congruent with Histogram plugin. To understand the difference in behavior see the Theory section in Histogram plugin.
The input graph is edited by adding and removing any number of points. Click and drag anywhere in the input graph to create a point and move it. Click on an existing point to make it active and move it. The active point is always indicated by being filled in. The active point's input X and output Y values are given in textboxes on top of the window. The input and output color of the point can be changed through these textboxes. Points can be deleted by first selecting a point and then dragging it to the other side of an adjacent point. They can also be deleted by selecting them and hitting delete (figure~\ref{fig:bezier}).
The most used type of modification is to create a \textit{S curve}. There can be a lot of shapes that use the S curve; the simplest is to create a control point in the shadows, one in the midtones (anchors) and one in the highlights. Moving the highlight point upwards and the shadow point downwards increases the contrast, making the image sharper and improving the color rendering. With the type of \textit{linear} curve you can make hard adjustments, similar to the result of the use of \textit{Color 3 Way}, even if this acts on the color wheel (Hue) while the curves act on individual RGB channels.
-The \textit{Polynomial} and \textit{Bézier} types introduce \textit{control handles} that allow for more sophisticated and smoother adjustments. The quality of the result is much better, but they require more experience for their optimal use. Extending the handles away from the control point increases the \textit{radius} of the curve at that point. By varying the angle of the handles we change the \textit{tangent} and thus the curvature of the curve below. The difference between Polynomial and Bézier lies in the underlying mathematics, but for practical purposes the use is similar.
+The \textit{Polynomial} and \textit{Bézier} types introduce \textit{control handles} that allow for more sophisticated and smoother adjustments. The quality of the result is much better, but they require more experience for their optimal use. By varying the angle of the handles we change the \textit{tangent} and thus the slope of the curve below. Unlike true Bezier curves, there is no effect in extending the handles: there is no change in the radius of the curve. The difference between Polynomial and Bézier lies in the underlying mathematics, but for practical purposes the use is similar. By default Bézier starts with a slight S-curve, as opposed to Polynomial.
Some examples of the use of curves to demonstrate the variety of possible interventions (figure~\ref{fig:ex-bezier}):
\label{sub:holographictv}
\index{holographicTV}
-Incoming objects are projected like holovision seen in the movie Stars Wars as in R2-D2's video message projector of the Princess Leia. You need a movie or background image and above it a track containing the figure on which to apply the effect. This must have a transparent background. There are no configuration parameters; it only has to be applied to the upper track (figure~\ref{fig:holographictv}).
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.55\linewidth]{holographictv.png}
+ \caption{Holographic messages in CinGG!}
+ \label{fig:holographictv}
+\end{figure}
+
+Incoming objects are projected like holovision seen in the movie Stars Wars as in R2-D2's video message projector of the Princess Leia (figure~\ref{fig:holographictv}). You need a movie or background image and above it a track containing the figure on which to apply the effect. This must have a transparent background. There are no configuration parameters; it only has to be applied to the upper track.
This effect originated from {\small \url{https://effectv.com}}.
-\begin{figure}[htpb]
- \centering
- \includegraphics[width=0.8\linewidth]{holographictv.png}
- \caption{Holographic messages in CinGG!}
- \label{fig:holographictv}
-\end{figure}
\subsection{Hue saturation}%
\label{sub:hue_saturation}
\index{hue saturation}
-With this effect you can change hue, saturation and value. The parameters are modified using 3 simple sliders. The \textit{hue} control shifts the colors circularly in the color plane, normally resulting in false colors. The \textit{saturation} control can be used to reduce color footage to black and white. The \textit{value} control makes any given colors more bright or more subdued. Clear buttons are present to reset its slider to default without affecting others.
+With this effect you can change hue, saturation and value. The parameters are modified using 3 simple sliders. For maximum precision you can use the input box. The \textit{hue} control shifts the colors circularly in the color plane, normally resulting in false colors. The \textit{saturation} control can be used to reduce color footage to black and white. The \textit{value} control makes any given colors more bright or more subdued. \textit{Clear} buttons are present to reset its slider to default without affecting others.
\subsection{Interpolate Bayer}%
\label{sub:interpolate_bayer}
\item[Clear] With the Clear buttons we can bring the slider to default values without affecting the other parameters.
\end{description}
+For maximum precision you can use the input box.
Figure~\ref{fig:linear} shown here has the parameters: $Length=19$, $Angle=25$, and $Steps=2$.
\subsection{Live Video}%
Every time a keyframe is set in a loop effect, the keyframe becomes the beginning of the region to loop. Setting several keyframes in succession causes several regions to loop. Setting a single keyframe causes the region after the keyframe to be looped throughout the effect, no matter where the keyframe is. The end of an effect can be looped from the beginning by setting the keyframe near the end.
+\subsection{Mirror}%
+\label{sub:mirror}
+\index{Mirror}
+
+The Mirror plugin splits the image along a line, an axis, and reflects one side onto the other.
+When the \texttt{Enable Reflection Center} option is checked you can move the position of this axis, using $X\%$ and/or $Y\%$ slider and/or textbox: $X\%$ for the horizontal position and $Y\%$ for the vertical position. Mainly in the Mirror effect there are 2 cases: with or without the \textit{Enable Reflection Center} checked.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.7\linewidth]{mirror.png}
+ \caption{Possible combinations with both Horizontal and Vertical checked}
+ \label{fig:mirror}
+\end{figure}
+
+When the \textit{Enable Reflection Center} option is UNCHECKED, the used reflection is on the center of the image (i.e. $X=50\%$, $Y=50\%$) and the options about \textit{Reflection Center}, $X\%$ and $Y\%$, are disabled (grayed).
+The Horizontal option reflects the left side of the image on the right. If the \texttt{Swap LEFT-RIGHT side} option is checked then the right side to the left will be reflected.
+The Vertical option reflects the top on the bottom. If the \texttt{Swap TOP-BOTTOM side} option is checked then the bottom to the top will be reflected.
+There are special combinations when both Horizontal and Vertical checkboxes are enabled (and\textit{ Enable Reflection Center} is always UNchecked, of course). You can see those combinations in the figure~\ref{fig:mirror}.
+
+When the \textit{Enable Reflection Center} option is CHECKED the options about \textit{Reflection Center}, i.e. $X\%$ and $Y\%$, are enabled, and the two "Swap ... side" options are disabled and hidden. These two "Swap ... side" are disabled because the $X\%$ and $Y\%$ allow the swap side feature automatically. The $X\%$ and $Y\%$ positions move the center of the reflection to fit to the user's need.
+
\subsection{Motion51}%
\label{sub:motion51}
\index{Motion51}
+Note: Motion and Motion51 plugins are complex and slow to use for video stabilization. If you are stabilizing an entire video, you may want to preprocess by using ffmpeg's \textit{vidstabdetect} and \textit{vidstabtransform} plugins before importing the video into \CGG{}.
+
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.
\label{sub:motion}
\index{Motion}
+Note: Motion and Motion51 plugins are complex and slow to use for video stabilization. If you are stabilizing an entire video, you may want to preprocess by using ffmpeg's \textit{vidstabdetect} and \textit{vidstabtransform} plugins before importing the video into \CGG{}.
+
The \textit{motion tracker} is almost a complete application in itself. The motion tracker tracks two types of motion: \textit{translation} and \textit{rotation}. It can track both simultaneously or one only. It can do $\frac{1}{4}$ pixel tracking or single pixel tracking. It can stabilize motion or cause one track to follow the motion of another track. Although the motion tracker is applied as a realtime effect, it usually must be rendered to see useful results. The effect takes a long time to precisely detect motion so it is very slow.
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.
\begin{figure}[ht]
\centering
- \includegraphics[width=0.9\linewidth]{motion.png}
+ \includegraphics[width=0.99\linewidth]{motion.png}
\caption{Motion plugin GUI}
\label{fig:motion}
\end{figure}
-Motion tracking parameters:
+Motion tracking parameters\protect\footnote{credit Georgy (sge)}:
\begin{description}
\item[Track translation] Enables translation operations. The motion tracker tracks $X$ and $Y$ motion in the \textit{master} layer and adjusts $X$ and $Y$ motion in the \textit{target} layer.
\label{ssub:tips}
\begin{enumerate}
+ \item Motion plugin\protect\footnote{Thanks to Georgy} algorithm in \CGG{} is rather difficult to understand (the most efficient way to understand it is to look inside its C++ code:). Moreover, it has some tricks that, although can be derived knowing the details of the algorithm, are absolutely non-intuitive by themselves. Moreover, it is rather slow, and the results cannot be visible immediately while altering the settings.
+ \item The Motion plugin \textit{cache} (or\textit{ motion vector} or \textit{tracking file}) sometimes allows to play with very sophisticated techniques. For example, by editing the cache, perhaps with some custom script, you can induce some kind of motion which would be difficult to make in other way. But in the same time the existence of the cache file can trigger user's mistakes. So you must always pay attention, which cache file may be used in the moment. //
+ Motion's cache data are absolute-frame-number based. If you insert some small piece of video before that where the plugin was attached, the frame numbers get displaced relative to the cached numbers, and the result may become incorrectly stabilized.
\item The motion vector is a text file located in \texttt{/tmp}. We can open it with a plain editor and modify the wrong $X\,Y$ coordinates, i.e.\ those that deviate from the linearity, to correct the errors that always happen when we perform a motion tracking (jumps). It can be a long and tedious job, but it leads to good results.
+ \item It is not possible to switch Motion cache off. While working, \textit{Motion} always looks in its cache. If it contains some data assigned to the current frame numbers, that cached data will be used unconditionally. If not, that data will be calculated, stored in the cache, and later reused, also unconditionally.
+ \item In the Motion plugin dialog there is a button \texttt{Clear tracking file contents}. When in doubt, you can press this button, the cached data will be erased and fresh recalculated on the next pass.
+ \item It is quite usual to wish independent caches for different parts of video. It is possible to set such distinct cache file names (either manually, or let software generate them with \texttt{Generate tracking file name}). When you generate new names, the plugin automatically switches Calculation off, just for security. You switch it on again when needed.
+ \item If \texttt{play track} is switched off for the track where the Motion plugin was attached, the plugin will calculate nothing. Also, if \texttt{Play every frame} was not active in \texttt{Preferences}, some video frames can get skipped from processing.
\item You can try tracking using reverse playback of the track. Sometimes it may lead to a better calculation.
\end{enumerate}
This effect makes video tracks appears as a painting. It can be controlled by \textit{Radius} slider and \textit{intensity of colors} can be chosen as an option.
-\subsection{Overlay}%
+% Leave the Video and Audio parenthesis due to latex2html dual conflict
+\subsection{Overlay (Video)}%
\label{sub:overlay}
\index{overlay video}
-This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by \CGGI{} to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a bottom layer. It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Additive}, \textit{Subtractive}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list refer to the on \hyperref[cha:overlays]{Overlays} chapter -- PorterDuff.
+This effect can combine several tracks by using the Overlayer. This is a basic internal device normally used by \CGGI{} to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a "bottom layer". It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Addition}, \textit{Subtract}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list and some differences in output expectations, refer to the \hyperref[cha:overlays]{Overlays} chapter -- PorterDuff.
+
The \textit{overlay} plugin enables the use of this Overlayer device in the middle of any plugin stack, opening endless filtering and processing possibilities. It is only useful as a \textit{shared plugin} (i.e.\ a multitrack plugin). To use the overlay plugin:
\item Manipulate the plugin parameters in Track A.
\end{enumerate}
+In the Overlay plugin's parameter window you can choose the overlay "Layer order"
+to select which track plays the role of the "bottom layer" and which plays the
+role of the "top layer". For some overlay modes this can make quite a
+difference, for example the bottom layer is subtracted from the top layer for
+"Subtract" mode. Also in the parameter window, you can choose on which of the tracks
+to overlay the combined output by changing the "Output layer" and it too can make
+quite a difference.
+(Hint: in most cases, you will want to mute the other track so you only see the
+combined output).
+
\subsection{Perspective}%
\label{sub:perspective}
\index{perspective}
Key Presses for using the Perspective plugin:
-\begin{tabular}{l l}
- \toprule
+\begin{tabular}{ll}
+ \hline
Left mouse button & drags the corner that is closest to current location \\
Alt key + left mouse & translates the perspective; drags the whole image \\
Shift key + left mouse & zooms the perspective \\
Alt+Shift + left mouse & translates view but does not change output \\
- \bottomrule
+ \hline
\end{tabular}
Note that the red color lines in the box show the composer boundary.
\label{sub:polar}
\index{polar}
-The \textit{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+The \textit{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse. For maximum precision you can use the input box. With the \textit{Clear} buttons we can bring the slider to default values without affecting the other parameters.
+
+\subsection{Posterize}%
+\label{sub:posterize}
+\index{posterize}
+
+Reduces the color depth so as to decrease the displayed color gradients, up to the bands typical of posterization. It is used by setting the number of \textit{steps} from 0 to 255.
\subsection{RGB-601}%
\label{sub:rgb-601}
\label{sub:rgb-shift}
\index{rgb shift}
-Most cameras take the light coming into the lens, and convert that into $3$ sets of numbers, one for Red (R), one for Green (G), and one for Blue (B). Some of the older cameras were composed of $3$ sensors and originally the RGB sensors were on $3$ separate planes and had to be aligned. If they were misaligned in the video, you can use \textit{RGBShift} to get them realigned. To move a specific color up/down, modify the \textit{dy} value using the slider bar in the RGBShift window. To move a color left/right, modify the corresponding \textit{dx} value. Clear buttons are present to reset its slider to default without affecting others. Note that the current values of the RGBShift are maintained in the \texttt{.bcast5} defaults file and will be retained across sessions. If using the YUV color space, you will want to use \textit{YUVShift} instead. Figure~\ref{fig:rgbshift} showing RGB shift before and after.
+Most cameras take the light coming into the lens, and convert that into $3$ sets of numbers, one for Red (R), one for Green (G), and one for Blue (B). Figure~\ref{fig:rgbshift} showing RGB shift before and after.
\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.8\linewidth]{rgbshift.png}
- \caption{Bad Misaligned color and after color aligned}
- \label{fig:rgbshift}
+ \centering
+ \includegraphics[width=0.8\linewidth]{rgbshift.png}
+ \caption{Bad Misaligned color and after color aligned}
+ \label{fig:rgbshift}
\end{figure}
+Some of the older cameras were composed of $3$ sensors and originally the RGB sensors were on $3$ separate planes and had to be aligned. If they were misaligned in the video, you can use \textit{RGBShift} to get them realigned. To move a specific color up/down, modify the \textit{dy} value using the slider bar in the RGBShift window. To move a color left/right, modify the corresponding \textit{dx} value. For maximum precision you can use the input box. \textit{Clear} buttons are present to reset its slider to default without affecting others. Note that the current values of the RGBShift are maintained in the \texttt{.bcast5} defaults file and will be retained across sessions. If using the YUV color space, you will want to use \textit{YUVShift} instead.
+
+
\subsection{Radial Blur}%
\label{sub:radial_blur}
\index{radial blur}
\item[Clear] to reset its slider to default without affecting others.
\end{description}
+For maximum precision you can use the input box.
Figure~\ref{fig:radial} has the parameters: $Angle=-35$ and $Steps=2$.
varying the framerate. It is important to understand that the
plugin works by varying the frames, the possible change of
\textit{fps} is only a side effect of the creation of new frames due
-to interpolation.
+to interpolation. The interpolation algorithm is simply the slope of a linear curve. This plugin is keyframable and the \textit{Interpolate} option works between keyframes. A simpler and more handy version is the \textit{Speed PerCent} plugin.
\subsubsection*{Stretch}%
\label{ssub:stretch}
\textit{Example:} you have a clip that you want to put in slow motion. The clip starts at $33.792\, seconds$ and ends at $39.765$. The clip is $5.973\, seconds$ long. You want to play it at $\frac{4}{10}^{ths}$ normal speed. You divide the clip length by the playback speed ($5.973\div0.4$) to get a final clip length of $14.9325\,seconds$. You create an in point at the start of your clip: $33.792\,seconds$. You put an out point $14.9325\,seconds$ later, at $48.7245\,seconds$ ($33.792 + 14.9325$). You attach a \texttt{ReframeRT} effect, set it to $0.4$ and stretch. You change the out point at $48.7245$ to an in point. You start your next clip after the slow motion effect at the $48.7245$ out point. You can do this without making any calculations by first applying the effect and then lengthening or shortening the bar to where the stretched movie ends.
-Now in the timeline we have the affected part of the plugin where we see the slow/fast effect, and the continuation of the timeline from where the plugin ends. We then have to select the interval on which the plugin acts and render it or transform it into a nested clip or nested asset. In this way we can replace or overlap it with the part of the timeline that originally included all of the part we wanted to slow down/speed up.
+Now in the timeline we have the affected part of the plugin where we see the slow/fast effect, and the continuation of the timeline from where the plugin ends. We then have to select the interval on which the plugin acts and render it or transform it into a nested clip or nested asset. In this way we can replace or overlap it with the part of the timeline that originally included all of the part we wanted to slow down/speed up. See also the \textit{Reframe} render effect for direct rendering.
\subsubsection*{Downsample}%
\label{ssub:downsample}
\begin{itemize}
\item ReframeRT uses the fps indicated in \texttt{Settings $\rightarrow$ Format $\rightarrow$ fps} project and not the \texttt{fps} of the assets.
\item It can be associated with Nested Clips.
- \item As an alternative to ReframeRT you can use the \textit{speed curve}, or change the framerate in \texttt{Resources $\rightarrow$ info} and in the \texttt{Project}.
+ \item As an alternative to ReframeRT you can use the \textit{speed curve}, or change the framerate in \texttt{Resources $\rightarrow$ info} and in the \texttt{Project}; or using \textit{Reframe} render effect, or using \textit{Speed PerCent} plugin.
\item It is keyframmable.
\item ResampleRT with the same settings is used to act on audio tracks.
\end{itemize}
\label{sub:reroute}
\index{reroute}
-The \textit{Reroute} plugin enables you to selectively transfer the Alpha channel or the Components (RGB or YUV) or both from a \textit{source} track to a \textit{target} track, partially overwriting the target's contents. It works as a \textit{shared plugin}. The typical usage scenario is to build up a possibly animated Mask in one track and then to transfer the Alpha channel to another content track.
+The \textit{Reroute} plugin\protect\footnote{By Hermann Vosseler} enables you to selectively transfer the Alpha channel or the Components (RGB or YUV) or both from a \textit{source} track to a \textit{target} track, partially overwriting the target's contents.
+
+\begin{description}
+ \item[Target Track:] you can choose between \textit{Top} and \textit{Bottom}.
+ \item[Operation:] you can choose between \textit{Replace Target} (component + alpha channels); \textit{Components Only} (color channels only) and \textit{Alpha Replace} (alpha channel only)
+\end{description}
+
+It works as a shared plugin. The typical usage scenario is to build up a possibly animated Mask in one track and then to transfer the Alpha channel to another target track.
\subsection{Reverse video}%
\label{sub:reverse_video}
\label{sub:Sharpen}
\index{sharpen}
-Sharpen the video, either the \textit{luminance}, \textit{horizontal}, or \textit{interlace}. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+Sharpen the video, either the \textit{luminance}, \textit{horizontal}, or \textit{interlace}. You can use sliders or, for maximum precision, you can use the input box. With the \textit{Clear} buttons we can bring the slider to default values without affecting the other parameters.
\subsection{Shift Interlace}%
\label{sub:shift_interlace}
There is no \textit{undo} recorded between gui updates. It is recommended that you use the option "b" to save a backup if you get to a place where you want to make sure you do not lose your sketch.
-\begin{center}
- \small
\begin{longtable}{{m{12em}m{13em}m{12em}}}
\caption{Sketcher controls}
\label{tabular:sketcher_controls} \\ % note that double backslash is mandatory here
Del button in Curve section \\
\bottomrule
\end{longtable}
-\end{center}
\subsubsection*{Other Button and Label Descriptions}%
\label{ssub:other_button_label_description}
The \textit{fill} point is a marker point, and not really part of the curve. That point identifies the inside of the loop. It can also be used to identify the outside of the loop in order to fill that. The loop is created by drawing a line from the last point to the first point in the curve. The line of this last segment is from the last point of the curve. If there are isolated loops in the curve (it is self intersecting) then you will be able to use multiple fill points to fill these regions.
+\subsection{Speed PerCent}%
+\label{sub:speed_per_cent}
+\index{speed percent}
+
+It works like the \texttt{ReframeRT} plugin in \textit{Stretch} mode. The interpolation algorithm is simply the slope of a linear curve. It allows you to change the speed of the video track, or an edit, or a region of the track quickly and intuitively. There are presets to set the speed to 100\% (default) or 25\%; 50\%; 200\% and 400\%. Or we can enter the value directly in the text box or use the slider until the desired value is reached. \textit{Interpolate} option works between keyframes. It requires setting the right limits for applying the effect and then rendering that region, or turning it into a nested clip, which will replace the original one.
+
\subsection{Sphere Cam}%
\label{sub:sphere_cam}
\index{sphere cam}
\textit{Rate} allows you to choose the type of algorithm to use when switching between the start and end bands. You can reverse the direction with the \textit{Invers} button. The three modes are: \textit{Linear}, \textit{Log} or \textit{Quadratic} (exponential). This is a warping framework plugin based on this article: {\small \url{http://www.vision.huji.ac.il/videowarping/HUJI-CSE-LTR-2005-10_etf-tr.pdf}}
+\subsection{Timelapse Helper}%
+\label{sub:timelapse_helper}
+\index{timelapse helper}
+
+It is used to get a timelapse quickly and easily. It sets the number of frames to be skipped during playback. The default value of \textit{Number of Frames x block} is 10; playback (and rendering) displays frames 1 - 10 - 20 - ... and not the intermediate ones.
+
\subsection{Title}%
\label{sub:title}
\index{title}
To include graphical elements like \textit{logos}, you may want to import your title as a PNG image (alpha channel transparency is possible), move it with camera and projector or add effects.
-\subsubsection*{Adding fonts to the titler}%
-\label{ssub:adding_fonts_to_titler}
-
-The X Window system originally did not have a suitable font renderer for video. It also is restricted to the current bit depth. It does not have a convenient way to know which fonts work with the suitable font renderer in the desired bit depth. The easiest way we have found to support fonts in the titler is to have a directory for them at \texttt{/usr/lib/cinelerra/fonts}.
-
-The titler supports mainly \textit{TTF}, true type fonts. It supports others but TTF are the most reliable. To add true type fonts, copy the \texttt{.TTF} files to the fonts directory. In that directory run
-\vspace{1ex}
-\begin{lstlisting}[style=sh]
- # /usr/lib/cinelerra/fonts
- ttmkfdir && mv fonts.scale fonts.dir
-\end{lstlisting}
-and restart \CGG{}. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work. It is
-important to note that because there are checkboxes for both Bold and Italic, the pulldown will not include these specific fonts
-as an addition to a Regular font. They will be used via the checkboxes but not viewed in the pulldown.
-
-If the video is displayed on a consumer TV, the outer border is going to be cropped by $5\%$ on each side. To avoid text which is too close to the edge looking bad, you may want to enable the \textit{title-safe} tool in the compositor window. The text should not cross the inner rectangle.
-
\subsubsection*{Some recently added options}%
\label{ssub:some_recently_added_options}
\item[Attributes] in the Text box where you type your Title information, you can now change several attributes to give you plenty of flexibility (figure~\ref{fig:title02}). Each of these special attributes begin with an open angle bracket < and ends with a closing angle bracket >. Until the closing angle bracket is keyed in, the actual characters you type, will be seen in the compositor window. In addition, if you do not use the exact syntax or you keyin a filename that is not available, all of the characters will continue to show up. This helps to see what needs to be fixed or is missing. The attributes usage is described in the table below.
\end{description}
-\begin{center}
- \small
\begin{longtable}{{m{6em}m{14em}m{14em}}}
\caption{Titler attributes}
\label{tabular:titler_attributes} \\ % note that double backslash is mandatory here
color name such as RED from \textit{<cin\_path>/guicast/colors.h} &
Or use the hex value like \textit{\#a000a0}; color-hex.com shows examples \\\midrule
font &
- exact name from \textit{Font} pulldow &
+ exact name from \textit{Font} pulldown &
When you set font, bold/size and italic will be as currently set up \\\midrule
alpha &
floating-point number between 0 and 1&
Turn off smooth for chroma key
\\\bottomrule
\end{longtable}
-\end{center}
These attributes stay in effect until you change them or reset them. Additional cpu time is needed for the \textit{blink} attribute because it requires redrawing every frame and for the background option described below. Note that some Title window controls can not be set, such as Justify and Outline color. The lines below are examples for testing purposes. The accompanying screenshot displays the corresponding \CGG{} output.
\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 (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 \textit{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[Text: chars:] to output and update the number of characters already used. The only limit to the number of characters based on a count of single $8\, bit$ characters is the available resources on the user computer available for \CGG{} use. Keep in mind that unicode or other special characters may consist of $2$ to $4$ $8\,bit$ bytes. Also, newlines are a character and any of the attributes you use count in the total. There is now a horizontal scroll bar as well as the vertical one in the textbox and they only appear when there are more lines or characters than can fit in the original sized textbox.
\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}).
\end{description}
\subsubsection*{Font Choice}%
\label{ssub:font_choice}
+The X Window system originally did not have a suitable font renderer for video. It also is restricted to the current bit depth. It does not have a convenient way to know which fonts work with the suitable font renderer in the desired bit depth. The easiest way we have found to support fonts in the titler is to have a directory for them at \texttt{/usr/lib/cinelerra/fonts}.
+Or if not system installed, at \texttt{<cinelerra\_install\_path>/bin/plug\-ins/fonts}.
In order to choose a font faster, you can keyin the first few characters of the font name, being sure to use capital characters if used since it is case-sensitive. The steps to follow are:
\item keyin the first character(s) of the desired font and you will see the first match become highlighted;
\item you can see the characters you keyed in the upper right corner of the fonts.
\end{enumerate}
+It is important to note that because there are checkboxes for both Bold and Italic, the pulldown will not include these specific fonts
+as an addition to a Regular font. They will be used via the checkboxes but not viewed in the pulldown.
+
+One last item of information about fonts that may lead to some confusion. The checkbox for Bold and Italic will occasionally be ghosted out if no bold or italic version of the selected font is available. This is no guarantee, but currently as good as it can get due to inconsistency in the creation of fonts. It is mostly just a hint. If boxes are checkmarked, but ghosted, you can not uncheck until you change to a font that does not ghost out the boxes. If you use the popup helper with the boxes checked, and attempt to keyin a font that does not have the bold/italic attribute as checked, the font will be considered illegal.
+
+Also of note, if the video is displayed on a consumer TV, the outer border is going to be cropped by $5\%$ on each side. To avoid text which is too close to the edge looking bad, you may want to enable the \textit{title-safe} tool in the compositor window. The text should not cross the inner rectangle.
\subsubsection*{Font Addition / Font Subtraction}%
\label{ssub:font_addition_subtraction}
-Some of the system fonts are automatically included in the set of fonts being used by \CGG{}. The easiest way to add additional fonts for the Title plugin's set, is to use ones available in specific directories on your computer as long as they have a \texttt{fonts.scale} file already set up. You can run \texttt{mkfontscale} to create this file within that directory. In order to include a specific directory you set an environment variable before starting \CGG{} which stays in effect until it is unset or until the next reboot. Below is the method and an example.
+If using a compiled build (that is, NOT an AppImage) to add true type fonts, copy the \texttt{.TTF} files to the fonts directory at \texttt{/usr/lib/cinelerra/fonts}
+or if not system installed, at \texttt{<cinelerra\_install\_path>/bin/plug\-ins/fonts}. In that directory run
+\vspace{1ex}
+\begin{lstlisting}[style=sh]
+ # /usr/lib/cinelerra/fonts
+ ttmkfdir && mv fonts.scale fonts.dir
+\end{lstlisting}
+and restart \CGG{}. The new fonts should appear. However, keep in mind that the next
+time you install a new version of CINELERRA-GG, your changes will be written over so
+you will have to make sure to save them elsewhere and then re-establish.
+The usage of ttmkfdir changes frequently so this technique might not work. The titler supports mainly \textit{TTF}, true type fonts. It supports others such as OTF, but TTF are the most reliable.
+
+AppImage does not provide this specific method unless you use the workaround as described in the Appendix \nameref{cha:faq_problems_workarounds}.
+However, if you use Ubuntu Studio 2304 with AppImage, you can easily add font files directly to ~/.fonts and you will have all of these available in the Title fonts list. And, there may be other operating systems with specific implementations that also allow for this easier methodology to add additional fonts.
+
+Some of the system fonts are automatically included in the set of fonts being used by \CGG{}. The easiest way to add additional system or other application available fonts for the Title plugin's set, is to use ones available in specific directories on your computer as long as they have a \texttt{fonts.scale} file already set up. You can run \texttt{mkfontscale} to create this file within that directory. In order to include a specific directory you set an environment variable before starting \CGG{} which stays in effect until it is unset or until the next reboot. Below is the method and an example.
\vspace{1ex}
\begin{lstlisting}[style=sh]
The current set of fonts in \CGG{}'s directory will be automatically included and will be the default set if this environment variable is not set. Keep in mind that if you add a lot of fonts, it will considerably slow down the startup every time you bring up the Title plugin.
-If you want to only have a limited number of fonts set up, you can manipulate the \CGG{} directory directly at \texttt{<cinelerra\_install\_path> /bin/plug\-ins/fonts}.
+If you want to only have a limited number of fonts set up, you can manipulate the \CGG{} directory directly at \texttt{<cinelerra\_install\_path>/bin/plug\-ins/fonts}.
Here you will find the default set of fonts that come with the install. Copy any other fonts you would like to include here with read permission, delete any fonts you do not want to have, then execute \texttt{mkfontscale} which creates the file \texttt{fonts.scale} that \CGG{} will read. However, the next time you install a new version of \CGG{}, your changes will be written over so you will have to make sure to save them elsewhere and then re-establish.
If you have problems with a specific font or set of fonts, there is a debug option available to determine which font is an issue. When starting \CGG{}, you should set up the variable:
export BC_FONT_PATH=:/usr/share/fonts #(remove all fonts and then add /usr/shar/fonts)
\end{lstlisting}
-One last item of information about fonts that may lead to some confusion. The checkbox for Bold and Italic will occasionally be ghosted out if no bold or italic version of the selected font is available. This is no guarantee, but currently as good as it can get due to inconsistency in the creation of fonts. It is mostly just a hint. If boxes are checkmarked, but ghosted, you can not uncheck until you change to a font that does not ghost out the boxes. If you use the popup helper with the boxes checked, and attempt to keyin a font that does not have the bold/italic attribute as checked, the font will be considered illegal.
-Text: chars is output and updated to indicate the number of characters already used. The only limit to the number of characters based on a count of single $8\, bit$ characters is the available resources on the user computer available for \CGG{} use. Keep in mind that unicode or other special characters may consist of $2$ to $4$ $8\,bit$ bytes. Also, newlines are a character and any of the attributes you use count in the total. There is now a horizontal scroll bar as well as the vertical one in the textbox and they only appear when there are more lines or characters that can fit in the original sized textbox.
-
\subsubsection*{Kerning}%
\label{ssub:kerning}
\label{fig:tracer-01}
\end{figure}
-\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.7\linewidth]{tracer-02.png}
- \caption{Rug in the top picture is traced in order to black it out or replace later}
- \label{fig:tracer-02}
-\end{figure}
-
\begin{description}
\item[New] to create a new point.
\item[Up/Dn] to move highlighted point up or down.
\item[Mouse wheel + shift] scale the outline, centered on cursor.
\end{description}
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.7\linewidth]{tracer-02.png}
+ \caption{Rug in the top picture is traced in order to black it out or replace later}
+ \label{fig:tracer-02}
+\end{figure}
+
Be sure to uncheck \textit{Draw} and \textit{Drag} before rendering so that the lines do not show in the video output.
\label{sub:Unsharp}
\index{unsharp}
-This effect applies a traditional \textit{darkroom} technique, the so called \textit{unsharp mask} to every video frame. With different parameter values, this can be used to soften or to sharpen the image. Its parameters are:
+This effect applies a traditional \textit{darkroom} technique, the so called \textit{unsharp mask} to every video frame. With different parameter values, this can be used to soften or to sharpen the image. You can use sliders or, for maximum precision, you can use the input box. Its parameters are:
\begin{description}
\item[Amount] moving the slider to the right makes dark areas get darker and light areas get lighter.
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.
+\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}
+\end{figure}
+
+When using the X11 graphics driver and RGBA-FLOAT color model, Videoscope allows you to display greater than (0 - 1.0f) values to accomodate HDR. This does not work when using X11-OpenGL because it is an 8-bit limited driver. The display will stop at -10\% or +110\%, but there is no clipping. For example, by varying the brightness all out-of-range values become visible on Waveform, even over 110\%. However you must disable the "smooth" option which always causes clipping.
+
The Videoscope menu window has many options.
\paragraph*{Scopes:} we can choose between two histograms:
\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}
-\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[Smooth:] serves to make the graph more homogeneous, improving its visualization. However, it has a side effect: in case of frames that have data in the range of 100-110\% (i.e., outside the normal range of 0-100\%, also called super-white), it causes a clip by cutting off this data and reporting only of normal data. If we don't want this clip disable Smooth.
\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).
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. 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 (with crosshair and the coordinates' box), waveform RGB and waveform Ply}
- \label{fig:videoscope03}
+ \centering
+ \includegraphics[width=1.0\linewidth]{videoscope03.png}
+ \caption{Examples of waveform (with crosshair and the coordinates' box), waveform RGB and waveform Ply}
+ \label{fig:videoscope03}
\end{figure}
+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).
+
\subsubsection*{Adjusting luminance}%
\label{ssub:adjusting_luminance}
\label{sub:wave}
\index{wave}
-The \textit{wave} effect adds waves on the image. \textit{Amplitude}, \textit{Phase}, and \textit{Wavelength} parameters can be adjusted. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+The \textit{wave} effect adds waves on the image. \textit{Amplitude}, \textit{Phase}, and \textit{Wavelength} parameters can be adjusted. You can use sliders or, for maximum precision, you can use the input box. With the \textit{Clear} buttons we can bring the slider to default values without affecting the other parameters.
\subsection{Whirl}%
\label{sub:whirl}
\index{whirl}
-Creates a whirl (spiral) of the video around the center. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+Creates a whirl (spiral) of the video around the center. You can use sliders or, for maximum precision, you can use the input box. With the \textit{Clear} buttons we can bring the slider to default values without affecting the other parameters.
\subsection{YUV}%
\label{sub:yuv}
\index{yuv}
-Modify the Y, U, V settings. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+Modify the Y, U, V settings. You can use sliders or, for maximum precision, you can use the input box. With the \textit{Clear} buttons we can bring the slider to default values without affecting the other parameters.
\subsection{YUV411}%
\label{sub:yuv411}
\index{yuv411}
-Modify the 411 yuv to look like 420 color space instead. If the edit to which the effect is applied is not YUV type, a red warning message will appear.
+YUV411 plugin\protect\footnote{credit Eric Olson}
+modifies the 411 yuv to look like 420 color space instead. If the edit to which the effect is applied is not YUV type, a red warning message will appear.
\subsection{YUVShift}%
\label{sub:yuvshift}
\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.
+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. For maximum precision you can use the input box. With the \textit{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.
+Figure~\ref{fig:yuvshift} (top) shows the blue \textit{U} component aligned too far to the right/down. And the red \textit{V} component is misaligned too far to the right/down. Note the \textit{U\_dx} current slider bar set to $0$ as shown by the input 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 $+26$ and \textit{V\_dx} is now $+41$ to realign the image.
\subsection{Zoom Blur}%
\label{sub:zoom_blur}
Blurs the video from the center outwards, like the sun’s rays, and uses a zoom effect.
+\begin{figure}[hbtp]
+ \centering
+ \includegraphics[width=0.8\linewidth]{zoom.png}
+ \caption{For clarity of presentation only 3 fields are shown}
+ \label{fig:zoom}
+\end{figure}
+
\begin{description}
\item[X,Y] center of the origin field.
\item[Radius] Zoom on the fields.
\item[Steps] number of blur steps to be used in the calculation. Increasing the number takes more CPU.
\item[Clear] With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+ \item[Reset] To reset all parameters to default at the same time.
\end{description}
+You can use sliders or, for maximum precision, you can use the input box.
Figure~\ref{fig:zoom} shows the parameters: Radius=21 and Steps=3.
-\begin{figure}[hbtp]
- \centering
- \includegraphics[width=0.8\linewidth]{zoom.png}
- \caption{For clarity of presentation only 3 fields are shown}
- \label{fig:zoom}
-\end{figure}
-
\section{CUDA plugins}%
\label{sec:cuda_plugins}
\settocdepth{section}
-\index{CUDA plugin}
+\index{CUDA!plugin}
Only for Nvidia GPU and Cuda SDK
The OpenCV plugins are built only in the 64-bit tarball builds, both static and dynamic, but due
to size these plugins are not included with pkgs, i.e. the System builds. However it is relatively
easy to add the current plugins for your distro via a simple procedure of copying the plugins
-from the static tarball to the cin5 install plugin path. They are:
+from the static tarball to the cin5 install plugin path (AppImage does not provide this capability). They are:
\begin{lstlisting}[style=sh]
cin/plugins/opencv/findobj.plugin
The location for most User installs is:
-\hspace{4em}\texttt{<cinlib\_path>/plugins/}
+\hspace{4em}\texttt{<cinlib\_path>/plugins/video}
Location for some System installs is:
-\hspace{4em}\texttt{/usr/lib/cin/plugins/} (most ubuntu distros)
+\hspace{4em}\texttt{/usr/lib/cin/plugins/video} (most ubuntu distros)
-\hspace{4em}\texttt{/usr/lib64/cin/plugins/} (Leap distro)
+\hspace{4em}\texttt{/usr/lib64/cin/plugins/video} (Leap distro)
\subsection{How to Build OpenCV Plugins}%
\label{sub:how_build_opencv_plugins}
To build findobject and the other plugins using OpenCV, access the src using git:
\begin{lstlisting}[style=sh]
-git clone -depth 1 "git://git.cinelerra-gg.org/goodguy/cinelerra.git" cinelerra5
+git clone --depth 1 "git://git.cinelerra-gg.org/goodguy/cinelerra.git" cinelerra5
\end{lstlisting}
To use the latest version, the method for creating a tarball is:
FFmpeg’s plugin guide is at the link:
\href{https://ffmpeg.org/ffmpeg-filters.html}{ffmpeg-filters}.
-\subsection{FFmpeg Audio Plugins\protect\footnote{credit to WPfilmmaker}}%
+\subsection{FFmpeg Audio Plugins}%
\label{sub:ffmpeg_audio_plugins}
\index{ffmpeg!audio plugin}
-The following is a list of the integrated audio plug-ins.
+The following is a list of the integrated audio plug-ins\protect\footnote{credit to WPfilmmaker} .
\begin{description}
\item [F\_abench]~\\Benchmark part of a filtergraph.
\item [F\_acompressor]~\\Audio compressor.
compression/expansion filter.
\item [F\_acrusher]~\\Reduces audio bit resolution.
\item [F\_acue]~\\Delay filtering to match a cue.
+\item [F\_adecorrelate]~\\Apply decorrelation to input audio stream.
\item [F\_adelay]~\\Delays one or more audio channels.
+\item [F\_adenorm]~\\Remedy denormals by adding extremely low-level noise.
+\item [F\_adynamicequalizer]~\\Apply dynamic equalization to input audio stream.
+\item [F\_adynamicsmooth]~\\Apply dynamic smoothing to input audio stream.
\item [F\_aderivative]~\\Compute derivative of input audio.
\item [F\_aecho]~\\Adds echoing to the audio.
\item [F\_aemphasis]~\\Audio emphasis.
\item [F\_aeval]~\\Filters audio signal according to a
specific expression.
+\item [F\_aeexciter]~\\Enhance high frequency part of audio.
\item [F\_afade]~\\Fades in/out input audio.
\item [F\_aformat]~\\Convert the input audio to one of he
specified formats.
+\item [F\_afreqshift]~\\Apply frequency shifting to input audio.
+\item [F\_afwtdn]~\\Reduce broadband noise from input samples using Wavelets.
\item [F\_agate]~\\Audio gate.
-\item [F\_aintegral]~\\Compute integral of input audio.
+\item [F\_alatency]~\\Measure filtering latency.
\item [F\_allpass]~\\Applies a two-pole all-pass filter.
\item [F\_aloop]~\\Loops audio samples.
\item [F\_anoisesrc]~\\Generates a noise audio signal.
\item [F\_aperms]~\\Set permissions for the output audio
frame.
\item [F\_aphaser]~\\Adds a phasing effect to the audio.
+\item [F\_aphaseshift]~\\Apply phase shifting to input audio.
+\item [F\_apsyclip]~\\Apply Psychoacoustic clipper to input audio stream.
\item [F\_arealtime]~\\Slows down filtering to match realtime.
\item [F\_aresample]~\\Resamples audio data.
-\item [F\_asetrate]~\\Change the sample rate without altering
- the data.
-\item [F\_astats]~\\Shows time domain statistics about audio
- frames.
+\item [F\_asetrate]~\\Change the sample rate without altering the data.
+\item [F\_aspectralstats]~\\Display frequency domain statistical information about the audio channels. Statistics are calculated and stored as metadata for each audio channel and for each audio frame.
+\item [F\_astats]~\\Shows time domain statistics about audio frames.
\item [F\_asubboost]~\\Boost subwoofer frequencies.
-\item [F\_atempo]~\\Adjusts audio tempo.
+\item [F\_asubcut]~\\Cut subwoofer frequencies.
+\item [F\_asupercut]~\\Cut super frequencies.
+\item [F\_asuperpass]~\\Apply high order Butterworth band-pass filter.
+\item [F\_asuperstop]~\\Apply high order Butterworth band-stop filter.
+\item [F\_atempo]~\\Adjusts audio tempo so that when you speed up audio, it will adjust the pitch accordingly to make audio sounds more normal, but faster without being badly distorted. Its behavior is similar to what can be seen when you watch a youtube video, click the gear icon, and select a speed greater or less than 1.
+\item [F\_atilt]~\\Apply spectral tilt filter to audio stream.
\item [F\_atrim]~\\Pick one continuous section from the input,
drop the rest.
\item [F\_bandpass]~\\Applies a two-pole Butterworth band-pass
audio channels. When using this plugin, be sure to \textit{attach
effect} to all audio tracks by dragging the plugin to the $1^{st}$
audio track and then right mouse clicking all subsequent audio
- tracks which brings up an menu. Highlight the effect shown in the
+ tracks which brings up a menu. Highlight the effect shown in the
middle section and click OK.
\item [F\_flanger]~\\Applies a flanging effect to the audio.
\item [F\_haas]~\\Apply Haas Stereo Enhancer for a more
tracks by dragging the plugin to the $1^{st}$ audio track and then
right mouse clicking all subsequent audio tracks which brings up an
menu. Highlight the effect shown in the middle section and click OK.
+\item [F\_tiltshelf]~\\Boost or cut the lower frequencies and cut or boost higher frequencies of the audio using a two-pole shelving filter with a response similar to that of a standard hi-fi’s tone-controls. This is also known as shelving equalization (EQ).
\item [F\_treble]~\\Boosts or cuts upper frequencies.
\item [F\_tremolo]~\\Applies tremolo effect.
\item [F\_vibrato]~\\Applies vibrato effect.
+\item [F\_virtualbass]~\\Apply audio Virtual Bass filter.
\item [F\_volume]~\\Change input volume.
\item [F\_volumedetect]~\\Detect audio volume.
\end{description}
-\subsection{FFmpeg Video Plugins\protect\footnote{credit to WPfilmmaker}}%
+\subsection{FFmpeg Video Plugins}%
\label{sub:ffmpeg_video_plugins}
\index{ffmpeg!video plugins}
-The following is a list of the integrated video plug-ins.
+The following is a list of the integrated video plug-ins \protect\footnote{credit to WPfilmmaker} .
\begin{description}
\item [F\_addroi]~\\Mark a region of interest in a video frame.
\item [F\_amplify]~\\Amplify changes between successive video
\item [F\_blackdetect]~\\Detect video intervals that are
(almost) black.
\item [F\_blackframe]~\\Detect frames that are (almost) black.
-\item [F\_boxblur]~\\Blurs the input video. Through the
- settings you are able to change the power and the radius of the
- boxblur applied to luma, chroma and alpha.
+\item [F\_blockdetect]~\\Determines blockiness of frames without altering the input frames.
+\item [F\_blurdetect]~\\Determines blurriness of frames without altering the input frames.
+\item [F\_boxblur]~\\Blurs the input video. Through the 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\_chromanr]~\\Reduce chrominance noise.
\item [F\_ciescope]~\\Video CIE scope.
\item [F\_color]~\\Provide an uniformly colored input.
\item [F\_colorbalance]~\\Adjusts the color balance.
\item [F\_colorchannelmixer]~\\Adjusts colors by mixing color
channels.
+\item [F\_colorchart]~\\The colorchart source provides a colors checker chart.
+\item [F\_colorcontrast]~\\Adjust color contrast between RGB
+ components.
+\item [F\_colorcorrect]~\\Adjust color white balance selectivity
+ for blacks and whites.
\item [F\_colorkey]~\\Turns a certain color into
transparency. Operates on RGB colors.
\item [F\_colorlevels]~\\Adjusts the color levels.
\item [F\_colormatrix]~\\Converts color matrix.
+\item [F\_colorize]~\\Overlay a solid color on the video stream.
\item [F\_colorspace]~\\Converts color space.
+\item [F\_colorspectrum]~\\Provides a color spectrum input.
+\item [F\_colortemperature]~\\Adjust color temperature of video.
\item [F\_cover\_rect]~\\Find and cover a user specified
object.
\item [F\_crop]~\\Crops the input video.
\item [F\_elbg]~\\Apply posterize effect, using the ELBG
algorithm.
\item [F\_entropy]~\\Measure video frames entropy.
+\item [F\_epx]~\\Scale the input using EPX algorithm.
\item [F\_eq]~\\Adjusts brightness, contrast, gamma and
saturation.
\item [F\_erosion]~\\Applies erosion effect.
+\item [F\_estdif]~\\Apply Edge Slope Tracing deinterlace.
+\item [F\_exposure]~\\Adjust exposure of the video stream.
\item [F\_fade]~\\Fade in/out input video.
\item [F\_fftdnoiz]~\\Denoise frames using $3D FFT$.
\item [F\_fftfilt]~\\Apply arbitrary expressions to pixels in
\item [F\_gradfun]~\\Debands video quickly using gradients.
\item [F\_gradients]~\\Draws a transparent gradient.
\item [F\_graphmonitor]~\\Show various filtergraph stats.
+\item [F\_grayworld]~\\A color constancy filter that applies color correction based on the grayworld assumption.
\item [F\_greyedge]~\\Estimates scene illumination by grey
edge assumption.
\item [F\_haldclutsrc]~\\Provide an identity Hald CLUT\@.
equalization.
\item [F\_histogram]~\\Computes and draws a histogram.
\item [F\_hqdn3d]~\\Applies a High Quality 3D Denoiser.
-\item [F\_hqx]~\\Scales the input by 2, 3 or 4 using the
- $hq*x$ magnification algorithm.
-\item [F\_hue]~\\Adjust the hue and saturation of the input
- video.
+\item [F\_hqx]~\\Scales the input by 2, 3 or 4 using the $hq*x$ magnification algorithm.
+\item [F\_hsvhold]~\\Turns a certain HSV range into gray values.
+\item [F\_hsvkey]~\\Turns a certain HSV range into transparency.
+\item [F\_hue]~\\Adjust the hue and saturation of the input video.
+\item [F\_huesaturation]~\\Apply hue-saturation-intensity adjustments to input video stream.
\item [F\_idet]~\\Interlace detect Filter.
\item [F\_il]~\\Deinterleaves or interleaves fields.
\item [F\_inflate]~\\Applies inflate effect.
interlaced.
\item [F\_kerndeint]~\\Applies kernel deinterlacing to the
input.
-\item [F\_lenscorrection]~\\Rectifies the image by correcting
- for lens distortion.
+\item [F\_kirsch]~\\Apply kirsch operator.
+\item [F\_latency]~\\Measure filtering latency.
+\item [F\_lenscorrection]~\\Rectifies the image by correcting for lens distortion.
\item [F\_life]~\\Generate a life pattern.
\item [F\_limiter]~\\Limit pixels components to the specified
range.
deinterlacing.
\item [F\_median]~\\Pick median pixel from rectangle defined by radius.
\item [F\_mestimate]~\\Generate motion vectors.
+\item [F\_monochrome]~\\Convert video to gray using custom color filter.
\item [F\_mpdecimate]~\\Remove near-duplicate frames.
\item [F\_mptestsrc]~\\Generate various test pattern.
\item [F\_negate]~\\Negates input video.
\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\_pixscope]~\\Pixel data analysis for checking color and levels. It will display sample values of color channels.
+\item [F\_pixelize]~\\Apply pixelization to video stream.
\item [F\_pp]~\\Filters video using libpostproc.
\item [F\_pp7]~\\Applies Postprocessing 7 filter.
\item [F\_prewitt]~\\Apply prewitt operator.
performs a simple/quick $2D$ spatial gradient measurement on the
video (usually a grayscale image). It highlights regions of high
spatial frequency which most ikely correspond to edges.
-\item [F\_rotate]~\\Rotates the input image.
+\item [F\_rotate]~\\Rotates the input image by an arbitrary angle expressed in radians. If you want to rotate
+by degrees, you can use the \textit{rotate} plugin instead.
\item [F\_sab]~\\Applies shape adaptive blur.
-\item [F\_scale]~\\Scale the input video size and/or convert
- the image format.
+\item [F\_scale]~\\Scale the input video size and/or convert the image format.
\item [F\_scdet]~\\Detect video scene change.
+\item [F\_scharr]~\\Apply scharr operator to input video stream.
\item [F\_scroll]~\\Scroll input video horizontally and/or vertically by constant speed.
\item [F\_separatefields]~\\Split input video frames into
fields.
output video frame.
\item [F\_setrange]~\\Force color range for the output video
frame.
+\item [F\_shear]~\\Shear transform the input image.
\item [F\_showpalette]~\\Display frame palette.
\item [F\_shuffleframes]~\\Shuffles video frames.
+\item [F\_shufflepixels]~\\Shuffles video pixels.
\item [F\_shuffleplanes]~\\Shuffles video planes.
\item [F\_sierpinski]~\\Generate a Sierpinski carpet/triangle fractal, and randomly pan around.
-\item [F\_signalstats]~\\Separates statistics from video
- analysis.
+\item [F\_signalstats]~\\Separates statistics from video analysis.
+\index{over sharpened footage}
+\item [F\_siti]~\\Calculate Spatial Info (SI) and Temporal Info (TI) scores for a video, as defined in ITU-T P.910: Subjective video quality assessment methods for multimedia applications.
\item [F\_smartblur]~\\Blurs the input video without impacting
the outlines. Through the settings you can select the radius, the
strength and the threshold of luma and chroma. This plugin can be used to correct
- over-sharpened footage. For example, on a DJI 3840x2160 D-cinelike footage using
+ over sharpened footage. For example, on a DJI 3840x2160 D-cinelike footage using
these settings:
\begin{itemize}
\item luma radius: 3.247993
\item [F\_tlut2]~\\Compute and apply a lookup table from 2
successive frames.
\item [F\_tmedian]~\\Pick median pixels from successive frames.
+\item [F\_tmidequalizer]~\\Apply Temporal Midway Equalization.
\item [F\_tmix]~\\Mix successive video frames.
\item [F\_transpose]~\\Transposes input video.
\item [F\_unsharp]~\\Sharpen or blur the input videlo.
\subsubsection*{Time Stretch}%
\label{ssub:time_stretch}
+\subsubsection*{CD Ripper}%
+\label{ssub:cd_ripper}
+
+
\subsection{Rendered Video Effects}%
\label{sub:renederd_video_effets}
\item At the popup menu, enter the \textit{scale factor} $2$ to run twice as fast, and $0.5$ to run at half speed.
\end{itemize}
-\subsubsection*{CD Ripper}%
-\label{ssub:cd_ripper}
-
\subsubsection*{720 to 480}%
\label{ssub:720_to_480}
projects / goodguy / cin-manual-latex.git / blobdiff