\label{fig:drag-effect}
\end{figure}
+\section{Copy/Paste Effects}%
+\label{sec:copy_paste_effects}
+\index{plugins!copy paste effects}
+
+In \textit{Drag and Drop} mode we can copy and paste edits containing plugins (see also \nameref{sub:copy_paste_behavior}). Start by selecting an edit (that contains plugins) with LMB and open the context menu with MMB. The possibilities offered are:
+
+\begin{description}
+ \item[Ctrl - c]: copy edits and plugins to buffer.
+ \item[Ctrl - v]: paste edits and plugins into the timeline (splice) at the Insertion point.
+ \item[Ctrl - b]: paste edits and plugins into the timeline (overwrite) at the Insertion point.
+ \item[Ctrl - Shift - p]: paste only the plugins into the timeline, at the Insertion point, keeping the original length (overwrite).
+ \item[Collect Effects]: copy only plugins into buffer.
+ \item[Paste Effects]: pastes the plugins into a selected target edit. The length of the plugins adapts to the length of the edit.
+\end{description}
+
\section{Shared Effects and Shared Tracks}%
\label{sec:shared_effect_tracks}
\index{plugins!shared effect}
\label{sub:denoisefft}
\index{denoisefft}
-Audio sampling (time data) is converted to a frequency spectrum using FFT (\textit{Fast Fourier Transform}). Since the \textit{Signal} contains only the background noise while the rest of the clip contains noise + audio to clean up, you get separate frequencies so you can subtract them to get the clean audio only. Set the Denoise Power dial in dB and choose the number of reference samples.
+Audio sampling (time data) is converted to a frequency spectrum using FFT (\textit{Fast Fourier Transform}). Since the \textit{reference} contains only the background noise while the rest of the clip contains noise + audio to clean up, you get separate frequencies so you can subtract them to get the clean audio only. Set the Denoise Power dial in dB and choose the number of reference samples.
For example, if you record a voice with a microphone\protect\footnote{credit fary54}:
\begin{enumerate}
- \item You record 15 seconds of background noise (without talking). This is the \textit{Signal audio clip}.
- \item After 15 seconds, start the voice. This is the whole \textit{Noise Audio clip}
+ \item You record 15 seconds of background (without talking). This is represent the background noise that the filter uses as a reference.
+ \item After 15 seconds, start the voice. This is represents the recording whose filter should remove the background noise.
\item You stop recording.
- \item You place the FFT effect on the whole length of the recording (including the 15 seconds of signal noise).
+ \item You place the FFT effect on the whole length of the recording (including the 15 seconds of background noise).
\item Then place your cursor at the beginning of the 15 seconds. Enter the number of samples in the effect presets, e.g. 65536.
\end{enumerate}
-This has the effect of creating a keyframe that marks the beginning of the reference range which, in our example, ends at 65536 samples later.
+This has the effect of creating a keyframe that marks the beginning of the reference range, mentioned in point 1, which in our example ends at 65536 samples later.
During playback, the background noise is then automatically removed along the entire length of the effect.
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}):
The \textit{Polar} effect bends and warps your video in weird ways. Mathematically, it converts your video from either \textit{polar} coordinates to \textit{rectangular} coordinates, or the reverse. With the Clear buttons we can bring the slider to default values without affecting the other parameters.
+\subsection{Posterize}%
+\label{sub:posterize}
+\index{posterize}
+
+Reduces the color depth so as to decrease the displayed color gradients, up to the bands typical of posterization. It is used by setting the number of \textit{steps} from 0 to 255.
+
\subsection{RGB-601}%
\label{sub:rgb-601}
\index{rgb-601}
\textit{Rate} allows you to choose the type of algorithm to use when switching between the start and end bands. You can reverse the direction with the \textit{Invers} button. The three modes are: \textit{Linear}, \textit{Log} or \textit{Quadratic} (exponential). This is a warping framework plugin based on this article: {\small \url{http://www.vision.huji.ac.il/videowarping/HUJI-CSE-LTR-2005-10_etf-tr.pdf}}
+\subsection{Timelapse Helper}%
+\label{sub:timelapse_helper}
+\index{timelapse helper}
+
+It is used to get a timelapse quickly and easily. It sets the number of frames to be skipped during playback. The default value of \textit{Number of Frames x block} is 10; playback (and rendering) displays frames 1 - 10 - 20 - ... and not the intermediate ones.
+
\subsection{Title}%
\label{sub:title}
\index{title}
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}
projects / goodguy / cin-manual-latex.git / blobdiff