\chapter{Plugins}%
\label{cha:plugins}
-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.
-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 Cinelerra-GG 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.
+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.
+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]
\centering
- \includegraphics[width=1.0\linewidth]{images/video-plugins.png}
+ \includegraphics[width=1.0\linewidth]{video-plugins.png}
\caption{Screencast of the native Video plugins in the default Cinfinity icon set.}
\label{fig:video-plugins}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/audio-plugins.png}
+ \includegraphics[width=0.6\linewidth]{audio-plugins.png}
\caption{Cinfinity2 audio plugins}
\label{fig:audio-plugins}
\end{figure}
\begin{figure}[htpb]
- \centering
+ \centering
\begin{tikzpicture}[scale=1, transform shape]
- \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.5\linewidth]{images/plugin-icons.png}};
+ \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.5\linewidth]{plugin-icons.png}};
\node [yshift=-8mm, xshift=-1cm,anchor=east] at (img1.north west) (Preferences) {Preferences Window};
\node [yshift=-17mm, xshift=-1cm,anchor=east] at (img1.north west) (Tab) {Tab section};
- \node [yshift=-41mm, xshift=-1cm,anchor=east] at (img1.north west) (Icon) {Plugin icon choices};
+ \node [yshift=-41mm, xshift=-1cm,anchor=east] at (img1.north west) (Icon) {Plugin icon choices};
\draw [->, line width=1mm] (Preferences) edge ([yshift=-8mm] img1.north west);
\draw [->, line width=1mm] (Tab) edge ([yshift=-17mm] img1.north west);
- \draw [->, line width=1mm] (Icon) edge ([yshift=-41mm] img1.north west);
- \end{tikzpicture}
+ \draw [->, line width=1mm] (Icon) edge ([yshift=-41mm] img1.north west);
+ \end{tikzpicture}
\caption{Screencast showing the screen to change your plugin icons set}
\label{fig:plugin-icons}
\end{figure}
\begin{wrapfigure}[2]{r}{0.3\linewidth}
\vspace{-3ex}
\centering
- \includegraphics[width=0.7\linewidth]{images/button-options.png}
+ \includegraphics[width=0.7\linewidth]{button-options.png}
\end{wrapfigure}
The rightmost knob is used to Turn Off/Turn 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} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/editing-effects.png}
+ \includegraphics[width=0.9\linewidth]{editing-effects.png}
\caption{Screencast of the native Video plugins in the default Cinfinity icon set.}
\label{fig:editing-effects}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/drag-effect.png}
+ \includegraphics[width=0.7\linewidth]{drag-effect.png}
\caption{Dragging the Color 3 way effect}
\label{fig:drag-effect}
\end{figure}
Shared effects and shared tracks allow very unique things to be done. In the case of a shared effect, the shared effect is treated like a copy of the original effect, except that in the shared effect the GUI can not be brought up. All configuration of the shared effect is determined by the GUI of the original effect and only the GUI of the original effect can be brought up.
-When a shared effect is played back, it is processed just like a normal effect except the configuration is copied from the original effect. Some effects detect when they are being shared. These effects determine what tracks are sharing them and either mix the two tracks together or use one track to stage some value.
+When a shared effect is played back, it is processed just like a normal effect except the configuration is copied from the original effect. Some effects detect when they are being shared. These effects determine what tracks are sharing them and either mix the two tracks together or use one track to stage some value.
-When an original track has a shared track as one of its effects, the shared track itself is used as a \textit{realtime} effect. This is more commonly known as \textit{bouncing tracks} but Cinelerra achieves the same operation by attaching shared tracks. The fade and any effects in the shared track are applied to the original track. Once the shared track has processed the data, the original track performs any effects which come below the shared track and then composites it on the output.
+When an original track has a shared track as one of its effects, the shared track itself is used as a \textit{realtime} effect. This is more commonly known as \textit{bouncing tracks} but \CGG{} achieves the same operation by attaching shared tracks. The fade and any effects in the shared track are applied to the original track. Once the shared track has processed the data, the original track performs any effects which come below the shared track and then composites it on the output.
In order to prevent the shared track from mixing the same data as the original track on the output, enable the output \texttt{mute} toggle in the patchbay next to each track for which you do not want to mix on the output. If you are making a video and you do want the shared track to composite the original track's data on the output a second time, the video from the shared track would always appear under the video from the original track, regardless of whether it was on top of the original track. This is because shared tracks are composited in order of their attachment. Since it is part of the original track it has to be composited before the original track is.
\section{Saved Plugin Presets}%
\label{sec:saved_plugin_preset}
-\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.
+\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.
\begin{wrapfigure}[4]{r}{0.3\linewidth}
\vspace{-2ex}
\centering
- \includegraphics[width=0.7\linewidth]{images/preset.png}
+ \includegraphics[width=0.7\linewidth]{preset.png}
\end{wrapfigure}
Note that using this is directly changing a keyframe object so you will only want to modify parameters you are familiar with. Most of the data is obvious and safe to change.
%\todo{I can't to remedy}%
\begin{figure}[htpb]
- \centering
+ \centering
\begin{tikzpicture}[scale=1, transform shape]
- \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{images/preset02.png}};
+ \node (img1) [yshift=0cm, xshift=0cm, rotate=0] {\includegraphics[width=0.6\linewidth]{preset02.png}};
\node [yshift=-30mm, xshift=-1cm,anchor=east] at (img1.north west) (Green) {A user preset Green};
\node [yshift=-101mm, xshift=-1cm,anchor=south east,text width=10em, inner ysep=-3mm] at (img1.north west) (Textbox) {Textbox to type in the title for the chosen preset or name for a new preset.};
- \node [yshift=-110mm, xshift=-1cm,anchor=north east,text width=10em,inner ysep=-3mm] at (img1.north west) (Save) {Use the Delete, Save or Apply button for operation.};
+ \node [yshift=-110mm, xshift=-1cm,anchor=north east,text width=10em,inner ysep=-3mm] at (img1.north west) (Save) {Use the Delete, Save or Apply button for operation.};
\draw [->, line width=1mm] (Green) edge ([yshift=-30mm] img1.north west);
\draw [->, line width=1mm] (Textbox.south east) -- ([yshift=-101mm] img1.north west);
- \draw [->, line width=1mm] (Save.north east) -- ([yshift=-110mm] img1.north west);
- \end{tikzpicture}
+ \draw [->, line width=1mm] (Save.north east) -- ([yshift=-110mm] img1.north west);
+ \end{tikzpicture}
\caption{Screencast shows 4 Factory presets as preceded by an *.}
\label{fig:preset02}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/info-effect.png}
+ \includegraphics[width=0.7\linewidth]{info-effect.png}
\caption{Effect Info for Color 3 Way}
\label{fig:info-effect}
\end{figure}
\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 Cinelerra 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. 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
- \includegraphics[width=0.6\linewidth]{images/remove-effect.png}
+ \includegraphics[width=0.6\linewidth]{remove-effect.png}
\caption{Remove Deinterlace-CV plugin}
\label{fig:remove-effect}
\end{figure}
\subsection{Updatable Icon Image Support}%
\label{sub:updatable_icon_image_support}
-When running Cinelerra-GG Infinity builtin icons are loaded before the program starts. Png files in the path: \\ \texttt{<target\_directory>picon/picon\_set\_name} \\
-are searched before the images loaded into memory. Override \texttt{icon.png} files must be put into the path: \\ \texttt{<target\_directory>/picon/picon\_set\_name} \\
-There are currently 4 sets of icons and their directory names are \textit{cinfinity} (the default) and \textit{cinfinity2}, \textit{original} (the long-time original set), and \textit{smoother} (generally was in use by some of the themes). An example, to replace the cinfinity icon of Blue Banana with a red apple instead, create your .png file as desired, and replace the file in: \\
+When running \CGG{} Infinity builtin icons are loaded before the
+program starts. Png files in the path:\\
+\texttt{<target\_directory>picon/picon\_set\_name}\\
+are searched before the images loaded into memory. Override
+\texttt{icon.png} files must be put into the path:\\
+\texttt{<target\_directory>/picon/picon\_set\_name}\\
+There are currently 4 sets of icons and their directory names are
+\textit{cinfinity} (the default) and \textit{cinfinity2},
+\textit{original} (the long-time original set), and
+\textit{smoother} (generally was in use by some of the themes). An
+example, to replace the cinfinity icon of Blue Banana with a red
+apple instead, create your \texttt{.png} file as desired, and replace the
+file in:\\
\texttt{<target\_directory>/bin/plugins/picon/cinfinity/bluebanana.png}.
For most User installs, the \texttt{<plugin\_name>.png} file will be located at:
\texttt{<cinlib\_path>/bin/plugins/picon/cinfinity} (or cinfinity2, original or smoother)
-The Cinelerra program looks for a plugin icon in two places:
+The \CGG{} program looks for a plugin icon in two places:
\begin{enumerate}
\item First, it tries to find a png file in \texttt{<cinlib>/plugins/picon/cinfinity}(2) or original, smoother directory.
\item If there is no corresponding \texttt{.png} file for a plugin, the program uses a built-in default:
\begin{itemize}
\item ordinary video plugins use 3 vertical color bars as a default;
- \item ffmpeg plugins use the words \textit{FF} on yellow colored background as a default icon;
- \item audio and ladspa plugins use a green-colored audio wave for a default.
+ \item ffmpeg plugins use the words \textit{FF} on yellow colored background as a default icon;
+ \item audio and ladspa plugins use a green-colored audio wave for a default.
\end{itemize}
\end{enumerate}
-\begin{figure}[htpb]
+\begin{figure}[htpb]
\centering
- \includegraphics[width=0.05\linewidth]{images/audio-default.png}
-\end{figure}
+ \includegraphics[width=0.05\linewidth]{audio-default.png}
+\end{figure}
Keep in mind these points for newly created plugin icons:
\item All included icon images become part of open source, in the public domain, and not proprietary.
\item The preferred format is $52 \times 52$, $8\,bit$ /color RGB or RGBA, non-interlaced.
\item Since plugin icons are used by different themes, it is recommended that a \textit{transparent background} be used. Otherwise some color background that looks good for one theme may not for another.
- \item In order to test a new icon, you have to have write permission in the: \\
- \texttt{<cinlib\_path>/plugins} directory so you may have to become the root user to copy the .png file to the correct location.
+ \item In order to test a new icon, you have to have write permission in the: \\
+ \texttt{<cinlib\_path>/plugins} directory so you may have to become the root user to copy the \texttt{.png} file to the correct location.
\item If there is currently no theme-specific \texttt{.png} files present, it may be necessary to first create the theme directory in \texttt{<cinlib\_path>plugins} as \texttt{<theme\_name>} in order to put the \texttt{.png} files in that subdirectory.
\item Make sure that the \textit{ownership} and file \textit{permissions} match the existing directory and files.
\item All ffmpeg icons must begin with \texttt{ff\_<plugin\_name>.png} (Resources window title will still be F\_\dots)
- \item For ladspa, check in the \texttt{<cin\_config>} directory (\texttt{\$HOME/.bcast5} normally) and look for the text file \texttt{\$HOME/.bcast5/ladspa\_plugins\dots} for the names of the ladspa libraries which correspond to plugin names where the needed name is the basename of the \texttt{.so} file.
+ \item For ladspa, check in the \texttt{<cin\_config>} directory (\texttt{\$HOME/.bcast5} normally) and look for the text file \texttt{\$HOME/.bcast5/ladspa\_plugins\dots} for the names of the ladspa libraries which correspond to plugin names where the needed name is the basename of the \texttt{.so} file.
For example \texttt{pha\-sers\_1217.so} would need to have a \texttt{phasers\_1217.png} file. There may be multiple plugins in a single “so” file which means that you can only have 1 icon to represent all of the plugins in that file; again as in phasers.
- \item Once you have placed the .png file in the correct spot, you will have to restart Cinelerra to test it.
- \item To submit your .png file for inclusion into Cinelerra-GG Infinity for all to enjoy, it is best to upload it to any datafilehost and notify the community via email with any informative documentation.
+ \item Once you have placed the .png file in the correct spot, you will have to restart \CGG{} to test it.
+ \item To submit your \texttt{.png} file for inclusion into \CGG{} Infinity for all to enjoy, it is best to upload it to any datafilehost and notify the community via email with any informative documentation.
\end{itemize}
\subsection{Example of new Plugin Icon Testing}%
\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 Cinelerra and still execute the Blue Banana function.
+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.
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 Cinelerra if original is selected and execute the \textit{F\_loop} function.
+\texttt{<cinlib\_path>/plugins/picon/original}. This icon will show up in \CGG{} if original is selected and execute the \textit{F\_loop} function.
For a ladspa plugin, the text line in \texttt{\$HOME/.bcast5/ladspa\_plugins}$\dots$ as seen below:
2 \texttt{am\_pitchshift\_1433.so} \\
\texttt{AM pitchshifter} $1504922321\, 0\, 1\, 0\, 0\, 1\, 0\, 1\, 0\, 1\, 0\, 0$ indicates that you would create the icon: \\ \texttt{<cinlib\_path>/plugins/picon/cinfinity/am\_pitchshift\_1433.png} \\
For your own personal plugins, you can create a directory on your system and put any plugin png files you like into that directory. For example, if you want a specialized picon for \textit{F\_aeval}, create a picon named \texttt{ff\_aeval.png} in: \\ \texttt{<cinlib\_path>/plugins/picon/yournamehere.}
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
cd <cinlib>/plugins # go to the correct directory
mkdir -p picon/yournamehere # create subdirectory if does not exist
ls -l picon/* # list the picon directories
# check for existence (and permissions)
-cp yourpicon.png ff\_aeval.png # Copy your example .png file
+cp yourpicon.png ff_aeval.png # Copy your example .png file
\end{lstlisting}
Restart cin by changing \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} and in \textit{Plugins icons} choose a directory.
\subsection{Plugins/Effects Visibility}%
\label{sub:plugins_effects_visibility}
-Cinelerra 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 Cinelerra-GG 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{} 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:
\textit{Audio Effects, \quad Video Effects, \quad Audio Transitions, \quad Video Transitions}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/visibility01.png}
+ \includegraphics[width=0.8\linewidth]{visibility01.png}
\caption{Screenshot showing on the left hand side the Visibility box with Audio Effects highlighted.}
\label{fig:visibility01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/visibility02.png}
+ \includegraphics[width=0.6\linewidth]{visibility02.png}
\caption{Screenshot showing the Visibility categories of plugins with all toggled on and audio highlighted.}
\label{fig:visibility02}
\end{figure}
\subsection{Expanders for Plugin Subtrees in the Resources Window}%
\label{sub:expanders_plugin_subtrees}
-To accentuate a set of common plugins, there are \textit{expander} arrows on the left side of the Resources window. You will see these expanders only when in \textit{Display text} mode, not \textit{icon} mode.
-Cinelerra’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.
+To accentuate a set of common plugins, there are \textit{expander} arrows on the left side of the Resources window. You will see these expanders only when in \textit{Display text} mode, not \textit{icon} mode.
+\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:
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
Video Effects
- Color_Correction
Blue Banana
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/expander.png}
+ \includegraphics[width=0.8\linewidth]{expander.png}
\caption{$\bigtriangledown$, $\rhd$ =expander; "-" = options}
\label{fig:expander}
\end{figure}
\subsection{Speed-up of Ffmpeg plugin usage with OPTS files}%
\label{sub:speedup_ffmpeg_plugin_opts}
-You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU. For a specific color-based example, Cinelerra 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:
+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:
\begin{itemize}[noitemsep]
- \item Cinelerra uses \textit{yuv444}
+ \item \CGG{} uses \textit{yuv444}
\item ffmpeg uses \textit{yuv420}
\end{itemize}
-if using an ffmpeg plugin that uses filters and many passes over the data, the amount of data is a big factor. If you load a file in Cinelerra with a
+if using an ffmpeg plugin that uses filters and many passes over the data, the amount of data is a big factor. If you load a file in \CGG{} with a
\texttt{same\_directory\_path\_and\_filename.opts}
file containing the following line, the full scale color modeling upgrade will not be performed until after any plugin, and then the render is faster:
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
video_filter=xxxxxx=threads=8 # where xxxxxx is the desired filter
\end{lstlisting}
When the file loads, however, it will initially take longer because it is running through the video filter. The format \textit{rgb} in ffmpeg uses more cpu time. For comparison, ffmpeg line that might be used:
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
ffmpeg -i /tmp/filename.mpeg -threads 15 -vf format=rgb24,xxxxxxs=threads=8 -acodec ac3 -vcodec libx265 - y /tmp/x.mp4
\end{lstlisting}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/chorus.png}
+ \includegraphics[width=0.5\linewidth]{chorus.png}
\caption{GUI of configuration for Chorus plugin}
\label{fig:chorus}
\end{figure}
\begin{description}
\item[Voices per channel]: number of items we want to put in the effect. Using more than 4 voices creates sound artifacts that lose the feel of a human voice choir, but can still be used as an artificial sound effect.
- \item[Phase offset] (ms): is the constant delay, i.e. the amount of delay of the voices compared to the original signal.
- \item[Depth] (ms): is the oscillating delay, i.e. the delay in the oscillation of the various voices from the original signal.
+ \item[Phase offset] (ms): is the constant delay, i.e.\ the amount of delay of the voices compared to the original signal.
+ \item[Depth] (ms): is the oscillating delay, i.e.\ the delay in the oscillation of the various voices from the original signal.
\item[Rate] (Hz): is the speed at which we apply the oscillating delay. In other words, the speed at which the oscillations occur.
\item[Wetnwss] (db): Indicates how much of the original (dry) signal is taken into account compared to delayed voices.
\end{description}
\subsection{Compressor (Single Band)}%
\label{sub:compressor}
-The audio compressor reduces the dynamic range of the audio, not the amount of data required to store the audio. In Cinelerra the compressor actually performs the function of an expander and compressor of the signal's dynamic range. A third and more sophisticated use serves to highlight the voice with respect to the sound background. It is a multitrack effect and can also be applied as a Shared Effect. (figure~\ref{fig:compressor}).
+The audio compressor reduces the dynamic range of the audio, not the amount of data required to store the audio. In \CGG{} the compressor actually performs the function of an expander and compressor of the signal's dynamic range. A third and more sophisticated use serves to highlight the voice with respect to the sound background. It is a multitrack effect and can also be applied as a Shared Effect. (figure~\ref{fig:compressor}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/compressor.png}
+ \includegraphics[width=0.7\linewidth]{compressor.png}
\caption{GUI of configuration for Compressor plugin}
\label{fig:compressor}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/compressorM.png}
+ \includegraphics[width=0.7\linewidth]{compressorM.png}
\caption{GUI of configuration for Compressor Multi plugin}
\label{fig:compressorM}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.7\linewidth]{images/equalizer.png}
+ \includegraphics[width=0.7\linewidth]{equalizer.png}
\caption{Graphic Equalizer audio plugin}
\label{fig:equalizer}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.4\linewidth]{images/eq_param.png}
+ \includegraphics[width=0.4\linewidth]{eq_param.png}
\caption{Graphic Equalizer audio plugin}
\label{fig:eq_param}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.4\linewidth]{images/echo.png}
+ \includegraphics[width=0.4\linewidth]{echo.png}
\caption{The 3 dials of Echo plugin}
\label{fig:echo}
\end{figure}
\begin{description}
\item[Level] represents the volume adjustment.
- \item[Atten] is attenuation which is a general term that refers to any reduction in the echo reflection. Sometimes called \textit{loss}, attenuation is a natural consequence of signal transmission over long distances.
+ \item[Atten] is attenuation which is a general term that refers to any reduction in the echo reflection. Sometimes called \textit{loss}, attenuation is a natural consequence of signal transmission over long distances.
\item[Offset] is the lag in the attenuated echo signal. Offset means adding a DC level to a signal. It offsets the signal up or down in a DC sense without changing the size of the AC part of the signal. When you add an audio clip to the Timeline, the clip plays back from the beginning of the source audio file. The point in the audio file where the clip starts playing is called the offset. By default, a clip’s offset is zero, the beginning of the source audio file. You can change the offset so that the clip starts playing from a later point in the source audio file.
\end{description}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/echo-cancel.png}
+ \includegraphics[width=0.8\linewidth]{echo-cancel.png}
\caption{GUI for EchoCancel with crosshair and mode set to ON}
\label{fig:echo-cancel}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/flanger.png}
+ \includegraphics[width=0.5\linewidth]{flanger.png}
\caption{GUI of configuration for Flanger plugin}
\label{fig:flanger}
\end{figure}
\begin{description}
\item[Phase Offset]: it is the constant delay. Once set, its value does not change (unless we change it, for example by use of keyframes) for the duration of the effect.
\item[Starting phase] \%: is the point of oscillation where we start the oscillating delay; basically it is the attack value at which the effect starts the calculations. Not to be confused with the point on the timeline where we apply the effect. It only matches this for the 0\% value. The position on the timeline where we want to start the flanger at a given starting phase value can be chosen using keyframes.
- \item[Depth]: It is the oscillating delay. This value determines the amplitude variation of the delayed (wet) signal phase. this oscillation will be maintained for the entire duration of the effect unless we change it.
+ \item[Depth]: It is the oscillating delay. This value determines the amplitude variation of the delayed (wet) signal phase. This oscillation will be maintained for the entire duration of the effect unless we change it.
\item[Rate]: is the speed at which we apply the oscillating delay. Low values indicate a lower oscillation frequency, a high value a rapid succession of oscillations.
\item[Wetness]: indicates how much of the original (dry) signal is taken into account compared to the delayed (wet) signal.
\end{description}
\subsection{Live Audio}%
\label{sub:live_audio}
-The Live Audio effect reads audio directly from the sound card input. It replaces any audio on the track so it is normally applied to an empty track. To use Live Audio, highlight a horizontal region of an audio track or define In and Out points. Then drop the Live Audio effect into it. Create extra tracks and attach shared copies of the first Live Audio effect to the other tracks to have extra channels recorded. Live Audio uses the sound driver selected in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A $\rightarrow$ Audio Out for recording}, but unlike recording it uses the playback buffer size as the recording buffer size and it uses the project sample rate as the sampling rate. These settings are critical since some sound drivers can not record in the same sized buffer they play back in.
+The Live Audio effect reads audio directly from the sound card input. It replaces any audio on the track so it is normally applied to an empty track. To use Live Audio, highlight a horizontal region of an audio track or define In and Out points. Then drop the Live Audio effect into it. Create extra tracks and attach shared copies of the first Live Audio effect to the other tracks to have extra channels recorded. Live Audio uses the sound driver selected in \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Playback A $\rightarrow$ Audio Out for recording}, but unlike recording it uses the playback buffer size as the recording buffer size and it uses the project sample rate as the sampling rate. These settings are critical since some sound drivers can not record in the same sized buffer they play back in.
Live audio has been most reliable when ALSA is the recording driver and the playback fragment size is $2048$. Drop other effects after Live Audio to process sound card input in realtime. With live audio there is no read-ahead, so effects like compressor will either delay if they have read-ahead enabled or playback will under-run. A potential problem is that sometimes the recording clock on the sound card is slightly slower than the playback clock. The recording eventually falls behind and playback sounds choppy. Live Audio does not work in reverse.
\begin{tabular}{l l}
\toprule
Input / output > 1 & fast rate \\
- Input / output < 1 & slow rate \\
+ Input / output < 1 & slow rate \\
\bottomrule
\end{tabular}
\end{center}
\subsection{Reverb}%
\label{sub:reverb}
-Reverb uses reflections of sound to add depth and fullness; the sound will seem to come from a space that can go from a small bare room to large natural valleys, cathedrals, etc. The reverb is made up of a group of echoes that occur at the same time making it feel like a single effect.
+Reverb uses reflections of sound to add depth and fullness; the sound will seem to come from a space that can go from a small bare room to large natural valleys, cathedrals, etc. The reverb is made up of a group of echoes that occur at the same time making it feel like a single effect.
Basically simulates creation of a large number of reflections, like lots of walls, which build up and then decay. You can use the reverb plugin to mix tracks together to simulate ambiance because it is a multitrack effect.
The configuration window (figure~\ref{fig:reverb}) shows a graph of the full band pass filter frequencies.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/reverb.png}
+ \includegraphics[width=0.5\linewidth]{reverb.png}
\caption{GUI of configuration for Reverb plugin}
\label{fig:reverb}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/synthesizer.png}
+ \includegraphics[width=1.0\linewidth]{synthesizer.png}
\caption{GUI for Synthesizer}
\label{fig:synthesizer}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/tremolo.png}
+ \includegraphics[width=0.5\linewidth]{tremolo.png}
\caption{GUI of configuration for Tremolo plugin}
\label{fig:tremolo}
\end{figure}
\label{sec:audio_ladspa_effects}
\settocdepth{section}
-Ladspa effects are supported in realtime and rendered mode for audio. These audio effects are supported since Cinelerra implements the LADSPA interface as accurately as possible. Besides the supplied LADSPA effects\protect\footnote{credit Steve Harris}, additional LADSPA effects can be enabled by setting the \texttt{LADSPA\_PATH} environment variable to the location of your LADSPA plugins:
+Ladspa effects are supported in realtime and rendered mode for audio. These audio effects are supported since \CGG{} implements the LADSPA interface as accurately as possible. Besides the supplied LADSPA effects\protect\footnote{credit Steve Harris}, additional LADSPA effects can be enabled by setting the \texttt{LADSPA\_PATH} environment variable to the location of your LADSPA plugins:
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
export LADSPA_PATH=/usr/lib/ladspa
\end{lstlisting}
\section[Audio LV2 / Calf Plugins]{Audio LV2 / Calf Plugins\protect\footnote{Optional Feature - OS dependent}}%
\label{sec:audio_lv2_calf_plugins}
-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 Cinelerra audio without having to change Cinelerra every time. Because the LV2 plugins are separate from Cinelerra-GG Infinity, if one fails or does not perform as expected, Cinelerra should stay running and you will have to contact the programmers responsible for that plugin for a fix.
+LV2 is an open standard for audio plugins using a simple interface with extensions which add functionality to support audio software. These plugins were written by external developers and provide additional audio effects to \CGG{} audio without having to change \CGG{} every time. Because the LV2 plugins are separate from \CGG{} Infinity, if one fails or does not perform as expected, \CGG{} should stay running and you will have to contact the programmers responsible for that plugin for a fix.
-Typically, a user OS has specialized package groups installed. It is difficult to create one build of Cinelerra 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 Cinelerra without LV2 support by including \texttt{-{}-without-lv2} in the configure step. The default build is \texttt{-{}-with-lv2=yes} and requires that \textit{GTK-2-devel} must be installed or the build will fail and notify you.
+Typically, a user OS has specialized package groups installed. It is difficult to create one build of \CGG{} to accommodate all potential LV2 plugins. Specifically for the \textit{Calf-Studio LV2 plugins}, you should install the \textit{Calf Plugins} package. The user’s computer must have \textit{gtk-2-runtime} installed, which seems to be automatically done already for most distros. For users doing their own builds, you can build \CGG{} without LV2 support by including \texttt{-{}-without-lv2} in the configure step. The default build is \texttt{-{}-with-lv2=yes} and requires that \textit{GTK-2-devel} must be installed or the build will fail and notify you.
-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.
+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.
-Cinelerra’s buffer size setting may cause a delay in activation of the changes you make taking effect, so you can lessen the time by using a small buffer. Notice that $1024$ samples at $48000$ samples per sec is only $\frac{1}{50}^{th}$ a second. This is not a lot of time to shuffle a bunch of stuff. Short buffers produce low latency, but no time for complex programs or lots of stacked effects. Bigger buffers allow for more complex setups.
+\CGG{}’s buffer size setting may cause a delay in activation of the changes you make taking effect, so you can lessen the time by using a small buffer. Notice that $1024$ samples at $48000$ samples per sec is only $\frac{1}{50}^{th}$ a second. This is not a lot of time to shuffle a bunch of stuff. Short buffers produce low latency, but no time for complex programs or lots of stacked effects. Bigger buffers allow for more complex setups.
To set the buffer size:
\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ tab Playback A $\rightarrow$ section Audio Out $\rightarrow$ variable Playback buffer samples}
-However, be forewarned that due to variability in the lv2 plugin programming code, some of the plugins only work with the minimum buffer size of $1024$. In these cases, what you will see is the main track canvas cursor just bounces back and forth over a very small area in the timeline. This does not crash Cinelerra but you will have to remove the plugin to continue working.
-You can specify a certain set of LV2 plugins to use by setting \texttt{LV2\_PATH} as shown below before starting Cinelerra -- include a colon ($:$) separator for multiple paths. The default path for most operating systems is \texttt{/usr/lib64/lv2}. To list the system installed lv2 plugins key in: \texttt{lv2ls}.
+However, be forewarned that due to variability in the lv2 plugin programming code, some of the plugins only work with the minimum buffer size of $1024$. In these cases, what you will see is the main track canvas cursor just bounces back and forth over a very small area in the timeline. This does not crash \CGG{} but you will have to remove the plugin to continue working.
+You can specify a certain set of LV2 plugins to use by setting \texttt{LV2\_PATH} as shown below before starting \CGG{} -- include a colon ($:$) separator for multiple paths. The default path for most operating systems is \texttt{/usr/lib64/lv2}. To list the system installed lv2 plugins key in: \texttt{lv2ls}.
\begin{lstlisting}[numbers=none]
export LV2_PATH=/tmp/j/balance.lv2/usr/local/lib/lv2/:/usr/local/lv2
If there is no default \texttt{LV2\_PATH} set automatically, the value will be \texttt{\$CIN\_DAT/\\lv2}, which is a placeholder only so that no lv2 plugins will be loaded. When there is no system \texttt{LV2\_PATH} set it is important to note, that if you do want lv2 plugins loaded, you must set the correct path in:
-\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Default LV2 $\rightarrow$ direc\-tory
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Default LV2 $\rightarrow$ direc\-tory
path name}
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 in\-dex}
-or else before you bring up Cinelerra, delete \texttt{\$HOME/.bcast5/Cinelerra\_\\plugins} so that the plugins get properly reloaded.
+\texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin in\-dex}
+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:
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/reload.png}
+ \includegraphics[width=0.9\linewidth]{reload.png}
\caption{Reload plugin index in yellow and Auto start lv2 gui unchecked}
\label{fig:reload}
\end{figure}
-There is also a blacklist that prevents known problematic-for-Cinelerra lv2 plugins from loading to avoid crashes. If others are found to have problems, once informed about them, they will be added to this blacklist. In order to determine which lv2 plugin causes a SEGV on Cinelerra startup, you can start from a terminal window and you will see each plugin that is being loaded and the last one shown before the crash is a bad plugin. However, many of the plugins causing a crash are due to not having been compiled on your current system with the current compiler so may actually work correctly on other user systems and so will not be added to the Cinelerra-wide blacklist. You can either recompile the problematic plugin, or modify your own blacklist which you will have to maintain and save so as not to be written over when loading a new build.
+There is also a blacklist that prevents known problematic-for-\CGG{} lv2 plugins from loading to avoid crashes. If others are found to have problems, once informed about them, they will be added to this blacklist. In order to determine which lv2 plugin causes a SEGV on \CGG{} startup, you can start from a terminal window and you will see each plugin that is being loaded and the last one shown before the crash is a bad plugin. However, many of the plugins causing a crash are due to not having been compiled on your current system with the current compiler so may actually work correctly on other user systems and so will not be added to the \CGG{}-wide blacklist. You can either recompile the problematic plugin, or modify your own blacklist which you will have to maintain and save so as not to be written over when loading a new build.
Note the UI button in the upper right hand corner above the Reset button (figure~\ref{fig:calf}). If you click this button, a glitzy interface window comes up (if available) for changing variable values. It is possible that a bug in the LV2 plugin causes the glitzy window to appear as blank and then die, but in that case the original simple text window might still work -- in either case, if the timeline movement hangs, just detach the plugin to continue your current session. There is an environment variable that you can set, \texttt{BC\_TRAP\_LV2\_SEGV}, to get a dump of the failure which may be helpful for debugging.
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/calf.png}
+ \includegraphics[width=1.0\linewidth]{calf.png}
\caption{Screencast of simple text interface in the middle of the screen for a Calf LV2 plugin}
\label{fig:calf}
\end{figure}
-When the glitzy ui is up, the simple text window remains up also since it is the Cinelerra side and keeps track of the value changes so they remain in effect for further usage of the plugin. Changes to one or the other will occur in both with the exception of certain features in the glitzy window which are not communicated correctly back to Cinelerra; for example a reset button -- the simple interface Reset button must be used instead. To change values in the glitzy window you use the mouse and move up or down unlike a knob that turns! (Figure~\ref{fig:calf02})
+When the glitzy ui is up, the simple text window remains up also since it is the \CGG{} side and keeps track of the value changes so they remain in effect for further usage of the plugin. Changes to one or the other will occur in both with the exception of certain features in the glitzy window which are not communicated correctly back to \CGG{}; for example a reset button -- the simple interface Reset button must be used instead. To change values in the glitzy window you use the mouse and move up or down unlike a knob that turns! (Figure~\ref{fig:calf02})
-In order to test a particular plugin without bringing up Cinelerra, especially for ones that do not operate, it is possible to manually display an lv2ui gui with: \\
+In order to test a particular plugin without bringing up \CGG{}, especially for ones that do not operate, it is possible to manually display an lv2ui gui with: \\
\texttt{/cin-path/lv2ui <lv2-uri>} \\
For example:
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
/tmp/cinelerra-5.1/bin/lv2ui http://calf.sourceforge.net/plugins/Flanger
\end{lstlisting}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/calf02.png}
+ \includegraphics[width=0.8\linewidth]{calf02.png}
\caption{Screencast with a Calf plugin glitzy window that appears when clicking the simple interface UI button.}
\label{fig:calf02}
\end{figure}
-\section[Video Effects --- Native]{Video Effects -- Native}}%
+\section[Video Effects --- Native]{Video Effects -- Native}%
\label{sec:video_effects_native}
\settocdepth{subsection}
Automatically scale to a specified size.
-\subsection{Blue Banana\protect\footnote{credit to Monty Montgomery programmer}}%
+\subsection{Blue Banana}%
\label{sub:blue_banana}
-Blue Banana is an \textit{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} (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}).
The basic strategy for BlueBanana is to:
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/bluebanana.png}
+ \includegraphics[width=1.0\linewidth]{bluebanana.png}
\caption{Screencast showing the BlueBanana plugin control}
\label{fig:bluebanana}
\end{figure}
This section is used to select the target color domain. First, a short explanation about alpha. The alpha channel used in BlueBanana is not transparency (\textit{matte}); it is used as the \textit{Selection mask}. Alpha plane is the alpha channel of the current image. So that:
-RGBA = red/green/blue color planes, alpha data plane.
+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.
\begin{description}
\item[Combine Selection] The selection is the intersection or union of two pixel masks. Mathematically, $A$ and $B$ are normalized, (scaled to between $0$ and $1$) and used as selection mask weights.
-
+
$Intersection (\cap) = A\times B$
-
+
$Union (\cup)= A+B-A\times B$
-
+
where $A$ is the input alpha plane as a mask, $1$=selected, $0.4$=partially selected, and $0$=not selected; $B$ is the color selection of trims and feathers made by varying the sliders.
-
+
The result is a new alpha plane, which will be output (if \textit{End Mask} is not set). The $0\dots1$ selection values are used to weight the color transformation filters if/when they are active and operate a change. The color adjustment filters available in Pane \#$2$ can change red, green, blue, and remap hue, saturation, value in the pane. There is also \textit{fade} which applies to the color channels and \textit{alpha} which applies to the resulting alpha plane.
-
+
The basic plan is to either:
-
+
- reduce a selection area by intersection (Combine selection off) $A \times B$
-
+
- increase a selection area by union (Combine selection on) $A+B-A\times B$
\item[Mask Selection] applies the current mask to the selection, such that the mask clips/expands the selection. When mask selection is enabled, the result of the and/or will be stored to the alpha result, but when mask selection is unchecked the mask is ignored and the selection is not modified. The selection is used to weight the effect of the filtering, or to control the output alpha.
\item[End mask] only visible when \textit{Mask Selection} is checked. End Mask causes the entire alpha plane to
\item[End Mask as used in Chroma-key Filtering:] In cases where the selection is for a chroma-key, you are interested in the alpha channel for blending, like \textit{Normal} or \textit{SrcOver}. So for this usage of the BlueBanana, don't check the End Mask.
\end{description}
\item[Invert Selection] reverse target color domain, which is 1 minus selection.
- \item[Mark Selected Areas] when this box is checked, the chosen colors are presented in an animated
+ \item[Mark Selected Areas] when this box is checked, the chosen colors are presented in an animated
diagonally striped pattern.
\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[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.
-
+
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.
\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.
\begin{description}
\item[Filter Active] checkbox to indicate that the modifications will be shown.
\item[Color Adjustment ] For Color Adjustment, RGB can be used as color weights while the HSV can transform color.
- For the following items there are three sections on the slider. The \textit{center} section represents the nominal $0\%-100\%$ range; the \textit{left} section represents negative values, and the \textit{right} section represents values greater than $100\%$. Values can be out-of-range within BlueBanana without clipping, but they will clip once they leave the plugin.
+ For the following items there are three sections on the slider. The \textit{center} section represents the nominal $0\%-100\%$ range; the \textit{left} section represents negative values, and the \textit{right} section represents values greater than $100\%$. Values can be out-of-range within BlueBanana without clipping, but they will clip once they leave the plugin.
\item[RGB] affect the color channels individually.
\begin{description}
\item[Red] modification color; click the Reset button to revert to default. Values are reflected in numerical textboxes on the right-hand side.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/brightness.png}
+ \includegraphics[width=0.6\linewidth]{brightness.png}
\caption{How it works Brightness and Contrast}
\label{fig:brightness}
\end{figure}
\item[Activate processing] when checked, the c41 operation is used to render the image.
\item[Compute negfix values] computes the current negative values of the image (inside the box).
\item[Show active area] draws horizontal and vertical grid lines displaying the boxed area.
- \item[Postprocess] when checked, applies contrast/brightness values as defined in $coef\frac{1}{2}$.
+ \item[Postprocess] when checked, applies contrast/brightness values as defined in $coef\frac{1}{2}$.
\end{description}
\paragraph{Values:}
\begin{description}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/c41.png}
+ \includegraphics[width=0.9\linewidth]{c41.png}
\caption{C41 - Control window and compositor window in action}
\label{fig:c41}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/chroma-key.png}
+ \includegraphics[width=0.5\linewidth]{chroma-key.png}
\caption{Chroma Key control window}
\label{fig:chroma-key}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.55\linewidth]{images/chroma-key-hsv.png}
+ \includegraphics[width=0.55\linewidth]{chroma-key-hsv.png}
\caption{Keying a green screen with Chroma Key (HSV)}
\label{fig:chroma-key-hsv}
\end{figure}
\item[Saturation:] Increase \textit{Min Saturation} so that only the background is masked out, and not parts of the foreground. \textit{Saturation Offset} can be used to change this, but for now leave it set to $0$.
\end{description}
-Check what it looks like at this stage, your mask should be pretty clean. Toggle \textit{Show Mask} to check what it looks like, it should be OK. If not, repeat steps $1 to 4$ to get a better key. The rest of the controls are useful to smear the mask to help compositing later on. They will help you to make your key look much cleaner.
+Check what it looks like at this stage, your mask should be pretty
+clean. Toggle \textit{Show Mask} to check what it looks like, it
+should be OK\@. If not, repeat steps $1 to 4$ to get a better
+key. The rest of the controls are useful to smear the mask to help
+compositing later on. They will help you to make your key look much
+cleaner.
\begin{description}
\item[Slope:] For now, the mask is a full on/ full off mask that can be really harsh and not necessarily what you are looking for. \textit{In Slope} and \textit{Out Slope} will help you to smooth that key. In Slope leaves more colors in the mask, Out Slope takes more colors out of the mask. The colors that are borderline in the mask will see their alpha channel reduced by half instead of being completely on or off.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/color3way.png}
+ \includegraphics[width=0.8\linewidth]{color3way.png}
\caption{Color 3 Way control window}
\label{fig:color3way}
\end{figure}
\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}
-This plugin allows maximum control over the result and maximum precision of adjustments when used simultaneously with the control monitors, i.e. \textit{Waveform}, \textit{RGB Parade} and \textit{Vectorscope}. It is important to keep in mind that the three zones are not clearly separated, but slightly overlapping. This results in less precision but looks better for more smooth shades. By varying the values on the color wheels all RGB channels are affected simultaneously, which can result in unwanted color dominance. Saturation is also affected and must therefore be monitored.
+This plugin allows maximum control over the result and maximum precision of adjustments when used simultaneously with the control monitors, i.e.\ \textit{Waveform}, \textit{RGB Parade} and \textit{Vectorscope}. It is important to keep in mind that the three zones are not clearly separated, but slightly overlapping. This results in less precision but looks better for more smooth shades. By varying the values on the color wheels all RGB channels are affected simultaneously, which can result in unwanted color dominance. Saturation is also affected and must therefore be monitored.
To use more precisely, drag the \textit{crosshair} with the mouse in the desired area and then adjust in steps of $0.001$ using the up/down and right/left arrows on the keyboard.
The most common use cases (but can be adapted to virtually any situation) of the plugin are:
\item White balancing.
\item Expand/compress contrast.
\item Mitigate under and over exposure.
- \item Balance colors, i.e. eliminate color dominance.
+ \item Balance colors, i.e.\ eliminate color dominance.
\item Color matching Shot to Shot.
\item Create a Stylized look.
\end{itemize}
\label{sub:color_space}
This plugin is a tool that can be used to convert your input media, such as a recording from your camera,
-from one color space/range to another. It works for both RGB and YUV as set by your project format.
-Options are BT601, BT709, or BT2020 for Color Space input and output and JPEG or MPEG for Color Range
+from one color space/range to another. It works for both RGB and YUV as set by your project format.
+Options are BT601, BT709, or BT2020 for Color Space input and output and JPEG or MPEG for Color Range
input and output. The Inverse option checkbox is available in case your media was rendered in the wrong
color space or range so that you can fix it.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.45\linewidth]{images/colorspace.png}
+ \includegraphics[width=0.45\linewidth]{colorspace.png}
\caption{ColorSpace control window}
\label{fig:colorspace}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/crikey.png}
+ \includegraphics[width=0.5\linewidth]{crikey.png}
\caption{three active point created in CriKey}
\label{fig:crikey}
\end{figure}
\item[Threshold:] slider goes from $0\, to\, 1$. Increasing the threshold, increases the area to be filled or masked. You can also use the mouse wheel to scroll the slider.
\item[Drag:] for ease of use.
\item[Reset:] button to revert to only the default middle point with all others being deleted.
- \item[ListBox:] "E" for Enabled with $*$ marking that; "X" is the point’s $x$ coordinate; "Y" is the point’s $y$ coordinate; "T" is the threshold value of $X,Y$ point; \textit{Tag} represents the \# of the selected
+ \item[ListBox:] "E" for Enabled with $*$ marking that; "X" is the point’s $x$ coordinate; "Y" is the point’s $y$ coordinate; "T" is the threshold value of $X,Y$ point; \textit{Tag} represents the \# of the selected
point.
\item[Hints:] for usage shortcuts.
\end{description}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/crikey01.png}
+ \includegraphics[width=0.8\linewidth]{crikey01.png}
\caption{The screenshot shows the compositor with some default settings in the controls window.}
\label{fig:crikey01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/crikey02.png}
+ \includegraphics[width=0.8\linewidth]{crikey02.png}
\caption{same screenshot with moving Threshold}
\label{fig:crikey02}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/crop_position.png}
+ \includegraphics[width=1.0\linewidth]{crop_position.png}
\caption{Crop tool and Crop \& Position plugin compared}
\label{fig:crop_position}
\end{figure}
\subsection{DeScratch}%
\label{sub:descratch}
-The descratch video plugin can be used to remove vertical scratches from film. It can also be used, after image rotation, to remove horizontal noise lines that may appear on analog \textit{VHS} captures. For best results \textit{YUV} should be the video format; however if your format is \textit{RGB}, it will first be converted to YUV. There are many tuneable parameters necessary to get good results for your specific film.
+The descratch video plugin can be used to remove vertical scratches
+from film. It can also be used, after image rotation, to remove
+horizontal noise lines that may appear on analog \textit{VHS}
+captures. For best results \textit{YUV} should be the video format;
+however if your format is \textit{RGB}, it will first be converted
+to YUV\@. There are many tuneable parameters necessary to get good
+results for your specific film.
Figure~\ref{fig:descratch01} shows a list of the parameter descriptions:
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/descratch01.png}
+ \includegraphics[width=0.6\linewidth]{descratch01.png}
\caption{DeScratch control window}
\label{fig:descratch01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/descratch02.png}
+ \includegraphics[width=0.8\linewidth]{descratch02.png}
\caption{Various parameters of DeScratch}
\label{fig:descratch02}
\end{figure}
\item[asymmetry] maximum asymmetry of surrounding
pixels.
\item[Mode] \textit{None}; \textit{Low}=black; \textit{High}=white; \textit{All}=both;
- \textit{y} -- processing mode for \textit{luma} plane;
+ \textit{y} -- processing mode for \textit{luma} plane;
\textit{u}-- processing mode for \textit{chroma u} plane;
\textit{v} -- processing mode for \textit{chroma v} plane.
\item[width min/max] minimal scratch width in pixels and maximum scratch width in pixels.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/descratch.png}
+ \includegraphics[width=0.9\linewidth]{descratch.png}
\caption{Original video with scratch; Option Mark selected and Final video}
\label{fig:descratch}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/deinterlace.png}
+ \includegraphics[width=0.6\linewidth]{deinterlace.png}
\caption{Pulldown menu}
\label{fig:deinterlace}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.4\linewidth]{images/denoise.png}
+ \includegraphics[width=0.4\linewidth]{denoise.png}
\caption{Control window of the DeNoise plugin}
\label{fig:denoise}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/diff-key.png}
+ \includegraphics[width=0.8\linewidth]{diff-key.png}
\caption{Difference key and its problematic output}
\label{fig:diff-key}
\end{figure}
\subsubsection*{Theory behind the Frames to Fields and Fields to Frames plugins}
\label{ssub:theory_frames_fields}
-Historically, CRT-type TVs used interlaced signals to save bandwidth. An interlaced video consists of two \textit{fields} that are read and drawn on the screen one after the other. Each field must be played at a framerate double that of the resulting video. In two steps the complete frame will be reconstructed.
+Historically, CRT-type TVs used interlaced signals to save bandwidth. An interlaced video consists of two \textit{fields} that are read and drawn on the screen one after the other. Each field must be played at a framerate double that of the resulting video. In two steps the complete frame will be reconstructed.
-frame 1 $\implies$ F1-field1 (\textit{Top} or \textit{Odd}), F1-field2 (\textit{Bottom} or \textit{Even})
+Frame 1 $\implies$ F1-field1 (\textit{Top} or \textit{Odd}), F1-field2 (\textit{Bottom} or \textit{Even})
-frame 2 $\implies$ F2-field1, F2-field2
+Frame 2 $\implies$ F2-field1, F2-field2
Interlaced video reading: $F1-f1$ then $F1-f2$ then $F2-f1$ then $F2-f2$ \dots
There may be visual problems if the Top type interlacing is read according to a Bottom scheme. So it's important to know if a video is Top or Bottom. Generally an \textit{HD} video is Top; a \textit{DV} video (both PAL and NTSC) is Bottom; \textit{SD} (PAL) is Top; \textit{SD} (NTSC) is Bottom (but not always). Instead, high-definition videos need to be more compressed and this contrasts with the interlacing that is little and badly compressible, so modern videos are mostly \textit{progressive}.
-\subsubsection*{In Cinelerra-GG}
+\subsubsection*{In \CGG{}}
\label{ssub:in_cin_gg}
\begin{enumerate}
\item upload an interlaced video to the Timeline and Resources and play it for viewing.
\item The video presents visual artifacts because PC monitors are progressive.
- \item In the Resources window, open the media \textit{Info} with the right mouse button. Below you can see that the \textit{asset's interlacing} is active. It has four options for settings interlacing type: \textit{Unknown}, \textit{Top Fields first}, \textit{Bottom Fields first}, and \textit{Not interlaced}. If the file is (H)DV type, recognition and configuration is done automatically. All other media types will be set \textit{unknown}. We need to set the type of interlacing, so we have to manually set the interlacing.
+ \item In the Resources window, open the media \textit{Info} with the right mouse button. Below you can see that the \textit{asset's interlacing} is active. It has four options for settings interlacing type: \textit{Unknown}, \textit{Top Fields first}, \textit{Bottom Fields first}, and \textit{Not interlaced}. If the file is (H)DV type, recognition and configuration is done automatically. All other media types will be set \textit{unknown}. We need to set the type of interlacing, so we have to manually set the interlacing.
\item Now we can to use the \textit{Frames to Fields} plugin, but we have to configure it and act manually.
\end{enumerate}
\label{ssub:processing_interlace_footage}
\begin{enumerate}
- \item Create a new project with doubled frame rate. That is, make it $50\,fps$ if your source footage is $25i$.
+ \item Create a new project with doubled frame rate. That is, make it $50\,fps$ if your source footage is $25i$.
In \texttt{Resources $\rightarrow$ Media $\rightarrow$ Info} set the interlaced type (or unknown)
- \item Insert your source footage onto a video track in the timeline. Now, Cinelerra will playback each
+ \item Insert your source footage onto a video track in the timeline. Now, \CGG{} will playback each
frame of your footage twice. There will be visual artifacts because the video is interlaced and the
monitor is progressive.
\item Apply the \textit{Frames to Fields} effect. Be sure to choose the correct field order. If we know or believe that the original video is \textit{Top First} let's try it first, but it doesn't have to be the right solution. The only way is to playback and look for visual artifacts.
\item Render your project to an intermediate clip. Be sure to choose a rather lossless video codec, for
example \textit{Motion-JPEG-A} or even \textit{uncompressed YUV} if you have plenty of storage.
\item Insert the intermediate clip into your original project. Make sure the doubled framerate has been
- detected correctly by Cinelerra (by looking in the clip's media \textit{info} in the media resources folder).
+ detected correctly by \CGG{} (by looking in the clip's media \textit{info} in the media resources folder).
\item Apply the \textit{Fields to frames} effect to the intermediate clip. This will combine two adjacent fields
into one interlaced field with the original frame rate.
\item Do the final render on your original project. Now there will be no visual artifacts on the monitor.
\subsection{Gamma}%
\label{sub:gamma}
-\textit{Log} camera images store colors in a $logarithmic$ scale. The blacks in these images are nearly $0$ and the whites are supposed to be infinity. The graphics card and most video codecs store colors in a $linear$ scale but Cinelerra keeps log camera images in their original logarithmic scale when it renders them. This is necessary because the raw image parser can not always decode the proper gamma ($\gamma$) values for the images. It also does its processing in $16\,bit$ integers, which takes away a lot of information.
-
-Mathematically, the gamma function is exponential ($output = input^{\gamma}$) and therefore the inverse of the logarithmic function [$output = \log(input)$]. Actually the formula used by the Cinelerra-gg 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 \textit{gamma value} and a \textit{maximum value}. The gamma value 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 $1.0$ 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 adjustment is done (see figure~\ref{fig:gamma01}). It is important to adjust the two parameters accurately in order to avoid undesired and unexpected effects, such as excessive values, unbalanced image, incorrect linearization, etc.
+\textit{Log} camera images store colors in a $logarithmic$ scale. The blacks in these images are nearly $0$ and the whites are supposed to be infinity. The graphics card and most video codecs store colors in a $linear$ scale but \CGG{} keeps log camera images in their original logarithmic scale when it renders them. This is necessary because the raw image parser can not always decode the proper gamma ($\gamma$) values for the images. It also does its processing in $16\,bit$ integers, which takes away a lot of information.
+
+Mathematically, the gamma function is exponential
+($output = input^{\gamma}$) and therefore the inverse of the
+logarithmic function [$output = \log(input)$]. 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
+\textit{gamma value} and a \textit{maximum value}. The gamma value
+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
+$1.0$ 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
+adjustment is done (see figure~\ref{fig:gamma01}). It is important
+to adjust the two parameters accurately in order to avoid undesired
+and unexpected effects, such as excessive values, unbalanced image,
+incorrect linearization, etc.
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/gamma01.png}
+ \includegraphics[width=1.0\linewidth]{gamma01.png}
\caption{settting \textit{Maximun} to $0.5900$}
\label{fig:gamma01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=1.0\linewidth]{images/gamma02.png}
+ \includegraphics[width=1.0\linewidth]{gamma02.png}
\caption{Setting \textit{Maximun} to $0.6100$ and \textit{Gamma} to $0.3300$}
\label{fig:gamma02}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/histeq.png}
+ \includegraphics[width=0.8\linewidth]{histeq.png}
\caption{Control window and split screen}
\label{fig:histeq}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/histogram.png}
+ \includegraphics[width=0.8\linewidth]{histogram.png}
\caption{Master Histogram and RGB Histogram}
\label{fig:histogram}
-\end{figure}
+\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. 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.
-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.
+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.
-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.
+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.
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.
+\textit{Split output} is a checkbox that enables a diagonal split showing in the compositor.
\textit{Reset} returns the four curves to their initial state (neutral) as well as the Value/RGB histogram buttons.
\subsection{Histogram Bezier / Curves}%
\label{sub:histogram_bezier_curves}
-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. 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 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}).
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/bezier.png}
+ \includegraphics[width=0.8\linewidth]{bezier.png}
\caption{Histogram Bezier / Curves}
\label{fig:bezier}
\end{figure}
\item \textit{Interpolation:} type of algorithm for the parametric curves; linear, polynomial and Bezier.
\end{itemize}
-Curves are used by introducing \textit{control points} simply with the left mouse button and adjusting the value by dragging and dropping. If you drag along the horizontal line only, you change the value of $x$ and you can read this value in the input $x$ textbox. If you drag along the vertical line only, you change the value of $y$ and you can read the value in the input $y$ textbox. This is the output value. The newly clicked control point becomes active and is full green in color. To delete a point we have to make it active and then press the Del key, or we can drag the point beyond the position of another control point to its right or left or, finally, pressing RMB. The control points corresponding to the black point and the white point are automatically created from the beginning, to fix their values and prevent clipping.
+Curves are used by introducing \textit{control points} simply with
+the left mouse button and adjusting the value by dragging and
+dropping. If you drag along the horizontal line only, you change the
+value of $x$ and you can read this value in the input $x$
+textbox. If you drag along the vertical line only, you change the
+value of $y$ and you can read the value in the input $y$
+textbox. This is the output value. The newly clicked control point
+becomes active and is full green in color. To delete a point we have
+to make it active and then press the Del key, or we can drag the
+point beyond the position of another control point to its right or
+left or, finally, pressing RMB\@. The control points corresponding to
+the black point and the white point are automatically created from
+the beginning, to fix their values and prevent clipping.
Curves are generally adjusted by introducing several control points, some to be kept fixed (as anchors) to prevent curve modification beyond them, and others to be dragged to make the desired correction. The power of the curves lies in being able to circumscribe a small interval at will and intervene only on this without involving the remaining parts of the frame. The precision with which you can work is such that you can almost arrive at a secondary color correction.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.75\linewidth]{images/ex-bezier.png}
+ \includegraphics[width=0.75\linewidth]{ex-bezier.png}
\caption{Gain Up/Down; clamp; S-Shaped curve and Luma Key}
\label{fig:ex-bezier}
\end{figure}
Some examples of the use of curves to demonstrate the variety of possible interventions (figure~\ref{fig:ex-bezier}):
\begin{itemize}
- \item Scale the image values by increasing the white point or decreasing the white point (gain up and gain down).
+ \item Scale the image values by increasing the white point or decreasing the white point (gain up and gain down).
You can decide the scaling value with the formula: $(Input \div Output) = Scale Factor$
\item Limit a value beyond a certain point of brightness (clamp to the value $0.587$ in the figure).
- \item S-shaped curve to increase contrast without changing the black and white point (i.e. without \textit{clipping}).
+ \item S-shaped curve to increase contrast without changing the black and white point (i.e.\ without \textit{clipping}).
\item Make a real \textit{Luma Key} by bringing a certain value of gray to $100\%$ (white) and lowering everything else to $0\%$ (black). The slope of the two sides indicates how much we want to fade the edges of the matte obtained.
\end{itemize}
\subsection{HolographicTV}%
\label{sub: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}).
+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}).
This effect originated from {\small \url{https://effectv.com}}.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/holographictv.png}
+ \includegraphics[width=0.8\linewidth]{holographictv.png}
\caption{Holographic messages in CinGG!}
\label{fig:holographictv}
\end{figure}
\subsection{Inverse Telecine}%
\label{sub:inverse_telecine}
-This is the most effective deinterlacing tool when the footage is a video transfer of a film. This can be used to solve the problem, i.e., undo the damage caused by making film into a TV broadcast.
-That process came about because film is at 24\,\emph{fps} while TV is at 29.97\,\emph{fps} and fields are at 60.
-So the film was converted from 24\,\emph{fps} to 60\,\emph{fps}.
-Roughly speaking, converting every 4 frames into 5 frames plus a slight slow down in speed.
-Then the 60\,\emph{fps} was down-sampled to 30\,\emph{fps} by extracting odd and even lines and interlacing the lines.
+This is the most effective deinterlacing tool when the footage is a video transfer of a film. This can be used to solve the problem, i.e., undo the damage caused by making film into a TV broadcast.
+That process came about because film is at 24\,\emph{fps} while TV is at 29.97\,\emph{fps} and fields are at 60.
+So the film was converted from 24\,\emph{fps} to 60\,\emph{fps}.
+Roughly speaking, converting every 4 frames into 5 frames plus a slight slow down in speed.
+Then the 60\,\emph{fps} was down-sampled to 30\,\emph{fps} by extracting odd and even lines and interlacing the lines.
This process is referred to as \textit{three-two pull down} ($3:2$ pull down) in filmmaking and television production for the post production process of transferring film to video.
The three-two pull down is where the telecine adds a third video field (a half frame) to every second video frame, but the untrained eye cannot see the addition of this extra video field.
-The \texttt{IVTC} effect is primarily a way to convert \textit{interlaced} video to \textit{progressive} video.
+The \texttt{IVTC} effect is primarily a way to convert \textit{interlaced} video to \textit{progressive} video.
It reverses the effect of three patterns of interlacing. In the next lines \texttt{A}, \texttt{B}, and \texttt{C} represent fields.
\texttt{A AB BC CD D}
-
-\texttt{AB CD CD DE EF}
+
+\texttt{AB CD CD DE EF}
\texttt{Automatic}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/linear.png}
+ \includegraphics[width=0.8\linewidth]{linear.png}
\caption{For clarity of presentation only 2 fields are shown}
\label{fig:linear}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/motion51.png}
+ \includegraphics[width=0.9\linewidth]{motion51.png}
\caption{Motion51 plugin window with its default options set.}
\label{fig:motion51}
\end{figure}
\begin{description}
\item[Track translation] Enables translation operations. The motion tracker tracks $X$ and $Y$ motion in the master layer and adjusts $X$ and $Y$ motion in the target layer.
-
+
\item[Translation block size] For the translation operations, a block is compared to a number of neighboring blocks to find the one with the least difference. The size of the Match Box to search for is given by this parameter.
\item[Translation search radius] The size of the area to scan for the translation block.
\item[Translation search steps] Ideally the search operation would compare the translation block with every other pixel in the translation search radius. To speed this operation up, a subset of the total positions is searched. Then the search area is narrowed and re-scanned by the same number of search steps until the motion is known to $\frac{1}{4}$ pixel accuracy.
\label{ssub:tips}
\begin{enumerate}
- \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 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 You can try tracking using reverse playback of the track. Sometimes it may lead to a better calculation.
\end{enumerate}
\subsection{MotionCV}%
\label{sub:motioncv}
-Motion tracking/stabilization from the community version of Cinelerra. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
+Motion tracking/stabilization from the community version of \CGG{}. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
\subsection{MotionHV}%
\label{sub:motionhv}
-Updated motion tracking/stabilization of 2017 from the original author of Cinelerra. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
+Updated motion tracking/stabilization of 2017 from the original author of \CGG{}. For theory and explanations refer to the \hyperref[sub:motion]{Motion} plugin.
\subsection{Oil painting}%
\label{sub:oil_painting}
\subsection{Overlay}%
\label{sub:overlay}
-This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by Cinelerra GG Infinity 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 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.
-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:
+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:
\begin{enumerate}
\item Add the effect to Track A.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.5\linewidth]{images/perspective.png}
+ \includegraphics[width=0.5\linewidth]{perspective.png}
\caption{perspective control window}
\label{fig:perspective}
\end{figure}
\item[Default] if OpenGL is being used with your graphics card, this will be the option in effect. If no OpenGL, then it will be Cubic.
\item[Nearest] using software, nearest neighbor can look step-py.
\item[Linear] software implementation of a linear algorithm.
- \item[Cubic] smoothest looking on the
+ \item[Cubic] smoothest looking on the
edges and considered the best.
\end{description}
Key Presses for using the Perspective plugin:
-\begin{tabular}{l l}
+\begin{tabular}{l l}
\toprule
Left mouse button & drags the corner that is closest to current location \\
Alt key + left mouse & translates the perspective; drags the whole image \\
Note that the red color lines in the box show the composer boundary.
-In order to see endpoints that go off the screen, you can use the zoom slider which changes only the zoom view and does nothing else. The slider uses a logarithmic scale ranging from $\frac{1}{100} to 100$.
+In order to see endpoints that go off the screen, you can use the zoom slider which changes only the zoom view and does nothing else. The slider uses a logarithmic scale ranging from $\frac{1}{100} to 100$.
Figure~\ref{fig:perspective01} show the results of the 4 different smoothing options.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/perspective01.png}
+ \includegraphics[width=0.8\linewidth]{perspective01.png}
\caption{Clockwise: Nearest; Linear; OpenGL and Cubic}
\label{fig:perspective01}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/rgbshift.png}
+ \includegraphics[width=0.8\linewidth]{rgbshift.png}
\caption{Bad Misaligned color and after color aligned}
\label{fig:rgbshift}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/radial.png}
+ \includegraphics[width=0.8\linewidth]{radial.png}
\caption{For clarity of presentation only 2 fields are shown}
\label{fig:radial}
\end{figure}
\subsection{ReframeRT}%
\label{sub:reframert}
-ReframeRT changes the number of frames in a sequence of video directly from the timeline. The faster method for getting the same results as this plugin is to use the \textit{speed curve} which was a later addition. But if you need very precise results, \textit{ReframeRT} is most useful. There are two ways to do this, which can be selected from the checkboxes in the configuration GUI. The first \textit{Stretch} mode changes the number of frames in the sequence, and therefore its length, but not the framerate. The \textit{Downsample} mode instead keeps the length of the movie by 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.
+ReframeRT changes the number of frames in a sequence of video
+directly from the timeline. The faster method for getting the same
+results as this plugin is to use the \textit{speed curve} which was
+a later addition. But if you need very precise results,
+\textit{ReframeRT} is most useful. There are two ways to do this,
+which can be selected from the checkboxes in the configuration
+GUI\@. The first \textit{Stretch} mode changes the number of frames in
+the sequence, and therefore its length, but not the framerate. The
+\textit{Downsample} mode instead keeps the length of the movie by
+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.
\subsubsection*{Stretch}%
\label{ssub:stretch}
The stretch mode has the effect of changing the length of output video by the inverse of the scale factor. If the scale factor is greater than $1$, the output will end before the end of the sequence on the timeline. If it is less than $1$, the output will end after the end of the sequence on the timeline. The ReframeRT effect must be lengthened to the necessary length to accommodate the scale factor. Change the length of the effect by clicking on the endpoint of the effect and dragging.
-Although stretch mode changes the number of the frames read from its input, it does not change the framerate of the input. Effects before ReframeRT assume the same frame rate as ReframeRT.
-In stretch mode to create a fast play effect enter a value greater than $1$ to get accelerated playback.
-For a slow motion effect, use ReframeRT in stretch mode with a value less than $1$.
+Although stretch mode changes the number of the frames read from its
+input, it does not change the framerate of the input. Effects before
+ReframeRT assume the same frame rate as ReframeRT\@. In stretch
+mode to create a fast play effect enter a value greater than $1$ to
+get accelerated playback. For a slow motion effect, use ReframeRT
+in stretch mode with a value less than $1$.
\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.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.45\linewidth]{images/rumbler.png}
+ \includegraphics[width=0.45\linewidth]{rumbler.png}
\caption{Rumbler control window}
\label{fig:rumbler}
\end{figure}
\subsection{SVG via Inkscape}%
\label{sub:svg_via_inkscape}
-This plugin allows the user to manipulate an SVG (scalable vector graphics) image with \textit{Inkscape} without having to leave the program. The associated Cinelerra window provides the ability to change the DPI, the Out $x/y$ coordinates, and the Out w/h values. For more information on use of inkscape, refer to: {\small \url{https://inkscape.org/develop/about-svg/}}
+This plugin allows the user to manipulate an SVG (scalable vector graphics) image with \textit{Inkscape} without having to leave the program. The associated \CGG{} window provides the ability to change the DPI, the Out $x/y$ coordinates, and the Out w/h values. For more information on use of inkscape, refer to: {\small \url{https://inkscape.org/develop/about-svg/}}
\begin{description}
\item[DPI] is Dots per inch and it represents the resolution of the SVG image. Since the image is scaled with interpolation mode linear, the edges will look blurry when the input resolution is lower than the output resolution. You can either set the desired \textit{DPI value} in the window or use the tumbler on the integer text box, then use the \textit{update dpi} button to have the change take effect. Changing DPI causes the entire image to be re-exported via inkscape. DPI changes cause adjustments in the resolution, speed of re-import, and storage needed for the image data.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=1.0\linewidth]{images/svg.png}
+ \includegraphics[width=1.0\linewidth]{svg.png}
\caption{Control window and Inkscape}
\label{fig:svg}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.5\linewidth]{images/scaleratio.png}
+ \includegraphics[width=0.5\linewidth]{scaleratio.png}
\caption{Many parameters of scale ratio}
\label{fig:scaleratio}
\end{figure}
This plugin is designed to smooth out non-moving areas of a video clip (figure~\ref{fig:staveraging}).
\vspace{2ex}
-\begin{wrapfigure}[20]{O}{0.4\linewidth}
+\begin{wrapfigure}[20]{O}{0.4\linewidth}
% \vspace{-4ex}
- \includegraphics[width=0.9\linewidth]{images/staveraging.png}
+ \includegraphics[width=0.9\linewidth]{staveraging.png}
\caption{STA control window}
\label{fig:staveraging}
\end{wrapfigure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=1.0\linewidth]{images/sketcher.png}
+ \includegraphics[width=1.0\linewidth]{sketcher.png}
\caption{Sketcher control window and sketch on Compositor}
\label{fig:sketcher}
\end{figure}
If the drag button flickers when clicked then another window has drag focus. Un-focus it first.
Turn drag off to see what the sketcher figure will look like when rendered.
-Curves can be any number of points or just a single point.
-You must create a \textit{new} curve if you want a new string of points not connected to the current curve.
-Highlight the curve $id\,\#$ for a specific curve to modify its values.
-{Left mouse click or right mouse click on an existing point on the highlighted line/curve $id\,\#$ will automatically highlight the selected point in the Point section of the gui and turn red in the image. We can drag this point to the desired position using CTRL + LMB; or we can translate the entire selected curve using CTRL + RMB.
-
-With the mouse wheel we can rotate our curves; the center of rotation is given by the position of the cursor. Normally the scroll is slow to be more precise. If you make a fast scroll you have an acceleration that allows you to make complete rotations in a short time. Using the mouse wheel with the SHIFT key we can instead scale the size of the curve; the fixed scaling point is still given by the mouse position.
+Curves can be any number of points or just a single point. You must
+create a \textit{new} curve if you want a new string of points not
+connected to the current curve. Highlight the curve $id\,\#$ for a
+specific curve to modify its values.
+%
+Left mouse click or right mouse click on an existing point on the
+highlighted line/curve $id\,\#$ will automatically highlight the
+selected point in the Point section of the gui and turn red in the
+image. We can drag this point to the desired position using
+\texttt{CTRL + LMB}; or we can translate the entire selected curve
+using \texttt{CTRL + RMB}.
+
+With the mouse wheel we can rotate our curves; the center of rotation is given by the position of the cursor. Normally the scroll is slow to be more precise. If you make a fast scroll you have an acceleration that allows you to make complete rotations in a short time. Using the mouse wheel with the SHIFT key we can instead scale the size of the curve; the fixed scaling point is still given by the mouse position.
There will always be $1$ empty curve automatically defined when you start or even reset.
You can not delete the empty default curve but you can use it for a curve.
\small
\begin{longtable}{{m{15em}m{13em}m{12em}}}
\caption{Sketcher controls}
- \label{tabular:sketcher controls} \\ % note that double backslash is mandatory here
- \toprule
+ \label{tabular:sketcher_controls} \\ % note that double backslash is mandatory here
+ \toprule
\textbf{Compositor: Mouse usage} &
\textbf{Compositor: Action} &
\textbf{Plugin GUI}\\\midrule
delete key+shift &
deletes highlighted curves &
Del button in Curve section \\
- \bottomrule
+ \bottomrule
\end{longtable}
\end{center}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.35\linewidth]{images/timeaverage.png}
+ \includegraphics[width=0.35\linewidth]{timeaverage.png}
\caption{GUI for Time Average}
\label{fig:timeaverage}
\end{figure}
\label{sub:timefront}
Space-temporal warping enables time to flow differently at different locations in the video (figure~\ref{fig:timefront}).
-\begin{wrapfigure}[13]{O}{0.3\linewidth}
+\begin{wrapfigure}[13]{O}{0.3\linewidth}
\vspace{-2ex}
- \includegraphics[width=0.8\linewidth]{images/timefront.png}
+ \includegraphics[width=0.8\linewidth]{timefront.png}
\caption{Temporal bands for Timefront}
\label{fig:timefront}
\end{wrapfigure}
\subsection{Title}%
\label{sub:title}
-The \textit{Titler} allows you to add text from within Cinelerra GG. The titler has standard options for font, size, and style plus many options as described next (figure~\ref{fig:title01}).
+The \textit{Titler} allows you to add text from within \CGG{}. The titler has standard options for font, size, and style plus many options as described next (figure~\ref{fig:title01}).
\begin{description}
\item[Justify] justifies the text relative to the entire frame. Once justified, the $X$ and $Y\, offset$ is applied. This allows text to be justified while at the same time letting you push it within the title safe region.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{images/title01.png}
+ \includegraphics[width=0.9\linewidth]{title01.png}
\caption{GUI of the Title plugin}
\label{fig:title01}
\end{figure}
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}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
# /usr/lib/cinelerra/fonts
ttmkfdir && mv fonts.scale fonts.dir
\end{lstlisting}
-and restart Cinelerra. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work.
+and restart \CGG{}. The new fonts should appear. The usage of ttmkfdir changes frequently so this technique might not work.
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.
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.3\linewidth]{images/title02.png}
+ \includegraphics[width=0.3\linewidth]{title02.png}
\caption{Pulldown Attributes}
\label{fig:title02}
\end{figure}
\small
\begin{longtable}{{m{6em}m{14em}m{14em}}}
\caption{Titler attributes}
- \label{tabular:titler attributes} \\ % note that double backslash is mandatory here
- \toprule
- \multicolumn{1}{c}{\textbf{Attribute name}}&\multicolumn{1}{c}{\textbf{Attribute value}}&\multicolumn{1}{c}{\textbf{Notes}}\\
+ \label{tabular:titler_attributes} \\ % note that double backslash is mandatory here
+ \toprule
+ \multicolumn{1}{c}{\textbf{Attribute name}}&\multicolumn{1}{c}{\textbf{Attribute value}}&\multicolumn{1}{c}{\textbf{Notes}}\\
\midrule % \endhead % here the common page header
color &
color name such as RED from \textit{<cin\_path>/guicast/colors.h} &
smooth &
add anti-aliasing to smooth jagged edges &
Turn off smooth for chroma key
- \\\bottomrule
+ \\\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 Cinelerra output.
+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.
\vspace{1ex} Examples of Title line keyins:
Figure~\ref{fig:title03}.
\vspace{1ex}
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
<size 15>Buddy, the <color red><bold 1>bad dog</bold><color white> ate my homework !<png /tmp/buddy.png><ul 1><size +>There are<ul 0><size +>2<sup 1>10<sup 0>cats <font Action man (misc)>to chase?
\end{lstlisting}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{images/title03.png}
+ \includegraphics[width=0.9\linewidth]{title03.png}
\caption{Final result of the exemple}
\label{fig:title03}
\end{figure}
\paragraph{Special Characters (< > / \textbackslash \#)} Besides the previously described <, >, and / characters, there are two special characters: backslash “\textbackslash”, and the pound sign “\#”. The backslash character is used for two things. With the advent of the attribute name and value, your line may become quite long so you can use “\textbackslash” followed by the carriage return to continue on the next line as if it is just a single line. It also can be used to designate that the following character does not represent the beginning of an attribute. For example, if you want to use the opening angle character “<“ as a title character, precede it with the backslash character. The pound sign, “\#”, designates the whole line as a comment or if in the middle of the line, then the rest of the line is a comment (this includes the carriage return).
\begin{description}
- \item[Background] in this box you can keyin the name of a file of the type that Cinelerra accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \textit{On} and \textit{Off} to see what it looks like. Next to the background box is a \textit{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video.
+ \item[Background] in this box you can keyin the name of a file of the type that \CGG{} accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \textit{On} and \textit{Off} to see what it looks like. Next to the background box is a \textit{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video.
\item[Stroker] to add \textit{pen strokes} to the text letters, adjust the stroke width numerically. This looks particularly nice on certain fonts and with a negative adjustment of the \textit{Drop shadow}.
\item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. Press Ctrl-Shift-U followed by $2022$ and a carriage return is an example of the bullet. Refer to section \hyperref[sec:textbox_non_std_character_unicode]{17.5} for details.
\item[Popup Helper] put your cursor where you want to add an attribute, then right mouse will bring up a list of the available attributes for you to choose, along with a submenu to choose from. The program will insert that attribute for you and all you have to add is a value when required! (see figure~\ref{fig:title02}).
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.6\linewidth]{images/title04.png}
+ \includegraphics[width=0.6\linewidth]{title04.png}
\caption{Screencast showing the Color Picker menu.}
\label{fig:title04}
\end{figure}
\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 Cinelerra. 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 Cinelerra which stays in effect until it is unset or until the next reboot. Below is the method and an example.
+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.
\vspace{1ex}
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
export BC_FONT_PATH=<colon-separated-search-path-for-fonts>
export BC_FONT_PATH=/usr/share/fonts
\end{lstlisting}
-The current set of fonts in Cinelerra'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.
+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 Cinelerra 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 Cinelerra will read. However, 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.
+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 Cinelerra, you should set up the variable:
+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:
\vspace{1ex}
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
export BC_FONT_DEBUG=1 (default is 0 for no debug)
unset BC_FONT_DEBUG (to remove debug messages)
\end{lstlisting}
-Then start Cinelerra from a terminal window to see the fonts being loaded and previewed in the Titler. This should point out any issues. Another debug methodology is to remove all fonts from being used and subsequently add in the ones that you want. For example:
+Then start \CGG{} from a terminal window to see the fonts being loaded and previewed in the Titler. This should point out any issues. Another debug methodology is to remove all fonts from being used and subsequently add in the ones that you want. For example:
\vspace{1ex}
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
export BC_FONT_PATH=: #(the : "colon" removes all automatic system and Cinelerra fonts)
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 Cinelerra 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.
+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}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.5\linewidth]{images/title05.png}
+ \includegraphics[width=0.5\linewidth]{title05.png}
\caption{Kerning in action}
\label{fig:title05}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.55\linewidth]{images/tracer-01.png}
+ \includegraphics[width=0.55\linewidth]{tracer-01.png}
\caption{Gui for Tracer plugin}
\label{fig:tracer-01}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.7\linewidth]{images/tracer-02.png}
+ \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}
\subsection{Videoscope}%
\label{sub:videoscope}
-Videoscope summarizes intensity and color on a calibrated display. The Videoscope can be used in conjunction with other Cinelerra 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}).
+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}).
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/videoscope01.png}
+ \includegraphics[width=0.8\linewidth]{videoscope01.png}
\caption{GUI of the Videoscope. You see Histogram, RGB Parade and Vectorscope}
\label{fig:videoscope01}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{images/videoscope02.png}
+ \includegraphics[width=0.9\linewidth]{videoscope02.png}
\caption{Colortest 75\% with RGB Parade (left) and Waveform (right)}
\label{fig:videoscope02}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.7\linewidth]{images/videoscope03.png}
+ \includegraphics[width=0.7\linewidth]{videoscope03.png}
\caption{Example of waveform}
\label{fig:videoscope03}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{images/videoscope04.png}
+ \includegraphics[width=0.9\linewidth]{videoscope04.png}
\caption{Balancing a yellow dominace tint}
\label{fig:videoscope04}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.7\linewidth]{images/yuvshift.png}
+ \includegraphics[width=0.7\linewidth]{yuvshift.png}
\caption{Before and after YUVShift adjusting}
\label{fig:yuvshift}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.8\linewidth]{images/zoom.png}
+ \includegraphics[width=0.8\linewidth]{zoom.png}
\caption{For clarity of presentation only 3 fields are shown}
\label{fig:zoom}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=0.9\linewidth]{images/mandelbrot.png}
+ \includegraphics[width=0.9\linewidth]{mandelbrot.png}
\caption{Mandelbrot Cuda plugin}
\label{fig:mandelbrot}
\end{figure}
\begin{figure}[hbtp]
\centering
- \includegraphics[width=1.0\linewidth]{images/n_body.png}
+ \includegraphics[width=1.0\linewidth]{n_body.png}
\caption{N\_Body Cuda plugin}
\label{fig:n_body}
\end{figure}
\item internally the colormodel is converted to greyscale, which means the color information is not used
\end{enumerate}
-Because of the build size of opencv, it is not normally included in the thirdparty directory. Building opencv adds a lot of storage demand ($4\,GB$) to the Cinelerra build tree, and the opencv compile time is significant. For these reasons, \textit{findobject} is not normally built. You can however invoke a build which adds findobject to the Cinelerra plugin library. Building findobject will configure and build opencv into the thirdparty library build area if needed (it does not rebuild if already done). System builds are possible, but the system compatibility of the newer opencv interfaces can vary between distros. The opencv interface is rapidly changing; we recommend the static library build and link to avoid problems.
+Because of the build size of opencv, it is not normally included in the thirdparty directory. Building opencv adds a lot of storage demand ($4\,GB$) to the \CGG{} build tree, and the opencv compile time is significant. For these reasons, \textit{findobject} is not normally built. You can however invoke a build which adds findobject to the \CGG{} plugin library. Building findobject will configure and build opencv into the thirdparty library build area if needed (it does not rebuild if already done). System builds are possible, but the system compatibility of the newer opencv interfaces can vary between distros. The opencv interface is rapidly changing; we recommend the static library build and link to avoid problems.
\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}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
git clone -depth 1 "git://git.cinelerra-gg.org/goodguy/cinelerra.git" cinelerra5
\end{lstlisting}
then configure the build, but add the \texttt{-{}-with-opencv} configure parameter.
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
cd <path>/cinelerra-5.1
./autogen.sh
./configure <add std params, eg: --with-single-user> --with-findobect=sta
\end{lstlisting}
Once thirdparty/opencv is built, it will be reused. Use target \texttt{mrclean} to remove \texttt{thirdparty/opencv*}.
-Network access is required to obtain the OpenCV source, at least once. You will need a minimum of
+Network access is required to obtain the OpenCV source, at least once. You will need a minimum of
$4\, GB$ in the thirdparty build directory and more time to compile.
To get opencv built in the easiest way possible (need internet access because builds directly from the opencv github but this changes wildly):
-\begin{lstlisting}[language=Bash,numbers=none]
+\begin{lstlisting}[style=sh]
./configure <params> --with-opencv=sta,git
\end{lstlisting}
\subsection{Using OpenCV Plugins from the Automatic Builds}%
\label{sub:using_opencv_automatic_builds}
-The OpenCV plugins are built only in the 64-bit tarball builds, both static and dynamic. However, due to size these plugins are not included with pkgs. But it is relatively easy to add the current 6 plugins for your distro via a simple procedure of copying the plugins from the tarball to the cin5 install plugin path. They are:
+The OpenCV plugins are built only in the 64-bit tarball builds, both static and dynamic. However, due to size these plugins are not included with pkgs. But it is relatively easy to add the current 6 plugins for your distro via a simple procedure of copying the plugins from the tarball to the cin5 install plugin path. They are:
-\begin{lstlisting}[language=Bash,numbers=none]
-cin/plugins/opencv/findobj.plugin
+\begin{lstlisting}[style=sh]
+cin/plugins/opencv/findobj.plugin
cin/plugins/opencv/flowobj.plugin
cin/plugins/opencv/gaborobj.plugin
cin/plugins/opencv/moveobj.plugin
\item look in {\small \url{https://cinelerra-gg.org/download/tars}} to see your distro name's static tar;
\item download the corresponding distro static tarball;
for example for arch:
-\end{enumerate}
+\end{enumerate}
{\small \url{https://cinelerra-gg.org/download/tars/cinelerra-5.1-arch-{date}-x86_64-static.txz}}
-
+
\begin{enumerate}[resume]
\item create a temporary directory on your computer;
\item \texttt{cd} that-directory;
\item \texttt{tar -xf} location-of-the-tarball-you-downloaded;
\item \texttt{cp plugins/*obj.plugin <see below for your location>/.} (note the period on the end!)
- \item Start Cinelerra and look for the six plugins in Video Effects;
+ \item Start \CGG{} and look for the six plugins in Video Effects;
\item To reverse this, simply delete the six plugin files (eg.
-
+
\texttt{rm /usr/lib*/cin*/*obj.plugin}).
\end{enumerate}
\item [Don’t Calculate] Do nothing
\end{description}
-The Cinelerra plugin has several additional features for ease of use and more flexibility. A description of parameters is outlined below.
+The \CGG{} plugin has several additional features for ease of use and more flexibility. A description of parameters is outlined below.
\begin{description}
\item[Mode:]
\begin{itemize}
\item $1^{st}$ track should be the \textit{scene}; that is the output
\item $2^{nd}$ track is the \textit{object} to find
- \item $3^{rd}$ track is the \textit{replacement} object
+ \item $3^{rd}$ track is the \textit{replacement} object
\end{itemize}
\item Drag the \textit{Find Object} plugin onto track \#1.
- \item On each of other $2$ tracks, click the right mouse button; choose \textit{attach effect}, highlight \textit{Find Object} in the \textit{shared effect} column, and click OK. All three tracks should now have a findobj plugin effect bar. One, (probably the first one) is the master plugin and the others are attached input tracks.
+ \item On each of other $2$ tracks, click the right mouse button;
+ choose \textit{attach effect}, highlight \textit{Find Object}
+ in the \textit{shared effect} column, and click OK\@. All
+ three tracks should now have a findobj plugin effect bar. One,
+ (probably the first one) is the master plugin and the others
+ are attached input tracks.
\item Check the plugin show icon on the master track to bring up the controls for the FindObj plugin. You will see that \textit{Use FLANN} is checked for using nearest neighbors.
\item Set \textit{Output scene}, \textit{Object}, and \textit{Replacement object} layers’ track number accordingly (numbered from zero).
\item Check \textit{Draw scene} border and you will see a white border in the compositor window surrounding the whole image of the scene. This assumes default settings for \textit{Scene center X,Y}(at $50\%$), and area \textit{W,H} ($100\%$). Adjust these however you need to via the dials or more simply by checking \textit{Drag} and dragging any of the $9$ drag points. As shown above this in the controls, units are in $0-100\%$.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.9\linewidth]{images/findobj.png}
+ \includegraphics[width=0.9\linewidth]{findobj.png}
\caption{Timeline; control window and compositor for FindObj}
\label{fig:findobj}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.8\linewidth]{images/opencv.png}
+ \includegraphics[width=0.8\linewidth]{opencv.png}
\caption{FlowObj; GaborObj (before and after) and PuzzleObj}
\label{fig:opencv}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/stylizeobj01.png}
+ \includegraphics[width=0.6\linewidth]{stylizeobj01.png}
\caption{Pulldown of Stylize mode on the original image}
\label{fig:stylizeobj01}
\end{figure}
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.95\linewidth]{images/stylize.png}
+ \includegraphics[width=0.95\linewidth]{stylize.png}
\caption{Clockwise: Edge Smooth and Recursive; Detail Enhance; Stylization; Color and Pencil Sketch}
\label{fig:stylize}
\end{figure}
-\section[FFmpeg Audio and Video Plugins]{FFmpeg Audio and Video Plugins\protect\footnote{credit to WPfilmmaker for the Ffmpeg info description lines taken from his contributed pdf}}%
+\section[FFmpeg Audio and Video Plugins]{FFmpeg Audio and Video Plugins}%
\label{sec:ffmpeg_audio_video_plugins}
+% FIXME not in the section
+% \protect\footnote{credit to WPfilmmaker for the Ffmpeg info
+% description lines taken from his contributed pdf}
-Cinelerra GG Infinity currently comes with more than $140$ of the video plugins and $55$ of the audio plugins developed by the FFmpeg project {\small \url{www.ffmpeg.org}}. These plugins do not have a GUI with buttons like the rest of plugins, therefore to change settings it is necessary to change the variables by hand by highlighting the \textit{option}, typing a value in the \textit{Range} box, and then hitting the \textit{Apply} button. Many of these plugins provide tooltips at the bottom right corner of the window when the option is highlighted. A \textit{slider} bar and a \textit{dial} for numerical values can be used to easily vary the values which take effect immediately.
+\CGGI{} currently comes with more than $140$ of the video plugins and $55$ of the audio plugins developed by the FFmpeg project {\small \url{www.ffmpeg.org}}. These plugins do not have a GUI with buttons like the rest of plugins, therefore to change settings it is necessary to change the variables by hand by highlighting the \textit{option}, typing a value in the \textit{Range} box, and then hitting the \textit{Apply} button. Many of these plugins provide tooltips at the bottom right corner of the window when the option is highlighted. A \textit{slider} bar and a \textit{dial} for numerical values can be used to easily vary the values which take effect immediately.
Figure~\ref{fig:ffchromakey} shows what an FFmpeg video plugin looks like; example is \texttt{F\_chromakey}.
\begin{figure}[htpb]
\centering
- \includegraphics[width=0.6\linewidth]{images/ffchromakey.png}
+ \includegraphics[width=0.6\linewidth]{ffchromakey.png}
\caption{GUI for FFmpeg plugins}
\label{fig:ffchromakey}
\end{figure}
Currently FFmpeg audio and video plugins that do not have a personalized icon use one of the default icons as shown below.
-Default Audio Icon: \quad \includegraphics[height=\baselineskip]{images/ffaudio.png}
-\quad Default Video Icon: \quad \includegraphics[height=\baselineskip]{images/ffvideo.png}
+Default Audio Icon: \quad \includegraphics[height=\baselineskip]{ffaudio.png}
+\quad Default Video Icon: \quad \includegraphics[height=\baselineskip]{ffvideo.png}
If you want to replace the icon with a more descriptive picture, see a previous section on Updatable Icon Image Support and Details on where to put Plugin Icons.
Simply drag and drop the plugin on the timeline. To enter the settings option, once you have added the plugin to the timeline, right click on the colored bar that appears below the timeline track of the plugin and highlight the \textit{show} option. Alternatively, you can left click the \textit{magnifying glass} icon that appears on the right side of the colored bar. For the audio plugins, if the plugin is not working at all, you will hear a trouble tone waveform to indicate that. If the value is unspecified, it uses default. If you specify the default, the value becomes unspecified which means that nothing gets sent into the program.
-Some of the ffmpeg plugins are not usable with Cinelerra GG Infinity due to input/output requirements. Also, some do not come with legal initial supplied values for the parameters (ffmpeg works on filtergraph, while Cinelerra works on stack). These plugins get tested at least once and if they crash, cause problems, or are deemed unusable, they are commented out in the \texttt{plugin.opts} file in the Cinelerra ffmpeg subdirectory. Generally they are not retested so if the ffmpeg software changes them making them usable, they will still not be accessible until the \texttt{plugin.opts} file is changed. You can easily retest these, by temporarily uncommenting the copy of the \texttt{plugin.opts} file in the \texttt{bin} subdirectory and using \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index}
+Some of the ffmpeg plugins are not usable with \CGGI{} due to input/output requirements. Also, some do not come with legal initial supplied values for the parameters (ffmpeg works on filtergraph, while \CGG{} works on stack). These plugins get tested at least once and if they crash, cause problems, or are deemed unusable, they are commented out in the \texttt{plugin.opts} file in the \CGG{} ffmpeg subdirectory. Generally they are not retested so if the ffmpeg software changes them making them usable, they will still not be accessible until the \texttt{plugin.opts} file is changed. You can easily retest these, by temporarily uncommenting the copy of the \texttt{plugin.opts} file in the \texttt{bin} subdirectory and using \texttt{Settings $\rightarrow$ Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index}
FFmpeg’s plugin guide is at the link:
-
-{\small \url{https://ffmpeg.org/ffmpeg-filters.html}}
+\href{https://ffmpeg.org/ffmpeg-filters.html}{ffmpeg-filters}.
\subsection{FFmpeg Audio Plugins}%
\label{sub:ffmpeg_audio_plugins}
-\noindent \textbf{F\_abench:} Benchmark part of a filtergraph.\\
-\textbf{F\_acompressor:} Audio compressor.\\
-\textbf{F\_acontrast:} Simple audio dynamic range compression/expansion filter.\\
-\textbf{F\_acrusher:} Reduces audio bit resolution.\\
-\textbf{F\_acue:} Delay filtering to match a cue.\\
-\textbf{F\_adelay:} Delays one or more audio channels. \\
-\textbf{F\_aderivative:} Compute derivative of input audio.\\
-\textbf{F\_aecho:} Adds echoing to the audio.\\
-\textbf{F\_aemphasis:} Audio emphasis.\\
-\textbf{F\_aeval:} Filters audio signal according to a specific expression.\\
-\textbf{F\_afade:} Fades in/out input audio. \\
-\textbf{F\_aformat:} Convert the input audio to one of he specified formats.\\
-\textbf{F\_agate:} Audio gate.\\
-\textbf{F\_aintegral:} Compute integral of input audio.\\
-\textbf{F\_allpass:} Applies a two-pole all-pass filter.\\
-\textbf{F\_aloop:} Loops audio samples.\\
-\textbf{F\_anoisesrc:} Generates a noise audio signal.\\
-\textbf{F\_aperms:} Set permissions for the output audio frame.\\
-\textbf{F\_aphaser:} Adds a phasing effect to the audio.\\
-\textbf{F\_arealtime:} Slows down filtering to match realtime.\\
-\textbf{F\_aresample:} Resamples audio data.\\
-\textbf{F\_asetrate:} Change the sample rate without altering the data.\\
-\textbf{F\_astats:} Shows time domain statistics about audio frames.\\
-\textbf{F\_atempo:} Adjusts audio tempo.\\
-\textbf{F\_atrim:} Pick one continuous section from the input, drop the rest.\\
-\textbf{F\_bandpass:} Applies a two-pole Butterworth band-pass filter.\\
-\textbf{F\_bandreject:} Applies a two-pole Butterworth band-reject filter.\\
-\textbf{F\_bass:} Boosts or cuts lower frequencies.\\
-\textbf{F\_biquad:} Applies a biquad IIR filter with the given coefficents.\\
-\textbf{F\_chorus:} Adds a chorus effect to the audio.\\
-\textbf{F\_compand:} Compresses or expands audio dynamic range.\\
-\textbf{F\_compensationdelay:} audio compensation delay line.\\
-\textbf{F\_crossfeed:} Apply headphone crossfeed which blends the left and right channels of a stereo audio recording. It is mainly used to reduce extreme stereo separation of low frequencies in order to produce more speaker like sound.\\
-\textbf{F\_crystalizer:} Simple Expand Audio Dynamic Range filter.\\
-\textbf{F\_dcshift:} Applies a DC shift to the audio.\\
-\textbf{F\_drmeter:} Measure audio dynamic range where setting window length in seconds is used to split audio into segments of equal length.\\
-\textbf{F\_dyaudnorm:} Dynamic Audio Normalizer. 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 middle section and click OK.\\
-\textbf{F\_earwax:} Widens the stereo image. 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 middle section and click OK.\\
-\textbf{F\_equalizer:} Applies two-pole peaking equalization (EQ) filter.\\
-\textbf{F\_extrastereo:} Increases difference between stereo 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 middle section and click OK.\\
-\textbf{F\_flanger:} Applies a flanging effect to the audio.\\
-\textbf{F\_haas:} Apply Haas Stereo Enhancer for a more natural sounding pan effect or more clarity in the center of the mix. With this filter applied to mono signals it gives some directionality and stretches its stereo image.\\
-\textbf{F\_highpass:} Applies a high-pass filer with $3\,dB$ point frequency.\\
-\textbf{F\_hilbert:} Generate a Hilbert transform FIR coefficients.\\
-\textbf{F\_loudnorm:} \textit{EBU R128} loudness normalization.\\
-\textbf{F\_lowpass:} Applies a low-pass filter with $3\,dB$ point frequency.\\
-\textbf{F\_mcompand:} Multiband Compress or expand audiodynamic range. The input audio is divided into bands which is like the crossover of a loudspeaker, resulting in flat frequency response when absent compander action.\\
-\textbf{F\_pan:} Remix channels with coefficients (panning).\\
-\textbf{F\_silenceremove:} Removes silence.\\
-\textbf{F\_sine:} Generate sine wave audio signal.\\
-\textbf{F\_stereotools:} Applies various stereo tools. 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 middle section and click OK.\\
-\textbf{F\_stereowiden:} Applies stereo widening effect. 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 middle section and click OK.\\
-\textbf{F\_treble:} Boosts or cuts upper frequencies.\\
-\textbf{F\_tremolo:} Applies tremolo effect.\\
-\textbf{F\_vibrato:} Applies vibrato effect.\\
-\textbf{F\_volume:} Change input volume.\\
-\textbf{F\_volumedetect:} Detect audio volume.
+The following is a list of the integrated audio plug-ins.
+\begin{description}
+\item [F\_abench]~\\Benchmark part of a filtergraph.
+\item [F\_acompressor]~\\Audio compressor.
+\item [F\_acontrast]~\\Simple audio dynamic range
+ compression/expansion filter.
+\item [F\_acrusher]~\\Reduces audio bit resolution.
+\item [F\_acue]~\\Delay filtering to match a cue.
+\item [F\_adelay]~\\Delays one or more audio channels.
+\item [F\_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\_afade]~\\Fades in/out input audio.
+\item [F\_aformat]~\\Convert the input audio to one of he
+ specified formats.
+\item [F\_agate]~\\Audio gate.
+\item [F\_aintegral]~\\Compute integral of input audio.
+\item [F\_allpass]~\\Applies a two-pole all-pass filter.
+\item [F\_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\_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\_atempo]~\\Adjusts audio tempo.
+\item [F\_atrim]~\\Pick one continuous section from the input,
+ drop the rest.
+\item [F\_bandpass]~\\Applies a two-pole Butterworth band-pass
+ filter.
+\item [F\_bandreject]~\\Applies a two-pole Butterworth
+ band-reject filter.
+\item [F\_bass]~\\Boosts or cuts lower frequencies.
+\item [F\_biquad]~\\Applies a biquad IIR filter with the given
+ coefficents.
+\item [F\_chorus]~\\Adds a chorus effect to the audio.
+\item [F\_compand]~\\Compresses or expands audio dynamic
+ range.
+\item [F\_compensationdelay]~\\audio compensation delay line.
+\item [F\_crossfeed]~\\Apply headphone crossfeed which blends
+ the left and right channels of a stereo audio recording. It is
+ mainly used to reduce extreme stereo separation of low frequencies
+ in order to produce more speaker like sound.
+\item [F\_crystalizer]~\\Simple Expand Audio Dynamic Range
+ filter.
+\item [F\_dcshift]~\\Applies a DC shift to the audio.
+\item [F\_drmeter]~\\Measure audio dynamic range where setting
+ window length in seconds is used to split audio into segments of
+ equal length.
+\item [F\_dyaudnorm]~\\Dynamic Audio Normalizer. 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 middle section and click OK.
+\item [F\_earwax]~\\Widens the stereo image. 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 middle section and click OK.
+\item [F\_equalizer]~\\Applies two-pole peaking equalization
+ (EQ) filter.
+\item [F\_extrastereo]~\\Increases difference between stereo
+ 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
+ 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
+ natural sounding pan effect or more clarity in the center of the
+ mix. With this filter applied to mono signals it gives some
+ directionality and stretches its stereo image.
+\item [F\_highpass]~\\Applies a high-pass filer with $3\,dB$
+ point frequency.
+\item [F\_hilbert]~\\Generate a Hilbert transform FIR
+ coefficients.
+\item [F\_loudnorm]~\\\textit{EBU R128} loudness
+ normalization.
+\item [F\_lowpass]~\\Applies a low-pass filter with $3\,dB$
+ point frequency.
+\item [F\_mcompand]~\\Multiband Compress or expand
+ audiodynamic range. The input audio is divided into bands which is
+ like the crossover of a loudspeaker, resulting in flat frequency
+ response when absent compander action.
+\item [F\_pan]~\\Remix channels with coefficients (panning).
+\item [F\_silenceremove]~\\Removes silence.
+\item [F\_sine]~\\Generate sine wave audio signal.
+\item [F\_stereotools]~\\Applies various stereo tools. 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 middle section and click OK.
+\item [F\_stereowiden]~\\Applies stereo widening effect. 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 middle section and click OK.
+\item [F\_treble]~\\Boosts or cuts upper frequencies.
+\item [F\_tremolo]~\\Applies tremolo effect.
+\item [F\_vibrato]~\\Applies vibrato effect.
+\item [F\_volume]~\\Change input volume.
+\item [F\_volumedetect]~\\Detect audio volume.
+\end{description}
\subsection{FFmpeg Video Plugins}%
\label{sub:ffmpeg_video_plugins}
-\noindent \textbf{F\_amplify:} Amplify changes between successive video frames.\\
-\textbf{F\_atadenoise:} Apply an Adaptive Temporal Averaging Denoiser.\\
-\textbf{F\_avgblur:} Apply average blur filter.\\
-\textbf{F\_bbox:} Compute bounding box for each frame.\\
-\textbf{F\_bench:} Benchmarks part of a filtergraph.\\
-\textbf{F\_bitplaneoise:} Measure bit plane noise.\\
-\textbf{F\_blackdetect:} Detect video intervals that are (almost) black.\\
-\textbf{F\_blackframe:} Detect frames that are (almost) black.\\
-\textbf{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.\\
-\textbf{F\_bwdif:} Deinterlaces the input image.\\
-\textbf{F\_chromakey:} Turns a certain color into transparency. Operates on YUV colors.\\
-\textbf{F\_ciescope:} Video CIE scope.\\
-\textbf{F\_color:} Provide an uniformly colored input.\\
-\textbf{F\_colorbalance:} Adjusts the color balance.\\
-\textbf{F\_colorchannelmixer:} Adjusts colors by mixing color channels.\\
-\textbf{F\_colorkey:} Turns a certain color into transparency. Operates on RGB colors.\\
-\textbf{F\_colorlevels:} Adjusts the color levels.\\
-\textbf{F\_colormatrix:} Converts color matrix.\\
-\textbf{F\_colorspace:} Converts color space.\\
-\textbf{F\_cover\_rect:} Find and cover a user specified object.\\
-\textbf{F\_crop:} Crops the input video.\\
-\textbf{F\_cropdetect:} Auto-detect crop size.\\
-\textbf{F\_curves:} Adjust components curves.\\
-\textbf{F\_datascope:} Video data analysis.\\
-\textbf{F\_dctdnoiz:} Denoise frames using $2D DCT$.\\
-\textbf{F\_deband:} Debands video.\\
-\textbf{F\_deblock:} Deblocks video.\\
-\textbf{F\_deflate:} Applies deflate effect.\\
-\textbf{F\_deflicker:} Remove temporal frame luminance variations.\\
-\textbf{F\_dejudder:} Removes judder produced by pullup.\\
-\textbf{F\_delogo:} Removes logo from input video. When using this plugin a green box will appear on the screen, once the logo is inside the box the plugin will hide it. Through the settings you can specify the position of the logo to hide (on a $X-Y axis$) and the size of the box (so you can adjust it to the size of the logo). \\
-\textbf{F\_deshake:} Stabilizes shaky video.\\
-\textbf{F\_despill:} Remove uwanted foregrond colors, caused by reflected color of green or blue screen.\\
-\textbf{F\_dilation:} Applies dilation effect.\\
-\textbf{F\_doubleweave:} Weave input video fields into double number of frames.\\
-\textbf{F\_drawbox:} Draws a colored box on the input video. Through the settings you are able to choose the position of the box on X/Y coordinates, the size of the box, the color and the thickness of the lines.\\
-\textbf{F\_drawgraph:} Draw a graph using input video metadata.\\
-\textbf{F\_drawgrid:} Draws a colored grid on the input video. Through the settings you can select the horizontal and the vertical offset, set the width and height of the grid cell, and the color and thickness of the lines. When using the Presets button on the plugin bar on the timeline, you can choose a preset of \textit{rule\_of\_thirds}. The Rule of Thirds is a $3\times3$ grid on top of an image which is commonly used in filmmaking. The concept is that you align the key elements in the image using this grid at the intersection of the lines or along and within the vertical/horizontal lines.\\
-\textbf{F\_edgedetect:} Detects and draws edge.\\
-\textbf{F\_elbg:} Apply posterize effect, using the ELBG algorithm.\\
-\textbf{F\_entropy:} Measure video frames entropy.\\
-\textbf{F\_eq:} Adjusts brightness, contrast, gamma and saturation.\\
-\textbf{F\_erosion:} Applies erosion effect.\\
-\textbf{F\_fade:} Fade in/out input video.\\
-\textbf{F\_fftdnoiz:} Denoise frames using $3D FFT$.\\
-\textbf{F\_fftfilt:} Apply arbitrary expressions to pixels in frequency domain.\\
-\textbf{F\_field:} Extract a field from the input video.\\
-\textbf{F\_fieldorder:} Set the field order.\\
-\textbf{F\_fillborders:} Fill borders of the input video.\\
-\textbf{F\_floodfill:} Fill area of the same color with another color.\\
-\textbf{F\_format:} Convert the input video to one of the specified pixel formats.\\
-\textbf{F\_framerate:} Upsamples or downsamples progressive source between specified frame rates.\\
-\textbf{F\_framestep:} Select one frame every N frames.\\
-\textbf{F\_fspp:} Applies Fast Simple Post-processing filter.\\
-\textbf{F\_gblur:} Apply Gaussian Blur filter.\\
-\textbf{F\_gradfun:} Debands video quickly using gradients.\\
-\textbf{F\_graphmonitor:} Show various filtergraph stats.\\
-\textbf{F\_greyedge:} Estimates scene illumination by grey edge assumption.\\
-\textbf{F\_haldclutsrc:} Provide an identity Hald CLUT.\\
-\textbf{F\_hflip:} Horizontally flips the input video.\\
-\textbf{F\_histeq:} Applies global color histogram equalization.\\
-\textbf{F\_histogram:} Computes and draws a histogram.\\
-\textbf{F\_hqdn3d:} Applies a High Quality 3D Denoiser.\\
-\textbf{F\_hqx:} Scales the input by 2, 3 or 4 using the $hq*x$ magnification algorithm.\\
-\textbf{F\_hue:} Adjust the hue and saturation of the input video.\\
-\textbf{F\_idet:} Interlace detect Filter.\\
-\textbf{F\_il:} Deinterleaves or interleaves fields.\\
-\textbf{F\_inflate:} Applies inflate effect.\\
-\textbf{F\_interlace:} Convert progressive video into interlaced.\\
-\textbf{F\_kerndeint:} Applies kernel deinterlacing to the input.\\
-\textbf{F\_lenscorrection:} Rectifies the image by correcting for lens distortion.\\
-\textbf{F\_life:} Generate a life pattern.\\
-\textbf{F\_limiter:} Limit pixels components to the specified range.
-\textbf{F\_loop:} Loops video frames.\\
-\textbf{F\_lumakey:} Turns a cerai luma into transparency.\\
-\textbf{F\_lut:} Compute and apply a lookup table to the RGB/YUV input video.
-\textbf{F\_lut1d:} Adjust colors using a 1D LUT.\\
-\textbf{F\_lut3d:} Apply a 3D LUT (lookup table) to an input video. LUTs are used to map one color space to another and are frequently supplied with high-end cameras as a .cube file to use as input.\\
-\textbf{F\_lutrgb:} Compute and apply a lookup table to the RGB input video.\\
-\textbf{F\_lutyuv:} Combine and apply a lookup table to the YUV input video.\\
-\textbf{F\_mandelbrot:} Render a Mandelbrot fractal.\\
-\textbf{F\_mcdeint:} Applies motion compensating deinterlacing.\\
-\textbf{F\_mestimate:} Generate motion vectors.\\
-\textbf{F\_mpdecimate:} Remove near-duplicate frames.\\
-\textbf{F\_mptestsrc:} Generate various test pattern.\\
-\textbf{F\_negate:} Negates input video.\\
-\textbf{F\_nlmeans:} Non-local means denoiser. Example usage is for recovery of VHS tapes which look bad.\\
-\textbf{F\_noise:} Adds noise to the video. Through the settings you can select the variables of the noise (strength, flag and seed).\\
-\textbf{F\_normalize:} Normalize RGB video.\\
-\textbf{F\_oscilloscope:} $2D$ video oscilloscope. Useful to measure spatial impulse, step responses, and chroma delays.\\
-\textbf{F\_owdenoise:} Denoises using wavelets.\\
-\textbf{F\_pad:} Add paddings to the input image, and place the original input at the provided $x, y$ coordinates.\\
-\textbf{F\_pal100bars:} Generate PAL $100\%$ color bars.\\
-\textbf{F\_pal75bars:} Generate PAL $75\%$ color bars.\\
-\textbf{F\_perms:} Set permissions for the output video frame.\\
-\textbf{F\_perspective:} Corrects the perspective of video.\\
-\textbf{F\_phase:} Phases shift fields.\\
-\textbf{F\_pixscope:} Pixel data analysis for checking color and levels. It will display sample values of color channels.\\
-\textbf{F\_pp:} Filters video using libpostproc.\\
-\textbf{F\_pp7:} Applies Postprocessing 7 filter.\\
-\textbf{F\_prewitt:} Apply prewitt operator.\\
-\textbf{F\_pseudocolor:} Make pseudocolored video frames.\\
-\textbf{F\_readeia608:} Read \textit{EIA-608} Closed Caption codes from input video \& write to frame metadata.\\
-\textbf{F\_readvitc:} Reads vertical interval timecode and writes it to frame metadata.\\
-\textbf{F\_realtime:} Slows down filtering to match realtime.\\
-\textbf{F\_removegrain:} Removes grain.\\
-\textbf{F\_repeatfields:} Hard repeat fields based on MPEG repeat field flag.\\
-\textbf{F\_rgbtestsrc:} Generate RGB test pattern.\\
-\textbf{F\_roberts:} Apply roberts cross operator which 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.\\
-\textbf{F\_rotate:} Rotates the input image.\\
-\textbf{F\_sab:} Applies shape adaptive blur.\\
-\textbf{F\_scale:} Scale the input video size and/or convert the image format.\\
-\textbf{F\_separatefields:} Split input video frames into fields.\\
-\textbf{F\_setparams:} Force field, or color property for the output video frame.\\
-\textbf{F\_setrange:} Force color range for the output video frame.\\
-\textbf{F\_showpalette:} Display frame palette.\\
-\textbf{F\_shuffleframes:} Shuffles video frames.\\
-\textbf{F\_shuffleplanes:} Shuffles video planes.\\
-\textbf{F\_signalstats:} Separates statistics from video analysis.\\
-\textbf{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.\\
-\textbf{F\_smptebars:} Generate SMPTE color bars.\\
-\textbf{F\_smptehdbars:} Generate SMPTE HD color bars.\\
-\textbf{F\_sobel:} Applies sobel operator.\\
-\textbf{F\_spp:} Applies a simple post processing filter.\\
-\textbf{F\_stereo3d:} Converts video stereoscopic $3D$ view.\\
-\textbf{F\_super2xsai:} Scales the input by 2x using the $Super2xSal$ pixel art algorithm.\\
-\textbf{F\_swaprect:} Swaps 2 rectangular objects in video.\\
-\textbf{F\_swapuv:} Swaps U and V components.\\
-\textbf{F\_tblend:} Blend successive frames.\\
-\textbf{F\_testsrc:} Generate test pattern.\\
-\textbf{F\_testsrc2:} Generate another test pattern.\\
-\textbf{F\_tile:} Tile several successive frames together.\\
-\textbf{F\_tinterlace:} Performs temporal field interlacing.\\
-\textbf{F\_tlut2:} Compute and apply a lookup table from 2 successive frames.\\
-\textbf{F\_tmix:} Mix successive video frames.\\
-\textbf{F\_transpose:} Transposes input video.\\
-\textbf{F\_unsharp:} Sharpen or blur the input videlo.\\
-\textbf{F\_uspp:} Applies Ultra Simple/Slow Post-processing filter.\\
-\textbf{F\_vaguedenoiser:} Applies a Wavelet based Denoiser.\\
-\textbf{F\_vectorscope:} Video vectorscope.\\
-\textbf{F\_vflip:} Flips the input video vertically.\\
-\textbf{F\_vfrdet:} Variable frame rate detect filter.\\
-\textbf{F\_vibrance:} Boost or alter saturation.\\
-\textbf{F\_vignette:} Makes or reverses a vignette effect. Through the settings you can set the circle center position on a $X-Y axis$,choose the angle, the aspect and set the dithering of the vignette.\\
-\textbf{F\_w3dif:} Applies Martin Weston three field deinterlace.\\
-\textbf{F\_waveform:} Video waveform monitor.\\
-\textbf{F\_weave:} Weaves input video fields into frames.\\
-\textbf{F\_xbr:} Scales the input using $xBR$ algorithm.\\
-\textbf{F\_yadif:} Deinterlaces the input image.\\
-\textbf{F\_yuvtestsrc:} Generate YUV test pattern.\\
-\textbf{F\_zoompan:} Applies Zoom \& Pan effect.
-
-\section[Rendered Effects]{Rendered Effects\protect\footnote{This capability is going to be deleted in the future unless receive notification of need to keep}}%
+The following is a list of the integrated video plug-ins.
+\begin{description}
+\item [F\_amplify]~\\Amplify changes between successive video
+ frames.
+\item [F\_atadenoise]~\\Apply an Adaptive Temporal Averaging
+ Denoiser.
+\item [F\_avgblur]~\\Apply average blur filter.
+\item [F\_bbox]~\\Compute bounding box for each frame.
+\item [F\_bench]~\\Benchmarks part of a filtergraph.
+\item [F\_bitplaneoise]~\\Measure bit plane noise.
+\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\_bwdif]~\\Deinterlaces the input image.
+\item [F\_chromakey]~\\Turns a certain color into
+ transparency. Operates on YUV colors.
+\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\_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\_colorspace]~\\Converts color space.
+\item [F\_cover\_rect]~\\Find and cover a user specified
+ object.
+\item [F\_crop]~\\Crops the input video.
+\item [F\_cropdetect]~\\Auto-detect crop size.
+\item [F\_curves]~\\Adjust components curves.
+\item [F\_datascope]~\\Video data analysis.
+\item [F\_dctdnoiz]~\\Denoise frames using $2D DCT$.
+\item [F\_deband]~\\Debands video.
+\item [F\_deblock]~\\Deblocks video.
+\item [F\_deflate]~\\Applies deflate effect.
+\item [F\_deflicker]~\\Remove temporal frame luminance
+ variations.
+\item [F\_dejudder]~\\Removes judder produced by pullup.
+\item [F\_delogo]~\\Removes logo from input video. When using
+ this plugin a green box will appear on the screen, once the logo is
+ inside the box the plugin will hide it. Through the settings you can
+ specify the position of the logo to hide (on a $X-Y axis$) and the
+ size of the box (so you can adjust it to the size of the logo).
+\item [F\_deshake]~\\Stabilizes shaky video.
+\item [F\_despill]~\\Remove uwanted foregrond colors, caused
+ by reflected color of green or blue screen.
+\item [F\_dilation]~\\Applies dilation effect.
+\item [F\_doubleweave]~\\Weave input video fields into double
+ number of frames.
+\item [F\_drawbox]~\\Draws a colored box on the input
+ video. Through the settings you are able to choose the position of
+ the box on X/Y coordinates, the size of the box, the color and the
+ thickness of the lines.
+\item [F\_drawgraph]~\\Draw a graph using input video
+ metadata.
+\item [F\_drawgrid]~\\Draws a colored grid on the input
+ video. Through the settings you can select the horizontal and the
+ vertical offset, set the width and height of the grid cell, and the
+ color and thickness of the lines. When using the Presets button on
+ the plugin bar on the timeline, you can choose a preset of
+ \textit{rule\_of\_thirds}. The Rule of Thirds is a $3\times3$ grid
+ on top of an image which is commonly used in filmmaking. The concept
+ is that you align the key elements in the image using this grid at
+ the intersection of the lines or along and within the
+ vertical/horizontal lines.
+\item [F\_edgedetect]~\\Detects and draws edge.
+\item [F\_elbg]~\\Apply posterize effect, using the ELBG
+ algorithm.
+\item [F\_entropy]~\\Measure video frames entropy.
+\item [F\_eq]~\\Adjusts brightness, contrast, gamma and
+ saturation.
+\item [F\_erosion]~\\Applies erosion effect.
+\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
+ frequency domain.
+\item [F\_field]~\\Extract a field from the input video.
+\item [F\_fieldorder]~\\Set the field order.
+\item [F\_fillborders]~\\Fill borders of the input video.
+\item [F\_floodfill]~\\Fill area of the same color with
+ another color.
+\item [F\_format]~\\Convert the input video to one of the
+ specified pixel formats.
+\item [F\_framerate]~\\Upsamples or downsamples progressive
+ source between specified frame rates.
+\item [F\_framestep]~\\Select one frame every N frames.
+\item [F\_fspp]~\\Applies Fast Simple Post-processing filter.
+\item [F\_gblur]~\\Apply Gaussian Blur filter.
+\item [F\_gradfun]~\\Debands video quickly using gradients.
+\item [F\_graphmonitor]~\\Show various filtergraph stats.
+\item [F\_greyedge]~\\Estimates scene illumination by grey
+ edge assumption.
+\item [F\_haldclutsrc]~\\Provide an identity Hald CLUT\@.
+\item [F\_hflip]~\\Horizontally flips the input video.
+\item [F\_histeq]~\\Applies global color histogram
+ 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\_idet]~\\Interlace detect Filter.
+\item [F\_il]~\\Deinterleaves or interleaves fields.
+\item [F\_inflate]~\\Applies inflate effect.
+\item [F\_interlace]~\\Convert progressive video into
+ interlaced.
+\item [F\_kerndeint]~\\Applies kernel deinterlacing to the
+ input.
+\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.
+\item [F\_loop]~\\Loops video frames.
+\item [F\_lumakey]~\\Turns a cerai luma into transparency.
+\item [F\_lut]~\\Compute and apply a lookup table to the
+ RGB/YUV input video.
+\item [F\_lut1d]~\\Adjust colors using a 1D LUT.
+\item [F\_lut3d]~\\Apply a 3D LUT (lookup table) to an input
+ video. LUTs are used to map one color space to another and are
+ frequently supplied with high-end cameras as a \texttt{.cube} file
+ to use as input.
+\item [F\_lutrgb]~\\Compute and apply a lookup table to the
+ RGB input video.
+\item [F\_lutyuv]~\\Combine and apply a lookup table to the
+ YUV input video.
+\item [F\_mandelbrot]~\\Render a Mandelbrot fractal.
+\item [F\_mcdeint]~\\Applies motion compensating
+ deinterlacing.
+\item [F\_mestimate]~\\Generate motion vectors.
+\item [F\_mpdecimate]~\\Remove near-duplicate frames.
+\item [F\_mptestsrc]~\\Generate various test pattern.
+\item [F\_negate]~\\Negates input video.
+\item [F\_nlmeans]~\\Non-local means denoiser. Example usage
+ is for recovery of VHS tapes which look bad.
+\item [F\_noise]~\\Adds noise to the video. Through the
+ settings you can select the variables of the noise (strength, flag
+ and seed).
+\item [F\_normalize]~\\Normalize RGB video.
+\item [F\_oscilloscope]~\\$2D$ video oscilloscope. Useful to
+ measure spatial impulse, step responses, and chroma delays.
+\item [F\_owdenoise]~\\Denoises using wavelets.
+\item [F\_pad]~\\Add paddings to the input image, and place
+ the original input at the provided $x, y$ coordinates.
+\item [F\_pal100bars]~\\Generate PAL $100\%$ color bars.
+\item [F\_pal75bars]~\\Generate PAL $75\%$ color bars.
+\item [F\_perms]~\\Set permissions for the output video frame.
+\item [F\_perspective]~\\Corrects the perspective of video.
+\item [F\_phase]~\\Phases shift fields.
+\item [F\_pixscope]~\\Pixel data analysis for checking color
+ and levels. It will display sample values of color channels.
+\item [F\_pp]~\\Filters video using libpostproc.
+\item [F\_pp7]~\\Applies Postprocessing 7 filter.
+\item [F\_prewitt]~\\Apply prewitt operator.
+\item [F\_pseudocolor]~\\Make pseudocolored video frames.
+\item [F\_readeia608]~\\Read \textit{EIA-608} Closed Caption
+ codes from input video \& write to frame metadata.
+\item [F\_readvitc]~\\Reads vertical interval timecode and
+ writes it to frame metadata.
+\item [F\_realtime]~\\Slows down filtering to match realtime.
+\item [F\_removegrain]~\\Removes grain.
+\item [F\_repeatfields]~\\Hard repeat fields based on MPEG
+ repeat field flag.
+\item [F\_rgbtestsrc]~\\Generate RGB test pattern.
+\item [F\_roberts]~\\Apply roberts cross operator which
+ 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\_sab]~\\Applies shape adaptive blur.
+\item [F\_scale]~\\Scale the input video size and/or convert
+ the image format.
+\item [F\_separatefields]~\\Split input video frames into
+ fields.
+\item [F\_setparams]~\\Force field, or color property for the
+ output video frame.
+\item [F\_setrange]~\\Force color range for the output video
+ frame.
+\item [F\_showpalette]~\\Display frame palette.
+\item [F\_shuffleframes]~\\Shuffles video frames.
+\item [F\_shuffleplanes]~\\Shuffles video planes.
+\item [F\_signalstats]~\\Separates statistics from video
+ analysis.
+\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.
+\item [F\_smptebars]~\\Generate SMPTE color bars.
+\item [F\_smptehdbars]~\\Generate SMPTE HD color bars.
+\item [F\_sobel]~\\Applies sobel operator.
+\item [F\_spp]~\\Applies a simple post processing filter.
+\item [F\_stereo3d]~\\Converts video stereoscopic $3D$ view.
+\item [F\_super2xsai]~\\Scales the input by 2x using the
+ $Super2xSal$ pixel art algorithm.
+\item [F\_swaprect]~\\Swaps 2 rectangular objects in video.
+\item [F\_swapuv]~\\Swaps U and V components.
+\item [F\_tblend]~\\Blend successive frames.
+\item [F\_testsrc]~\\Generate test pattern.
+\item [F\_testsrc2]~\\Generate another test pattern.
+\item [F\_tile]~\\Tile several successive frames together.
+\item [F\_tinterlace]~\\Performs temporal field interlacing.
+\item [F\_tlut2]~\\Compute and apply a lookup table from 2
+ successive frames.
+\item [F\_tmix]~\\Mix successive video frames.
+\item [F\_transpose]~\\Transposes input video.
+\item [F\_unsharp]~\\Sharpen or blur the input videlo.
+\item [F\_uspp]~\\Applies Ultra Simple/Slow Post-processing
+ filter.
+\item [F\_vaguedenoiser]~\\Applies a Wavelet based Denoiser.
+\item [F\_vectorscope]~\\Video vectorscope.
+\item [F\_vflip]~\\Flips the input video vertically.
+\item [F\_vfrdet]~\\Variable frame rate detect filter.
+\item [F\_vibrance]~\\Boost or alter saturation.
+\item [F\_vignette]~\\Makes or reverses a vignette
+ effect. Through the settings you can set the circle center position
+ on a $X-Y axis$,choose the angle, the aspect and set the dithering
+ of the vignette.
+\item [F\_w3dif]~\\Applies Martin Weston three field
+ deinterlace.
+\item [F\_waveform]~\\Video waveform monitor.
+\item [F\_weave]~\\Weaves input video fields into frames.
+\item [F\_xbr]~\\Scales the input using $xBR$ algorithm.
+\item [F\_yadif]~\\Deinterlaces the input image.
+\item [F\_yuvtestsrc]~\\Generate YUV test pattern.
+\item [F\_zoompan]~\\Applies Zoom \& Pan effect.
+\end{description}
+
+
+\section[Rendered Effects]{Rendered Effects}%
\label{sec:rendered_effects}
+% FIXME
+% \protect\footnote{This capability is going to be deleted in the future unless receive notification of need to keep}
Besides the \textit{Realtime} effects, as has been described in the previous sections, another type of effect is performed on a section of the track and the result stored somewhere before it is played back. The result is usually pasted into the track to replace the original data. The rendered effects are not listed in the resources window but instead are accessed through the \texttt{Audio $\rightarrow$ Render effect and Video $\rightarrow$ Render effect} menu options. Each of these menu options brings up a dialog for the rendered effect. In the Select an effect dialog is a list of all the realtime and all the rendered effects. The difference here is that the realtime effects are rendered to disk and not applied under the track. Rendered effects apply to only one type of track, either audio or video. If no tracks of the type exist, an error pops up.
\subsubsection*{720 to 480}%
\label{ssub:720_to_480}
+
+%%% Local Variables:
+%%% mode: latex
+%%% TeX-master: "../CinelerraGG_Manual"
+%%% End:
projects / goodguy / cin-manual-latex.git / blobdiff