-\chapter{The 4+ Windows}%
+\chapter{Interface (the 4+ Windows)}%
\label{cha:the_4_windows}
\begin{figure}[htpb]
\label{fig:Fenstergrundposition-en}
\end{figure}
+First it is important to know what an EDL is. When \CGG{} saves a file, it saves the EDL,
+Edit Decision List, of your project which contains all the settings and locations of edits
+and pointers to the media so that the media is not modified. The EDL is described in \nameref{sec:edl_edit_decision_list}.
+
\section{Program Window}%
\label{sec:program_window}
The main window is called the \textit{Program} window and is often just referred to as the \textit{timeline}. Here is where you enter the main menu operations.
This timeline consists of a vertical stack of tracks with time represented horizontally on the track.
-It is the output of the rendering operations and this is what is saved when you run the File pulldown, Save command.
+It is the output of the rendering operations and this is what is saved when you run the \textit{File} pulldown, Save command.
Immediately to the left of the timeline is the patchbay. The patchbay contains options that affect each track.
-These options are described in great detail in the Editing section (\ref{sec:patchbay}).
+These options are described in great detail in \nameref{sec:patchbay}.
The \textit{Window} pulldown on the main window contains options
that affect the 4 main windows. The first 3 options are used to
windows to the original screen configuration. On dual headed
displays, the \textit{Default positions} operation only uses the one
monitor to display the windows, but as you can see in the
-\textit{Window} pulldown you have more options to change that. Usage
-with dual monitors is explained
-in~\ref{sec:multiscreen_playback_configuration}.
+\textit{Window} pulldown you have more options to change that with the
+2 \textit{tile} options. Usage with dual monitors is explained
+in~\nameref{sec:playback_a_b}.
\subsection{Video and Audio Tracks and Navigation}%
\label{sub:video_and_audio_tracks_and_navigation}
Each track on the timeline has a set of attributes on its left side in the patchbay which is used to
control some options of that particular track.
-Track Navigation is performed by selecting a video or audio track and moving to a certain time in the track.
+Track navigation is performed by selecting a video or audio track and moving to a certain time in the track.
Use the vertical scroll bar to scan across tracks, or even easier you can use the mouse wheel.
And use the horizontal scroll bar to scan across time, or again even easier, you can use the mouse wheel with the Ctrl key.
Once you have become familiar with many of the graphical tools and pulldowns, you can switch to using more of
the keyboard to navigate. Many of the key equivalences are listed in each of the pulldowns to the right of the option
as a shortcut. All of the shortcuts are listed in a document for keyboard
-navigation (\ref{sub:main_menu_keys}). This includes, for example, shortcuts like the \texttt{Home} and \texttt{End} keys to go to the beginning or end of the timeline.
+navigation (\nameref{cha:shortcuts}). This includes, for example, shortcuts like the \texttt{Home} and \texttt{End} keys to go to the beginning or end of the timeline.
Another example is in the default cut and paste mode, hold down \texttt{Shift} while pressing \texttt{Home} or \texttt{End} in order to select the region of the timeline between the insertion point and the key pressed.
+\subsection{Transport and Buttons Bar}%
+\label{sub:transport_buttons}
+
+This is a short description of what is contained on the \textit{Transport and Buttons Bar} as seen in
+figure~\ref{fig:insertion-points}.
+Each of the symbols has an associated tooltip as an easy reminder of its function. The usage of
+several is described in a little more detail in other areas of this manual.
+
+\vspace{2ex}
+\begin{tabular}{ll}
+ \hline
+ First set of 3 symbols & Move in the reverse direction on the timeline \\
+ 4th symbol & Stop play \\
+ Third set of 3 symbols & Move in the forward direction on the timeline \\
+ Next 2 symbols & Set editing mode \\
+ Generate keyframes while tweaking & Explained in \ref{sec:generate_keyframe_tweaking}\\
+ Allow keyframe spanning & Explained in \ref{sec:allow_keyframes_spanning}\\
+ Lock labels from moving with edits & Toggle to lock or not lock labels from moving \\
+ Next 2 are In and Out pointers & Set or unset In and Out to define an area \\
+ To Clip & Create a clip of the designated area \\
+ Split / Cut & Split/Cut at insertion or selected area \\
+ Next 2 symbols & Usual Copy and Paste functions \\
+ Next 3 symbols & Label manipulation functions \\
+ Next 2 symbols & Used to move to other edits \\
+ Next 2 symbols & Fitting video to the display \\
+ Next 2 symbols & Undo and Redo last operation \\
+ Manual Go To & Explanation after this table \\
+ Set Timecode & Explained in \ref{sub:align_timecodes} \\
+ Gang Modes & Explained in \ref{sub:displaying_tracks_ganged} \\
+ \hline
+\end{tabular}
+
+The \textit{Manual Go To} menu is quite versatile as you can see in figure~\ref{fig:goto_menu}. The
+options of \textit{=} represents goto the position indicated in the textbox; \textit{+} indicates
+to goto forward the additional number in the textbox; and \textit{-} means to go in the reverse
+direction the number in the textbox. If you use \textit{Enter} in the textbox, the menu will stay
+up so that you can use it without having to continuously pop it up. If you use the OK check instead,
+the menu will be taken down. The pulldown arrow to the right of the textbox sets the
+\textit{Time Format} for the units to be used for position changing. This lets you change the units
+without having to modify your Preference.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.4\linewidth]{goto.png}
+ \caption{Goto position menu}
+ \label{fig:goto_menu}
+\end{figure}
+
+\textit{Time Format} options are:
+
+\begin{tabular}{ll}
+ \hline
+ h:mm:ss.sss & hours minutes seconds milliseconds \\
+ h:mm:ss:ff & hours minutes seconds frames \\
+ timecode \\
+ video frames \\
+ audio samples \\
+ audio samples (hex) \\
+ ssss.sss & milliseconds.xx \\
+ video frames (feet) \\
+ \hline
+\end{tabular}
+
\subsection{Zoom Panel}%
\label{sub:zoom_panel}
\hline
Sample zoom & Duration visible on the timeline \\
Amplitude & Audio waveform scale \\
- Track zoom & Height of tracks in the timeline \\
+ Track audio zoom & Height of audio tracks \\
+ Track video zoom & Height of video tracks \\
(type) & Automation Type \\
Curve zoom & Automation range minimum and maximum \\
Selection change & 3 boxes with starting point, length, and ending point \\
The next option is \emph{amplitude} and it only affects the audio waveform size. \texttt{Ctrl-$\uparrow$} and \texttt{Ctrl-$\downarrow$} are shortcuts used to change the amplitude zoom as an alternative to the down arrow to the right of the numerical size.
-The \emph{track zoom} affects all tracks and determines the height of each track.
-If you change the track zoom, the amplitude zoom will be changed also so that the audio waveforms
+The \emph{track audio and video zoom} affects all tracks of that type and determines the height of each track.
+If you change the audio track zoom, the amplitude zoom will be changed also so that the audio waveforms
are proportionally sized.
-Shortcuts, \texttt{Ctrl-Pgup} and \texttt{Ctrl-Pgdown}, change the track zoom.
+Shortcuts, \texttt{Ctrl-Pgup} and \texttt{Ctrl-Pgdown}, change the track zoom to the next level simultaneously for all of the audio and video tracks.
\emph{Automation type} is used for selecting one of the following: Audio Fade, Video Fade, Zoom, Speed, X, or Y (X and Y are for the compositor's Camera and Projector). When an auto line is present on
the timeline and is being manipulated, a small square the same color as the line will be shown to
-the left of the Automation type. This is just an indicator to make it easy to see what is being worked.
+the left of the Automation type when the left mouse button (LMB) is pressed. This is just an indicator to make it easy to see what is being worked.
The \emph{curve zoom} affects the curves for the selected \emph{automation type} in all the tracks of that type and determines the value range for those curves.
Use the tumbler arrows to the left of the numbers for the minimum value and the tumblers to the right for the maximum value, or manually enter the values in the text box.
There are 3 additional pieces of information in the line immediately below the \textit{zoom panel}.
In the lower left hand corner there could be messages such as "Welcome to \CGG{}" when there is no
need to display a red-colored error message or a line that reads "Rendering took H:MM:SS" after a render
-has just been completed. Or when working with an auto, a small square the color of that auto line, will be
+has just been completed. Or when working with an auto, a small square the color of the last changed auto line, will be
present along with its keyframe type, location on the timeline, and its current value. This is simply
for easy recognition of what is being worked. The second piece of helpful information is all the way to
the right which is a long rectangular box indicating the percentage completion of a render. Finally
\begin{description}
\item[Attach Effect] opens a dialog box of effects applicable to the type of track of audio or video.
- \item[Move up] moves the selected track one step up in the stack of its corresponding type - audio or video.
- \item[Move down] moves the selected track one step down in the stack of its corresponding type - audio or video.
+ \item[Move up] allows for changing the order of the tracks up; the actual code refers
+to this as a swap. Disarmed tracks affect the results.
+ \item[Move down] allow for changing the order of the tracks down; the actual code refers
+to this as a swap. Disarmed tracks affect the results.
+ \item[Roll up] moves the tracks one step up in the stack with the top track going to the bottom. This is applicable to all armed and disarmed tracks.
+ \item[Roll down] moves the tracks one step down in the stack with the
+bottom track going to the top. This is applicable to all armed and disarmed tracks.
\item[Delete track] removes the track from the timeline.
\item[Add Track] adds a track of the same media type as the one selected, audio or video, above the selected track.
- \item[Find in Resources] that media file will be highlighted in the media folder in the Resources window.
+ \item[Find in Resources] the media file on that track at the location of the insert pointer will be highlighted in the media folder in the Resources window. If the
+ Resources window is closed, media is found and highlighted but the Resources window is not displayed.
\item[Show edit] will point out the exact start and stop points along with the length of the current edit on
that track as well as the media name, track name and number, and edit number.
\item[User title] is used to change the title name. This is really handy for files that have very long and
There is: \emph{drag and drop mode} and \emph{cut and paste mode}.
The editing mode is determined by selecting the \texttt{arrow}, or immediately to the right of the arrow,
the \texttt{I-beam} in the Transport and Buttons bar. In figure~\ref{fig:insertion-points} you can see
-the green colored highlight on the arrow icon indicating that you are currently in
+the green colored highlight \protect\footnote{green is used in the default Cakewalk theme, but the highlight color will be different in other themes} on the arrow icon indicating that you are currently in
\emph{drag and drop mode}.
With the arrow highlighted for \emph{drag and drop mode}, a double click with the left mouse button in the timeline selects the edit the mouse pointer is over.
In the timebar, a colored bar will show between these 2 brackets to better outline the area selected.
In \emph{drag and drop mode}, they are an easy way to define a selected region.
-It is important to remember that in \emph{cut and paste mode} and \emph{drag and drop mode}, a highlighted area
-overrides the In/Out points. That is, if a highlighted area and In/Out points are both set, the highlighted area is changed by editing operations and the In/Out points are ignored.
+It is important to remember that a highlighted area overrides the In/Out points. That is, if a highlighted area and In/Out points are both set, the highlighted area is changed by editing operations and the In/Out points are ignored.
But if no region is highlighted, the In/Out points are used.
To avoid confusion, use either highlighting or In/Out points but not both at the same time.
repositioned when you click the In/Out icon or keyboard equivalent.
If you click on In/Out points while a region is highlighted, the insertion point will be ignored and In/Out points will be set at the beginning and at the end of the highlighted area.
-When you select either the In or Out point on the timebar, the insertion point will move to that location.Note that when the insertion point is at the exact position of an In or Out point, the bracket will change
+When you select either the In or Out point on the timebar, the insertion point will move to that location. Note that when the insertion point is at the exact position of an In or Out point, the bracket will change
color making it easy to see that you are exactly at that spot.
If only the In point is set, when you click the In point icon the In point will be deleted.
Holding the Shift key while clicking on an In/Out point, the area between the insertion point and that
In/Out point will be highlighted or extended to that In/Out point if already highlighted.
-An easy way to turn off the In/Out points if both are set, is to double click on the [ icon.
+An easy way to turn off the In/Out points if both are set, is to double click on the [ icon in the toolbar.
If you have already set the In and Out points, and then move the insertion point anywhere to the left of
the Out point, a LMB click on the [ icon will move the In point to the location of the insertion point. In the same
manner if you move the insertion point anywhere to the right of the In point, a LMB click on the ] icon
If you LMB click the label button when an area is highlighted, labels are created at each end of the
highlighted area.
When a label is selected, if you click on the label icon, the label will be deleted.
-To delete multiple labels, highlight that area, then use the \texttt{Edit $\rightarrow$ Clear labels}
+To delete multiple labels, highlight that area, then use the \texttt{Edit $\rightarrow$ Clear $\rightarrow$ Clear labels}
function to delete them all. The same precedence rules apply to this operation as mentioned earlier. That
is, if both In/Out points are set and there is a highlighted area also set, the highlighted area's
labels will be cleared and not those between the In/Out points.
-If you enable \emph{Edit labels} in the Settings pulldown menu or disable the \emph{Lock labels from moving}
+If you enable \emph{Edit labels} in the \textit{Settings} pulldown menu or disable the \emph{Lock labels from moving}
button on the Transport and Buttons bar, labels will be cut, copied or pasted along with the selected
area of the first armed track.
In the same manner, if a selected area of media is spliced from the viewer to the timeline in a position
before labels, the labels will be moved to the right on the timebar so that the label maintains its
relative position to its edit.
To prevent labels from moving on the timebar, enable the \emph{Lock labels from moving} icon or
-disable the \emph{Edit labels} option under the Settings pulldown.
+disable the \emph{Edit labels} option under the \textit{Settings} pulldown.
\subsection{Color Title Bars and Assets}%
\label{sub:color_title_bars_and_assets}
-In order to visually aid in locating clips on the timeline that are from the same media file, you can have them auto-colored or self-colored.
+In order to visually aid in locating clips on the timeline that are from the same media file, you can have them auto-colored or self-colored. Auto-color is
+an automatic system to always color the files on the timeline when loaded.
+Self-color is a manual coloring requiring the user to take definitive action.
Use of this feature requires additional memory and cpu on every timeline redraw, therefore it is recommended that smaller computers leave it turned off.
For auto-color the color will be based on a hashed filename so that whenever you load this particular media, it will always have the same color on the title bar even if you use proxy.
as shown in Figure~\ref{fig:settings}. It is disabled by default.
Each media will have a random muted color and there could easily be close duplicates as generated by the program algorithm. There will be no total black, but some dark shades are possible.
-To change a specific clip to your own chosen color, middle mouse button (MMB) over that clip and an Edits popup will be displayed.
+To change a specific clip to your own chosen color, right mouse button (RMB) over that clip and an Edits popup will be displayed.
Choose the option \textit{Bar Color} to bring up the color picker and choose a color.
You can also change the alpha value in the color picker and this alpha takes precedence over the current alpha slider bar value unless the color picker's alpha value is set to 1.0.
The color will only change after you click on the checkmark.
The \emph{Bar Color} option works in either Drag and Drop or Cut and Paste editing mode and also works if \textit{Autocolor assets} is not set.
-In Drag and Drop editing mode, if you select several clips and then bring up the Edits popup with the middle mouse button over a track, you can use the \emph{Bar Color} option to change all of those selected to the same color.
+In Drag and Drop editing mode, if you select several clips (reference "Create a
+group" in ~\ref{sub:grouping_edits}) and then bring up the Edits popup with the right mouse button over a track, you can use the \emph{Bar Color} option to change all of those selected to the same color.
To go back to the default colors, uncheck \textit{Autocolor assets} in Preferences, but this does not affect the specially chosen self-colored ones as they are preserved.
-To change these individually or selectively, use the Edits popup \emph{Bar Color} option and click on \textit{Default} in the color picker window. Auto-color does not honor armed/disarmed tracks.
-Self-color does honor armed/disarmed tracks.
+To change these individually or selectively, use the Edits popup \emph{Bar Color} option and click on \textit{Default} in the color picker window.
And that’s not all!
There is an \emph{alpha fader slider bar} on the bottom of the main window on the right hand side of the Zoom Panel.
\item[File] options for loading, saving, and rendering as described in other sections (\ref{cha:load_save_and_the_EDL}).
\item[Edit] edit functions; most of which have shortcuts that you will quickly learn (\ref{cha:editing}).
\item[Keyframes] keyframe options which are described in the Keyframe section (\ref{cha:keyframes}).
- \item[Audio] audio functions such as \textit{Add track}, \textit{Attach transition/effect}.
+ \item[Audio] audio functions such as \textit{Add track}, \textit{Attach effect}
+and \textit{Attach transition}. The \textit{Attach effect} is especially useful when
+you need the effect to be applied to all related audio tracks as a \textit{Shared effect}
+and is described as an alternative method of application in section \ref{sec:shared_effect_tracks}.
\item[Video] video functions such as \textit{Add track, Default/Attach transition, Render effect}.
- \item[Tracks] move or delete tracks are the most often used.
+ \item[Tracks] move or delete tracks are the most often used plus \textit{Align Timecodes}.
\item[Settings] much of this is described elsewhere with the most frequently used to include
Preferences (\ref{cha:configuration_settings_preferences}), Format (\ref{cha:project_and_media_attributes}),
Proxy and Transcode (\ref{sec:proxy_settings}), as well as the others.
\label{sub:window_layouts}
If you like to use different window layouts than the default for certain scenarios, you can setup, save, and load 4 variations.
-First, position your \CGG{} windows where you want them to be and then use the Window pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight.
+First, position your \CGG{} windows where you want them to be and then use the \textit{Window} pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight.
To use the default name of \textit{Layout \#}, when the popup comes up, just click the green checkmark OK on the Layout popup menu.
If you would like a specific name for your layout so you can remember what its best use case is,
-keyin 1-8 english characters that are meaningful to you (english characters mean you can not use the German umlaut or the French accent).
+keyin 1-8 english characters that are meaningful to you (english characters mean you can not use the German umlaut, the French accent, or the Spanish ñ).
Legal characters are a-z, A-Z, 0-9, \_ (the underscore character) and a limit of 8 total.
If you keyin more than 8, only the last 8 characters will be used.
To rename a currently existing layout, use the \emph{Save layout} option again on the one to rename, and keyin a different name into the text box or leave blank for the default name (figure~\ref{fig:window_layouts}b).
The files containing the coordinates for your layouts will automatically be saved in the \texttt{\$HOME/.bcast5} directory as \texttt{layout\#\_rc} or \texttt{layout\#\_8chars\_rc}.
-To use the desired layout, keyin the shortcut or use the Window pulldown and choose \emph{Load layout} and then make your choice. It is very beneficial to learn the shortcuts for your
-layouts because they can be executed from any of the 4 windows instead of just the main
+To use the desired layout, keyin the shortcut or use the \textit{Window} pulldown and choose \emph{Load layout} and then make your choice. It is very beneficial to
+learn the the associated shortcut layouts (Ctrl+Shift+Fx where x is 1,2,3, or 4)
+because they can be executed from any of the 4 windows instead of just the main
timeline window.
+\subsection{Multi-Pane Support}%
+\label{sub:multipane_support}
+
+The main \CGG{} edit window holds the Track Canvas which can be divided into 4 panes of track data: 1 or 2 vertical panes and/or 1 or 2 horizontal panes. To split the track, use the \textit{Window} pulldown, and then click on \textit{Split X} or \textit{Split Y} depending on how you wish to split the track. Alternatively, the canvas pane types can be changed using keys \textit{<Ctrl-1>} for toggle split horizontal or \textit{<Ctrl-2>} for toggle split vertical. Or the track can be split into panes by using the \textit{+ widget} in the lower right hand corner of the track canvas. Once the track has been divided, you can use the + widget shortcut or the drag bars to change the size of the panes.
+
+Multi-Pane, or split screen, allows you to look at the first part of a movie at the same time as a part that is a long ways away on the timeline which would have been off the screen. By having multiple panes, you can see the 2 parts you want to look at simultaneously and drag/drop easily between the 2. Also, the \textit{X pane split} is extremely convenient for laptop users and computer monitors with small screens since it can be used with horizontal scrolling with the mouse wheel + Ctrl. The \textit{Y-pane split} makes it easy to see 2 simultaneous drag and drop zones when you have lots of tracks (figure~\ref{fig:multi-pane01}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=1.0\linewidth]{multi-pane01.png}
+ \caption{Shown are 4 panes that have split in X and Y the main track canvas}
+ \label{fig:multi-pane01}
+\end{figure}
+
+
\subsection{Just Playing!}%
\label{sub:just_playing_}
What if you are just using \CGG{} to play media and listen to tunes?
\subsubsection*{Repeat Play / Looping Method}%
\label{ssub:repeat_play_looping_method}
-There are 2 methods for repeat play or looping on the timeline and 1 method for both the Compositor and the Viewer. This works in conjunction with any of the transport buttons or shortcuts in either forward or reverse as usual. The 1 exception is that the Shift button can not be used to either add or subtract audio within the repeat area.
+There are 2 methods for repeat play or looping on the timeline and 1 method for both the Compositor and the Viewer. This works in conjunction with any of the transport buttons or shortcuts in either forward or reverse as usual. The 1 exception is that the Shift key can not be used to either add or subtract audio within the repeat area.
\textit{Method 1:} Shift-L on the Timeline, repeats the selection per the algorithm outlined next.
Alt + p&=&reverse fast playback\\
\end{tabular}
\begin{minipage}{.45\linewidth}
-+ Shift key, results in the reverse of whether audio is included or not.
++ Shift key, single frame forward/reverse will include audio; all others
+will not include audio.
\vspace{1ex}
-+ Ctrl, results in the transport function operating only between the in/out pointers.
++ Shift + Ctrl, results in the transport function operating only between the in/out pointers.
\end{minipage}
\section{Compositor Window}%
of the same transport buttons and controls that are available in the Program window.
They work the same as in the Program window and also have tooltips that are visible
when you mouse over each of the icons so their use is fairly obvious. However,
-of particular note is the button \textit{Click to play} which is described in~\ref{sub:click_to_play_in_viewer_and_compositor}.
+of particular note is the button \textit{Click to play} which is described in~\ref{sub:click_to_play_in_viewer_and_compositor}. Next is the \textit{Videoscope} button which is used to enable the scopes window
+without having to apply the filter to the tracks/edits.
Next to all of these controls all the way to the right side, there is a \textit{zoom menu} and a \textit{tally light}. The \textit{zoom menu} has a pulldown with different settings that you can choose from
or you can just use the tumbler arrows to the right. Generally when just getting started, you
the size of the video itself. In addition there are many shortcuts for zooming that you
will find in the Shortcuts chapter (\ref{cha:shortcuts}).
-To resize the entire window instead of just the video, use a RMB click in the compositor
-window which brings up a menu with all the zoom levels, zoom auto mode, and some other options.
+Using a RMB click in the compositor window brings up a menu with several options. One of these
+is \emph{Resize Window} which allows for resizing the entire window instead of just the video
+and if you highlight that, you can choose from several variations for the window size.
+Other available options include self-explanatory ones of \emph{Fullscreen} with "f" as a toggle
+to go to fullscreen and to revert to non-fullscreen and \emph{Zoom Auto}.
As you would expect, whenever the video is zoomed so that only part of the image is visible
in the window, scrollbars are automatically added as needed on the bottom, the right hand
side, or both.
Other options include \emph{Reset camera} and \emph{Reset projector} which obviously are used
-to reset the camera and the projector.
+to reset the camera and the projector (reference~\ref{sub:camera_and_projector}). And
+\emph{Camera/Projector keyframe} will create a keyframe at that point on the timeline for
+X,Y, and Z without the requirement of being in \textit{Automatic Keyframe Mode}. More
+information is described in the section \nameref{sec:compositor_keyframes}.
The \emph{Hide controls/Show controls} option is great for hiding the left hand toolbar and
bottom set of controls for a cleaner look.
As mentioned earlier, this
variety of zoom only affects the video and not the resizing of the Compositor window. After
utilizing this slider bar for zooming around, you may want to switch back to \textit{Auto}
-using the Controls on the bottom of the window.
+using the controls on the bottom of the window.
This slider bar is also displayed
when you click on the icons for \textit{Adjust camera automation} or \textit{Adjust projector automation}.
The Compositor window image in figure~\ref{fig:zoom_slider} shows the zoom slider bar with rectangular shaped slider about in the middle. Note that the magnifying glass is enabled which
-automatically pops-up the slider and the Protect video from changes is disabled. Also note that
+automatically pops-up the slider and the \textit{Protect video from changes} is disabled. Also note that
there is a scroll bar on the bottom and right side of the image since the image at this magnification
does not fit in the window.
The Controls zoom textbox shows $\times0.82$ size.
Holding down the Ctrl key while dragging with the LMB on one of the points, will
ensure that the line is always at a multiple of a 45 degree angle. Holding down the Alt key while
-dragging with the LMB on one of the points, will translate the ruler line to another place on
-the video while maintaining its length and angle. If you dismiss the Ruler menu, click on
+dragging with the LMB on any of the points, will translate the ruler line to another place on
+the video while maintaining its length and angle. For some desktop window managers, such as
+\textit{UbuntuStudio 16.4} and \textit{Arch}, the Alt key is already in use by the Operating System
+so you will have to use Alt+Ctrl instead.
+If you dismiss the Ruler menu, click on
\textit{Show tool info} to get the menu to popup again.
\item[Adjust camera automation] the camera brings up the camera editing tool. Enable \textit{Show tool info} if the popup menu does not appear. More detail for usage is provided in the subsequent
-paragraph~\ref{sub:camera_and_projector}.
+section~\ref{sub:camera_and_projector}.
\item[Adjust projector automation] the projector brings up the projector editing tool. Enable \textit{Show tool info} to get the menu to popup again. More detail for usage is provided in the
-subsequent paragraph~\ref{sub:camera_and_projector}.
+subsequent section~\ref{sub:camera_and_projector}.
\item[Crop a layer or output] this is a cropping tool used to reduce the visible picture area.
More detail for usage is provided in a
subsequent paragraph (\ref{sub:cropping}). There is also a Crop \& Position plugin that provides
-a different set of capabilities~\ref{sub:crop_position}.
+a different set of capabilities described in~\ref{sub:crop_position}.
+ Enable \textit{Show tool info} to get the menu to popup if it does not come
+up automatically.
\item[Get color / eyedropper] brings up the eyedropper used to detect the color at a
particular spot. Enable the \textit{Show tool info} if the Color popup menu does not come up
automatically or if that menu was accidentally dismissed. Click on a specific color in the video
output with the LMB to see the selected color. You can then use that color's
-value to be applied to some effects depending on how the effect handles the eyedropper.
+value to be applied to some effects depending on how the effect handles the eyedropper. If you set the \textit{Radius} to a larger number, a square appears
+around the cross cursor and an average value of the color will be the result.
+If you \textit{Use maximum}, instead of an average value of the color, the result
+will be the maximum of all values within that square.
\item[Show tool info] this tool button is used in conjunction with the other tools on the
compositor's toolbar. You only need to click on this if one of these tools popup menu does not
come up or has been dismissed - Mask, Ruler, Camera, Projector, Crop, or Eyedropper tools.
You can also use it when highlighted to dismiss the highlighted tool's dialog box.
-It is not needed for Protect video from changes, Zoom view, and Show safe regions since they have
+It is not needed for \textit{Protect video from changes}, \textit{Zoom view}, and \textit{Show safe regions} since they have
no dialog popup menus.
\begin{figure}[htpb]
\subsubsection*{Track and Output size}%
\label{ssub:track_size}
-The \textit{Track size} is used to define the temporary size with each track having a different size.
+The \textit{Track size} is used to define the temporary size with each track having a different size (viewports). It also serves to conform the input media to a chosen format (aspect ratio). So each track can have a different format (viewport).
You can see or set the track size by RMB click on a track and then select \emph{Resize Track} to resize
the track to any size. Or select \emph{Match output size} to make the track the same size as the
-output. When a track is resized what it looks like on the compositor changes. The relationship
+output. Or from the Resources window, RMB on a video media and choose \textit{Info} and then \textit{Resize}. When a track is resized then what it looks like on the compositor changes. The relationship
between the track and the project's output size makes it possible to magnify or reduce the size of
-a track in regards to the final output. This feature means you cancreate visual effects such as split
-screens, zooms, and pans in the compositor.
+a track in regards to the final output. This feature means you can create visual effects such as different aspect ratios, adjust split screens, zooms, and pans in the compositor.
The \textit{Output size} can be set in \texttt{File $\rightarrow$ New} when creating a new project,
or by using \texttt{Settings $\rightarrow$ Format}, or in the Resources window with RMB click on
-a video asset and choosing \emph{Match project size}. When you \emph{Match project size}, you
-are conforming the output to the asset. Once you have set the output size in 1 of these 3 ways,
+a video asset and choosing \texttt{Match $\rightarrow$ Match project size}. When you \emph{Match project size}, you
+are conforming the output to the asset. To change the size and aspect ratio of the output (Projector) we have to change the whole project, which will alter all the tracks in the timeline. Once you have set the output size in 1 of these 3 ways,
any newly created tracks will conform to the specified output size. When rendering, the project's
-output size is the final video track size where the temporary pipeline is rendered into.
+output size is the final video track size where the temporary pipeline is rendered into.
+
+\subsubsection*{Aspect Ratio (Theory)}%
+\label{ssub:aspect_ratio_theory}
+
+The aspect ratio is the ratio of the sides of the frame (\textit{Width} and \textit{Height}). For example, classically broadcast TV was 4:3 (= 1.33), whereas today it has changed to 16:9 (= 1.85); in cinema we use the 35 mm aspect ratio of 1.37 (Academic aperture), but even more so the super 35 mm (2.35). There are also anamorphic formats, i.e. that have no square pixels, like Cinemascope (2.35). The projection must be \textit{normalized} to have an undistorted view.
+
+
+From the film or digital sensors of the cameras, we can extract any frame size we want. We are talking about \textit{viewports}, which we will examine shortly. Also important is the output of the film that will be rendered, because it is what we will see at the cinema, or on TV, or on the monitor of the PC, tablet or smartphone. Referring to figure~\ref{fig:temporary-01}, you can see these two possibilities: with the Camera you choose the size and aspect ratio of the source file (regardless of the original size); while with the Projector you choose the size and aspect ratio of the output.
+
+The following formula is used to vary the aspect ratio:
+
+\qquad $\frac{W}{H} =$ aspect ratio ($\frac{pixels}{pixels}$)
+
+For example to obtain an aspect ratio of Super 35 mmm (2.35) starting from a FullHD file (1920x1080) whose base extension (1920) we want to keep:
+
+\qquad $\frac{1920}{H} = 2.35$
+
+from which: $H = 817$ pixels
+
+\CGG{} allows you to vary the input and output aspect ratio in the ways indicated in the previous section: by varying the pixels of the sides or by setting a multiplication coefficient.
+
+In \texttt{Settings $\rightarrow$ Format} there is the additional possibility to vary the shape of the pixels from 1:1 (square) to handle anamorphic formats. In such cases we use:
+
+\qquad $PAR=\frac{DAR}{SAR}$
+
+where:
+
+\textit{DAR}= Display Aspect Ratio
+
+\textit{PAR}= Pixel Aspect Ratio (1 or 1:1 is square)
+
+\textit{SAR}= Storage Aspect Ratio (i.e media file aspect ratio)
+
\subsection{Camera and Projector}%
\label{sub:camera_and_projector}
\subsubsection*{The Viewport}%
\label{ssub:viewport}
-The \textit{viewport} is a window on the camera that frames the area of source video. The size of
-the current track is used for the initial size of the viewport. A smaller viewport, for example
-($640\times480$), captures a smaller area; whereas a larger viewport of ($800\times600$) captures
-a larger area. If the captured area is larger than the source video, the empty spaces will be
-automatically filled with blanks. After the viewport is defined, the camera needs to be placed
-right above the area of interest in the source video. Operations to control the location of the
-camera are as follows:
+The \textit{viewport} is a window on the camera that frames the area of source video. The size of the current track is used for the initial size of the viewport. A smaller viewport, for example ($640\times480$), captures a smaller area; whereas a larger viewport of ($800\times600$) captures a larger area. If the captured area is larger than the source video, the empty spaces will be automatically filled with blanks. To change the size and aspect ratio of the viewport (Camera) of a single track, right-click on the track in the timeline and choose Resize Track. Here we can vary the height and base of the viewport in pixels or choose the multiplication coefficient for each side (Scale). With OK we will see the change in the Compositor window with the new dimensions reflected in the green box. We can have different size viewports for each video track on the timeline. To go back, reset the viewport to the original value. After the viewport is defined, the camera needs to be placed right above the area of interest in the source video. Operations to control the location of the camera are as follows:
\begin{enumerate}
\item In the compositor window you should see the selected track.
placement.
\end{enumerate}
-When you drag over the viewport in the compositor window, it looks like you are moving the camere
+When you drag over the viewport in the compositor window, it looks like you are moving the camera
with the mouse. The viewport moves in the same manner.
\subsubsection*{Camera Compositing}%
These are accessed in the \emph{Show tool info} window.
Most operations in the Compositor window have a tool window which is enabled by activating the question mark icon (figure~\ref{fig:camera_tool}).
-\begin{wrapfigure}[10]{O}{0.45\linewidth}
- \vspace{1ex}
- \includegraphics[width=1.0\linewidth]{camera_tool.png}
- \caption{Camera and Projector tool}
- \label{fig:camera_tool}
-\end{wrapfigure}
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{camera_tool.png}
+ \caption{Camera and Projector tool}
+ \label{fig:camera_tool}
+\end{figure}
+
+In the \textit{Position} section you can act on the $X$, $Y$ and $Z$ coordinates. By either tumbling or entering text directly or by using the slider, the camera and projector can be precisely positioned. There is also a reference to the color of the curve as we see it on the timeline. You can also define the \textit{range} of action which by default is [-100 to 100]. By pressing the Reset button for each coordinate, or the global Reset button, the range is automatically brought to the project size value (HD; 4k; etc), which are usually the most useful limits. Note that the range can also be changed in the \textit{Program} window, in the \textit{zoom bar}, where there are similar input fields to enter the chosen limits.
-In the case of the camera and projector, the tool window shows $x$, $y$, and $z$ coordinates.
-By either tumbling or entering text directly, the camera and projector can be precisely positioned.
-Justification types are also defined for easy access.
-A popular justification operation is upper left projection after image reduction.
-This is used when reducing the size of video with aspect ratio adjustment.
-In the last figure you see the choices for justification as the red stripe in the 6 boxes in the order of left, center horizontal, right, top, center vertical, and bottom.
+In the \textit{Justify} section we can use automatic positioning in the 6 standard coordinates: Left, Horizontal, Right, Top, Center and Bottom.
The translation effect allows simultaneous aspect ratio conversion and reduction but is easier to use if the reduced video is put in the upper left of the \textit{temporary} instead of in the center.
The track size is set to the original size of the video and the camera is centered.
Without any effects, this produces just the cropped center portion of the video in the output.
The translation effect is dropped onto the video track. The input dimensions of the translation effect are set to the original size and the output dimensions are set to the reduced size.
-To put the reduced video in the center subsection that the projector shows would require offsetting out $x$ and out $y$ by a complicated calculation.
-Instead, we leave out $x$ and out $y$ at 0 and use the projector's tool window.
+To put the reduced video in the center subsection that the projector shows would require offsetting out $X$ and out $Y$ by a complicated calculation.
+Instead, we leave out $X$ and out $Y$ at 0 and use the projector's tool window.
By selecting left justify and top justify, the projector displays the reduced image from the top left corner of the \textit{temporary} in the center of the output.
+In the \textit{Curve type} section we can choose between various interpolation algorithms that determine the curve type:
+
+\begin{description}
+ \item[smooth:] bezier interpolation which are flat at the endpts
+ \item[linear:] piecewise linear curve.
+ \item[tangent:] bezier interpolation with collinear endpts in a specified line.
+ \item[free:] piecewise bezier, if there is such a thing.
+ \item[bump:] has 2 values, one viewed from the left/right, discontinuous.
+\end{description}
+
+In the \textit{Keyframe} section we can create new keyframes and set them as Bump autos (\textit{Right/Left edges} and \textit{Span} buttons). For further details see \nameref{sec:bump_autos}.
+
\subsubsection*{Reset to Default}%
\label{ssub:reset_default}
\label{ssub:use_case_interaction_camera_projector}
\begin{enumerate}
- \item Start by shrinking the projector to $z=0,500$ ($\frac{1}{4}$ of the original frame).
- \item The next step is to switch to the camera and note that the green box has assumed the size of the projector, i.e.\ the red box. The value of $z$ of the camera is always equal to $1,000$ (default) but the frame is $\frac{1}{4}$ of the original frame, i.e.\ it has the size of the projector that has $z=0,500$. This is the current viewport size.
- \item You enlarge the room bringing $z=2,000$. You can see that the dimensions of the viewport (green box) do not change, remaining the same as those of the projector. However, the frame has been enlarged and this variation is indicated by the enlargement of the yellow box. Let's remember that this follows the changes made with the camera tool.
+ \item Start by shrinking the projector to $z=0.500$ ($\frac{1}{4}$ of the original frame).
+ \item The next step is to switch to the camera and note that the green box has assumed the size of the projector, i.e.\ the red box. The value of $z$ of the camera is always equal to $1.000$ (default) but the frame is $\frac{1}{4}$ of the original frame, i.e.\ it has the size of the projector that has $z=0.500$. This is the current viewport size.
+ \item You enlarge the room bringing $z=2.000$. You can see that the dimensions of the viewport (green box) do not change, remaining the same as those of the projector. However, the frame has been enlarged and this variation is indicated by the enlargement of the yellow box. Let's remember that this follows the changes made with the camera tool.
\item We can drag the room so that we can center the frame to our liking. The movement of the yellow box shows well the variation compared to the green box.
\item Finally, if we want, we can switch to the projector tool to move the output frame to the position we want with respect to the size of the source. Of course, we can also work on the $z$, which in the example is at $z=0.500$, if we have decided to change the size of the output.
\end{enumerate}
below the target track and drag the \textit{Gradient} plugin to a highlighted area on that track.
\item You can move existing points to new locations by simply using the LMB at a point to
drag that point to a different location.
- \item The mask can be translated as a single entity by Alt-dragging the mask.
+ \item The mask can be translated as a single entity by Alt-dragging the mask. For some desktop
+window managers, such as \textit{UbuntuStudio 16.4} and \textit{Arch}, the Alt key is already in use
+by the Operating System so you will have to use Alt+Ctrl instead.
\item To create curved instead of straight lines between the points, use Ctrl-drag on a
specific point. Using Ctrl-drag activates bezier handles (control points) to create these curves
-between the points.
+between the points. For example, on a mask with just two points, you can create a romantic heart mask.
\end{enumerate}
There are a lot more operations you can do using the Mask menu as shown in
There are 4 shapes that are automatically available for usage as masks – square, circle, triangle, and oval. In addition, the next 3 symbols in this section are for the purpose of loading, saving, and deleting your own customized shapes. The first symbol, \textit{Load} preset, will bring up a list of your previously saved presets. Clicking on \textit{Save} preset brings up a popup window allowing you to provide a name used to identify the preset you want to save, along with a pulldown to see the names of your other saved presets. Clicking on \textit{Delete} preset also brings up a textbox with a pulldown to choose which one to delete. There is a file, called \texttt{mask\_rc}, in \texttt{\$HOME/.bcast5} that records your custom masks.
-When you click \textit{Load} preset, keep in mind that it will write the mask number that you have selected so if you already have a mask at that location, it will write over it – just \textit{Undo mask} under the main window Edit pulldown (shortcut `z') to revert to the previous if you made this mistake.
+When you click \textit{Load} preset, keep in mind that it will write the mask number that you have selected so if you already have a mask at that location, it will write over it – just \textit{Undo mask} under the main window \textit{Edit} pulldown (shortcut `z'or `Ctrl-z') to revert to the previous if you made this mistake.
\subsubsection*{Position \& Scale section}%
\label{ssub:position_scale_section}
\textit{Center} mask button allows for quickly centering a mask on the video track.
-\textit{Normalize} mask button makes it easy to normalize the size of the mask based on the scale of the video.
-The next 3 symbols concern the direction to \textit{drag translate} a mask using the \texttt{Alt+LMB} thus making it easy to preserve the current $X$ or $Y$ value when desirable.
+\textit{Normalize} mask button makes it easy to normalize the size of the mask based on the scale of the video - about 1/4 the window size in the X and Y
+directions. Normalization makes the mask fit in the space to avoid having
+it wander off of the window, then you can move it around easily before resizing.
+The next 3 symbols concern the direction to \textit{drag translate} a mask using the \texttt{Alt+LMB} thus making it easy to preserve the current $X$ or $Y$ value when desirable. For some desktop window managers,
+such as \textit{UbuntuStudio 16.4} and \textit{Arch}, the Alt key is already in use by the Operating System
+so you will have to use Alt+Ctrl instead.
\texttt{xlate/scale x} - drag translate constrained in the $X$ direction
The \texttt{Fade}: textbox is used to type in a fade value; the tumbler to the right of the textbox allows you to increase or decrease that number; and the slider bar makes it quick to adjust the fade value. The fader goes from $-100$ on the left to $+100$ on the right for negative to positive. Default value is $+100$. The fade slider includes a sticky point at 0 so that it is easy to get to 0 without going too far or not quite far enough -- that way you don’t have to keep jiggling to get there.
-In addition there is a \textit{Gang fader} symbol to allow for having all of the masks fade in unison. The symbol is surrounded by a gold colored background when it is in effect. If you have multiple masks with different modes, a decision had to be made on what value to use -- it uses the maximum transparency value of the background to determine the operations results. To understand how this works, here is a summary:
+In addition there is a \textit{Gang fader} symbol to allow for having all of the masks fade in unison. The symbol is surrounded by a green colored background \protect\footnote{green is used in the default Cakewalk theme, but the background color will be different in other themes} when it is in effect. If you have multiple masks with different modes, a decision had to be made on what value to use -- it uses the maximum transparency value of the background to determine the operations results. To understand how this works, here is a summary:
Note1: The area outside the mask is referred to as the background.
\paragraph{Case 2, Negative Fade:} When the program computes the background color for any number of masks that includes negative
mask(s), it uses the largest transparency number as the determining factor for the background. Only 1 of the masks can be largest, and wins for the background transparency result.
-\vspace{3ex}\textit{Feather}: works in a similar manner to a \textit{gradient Fade} aligned on the mask boundary but is a logical function instead of a mathematical function so will be faster. The \textit{Gang feather} symbol also works in a similar fashion and is surrounded by a gold colored background when it is in effect.
+\vspace{3ex}\textit{Feather}: works in a similar manner to a \textit{gradient Fade} aligned on the mask boundary but is a logical function instead of a mathematical function so will be faster. The \textit{Gang feather} symbol also works in a similar fashion and is surrounded by a colored background when it is in effect.
\subsubsection*{Mask Points section}%
\label{ssub:masks_points_section}
\textit{smooth curve} $\rightarrow$ smooth all points on a mask edge curve.
-\textit{smooth all} $\rightarrow$ smooth all active masks.
+\textit{smooth all} $\rightarrow$ smooth all enabled masks on this track.
Linear buttons of \textit{linear point}, \textit{linear curve}, and \textit{linear all}, perform the inverse of the smooth functions.
The control point vectors on the bezier endpoints are set to zero magnitude.
-In addition there is a \textit{Markers} and a \textit{Boundary} checkbox which come in handy to turn off the display of the points and the outline of the mask. Turning off \textit{Markers} is very useful when you have a lot of control points that clutter the display and make it more difficult to see the actual mask. A helpful feature is available by disabling \textit{Markers} and enabling \textit{Boundary} which results in all masks being displayed in the viewer; for example you can then see mask 0, mask 1 \dots at the same time.
+In addition there is a \textit{Markers} and a \textit{Boundary} checkbox which come in handy to turn off the display of the points and the outline of the mask. Turning off \textit{Markers} is very useful when you have a lot of control points that clutter the display and make it more difficult to see the actual mask. A helpful feature is available by disabling \textit{Markers} and enabling \textit{Boundary} which results in all masks being displayed in the viewer
+even if they are not enabled; for example you can then see mask 0, mask 1 \dots at the same time.
A \textit{gang} symbol on the right hand side of this section, tooltip of \textit{Gang points}, is another useful feature that makes it easy to drag a mask to an exact coordinate using the \textit{X} or \textit{Y} textbox for numerical input or the associated tumblers. This works like the \texttt{Alt+LMB drag} translate but provides the ability to be precise.
The \textit{X:} and \textit{Y:} coordinates mark the value of the current \textit{Pivot Point} used for rotation, scaling, and translation. You can either directly key in numerical values or use the tumblers to change the values as long as the \textit{Focus} checkbox is checked.
-The \textit{Focus} checkbox is used in case you want to set a different point in the Compositor for pivoting instead. And the \textit{Gang} symbol for rotate/scale/translate means that these operations will be performed on all points of the enabled masks. The gang symbol is surrounded by a gold colored background when it is in effect. When performing a rotate operation on a mask with the mouse wheel, \textit{acceleration} is in effect -- this means the faster you wheel, the more space is covered so that you do not have to wheel dozens of time to make a full rotation. Then when you wheel around slower, you can fine tune the result.
+The \textit{Focus} checkbox is used in case you want to set a different point in the Compositor for pivoting instead. And the \textit{Gang} symbol for rotate/scale/translate means that these operations will be performed on all points of the enabled masks. The gang symbol is surrounded by a colored background when it is in effect. When performing a rotate operation on a mask with the mouse wheel, \textit{acceleration} is in effect -- this means the faster you wheel, the more space is covered so that you do not have to wheel dozens of time to make a full rotation. Then when you wheel around slower, you can fine tune the result.
Note that in order to be able to rotate/scale around pointer, the Focus checkbox must be unchecked.
\subsubsection*{Other sections}%
There are 3 choices of crop methods to choose in the menu pulldown on the bottom right side.
\begin{enumerate}
\item Reformat - Reformat Session crops and changes the Format for the entire session.
-Because the Format is changed, this is applied to all tracks in the project.
+Because the Format is changed, this is applied to all tracks in the project.
The part of the image outside the rectangle will be cut off and the projector will make the video fit.
The \texttt{Settings $\rightarrow$ Format} window will show the new project Width and Height values and
the projector tool window will show the new $X, Y$ values. Track size remains unchanged.
\begin{figure}[htpb]
\centering
\includegraphics[width=0.99\linewidth]{viewer_window.png}
- \caption{Viewer Window - note the green/white arrow "Play" button left of 001484}
+ \caption{Viewer Window - the red arrow "Play" button is left of the Videoscope button}
\label{fig:viewer_window}
\end{figure}
Note that you can have multiple Viewer windows open with different or even the same media asset.
After the media is loaded you can use the transport buttons to play, rewind, stop, and so on, or
-for fast previewing drag with the LMB anywhere on the timebar slider. A few more options
-available in the Viewer window can be accessed with a RMB click on the display. These functions
-are listed next.
+for fast previewing drag with the LMB anywhere on the timebar slider. There is also the Videoscope
+button which is to used to enable the scopes window without having to apply the filter to the tracks/edits.
+A few more options available in the Viewer window can be accessed with a RMB click on the display.
+These functions are listed next.
\begin{enumerate}
\item Switch to a fullscreen display by choosing \textit{Fullscreen}. To switch back, click
Viewer} to bring it back up. More details for editing in the Viewer window with the Two Screen
Editing method is explained in~\ref{sec:two_screen_editing}.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=1.0\linewidth]{viewer_audio.png}
+ \caption{Viewer window at the top displaying same 5 seconds as seen in the Resources window thumbnail. At the bottom of the screen is the audio loaded on the timeline.}
+ \label{fig:vieweraudio}
+\end{figure}
+
+You can also use the Viewer to listen to media that consists only of Audio. This is a quick way
+to listen to the audio to see if it is what you would like to add to a timeline audio track for
+your project. To do this, you simply drag the audio file from the Resources window in the same
+manner as a video file. The viewer was designed to "view" images rather than play audio so in order
+to make it obvious that audio media is loaded to the viewer, a waveform is displayed that is the
+same waveform as shown in the Resources window thumbnail when in the \textit{Display Icons} mode.
+This waveform only represents the first 5 seconds of the media and will not change or move while
+playing in the Viewer window. But you can play the entire piece of media in the window
+and as you do so, you see the play cursor line move along and the timestamp reflect the actual
+position. You can also create clips. The entire waveform can only be seen on an actual audio track
+on the timeline. An example of what this looks like is shown in figure~\ref{fig:vieweraudio}.
+
\section{Options in both the Compositor and Viewer Windows}%
\label{sec:options_in_both_the_compositor_and_viewer_windows}
In both the Viewer and Compositor windows, there is an arrow on the right hand side of the other
buttons in the edit panel as shown in figure~\ref{fig:viewer_window}. The "play" button can be
-toggled on/off via this arrow, which has a tooltip of \textit{Click to play}. When enabled there
-is a green or gold colored shadow around the usual red or green colored arrow.
+toggled on/off via this arrow, which has a tooltip of \textit{Click to play}. When enabled
+the arrow is white surrounded by green and when disabled the arrow is red.\protect\footnote{the color and the look will be different for themes other than the default theme of Cakewalk}
The purpose of enabling this capability is to make it really easy to play the media in the window
by just using the left mouse button to start or stop the play. The entire main canvas surface
becomes a big play button! Although the default is initially off, a good reason to enable this,
\subsection{Timebar + Preview Region Usage in the Compositor and Viewer}%
\label{sub:timebar_preview_region_usage_in_the_compositor_and_viewer}
-The Viewer and Compositor each have a timebar control area with an indicator line below the video
-output. The \textit{timebar} shows the whole time covered by the program. When a video asset
-is loaded in the main window and you move in the compositor, the insertion pointer in the main
-window will reflect those movements. However, this is not the case with the viewer. In the viewer
-only that specific media is shown and there is no corresponding movement on the timeline.
-
-Both the Compositor and Viewer support labels and in/out pointer which are displayed in the timebar.
-And as with the movements, when you use the labels or in/out pointer in the compositor timebar,
-the result will also be reflected in the main window timebar. Along with that, of course, when
-you move to a label or in/out pointer in the compositor, the insertion point in the program window
-will go to that position.
-
-The timebar in the compositor and the viewer can be used to define a region known as the \textit{preview region}.
-This preview region is the region of the timeline which the slider affects.
-By using a preview region inside the entire program and using the slider inside the preview region you can very precisely and relatively quickly seek in the compositor and viewer.
-The preview region can be especially handy when you have large pieces of media by previewing one section, then move to the next section.
-
-The active preview region is the zone between the edge bars.
-The full range of the window slider pointer action is down-scaled to the active preview region.
-To use this, set the preview active region as a media time region of interest.
-Now addressing the timebar with the mouse only operates as if the timebar is zoomed to the scale of the active preview zone.
-This has the effect of magnifying the interesting media in terms of the mouse pointer addressing, for fine-tuning.
+The Viewer and Compositor each have a timebar control area with a red indicator
+line below the video output. The timebar shows the whole time covered by the
+resource. When a video resource is loaded in the main window and you move in the
+compositor, the insertion pointer in the main window will reflect those movements.
+But in the viewer only that specific media is shown and there is no corresponding movement on the timeline.
\begin{figure}[htpb]
- \centering
- \includegraphics[width=1.0\linewidth]{timebar1.png}
- \caption{The arrow above the green colored “play forward” transport button is on the timebar.}
- \label{fig:timebar1}
+ \centering
+ \includegraphics[width=1.0\linewidth]{timebar1.png}
+ \caption{The mouse cursor, above the green colored “play forward” transport button, is on the timebar. Further to the right we see the red "indicator line".}
+ \label{fig:timebar1}
\end{figure}
+Both the Compositor and Viewer support labels and in/out pointer which are dis-
+played in the timebar. And as with the movements, when you use the labels or
+in/out pointer in the compositor timebar, the result will also be reflected in the
+main window timebar. Along with that, of course, when you move to a label or
+in/out pointer in the compositor, the insertion point in the program window will
+go to that position.
+
+The timebar in the compositor and the viewer covers the whole length of the resource
+loaded in there. Moving the mouse with the LMB pressed moves the position in the resources as indicated by the indicator line. A complete mouse movement between left and right edges of the window moves the indicator line by default along the whole timebar. With long resources it can be difficult to precisely locate sections in the resource. To make this easier, you can limit the effect of the same window-wide mouse movement to a smaller area of the timebar, this area is defined as the preview region. This region can also be moved along the timebar.
+
+For instance, if you need to get a few 10 second clips from an 60 minute video, you could define a one-minute preview region, move it approximately to a place where a clip needs to be taken, and easily select with the mouse in and out points within the region, because the whole window mouse movement now covers 1 minute instead of 60 minutes.
+
To create and use a preview region, hold down the right mouse button inside the timebar on either end of the timebar close to the edge until you see the resize pointer.
While continuously holding the right mouse button down, drag the arrow away from the end towards the middle of the timebar until you have the desired area outlined.
The slider will be a dark red color while the selected preview region will remain the same initial black color.
\begin{figure}[htpb]
\centering
\includegraphics[width=1.0\linewidth]{timebar2.png}
- \caption{A left-facing arrow on the right side of the blue slider bar is used to drag the bar.}
+ \caption{A left-facing arrow on the right side of the reddish slider bar is used to drag the bar.}
\label{fig:timebar2}
\end{figure}
\begin{figure}[htpb]
\centering
\includegraphics[width=1.0\linewidth]{timebar3.png}
- \caption{Here you can see the right-facing arrow used to drag the other end of the slider bar.
- The black area between is the actual preview area.}
+ \caption{Here you can see the right-facing arrow used to drag the other end of the slider bar. The black area is the actual preview area.}
\label{fig:timebar3}
\end{figure}
The selected area will move left or right as you drag and still retains the same size.
\begin{figure}[htpb]
- \centering
- \includegraphics[width=1.0\linewidth]{timebar4.png}
- \caption{Note the double-headed fat arrow in the preview area used to move the selection over.}
- \label{fig:timebar4}
+ \centering
+ \includegraphics[width=1.0\linewidth]{timebar4.png}
+ \caption{Note the double-headed fat arrow in the black preview area used to move the selection over.}
+ \label{fig:timebar4}
\end{figure}
Settings:
\begin{enumerate}
- \item If no preview region is set, increasing the length of the media on the timeline by inserting media or
- appending, has no effect on the non-selected preview region. That is, you will not see the blue slider
- suddenly mysteriously appear.
- \item If the preview region is set, when you replace the current project or file, the preview region is
- automatically disabled.
- \item If the preview region is set, when you append data or change the size of the current project, the
- preview region may appear to either move, shrink, or grow depending on the new length of the
- media on the timeline.
- \item To disable the preview region, you will have to drag both the right and the left blue slider bars
- completely to their corresponding end so that there is no longer any visible red slider.
+ \item If no preview region is set, increasing the length of the media on the timeline by inserting media or appending, has no effect on the non-selected preview region. That is, you will not see the reddish slider bar suddenly mysteriously appear.
+ \item If the preview region is set, when you replace the current project or file, the preview region is automatically disabled.
+ \item If the preview region is set, when you append data or change the size of the current project, the preview region may appear to either move, shrink, or grow depending on the new length of the media on the timeline.
+ \item To disable the preview region, you will have to drag both the right and the left blue slider bars completely to their corresponding end so that there is no longer any visible red slider.
\end{enumerate}
A good method for taking advantage of the preview region is described here.
Back in the main track canvas, move to the location of the area you want to end looking and again you will see the red indicator line in the compositor.
Use the right mouse drag from the right to stop at that end point. Using this method is often easier than continuous usage of the single frame move which can be tedious.
-One last interesting item of note -- sometimes you may wish to see just a little more that is outside the preview region and you can do so! You can actually move outside the compositor or viewer window space and view more, at least until you hit the end of the monitor space.
+One last interesting item of note -- sometimes you may wish to see just a little more that is outside the preview region and you can do so! You can actually move outside the compositor or viewer window space and view more, at least until you hit the end of the screen space.
\section{Resources Window}%
\label{sec:resources_window}
contents highlighted for ease of use so you can see what is or is not loaded, or unset the highlight.
\item[Sort items] to sort the contents of the folder alphabetically. Especially helpful if you accidentally did a
drag and changed your mind or dropped suddenly so that the assets no longer look nicely aligned.
- \item[Copy/Paste file list] use to easily copy a set of files or paste a set of files between Cin and windows.
- \item[Snapshot/Grabshot] described elsewhere in more detail.
+ \item[Copy/Paste file list] use to easily copy a set of files or paste a set of files between \CGG{} and other programs or operating system windows.
+ \item[Snapshot/Grabshot] use to take a quick snapshot or to grab a specific area on the screen. These functions are described in detail in section \ref{sub:snapshot_grabshot}).
\end{description}
Using the right mouse click to bring up a menu in the folder area, you can also switch from Display text to Display icons, Sort items and create, delete and manipulate user defined folders/bins. Select Folder to create a user Folder or modify an existing folder.
The asset \emph{Info} window also can be used to display detailed information about the selected/highlighted media file -- available for any loaded media of type mpeg or ffmpeg.
This is extremely helpful in determining what type of media it is, size, resolution, format, and type/number of audio streams. It is especially useful for multiple program streams. You can have the info window popped on several of your assets simultaneously.
+\textit{Detail} opens an additional window with more information.
+
+\textit{Sample rate} and \textit{Frame rate} allows you to impose a different sampling or Fps of the audio and video assets.
+
+Another option is \textit{Resize} button, which allows you to change the sides (in pixels) of the frame of the asset.
+
\textit{Asset's interlacing} is the type of interlacing the asset has: If the file is (H)DV type, recognition and configuration is done automatically. All other media types will be set unknown. So we have to manually set the interlacing \protect\footnote{From Igor ubuntu's mail}.
Figure~\ref{fig:info_asset_details} shows the \textit{Detail} box to click on the left side and a simple, typical output in the Asset Detail window on the right side. Also, note the highlighted media in the Resources window.
\begin{figure}[htpb]
\centering
\includegraphics[width=0.99\linewidth]{info_asset_details.png}
- \caption{The “Detail” box}
+ \caption{Info windows with the “Detail” box}
\label{fig:info_asset_details}
\end{figure}
\label{sub:user_folders_bins}
Creating folders that are more specific to a particular project is helpful in better organizing your work.
-This can be done by utilizing the files already loaded to the \textit{master} Media or Clips folders in the Resources window.
+This can be done by utilizing the files already loaded to the \textit{master} Media or Clips folders in the Resources window. The general rule is you can only drag clips to a ClipUserBin and you can only drag media to a MediaUserBin.
+
Below are steps illustrating an easy way to set up a folder.
%TODO Below part need to be rewriten
\centering
\includegraphics[width=0.9\linewidth]{folder_resources.png}
\caption{Highlight, then click “New Media or Clips”.
- “Modify folder” can be used to change the name of a folder.
+ “Modify folder” can be used to change the name of a folder.
“Delete folder” in the popup can be used to delete a folder.
}
\label{fig:folder_resources}
The compositor has zoom capability.
The pull-down menu on the bottom of the compositor window has a number of zoom options.
When set to Auto the video is zoomed to match the compositor window size as closely as possible.
-When set to any other percentage, the video is zoomed a power of 2 and scrollbars can be used to scroll around the output.
When the video is zoomed bigger than the window size, you can use scrollbars to scan around or if the zoom icon is enabled, the middle mouse button can be used to zoom in or out the video.
The zoom toggle also causes the Compositor window to enter zoom mode.
\label{sub:show_overlays}
Color Coded Keyframe Curves are a big feature in the \textit{Show Overlays} window because by changing the colors to suit the user, it helps to remove confusion from multiple curves on the track canvas.
-They can be viewed from the pulldown menu of \texttt{Window $\rightarrow$ Show overlays} but they will operate the same as when used from the View pulldown menu.
+They can be viewed from the pulldown menu of \texttt{Window $\rightarrow$ Show overlays} but they will operate the same as when used from the \textit{View} pulldown menu.
The \textit{Color Coded Keyframe Curves} have distinct colors associated with each type for ease of identification.
-By clicking button 1 on the \textit{Color Ball} to the right of any keyframe type in the \textit{Show overlays} menu you have the ability to change the colors to whatever works best for your video.
+By clicking LMB on the \textit{Color Ball} to the right of any keyframe type in the \textit{Show overlays} menu you have the ability to change the colors to whatever works best for your video.
The color ball changes made will be retained across sessions.
There is a line separating the first 4 items, which are just non-automation type settable values as opposed to \textit{auto} keyframe types.
Overlays Window Nuances:
-The Overlays window is an alternative to the main track canvas View pulldown, and thus the order is mostly maintained to match each other.
+The Overlays window is an alternative to the main track canvas \textit{View} pulldown, and thus the order is mostly maintained to match each other.
To make it easier to get a quick temporary look at a specific option, there is a shortcut of Shift-LMB (left mouse button) that can be used as opposed to having to uncheck everything that is currently checked and then having to recheck them on when done.
Here is a list of how they work. Keep in mind that if the Expander on the patchbay is enabled, you still see the track.
\begin{itemize}
\item Shift+LMB on a non-\textit{hot} spot will simply check or uncheck a box and there is no previous state.
- \item This all works in conjunction with the View pulldown menu which, of course, has no hot spots.
+ \item This all works in conjunction with the \textit{View} pulldown menu which, of course, has no hot spots.
\item Caveat \#1 - Shift+LMB on the top 4 choices of Assets, Titles, Transitions, Plugin Keyframes will turn
off all of the checkboxes below because it makes sense to do so.
\item Caveat \#2 - Shift+LMB on the Autos will not turn off Assets, Titles, Transitions, or Plugin Keyframes
\subsection{Sound Level Meters Window}%
\label{sub:sound_level_meters_window}
-An additional window, the levels window, can be brought up from the Window pulldown.
+An additional window, the levels window, can be brought up from the \textit{Window} pulldown.
The levels window displays the output audio levels after all mixing is done.
The visible range of the sound level meters is configurable in \texttt{Settings $\rightarrow$ Preferences, Interface tab} under the Operations section.
+\begin{wrapfigure}[18]{O}{0.3\linewidth}
+ \centering
+ \vspace{-2ex}
+ \includegraphics[width=0.5\linewidth]{volume_meter.png}
+ \caption{Sound Level Meters Window}
+ \label{fig:volume_meter}
+\end{wrapfigure}
+
Sound level meters can be toggled in the viewer and compositor windows with the show meters button.
They also appear in the patchbay when the track is expanded and in the recording monitor when audio is being recorded.
In the patchbay they are the sound levels for each track after all effects are processed and before down-mixing for the output.
Most of the time, audio levels have numerical markings in dB but in the patchbay there is not enough room.
-\begin{wrapfigure}[15]{O}{0.3\linewidth}
- \centering
- \vspace{-4ex}
- \includegraphics[width=0.5\linewidth]{volume_meter.png}
- \caption{Sound Level Meters Window}
- \label{fig:volume_meter}
-\end{wrapfigure}
-
The sound level is color coded as an extra means of determining the sound level.
Even without numerical markings, the sound level color can distinguish between several ranges and overload.
Look at the color codings in a meter with numerical markings to see what colors correspond to what sound level.
projects / goodguy / cin-manual-latex.git / blobdiff