-\chapter{The 4+ Windows}%
+\chapter{Interface (the 4+ Windows)}%
\label{cha:the_4_windows}
\begin{figure}[htpb]
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 the
-Load, Save and the EDL chapter (\ref{sec:edl_edit_decision_list}).
+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}
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.
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 chapter (\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
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}.
+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{Zoom Panel}%
media. In Drag and Drop editing mode, if you select multiple edits all of those clips will have
their title name changed.
\item[Bar color] allows the user to select a specific color for the title bar. This helps to more easily locate a piece of media.
+ \item[Swap up] moves the selected track one step up in the stack of its corresponding type - audio or video.
+ \item[Swap down] moves the selected track one step down in the stack of its corresponding type - audio or video.
\item[Resize Track] resizes the track; this is only applicable to video tracks.
\item[Match Output Size] resizes the track to match the current output size; this is only applicable to video tracks.
\end{description}
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.
+With the arrow highlighted for \emph{drag and drop mode}, a double click with the left mouse button (LMB) in the timeline selects the edit the mouse pointer is over.
Then dragging in the timeline repositions that edit and this can be used for moving effects,
changing the order of playlists, or moving video pieces around.
There are numerous methods to cut and paste in \emph{drag and drop mode} by setting In/Out points to define
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.
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.
layouts 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 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?
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:
\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 \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}
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.
+Other buttons cover the 5 modes of curves interpolation: smooth, linear, tangent, free, bump.
+
+\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[disjoint:] piecewise bezier, if there is such a thing.
+ \item[bump:] has 2 values, one viewed from the left/right, discontinuous.
+\end{description}
+
+Finally there are the 2 buttons for the bump curves: settings on Right/Left Edges and Span (see \nameref{sec:bump_autos}).
+
\subsubsection*{Reset to Default}%
\label{ssub:reset_default}
projects / goodguy / cin-manual-latex.git / blobdiff