-\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}
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 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
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{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] 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[Move 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. If the
+ \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.
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] allows for changing the order of the tracks up. Disarmed tracks affect the results.
+ \item[Swap down] allow for changing the order of the tracks down. Disarmed tracks affect the results.
\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}
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.
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.
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 right 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, the French accent, or the Spanish ñ).
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?
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}
+ Shift + Ctrl, results in the transport function operating only between the in/out pointers.
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}).
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.
\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 \texttt{Match $\rightarrow$ 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,
+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.
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}
+ %\vspace{1ex}
\includegraphics[width=1.0\linewidth]{camera_tool.png}
\caption{Camera and Projector tool}
\label{fig:camera_tool}
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}
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.
+\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.
\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}
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}%
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 of the audio. 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}.
+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}
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
\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 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.
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