+The main window pulldowns as pointed out in figure~\ref{fig:insertion-points} are quite obvious in their meaning and usage, so here is only a summary.
+
+%TODO Figure 3 shows an example of the pulldowns as displayed in the main window.Appearance
+
+
+\begin{description}
+ \item[File] \index{file} options for loading, saving, and rendering as described in other sections (\ref{cha:load_save_and_the_EDL}).
+ \item[Edit] \index{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] \index{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] \index{video} video functions such as \textit{Add track, Default/Attach transition, Render effect}.
+ \item[Tracks] \index{track} move or delete tracks are the most often used plus \textit{Align Timecodes}.
+ \item[Settings] \index{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.
+ \item[View] \index{view} for display or modifying asset parameters and values to include Fade, Speed, and Cameras.
+ \item[Window] \index{window} window manipulation functions.
+\end{description}
+
+
+\subsection{Window Layouts}%
+\label{sub:window_layouts}
+ \index{window!layout}
+
+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 \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).
+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).
+
+\begin{figure}[htpb]
+ \centering
+ \begin{minipage}{.49\linewidth}
+ \center{\includegraphics[width=1\linewidth]{window_layout1.png}}\\ a)
+ %TODO High res image replace
+ \end{minipage}
+ \begin{minipage}{.49\linewidth}
+%begin{latexonly}
+ \vspace{13ex}
+%end{latexonly}
+ \center{\includegraphics[width=1\linewidth]{window_layout2.png}}\\ b)
+ %TODO Alpha channel
+ \end{minipage}
+ \caption{Window Layouts}
+ \label{fig:window_layouts}
+\end{figure}
+
+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 \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}
+ \index{multi-pane}
+
+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?
+After loading your media, just hit the space bar to start playing and then again to stop playing.
+Other than that, use the transport buttons on the top bar of the Program window.
+Other ways to \textit{play around} are described next.
+
+\subsubsection*{Repeat Play / Looping Method}%
+\label{ssub:repeat_play_looping_method}
+ \index{transport buttons}
+
+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.
+
+When setup, long green lines are displayed across the entire set of tracks which shows the start and end of the loop.
+\begin{enumerate}
+ \item Highlighted selection repeats loop and takes precedence over all other possibilities.
+ If the cursor is before the highlighted area, it will play up to the area and then repeat the highlighted section.
+ If the cursor is after the highlighted section, play will start at the beginning until you get to the
+ highlighted section and then repeat.
+ \item When both In and Out pointers are set, it repeats the section between [ and ].
+ \item If only one of the In or Out pointers is set, it loops the whole media.
+\end{enumerate}
+
+\textit{Method 2:} Ctrl+Shift+transport button on the Timeline, Viewer, and Compositor
+
+\begin{enumerate}
+ \item Repeats entire media if no In or Out pointer set.
+ \item In and Out pointer set, repeats area between pointers.
+ \item Only In pointer set, repeats from In to end of media.
+\end{enumerate}
+
+\subsubsection*{Last Play Position Memory}%
+\label{ssub:last_play_position_memory}
+
+
+When you play media, the start/end playback positions are saved as if they had been made into temporary labels.
+They appear on the timeline as purple/yellow hairline markers representing the last start/end labels for the last playback.
+They can be addressed as if they are label markers using:
+
+\begin{description}
+ \item[Ctrl$\leftarrow$] tab to the label before the cursor, that is \textit{play start}
+ \item[Ctrl$\rightarrow$] tab to the label after the cursor, that is \textit{play stop}
+\end{description}
+
+
+You can use these markers for re-selection.
+Additionally, the selection region can be expanded by \textit{pushing} the markers using single frame playback.
+Use frame reverse (\texttt{keypad 4}) to push the start play marker backward, or use frame forward (\texttt{keypad 1}) to push the end play marker forward.
+
+Another handy feature is to use the combination of Ctrl-shift-arrow (left or right) to select the media from the cursor position (red hairline) to the start or end marker by \textit{tabbing} to the label markers.
+For example, tab to the beginning of the previous play region using Ctrl-left-arrow to move the cursor to the beginning of last play, then press Ctrl-Shift-right-arrow to tab to the end of the playback region.
+Now you can clip/play/expand or edit the previous playback selection.
+
+\begin{description}
+ \item[Ctrl SHIFT$\rightarrow$] tab cursor to label right of cursor position and expand selection
+ \item[Ctrl SHIFT$\leftarrow$] tab cursor to label left of cursor position and expand selection
+\end{description}
+
+
+\subsubsection*{Playback Speed Automation Support}%
+\label{ssub:playback_speed_automation_support}
+ \index{autos!speed}
+
+The speed automation causes the playback sampling rate to increase or decrease to a period controlled by the speed automation curve.
+This can make playback speed-up or slow-down according to the scaled sampling rate, as \textit{time is multiplied by speed} (Speed $\times$ Unit\_rate). For more information on changing
+the speed, read the section on Speed Automation~\ref{sec:speed_fade_automation_gang}.
+
+\subsubsection*{Alternative to using Numeric Keypad for Playing}%
+\label{ssub:alternative_to_using_numeric_keypad_for_playing}
+ \index{keypad}
+
+
+For the keyboards without a numeric keypad or if you prefer to use keys closer to where you normally type, there are alternative keys for the play/transport functions. These are listed below.
+
+\begin{tabular}{lcl}
+ Alt + m&=&stop playback\\
+
+ Alt + j&=&forward single frame\\
+
+ Alt + k&=&forward slow playback\\
+
+ Alt + l&=&forward normal playback\\
+
+ Alt + ;&=&forward fast playback\\
+
+ Alt + u&=&reverse single frame\\
+
+ Alt + i&=&reverse slow playback\\
+
+ Alt + o&=&reverse normal playback\\
+
+ Alt + p&=&reverse fast playback\\
+\end{tabular}
+\begin{minipage}{.45\linewidth}
++ 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.
+\end{minipage}
+
+\section{Compositor Window}%
+\label{sec:compositor_window}
+ \index{compositor!window}
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.99\linewidth]{compositor_window.png}
+ \caption{Left hand side are the toolbar functions / bottom bar has many control functions}
+ \label{fig:compositor_window}
+\end{figure}
+
+The Compositor window (figure~\ref{fig:compositor_window}) is used to display the timeline
+output. Playing and moving along the timeline video in the Program window shows in the
+Compositor window what the current image is. Here is where many compositing operations are
+performed that can change
+what the timeline will look like. When enabled, you can simply click the LMB in the Compositor
+window to start and stop play.
+ You can zoom in and out to
+see small details, pan with the scrollbars, lock the window to prevent changes, add masks,
+and make changes with the Projector and Camera function operators. These will be explained
+in more detail in the following sections.
+
+\subsection{Compositor Controls}%
+\label{sub:compositor_controls}
+\index{compositor!controls}
+
+On the bottom of the window, there are many
+of the same transport buttons \index{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} \index{click to play} which is described in~\ref{sub:click_to_play_in_viewer_and_compositor}. Next is the \textit{Videoscope} \index{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} \index{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
+will be using the default \textit{Auto} option. The window size is not changed, but rather
+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}).
+
+Using a RMB click in the compositor window brings up a menu with several options \index{compositor!RMB 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 (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.
+
+Next to the zoom tumbler arrows, is a \textit{tally light} that will be filled in with some color
+(often red or blue) when a rendering operation
+is taking place \index{rendering!operation light}. This is especially helpful when loading a very large video so you know
+when it is finished loading. You should pay attention to this \textit{tally light} when performing
+a particularly time-consuming operation so that you do not keep executing more operations
+that just have to wait until completion of that CPU intensive operation. Also, you should look
+to see if the light is on before assuming that \CGG{} is hung up.
+
+When the window is unlocked, meaning that it is not in \textit{Protect video from changes} mode on the
+toolbar, MMB clicking and dragging anywhere in the video pans the view. Panning can also
+be accomplished with the bottom and right hand side scroll bars when displayed.
+
+\subsection{Compositor Toolbar}%
+\label{sub:compositor_toolbar}
+\index{compositor!toolbar}
+
+On the left hand side of the Compositor window, there is a toolbar with several icons that
+provide functions for viewing and compositing the video. Each of these operational features
+will be described in more detail next.
+\begin{description}
+ \item[Protect video from changes] this option makes it possible to disable changes to the
+compositor output when clicking on the Compositor window. It allows for using the
+\textit{Click to play} button (when enabled) for simply starting and stopping play. It helps
+to prevent an accidental click from making unwanted changes. When you enable this option, any
+of the other enabled tools will automatically be disabled.
+
+ \item[Zoom view / magnifying glass] \index{zoom!slider} when enabled, the \textit{Zoom view} immediately results
+in the addition of a zoom slider for fine viewing.
+The vertically oriented \textit{zoom slider} will be displayed underneath the last icon of the toolbar and extends
+to almost the end of the toolbar.
+The slider allows for adjusting the amount of zoom at any level between 0.01 and 100 based on a logarithmic scale.
+
+When using the zoom slider, the number by which the view is zoomed can be seen in the textbox
+on the bottom controls where the \% zoom is located.
+The zoom slider size is in the form of \textit{times}, such as $\times$0.82 which indicates that the picture is zoomed to $\frac{82}{100}^{th}$ of the original size as seen in the \texttt{Settings $\rightarrow$ Format} menu.
+Once you have set the zoom to the desired size, use the vertical and horizontal scroll bars to position the view as needed.
+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.
+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 \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.
+\end{description}
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.99\linewidth]{zoom_slider.png}
+ \caption{Compositor window zoom slider bar and scroll bars}
+ \label{fig:zoom_slider}
+\end{figure}
+\begin{description}
+ \item[Edit mask] \index{mask} brings up a mask editing menu with many versatile options as
+described in great detail later in this section (\ref{sub:masks}). You may also have to click on
+\textit{Show tool info} to popup the menu depending on whether or not you dismissed that window previously.
+ \item[Ruler] \index{ruler} this can be a handy tool to get the X,Y coordinates of an exact point or to
+measure the distance between 2 points. To use the \textit{Ruler}, move the mouse on the video to
+get to the desired spot - these X,Y coordinates will be displayed in the \textit{Current} text
+box. Clicking the LMB creates Point 1 and then continue to hold down the LMB so that a ruler line is created between
+this Point 1 and the stopping Point 2. \textit{Deltas} is the X,Y difference between the 2 points;
+\textit{Distance} is the number of pixels between the 2 points; and \textit{Angle} is the angle in degrees of the ruler line.
+In Figure~\ref{fig:safe_regions} you can see the Ruler menu on the right side of the Compositor window.
+
+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 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] \index{camera} 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
+section~\ref{sub:camera_and_projector}.
+ \item[Adjust projector automation] \index{projector} 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 section~\ref{sub:camera_and_projector}.
+ \item[Crop a layer or output] \index{crop} 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 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] \index{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. 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] \index{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 \textit{Protect video from changes}, \textit{Zoom view}, and \textit{Show safe regions} since they have
+no dialog popup menus.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.9\linewidth]{safe_regions.png}
+ \caption{Note the black outlines showing the safe regions. Also note the Ruler menu}
+ \label{fig:safe_regions}
+\end{figure}
+
+ \item[Show safe regions] \index{safe region} draws 2 outlines to display the safe regions in the video as you
+can see in Figure~\ref{fig:safe_regions}.
+On some particular TVs/monitors/displays, the borders of the image are cut off and that
+cut off section might not be as square as it appears in the compositor window.
+These are especially useful if the device for the output display is an older model TV\@.
+The outside largest outline is the \textit{action safe overlay}; whereas the inside smallest
+outline is the \textit{title safe overlay}.
+
+Using the \textit{Show safe regions} has no affect on the rendered output.
+The purpose of showing the borders is to make it easy to see where it might be cut off. This
+area outside the safe region can then be used as
+a scratch or vertical blanking space. Enabling the safe regions makes it really
+easy to see these borders so that you can make sure
+titles are inside the inner outline and actions are inside the outer outline.
+
+\end{description}
+
+\subsection{Compositing}%
+\label{sub:compositing}
+\index{compositing}
+
+Much of the editing in \CGG{} involves \textit{compositing} which is the combining of visual
+elements from different sources into single images. This includes such things as
+speeding up and slowing down the video, changing the resolution, creating a split screen, and fading in and out.
+Compositing operations are done on the timeline and in the Compositor window using various
+operations and other compositing attributes that are available in the Resources window.
+When \CGG{} is performing a compositing operation it plays back through the
+compositing engine, but when not, it uses the fastest decoder that it has.
+
+\subsection{The Temporary, Track and Output Sizes}%
+\label{sub:track_and_output_sizes}
+
+This section explains a few things which help to understand Compositing - especially with relation
+to the camera, effects, and the projector.
+
+\subsubsection*{The Temporary}%
+\label{ssub:output_size}
+\index{temporary}
+
+\CGG{}'s compositing routines use a \textit{temporary} which is a single frame of video in
+memory where graphics processing takes place. The size of the temporary and of the output in
+the compositing pipeline are different and vary for any particular frame. Effects are processed in
+the temporary and as such are affected by the temporary size. In the case of the camera, its
+viewport is the temporary size. However, projectors are rendered to the output and so are affected
+by the output size. When the temporary is smaller than the output, the temporary will have blank
+borders around the region in the output. When the temporary is larger than the output, it will be
+cropped.
+
+\subsubsection*{Track and Output size}%
+\label{ssub:track_size}
+\index{track!size}
+\index{output 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. 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 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. 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.
+
+\subsubsection*{Aspect Ratio (Theory)}%
+\label{ssub:aspect_ratio_theory}
+\index{aspect ratio}
+\index{PAR, DAR, SAR}
+
+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}
+\index{camera}
+\index{projector}
+
+In the compositor window, \textit{Adjust camera automation} and \textit{Adjust projector automation}
+are editing tools to control operation of the camera and projector. In \CGG{}'s compositing
+pipeline, the camera determines where in the source the \textit{temporary} is copied from while
+the projector determines where in the output the \textit{temporary} is copied to
+(figure~\ref{fig:temporary-01}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{temporary-01.pdf}
+ \caption{Compositing pipeline}
+ \label{fig:temporary-01}
+\end{figure}
+
+In compositing, each frame can be changed using various options and plugins, such as
+a color correction plugin (figure~\ref{fig:camera_and_projector}). After the image has been
+modified, the final image is projected to the compositor so that you now have a changed original.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{camera_and_projector.pdf}
+ \caption{Color3way on Temporary}
+ \label{fig:camera_and_projector}
+\end{figure}
+
+When editing the camera and projector in the compositing window, the affected track will be the
+first track that is armed. If there are multiple video tracks, you can select one specific track
+for editing with a LMB click on the \textit{Arm track} icon of the desired track. This is called
+"solo" the track. To reverse this solo-ing, LMB click on the icon again.
+
+\subsubsection*{Projector Compositing}%
+\label{ssub:projector_compositing}
+\index{projector}
+
+The purpose of the \textit{projector} is to composite several sources from various tracks into one
+output track. The projector alignment frame is the same as the camera's viewport, except that it
+shows where to put the contents of each temporary on the output canvas. To get into projector
+editing mode, click on the \textit{Adjust projector automation} icon in the Compositor toolbar. You
+will then see red border lines surrounding the image and 2 diagonal lines criss-crossing in the
+middle, displayed in the video window. The red outline indicates the size of the frame that will be
+sent to the Output. You can easily drag the box with LMB, moving the frame in $x$ and $y$ directions.
+When moving along the $z-axis$ (i.e.\ the zoom, with SHIFT+Drag) the box exactly follows the movement
+and the size of the frame. After you position the video with the projector, you may next want to
+\textit{Adjust camera automation}.
+
+\subsubsection*{The Viewport}%
+\label{ssub:viewport}
+\index{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. To change the size and aspect ratio of the viewport (Camera \index{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.
+ \item LMB click on the \textit{Adjust camera automation} to bring up the editing menu and the
+green and yellow colored outlines.
+ \item Use the LMB to drag the video over the display in the compositor window to the desired
+placement.
+\end{enumerate}
+
+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}%
+\label{ssub:camera_compositing}
+\index{camera}
+
+Select the camera button to enable camera editing mode.
+In this mode, the guide box shows where the camera position is in relation to past and future camera positions but not where it is in relation to the source video.
+The green box is the Viewport; at the beginning it coincides with the size of the source frame. If we move the viewport by dragging it with LMB (moving it in $x/y$), the green box remains fixed to the original size but the frame is moved to the new position. A yellow frame will appear along the edges of the frame to indicate the displacement with respect to the green box; this behavior differs from that seen for the Projector. Even if we act on the $z-axis$ (SHIFT + Drag, equivalent to the zoom), the frame narrows or widens, moving behind the yellow frame.
+
+\subsubsection*{Camera and Projector Menu}%
+\label{ssub:camera_and_projector_menu}
+\index{tool info}
+\index{camera}
+\index{projector}
+
+The camera and projector have shortcut operations that do not appear in the popup menu and are not represented in video overlays.
+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{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 \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.
+The output size is set to the reduced size of the video.
+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.
+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 \index{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}
+
+In the compositing window, there is a popup menu of options for the camera and projector. Right click over the video portion of the compositing window to bring up the menu:
+
+\textit{Reset Camera}: causes the camera to return to the center position.
+
+\textit{Reset Projector}: causes the projector to return to the center.
+
+\subsubsection*{Use Case: Interaction Between Camera And Projector \protect\footnote{Example provided by Sam. The relative video is located at: \url{https://streamable.com/iq08i}}}%
+\label{ssub:use_case_interaction_camera_projector}
+\index{camera}
+\index{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 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}
+
+\subsection{Masks}%
+\label{sub:masks}
+\index{mask}
+
+Masks can be used to accomplish various tasks but basically are used to select an area of the
+video to be displayed or hidden.
+They can be used in conjunction with another effect to isolate the effect to a certain region.
+Another usage is where you slightly delay one video track copy and unmask an area where
+the one copy has interference but the other copy does not. Or use a mask when color correction is
+needed in one part of a frame but not another. A mask can be applied to just a small section of
+a color corrected track while a plain track shows through.
+Removal of boom microphones, license plates, people and airplanes via mask is a very common usage.
+
+The order of the compositing pipeline affects how masks are done. Usually masks are operated on the
+temporary, after the effects but before the projector. Because of the way this works, multiple
+tracks can be bounced to a masked track and projected with the same mask.
+
+The compositing pipeline graph has a masking stage (figure~\ref{fig:temporary-02}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.7\linewidth]{temporary-02.pdf}
+ \caption{Compositing pipeline with mask}
+ \label{fig:temporary-02}
+\end{figure}
+
+\subsubsection*{Compositing pipeline with masks}%
+\label{ssub:compositing_pipeline_with_masks}
+\index{compositing pipeline}
+
+The Mask popup menu can be overwhelming upon first encounter. However, if you follow the next
+few steps you can create a single simple mask without having to understand every possible parameter.
+\begin{enumerate}
+ \item To define a mask, in the Compositor window click on the \textit{Edit mask} icon to get the popup Mask menu. If the menu does not come up, click on the \textit{Show tool info}.
+ \item On the video, LMB click on the place where you want to start a mask.
+ \item Then LMB click on another spot of the image to create each new point of the mask. Once
+you have at least 3 points, lines will be drawn between them, but you can just create as many
+more points as you need and the lines will be redrawn to cover all points. When you
+create each point of the mask a straight line curve is expanded, altering the shape of the mask.
+The mask position will always be in the same position on each image of the video unless you enable
+\textit{Generate keyframes while tweaking} on the Program window Transport and Buttons bar. Then when
+enabled you can move a mask over time.
+ \item For a mask to be seen or not seen, there must be another video track under the track
+that you are viewing in the compositor. An easy way to see the masked area is to just add an empty track
+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. 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. 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
+figure~\ref{fig:mask_window}. Detailed description is provided here next. Note that the Mask
+window is separated into various sections to make it easier to locate the area of interest.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{mask_window.png}
+ \caption{Mask options window}
+ \label{fig:mask_window}
+\end{figure}
+
+\subsubsection*{Masks on Track section}%
+\label{ssub:masks_track_section}
+
+The \textit{Track}: textbox displays the different video tracks for your session which will be initially set to the first armed video track or will be left blank if there are no armed tracks. A pulldown to the right of the box brings up the names of all of the video tracks allowing you to change to which track the masking applies. You can also just use the tumbler to easily mouse up/down to get to the desired track. In the pulldown list, any track that has a red colored text name is disarmed so that you can not change it. A track that contains masks has yellow colored text for easy identification. Only when there are no masks on the track, do you have the default text color. This textbox is display only and you can not type into it.
+
+The \textit{Solo} button in the Masks on Track section of the Mask window is very handy when working with masks on different tracks. It displays just that track so that you see only the track you choose, as well as the tracks behind it to show the mask part. The Solo button is just a convenience to prevent having to mouse over to the patchbay.
+
+\subsubsection*{Masks section}%
+\label{ssub:masks_section}
+
+The \textit{Mask}: textbox will show you the mask numbers of $0-7$ or the 8 ascii character name that you have used to designate each mask number. There is a pulldown on the right side to easily switch to another mask.
+
+The \textit{Delete} button is used to delete the mask number/name that is selected. The symbol to the right with tooltip of \textit{Delete all masks} can be used to delete all of the current video track masks.
+
+The \textit{Select}: row of checkboxes is used to indicate which mask is currently displayed for that video track in the Compositor. Numbers that are colored yellow are active masks for that track. A tumbler to the right allows for quickly changing the mask number displayed.
+
+The \textit{Enable} row of masks makes it so you can enable all or none of the masks, making it possible to look at no masks or at one mask without interference from the other masks. The symbol that looks like an \texttt{eye} can be used to easily check all or none as the tooltip \textit{Show/Hide mask states}.
+
+\subsubsection*{Preset Shapes section}%
+\label{ssub:preset_shape_section}
+
+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 \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 - 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
+
+\texttt{xlate/scale y} - drag translate constrained in the $Y$ direction
+
+\texttt{xlate/scale x/y} - drag translate in both directions; this is the default and after using the other 2 options, you should reset to this to avoid future confusion while dragging.
+
+\subsubsection*{Fade \& Feather section}%
+\label{ssub:fade_feather_section}
+
+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 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.
+
+Note2: The operational result is based on the maximum transparency value of that background.
+
+\paragraph{Case 1, Positive Fade:} When the fade for all of the masks is positive, affecting the area inside of the mask, all of the
+background colors are at a transparency value of zero. So the largest transparency value is 0,and all masks are drawn with opaque backgrounds, depicted as one would expect.
+
+\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 colored background when it is in effect.
+
+\subsubsection*{Mask Points section}%
+\label{ssub:masks_points_section}
+
+This section is used to change to a different mask number and manipulate the masks you have created.