The highlighted region becomes the region affected by cut and paste operations and the playback range during the next playback operation.
Shift-clicking in the timeline extends the highlighted region.
-When highlighting a region, the start and end points are either aligned to frames or aligned to samples. When editing video, you will want to align to frames. When editing audio you will want to align to samples. Select your preference by using settings->align cursor on frames.
+When highlighting a region, the start and end points are either aligned to frames or aligned to samples. When editing video, you will want to align to frames. When editing audio you will want to align to samples. Select your preference by using settings$\rightarrow$align cursor on frames.
\begin{figure}[htpb]
\centering
\subsection{Labels}%
\label{sub:labels}
+The insertion point and the In/Out points allow you to define an affected region, but they do not let you jump to exact points on the timeline very easily.
+Labels are an easy way to set exact locations on the timeline that you want to jump to.
+When you position the insertion point somewhere and click the label button, a new label appears on the timeline.
+With label traversal you can quickly seek back and forth on the timeline.
+
+No matter what the zoom settings are, clicking on the label highlights it and positions the insertion point exactly where you set the label.
+The lower case letter “L” is a shortcut for the label button.
+
+Labels can reposition the insertion point when they are selected but they can also be traversed with the label traversal buttons. When a label is out of view, the label traversal buttons reposition the timeline so the label is visible. Keyboard shortcuts for label traversal are:
+
+\begin{description}
+ \item[Ctrl-left] repositions the insertion point on the previous label.
+ \item[Ctrl-right] repositions the insertion point on the next label.
+\end{description}
+
+The Label folder in the Resources window lists the timestamp of every label.
+You can edit the label list and add a title for every item using the popup menu.
+To open the Label info dialog right click on the label icon in the Resources window or directly on the label symbol on the timebar.
+With labels you can also select regions:
+
+\begin{description}
+ \item[Shift-Ctrl-left] highlights the region between the insertion point and the previous label.
+ \item[Shift-Ctrl-right] highlights the region between the insertion point and the next label.
+ \item[Double-clicking] on the timebar between two labels highlights the region between the labels.
+ \item[Shift-clicking] on a label highlights the region between that label and the insertion point.
+ If a region is already highlighted, it extends the highlighted region up to that label.
+\end{description}
+
+
+If you hit the label button when a region is highlighted, labels are created at each end of the highlighted region.
+However, if one end already has a label, then the existing label is deleted.
+Hitting the label button again when a label is selected deletes it.
+Manually hitting the label button or L key over and over again to delete a series of labels can get tedious.
+To delete a set of labels, first highlight a region, then use the Edit$\rightarrow$Clear labels function.
+If in/out points exist, the labels between the in/out points are cleared and the highlighted region is ignored.
+
+
+In Cut and Paste editing mode only, by enabling \emph{Edit labels} in the settings menu or by disabling the \emph{Lock labels from moving} button on the program toolbar, labels will be cut, copied or pasted along with the selected region of the first armed track.
+Similarly, if a selected area of a resource is spliced from the viewer to the timeline in a position before labels, these labels will be pushed to the right on the timebar for the length of the selected area.
+To prevent labels from moving on the timebar, just disable the \emph{Edit labels} option or enable the \emph{Lock labels from moving} button.
+
+
+Originally in Drag and Drop editing mode labels will be always locked to the timebar, even with the \emph{Edit labels} option enabled.
+This may no longer be correct in all cases.
+
+\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.
+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.
+To enable auto-color (figure~\ref{fig:autocolor_assets}, go to Settings$\rightarrow$Preferences, Appearance tab and check on “Autocolor assets”.
+It is disabled by default.
+Each media will have a random muted color and there could easily be close duplicates as generated by the program algorithm. There will be no total black, but some dark shades are possible.
+
+Screencast shows the red colored checkmark to enable Autocolor assets.
+In the lower left corner is Highlighting Inversion color which can also be set and is discussed elsewhere.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{images/autocolor-assets.png}
+ \caption{Autocolor assets}
+ \label{fig:autocolor_assets}
+\end{figure}
+
+To change a specific clip to your own chosen color, middle mouse button over that clip and an Edits popup will be displayed.
+Choose the option \emph{Bar Color} to bring up the color picker and choose a color.
+You can also change the alpha value in the color picker and this alpha takes precedence over the current alpha slider bar value unless it was 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 “Autocolor assets” is not set.
+In Drag and Drop editing mode, if you select several clips and then bring up the Edits popup with the middle mouse button over a track, you can use the \emph{Bar Color} option to change all of those selected to the same color.
+
+To go back to the default colors, uncheck “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 “Default” in the color picker window. Auto-color does not honor armed/disarmed tracks.
+Self-color does honor armed/disarmed tracks.
+
+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 what is referred to as the Zoom Panel.
+With this alpha slider, you can colorize your video and audio tracks to either see only the color at 0.0 or see only the image/audio waveform at 1.0.
+This slider bar affects all colored areas of the Autocolor assets and the self-colored ones.
+In the case when a specifically changed edit alpha value is any value except 1, the slider bar will not affect that.
+Once you use the slider bar, it is activated so gets first shot at any keystrokes in the main window.
+You deactivate this by simply clicking in a different part of the main window.
+
+As long as we are on the subject of color, just a reminder that you can also change the “Highlighting Inversion color” in Settings$\rightarrow$Preferences, Appearance tab.
+This is on right left hand side of the menu more than half the way down and you can see this in the figure~\ref{fig:autocolor_assets}.
+That setting defaults to white (ffffff) but sometimes this is a little bright so you can put any hex value in that suits you.
+
+Screencast (figure~\ref{fig:autocolor_assets_alpha}a) which shows an example of the Autocolor assets with alpha set to 0.0.
+In this screencast (figure~\ref{fig:autocolor_assets_alpha}b), the alpha is set to show the image as well as the colors. The pink media file has been self-colored rather than the autocolor to make it easy to see.
+
+\begin{figure}[htpb]
+ \centering
+ \begin{minipage}[h]{0.55\linewidth}
+ \center{\includegraphics[width=0.99\linewidth]{images/autocolor-assets_alpha0.png}} \\ a)
+ \end{minipage}
+ \begin{minipage}[h]{0.4\linewidth}
+ \center{\includegraphics[width=0.99\linewidth]{images/autocolor-assets_alpha1.png}} \\ b)
+ \end{minipage}
+ \caption{An example of the Autocolor assets}
+ \label{fig:autocolor_assets_alpha}
+\end{figure}
+
+
+\subsection{More about Pulldowns}%
+\label{sub:more_about_pulldowns}
+
+The main window pulldowns 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.
+
+
+\begin{description}
+ \item[File] options for loading, saving, and rendering as described in other sections.
+ \item[Edit] edit functions; most of which have shortcuts that you will quickly learn.
+ \item[Keyframes] keyframe options which are described in the Keyframe section.
+ \item[Audio] audio related functions such as “Add track”, “Attach transition/effect”.
+ \item[Video] video functions such as “Default/Attach transition”.
+ \item[Tracks] move or delete tracks are the most often used.
+ \item[Settings] this is mostly described in other sections.
+ However, typeless keyframes are not described
+ anywhere else.
+ They allow keyframes from any track to be pasted on either audio or video tracks.
+ \item[View] for display or modifying asset parameters and values to include Fade, Speed, and Cameras.
+ \item[Window] window manipulation functions.
+\end{description}
+
+
+\subsection{Window Layouts}%
+\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 options.
+First position your Cinelerra windows where you want them to be and then use the Window pulldown and choose \emph{Save layout}.
+To use the default name of 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 it is for, keyin 1-8 english characters that are meaningful to you (english characters mean you can not use the German umlaut or the French accent).
+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 Save layout option again on the one to rename, and keyin a different name into the text box or blank for the default name (figure~\ref{fig:window_layouts}).
+
+\begin{figure}[htpb]
+ \centering
+ \begin{minipage}{.49\linewidth}
+ \center{\includegraphics[width=1\linewidth]{images/window_layout1.png}}\\ a)
+ %TODO High res image replace
+ \end{minipage}
+ \begin{minipage}{.49\linewidth}
+ \vspace{13ex}
+ \center{\includegraphics[width=1\linewidth]{images/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/.bcast} 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.
+
+\subsection{Just Playing!}%
+\label{sub:just_playing_}
+What if you are just using Cinelerra 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, not previously mentioned to “play around” are described next.
+
+\subsubsection*{Repeat Play / Looping Method}%
+\label{ssub:repeat_play_looping_method}
+
+There are 2 methods for repeat play or looping on the timeline and 1 method for both the Compositor and the Viewer. This works in conjunction with any of the transport buttons or shortcuts in either forward or reverse as usual. The 1 exception is that the Shift button can not be used to either add or subtract audio within the repeat area.
+
+
+\emph{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}
+
+\emph{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 “play start”
+ \item[Ctrl$\rightarrow$] tab to the label after the cursor, that is “play stop”
+\end{description}
+
+
+You can use these markers for re-selection.
+Additionally, the selection region can be expanded by “pushing” the markers using single frame playback.
+Use frame reverse (keypad 4) to push the start play marker backward, or use frame forward (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 “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}
+
+
+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 “time is multiplied by speed” (speed X unit\_rate).
+
+\subsubsection*{Alternative to using Numeric Keypad for Playing}%
+\label{ssub:alternative_to_using_numeric_keypad_for_playing}
+
+
+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, results in the reverse of whether audio is included or not.
+\vspace{1ex}
+
++ Ctrl, results in the transport function operating only between the in/out pointers.
+\end{minipage}
+
+\section{Compositor Window}%
+\label{sec:compositor_window}
+
+The Compositor window (figure~\ref{fig:compositor_window}) displays the output of the timeline.
+It is the interface for most compositing operations or operations that affect the appearance of the timeline output.
+Operations done in the Compositor affect the timeline but do not affect clips.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.99\linewidth]{images/compositor_window.png}
+ \caption{Upper right side contains navigation tools / bottom bar has manu control functions}
+ \label{fig:compositor_window}
+\end{figure}
+
+\subsection{Compositor controls}%
+\label{sub:compositor_controls}
+
+
+Navigating the video output does not affect the rendered output; it just changes the point of view in the compositor window.
+The video output has several navigation functions.
+The video output size is either locked to the window size or unlocked with scrollbars for navigation.
+The video output can be zoomed in and out and panned.
+If it is unlocked from the window size, middle clicking and dragging anywhere in the video pans the point of view. Hitting the + and - keys zooms in and out of the video output.
+
+Underneath the video output are copies of many of the functions available in the main window.
+In addition there is a zoom menu and a tally light.
+The zoom menu jumps to all the possible zoom settings and, through the Auto option, locks the video to the window size.
+The zoom menu does not affect the window size.
+The tally light turns red when rendering is happening. This is useful for knowing if the output is current.
+Right clicking anywhere in the video output brings up a menu with all the zoom levels, zoom auto mode, and some other options.
+In this particular case the zoom levels resize the entire window and not just the video.
+The \emph{Reset camera} and \emph{Reset projector} options center the camera and projector.
+The \emph{Hide controls} option hides everything except the video.
+
+On the left of the video output is a toolbar specific to the compositor window. The toolbar has the following functions:
+
+\emph{Protect video} --- disables changes to the compositor output from clicks in it. It is an extra layer on top of the track arming toggle to prevent unwanted changes.
+
+\emph{Magnifying glass} --- this tool zooms in and out of the compositor output without resizing the window. If the video output is currently locked to the size of the window, clicking in it with the magnifying glass unlocks it and creates scrollbars for navigation.
+
+\begin{description}
+ \item[Left clicking] in the video zooms in;
+ \item[Ctrl clicking] in the video zooms out;
+ \item[Rotating the wheel] on a wheel mouse zooms in and out.
+\end{description}
+
+In addition, if you enable the Magnifying glass, a zoom slider for fine-viewing appears below these tools.
+It allows you to zoom to most any size.
+A “zoom slider” will pop-up towards the bottom on the left-hand side of the Compositor when you enable “Zoom view” via the magnifying glass or when you click on the icons for “Adjust camera automation” or “Adjust projector automation”.
+This will allow 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 where the original-also-working \% zoom is located.
+The zoom slider size is in the form of “times”, such as x 0.82 which indicates that the picture is zoomed to 82/100th of the original size as seen in Settings$\rightarrow$Format.
+Once you have set the zoom to the desired size, use the vertical and horizontal scroll bars to position the view as needed.
+
+Screencast (figure~\ref{fig:zoom_slider}) shows below at a zoom slider bar with the diamond shaped slider in the middle. Note
+that the magnifying glass is enabled which automatically pops-up the slider.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.99\linewidth]{images/zoom_slider.png}
+ \caption{A zoom slider bar with the diamond shaped slider in the middle}
+ \label{fig:zoom_slider}
+\end{figure}
+The Format shows a large 5204x3468 video and the box at the arrow shows x 0.82 size.
+
+\begin{description}
+ \item[Masks tool] this tool brings up the mask editing tool. Enable “Show tool info” to see the options.
+ \item[Camera] the camera brings up the camera editing tool. Enable “Show tool info” to see options.
+ \item[Projector] the projector brings up the projector editing tool. Enable “Show tool info” for options.
+ \item[Crop tool] this tool brings up the cropping tool. “Show tool info” must be enabled to use this tool.
+ \item[Eyedropper] brings up the eyedropper. The eyedropper detects whatever color is under it and stores it
+ in a temporary area. Enabling the “Show tool info” shows the currently selected color. Click
+ anywhere in the video output to select the color at that point. The eyedropper not only lets you see
+ areas which are clipped, but its value can be applied to many effects. Different effects handle the
+ eyedropper differently.
+ \item[Show tool info] this tool button works only in conjunction with the other controls on the compositor.
+ Based on what compositing control is active, the toggle button will activate or deactivate the
+ appropriate control dialog box. Controls with dialog boxes are: Edit mask, Camera and Projector
+ automation, Crop control, and Get color.
+ \item[Safe regions tool] draws the safe regions in the video output. This does not affect the rendered output
+\end{description}
+
+\subsection{Compositing}%
+\label{sub:compositing}
+
+A large amount of Cinelerra's editing is directed towards compositing.
+Changing the resolution of a show, making a split screen, and fading in and out among other things are all compositing operations in Cinelerra.
+Cinelerra detects when it is in a compositing operation and plays back through the compositing engine only then.
+Otherwise, it uses the fastest decoder available in the hardware.
+
+Compositing operations are done on the timeline and in the Compositor window. Shortcuts exist in the Resource window for changing some compositing attributes.
+Once some video files are on the timeline, the compositor window is a good place to try compositing.
+
+\subsection{Camera and Projector}%
+\label{sub:camera_and_projector}
+
+In the compositor window, two of the more important functions are the adjust camera automation and the adjust projector automation which control operation of the camera and projector.
+Cinelerra's compositing routines use a "temporary", a frame of video in memory where all graphics processing is performed.
+Inside Cinelerra's compositing pipeline, the camera determines where in the source video the "temporary" is copied from.
+The projector determines where in the output the "temporary" is copied to.
+Each track has a different "temporary" which is defined by the track size. By resizing the tracks you can create split screens, pans, and zooms.
+
+In compositing, each frame can be digitally altered using various options, such as a color correction plugin (figure~\ref{fig:camera_and_projector}).
+Once the image has been transformed, the finished image is then projected to the compositor thus creating a modified version of the original.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{images/camera_and_projector.png}
+ \caption{Camera and Projector}
+ \label{fig:camera_and_projector}
+\end{figure}
+
+When editing the camera and projector in the compositing window, the first track with record enabled is the track affected.
+Even if the track is completely transparent, it is still the affected track.
+If multiple video tracks exist, the easiest way to select one track for editing is to Shift-click on the record icon of the track.
+This solos the track.
+
+The purpose of the projector is to place the contents of the "temporary" into the project's output.
+The intent of the projector is to composite several sources from the various tracks into one final output track.
+The projector alignment frame is identical to the camera's viewport, except that it guides where on the output canvas to put the contents of each temporary.
+
+\subsubsection*{Compositing projector controls}%
+\label{ssub:compositing_projector_controls}
+
+When the projector button is enabled in the compositor window, you are in projector editing mode.
+A guide box appears in the video window.
+Dragging anywhere in the video window causes the guide box to move along with the video.
+Shift-dragging anywhere in the video window causes the guide box to shrink and grow along with the video. Once you have positioned the video with the projector, you may want to work with adjusting the camera automation.
+
+\subsubsection*{Compositing camera controls}%
+\label{ssub:compositing_camera_controls}
+
+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.
+Dragging the camera box in the compositor window does not move the box but instead moves the location of the video inside the box.
+The viewport is a window on the camera that frames the area of source video to be scanned.
+The viewport is represented as a red frame with diagonal cross bars.
+
+\subsubsection*{Viewport sizes}%
+\label{ssub:viewport_sizes}
+
+The size of the viewport is defined by the size of the current track.
+A smaller viewport (640x400) captures a smaller area.
+A larger viewport (800x200) captures an area larger than the source video and fills the empty spaces with blanks.
+Once we have our viewport defined, we still need to place the camera right above the area of source video we are interested on. To control the location of the camera:
+
+\begin{enumerate}
+ \item Open the compositor window with a track selected.
+ \item Select the camera button to enable camera editing mode.
+ \item Drag over the display window.
+\end{enumerate}
+
+When we drag over the viewport in the compositor window, the way it looks is as if you “move the camera with the mouse”. The viewport also moves with it.
+
+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.
+
+\begin{description}
+ \item[Reset Camera] causes the camera to return to the center position.
+ \item[Reset Projector] causes the projector to return to the center.
+\end{description}
+
+\subsubsection*{The camera and projector tool window}%
+\label{ssub:the_camera_and_projector_tool_window}
+
+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.
+
+\begin{wrapfigure}[12]{O}{0.3\linewidth}
+ \vspace{-4ex}
+ \includegraphics[width=0.9\linewidth]{images/camera_tool.png}
+ \caption{Camera and Projector tool}
+ \label{fig:images/camera_tool}
+\end{wrapfigure}
+
+In the case of the camera and projector, the tool window shows x, y, and z coordinates.
+By either tumbling or entering text directly, the camera and projector can be precisely positioned.
+Justification types are also defined for easy access.
+A popular justification operation is upper left projection after image reduction.
+This is used when reducing the size of video with aspect ratio adjustment.
+In the last figure you see the choices for justification as the red stripe in the 6 boxes in the order of left, center horizontal, right, top, center vertical, and bottom.
+
+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 “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 “temporary” in the center of the output.
+
+\subsection{Masks}%
+\label{sub:masks}
+
+Masks select a region of the video for either displaying or hiding.
+Masks are also used in conjunction with another effect to isolate the effect to a certain region of the frame.
+A copy of one video track may be delayed slightly and unmasked in locations where the one copy has interference but the other copy does not.
+Color correction may be needed in one subsection of a frame but not another.
+A mask can be applied to just a subsection of the color corrected track while the plain track shows through.
+Removal of boom microphones and airplanes are a common kind of mask uses.
+
+The order of the compositing pipeline affects what can be done with masks. Mainly, masks are performed on the temporary after effects and before the projector. This means multiple tracks can be bounced to a masked track and projected with the same mask.
+
+The compositing pipeline graph has a masking stage.
+There are 8 possible masks per track. Each mask is defined separately, although they each perform the same operation, whether it is addition or subtraction.
+
+\subsubsection*{Compositing pipeline with masks}%
+\label{ssub:compositing_pipeline_with_masks}
+
+\begin{enumerate}
+ \item To define a mask, go into the Compositor window and enable the mask toggle.
+ \item Next go over the video and click-drag.
+ Note: You have to select automatic keyframes if you wish to move a mask over time.
+ If you do not, the mask position will be the same even if you edit at different places on the timeline.
+ \item Click-drag again in another part of the image to create each new point of the mask.
+ While it is not the conventional Bezier curve behavior, this masking interface performs in realtime what the effect
+ of the mask is going to be. Creating each point of the mask expands a rubber band curve.
+
+ Once points are defined, they can be moved by Ctrl-dragging in the vicinity of the corner.
+ Shift-drag allows you to move existing points to new locations, thus altering the shape of the mask.
+ However, this does not smooth out the curve.
+ The In/Out points of the Bezier curve are accessed by Ctrl-dragging in the vicinity of the corner.
+ Then Ctrl-dragging near the In or Out point causes the point to move.
+ Shift-drag activates bezier handles to create curves between mask points.
+
+ \item Finally once you have a mask, the mask can be translated in one piece by Alt-dragging the mask.
+ The effect of the mask is always on.
+ Ctrl-Alt-drag translates an entire mask to a new location on the
+ screen.
+\end{enumerate}
+
+The masks have many more parameters which could not be represented with video overlays.
+These are represented in the tool window for masks.
+Selecting the question mark when the mask toggle is highlighted brings up the mask options window (figure~\ref{fig:mask_window}).
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.6\linewidth]{images/mask_window.png}
+ \caption{Mask options window}
+ \label{fig:mask_window}
+\end{figure}
+
+The mode of the mask determines if the mask removes data or makes data visible.
+If the mode is \emph{Subtract alpha}, the mask causes video to disappear.
+If the mode is \emph{Multiply alpha}, the mask causes video to appear and everything outside the mask to disappear.
+
+The \emph{Value of the mask}, set by a slider bar, determines how extreme the subtraction or addition is.
+In the subtractive mode, higher values subtract more alpha.
+In the additive mode, higher values make the region in the mask brighter while the region outside the mask is always hidden.
+
+The \emph{Mask number} determines which one of the 8 possible masks we are editing.
+Each track has 8 possible masks.
+When you click-drag in the compositor window, you are only editing one of the masks.
+Change the value of mask number to cause another mask to be edited.
+The previous mask is still active but only the curve overlay for the currently selected mask is visible.
+When multiple masks are used, their effects are OR-ed together.
+Every mask in a single track uses the same value and mode.
+
+The edges of a mask are hard by default but this rarely is desired.
+The \emph{Feather} parameter determines how many pixels to feather the mask.
+This creates softer edges but takes longer to render.
+
+Two checkbox options are \emph{Apply mask} before plugins and \emph{Disable OpenGL masking}.
+Note that the OpenGL mask renderer is of low quality and only suitable as a preview for initial work.
+For fine-tuning of masks (with large feather values) \emph{OpenGL masking} should be switched off so that the software renderer is used instead.
+
+Finally, there are parameters which affect one point on the current mask instead of the whole mask.
+These are \emph{Delete}, \emph{X}, and \emph{Y}.
+The active point is defined as the last point dragged in the compositor window.
+Any point can be activated merely by Ctrl-clicking near it without moving the pointer.
+Once a point is activated, \emph{Delete} deletes it and \emph{X}, \emph{Y} allow repositioning by numeric entry.
+
+\subsection{Cropping}%
+\label{sub:cropping}
+
+
+
+Cropping reduces the visible picture area of the whole project. It changes the values of the output dimensions (width and height in pixels) and the X, Y values of the projector in a single operation. Since it changes project settings it affects all the tracks for their entire duration and it is not keyframable.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.5\linewidth]{images/cropped_area.png}
+ \caption{Cropped area is in the top right corner}
+ \label{fig:images/cropped_area}
+\end{figure}
+
+\begin{itemize}
+ \item Enable the crop toggle and the tool window in the compositor window to display the Crop control dialog box.
+ \item Click-drag anywhere in the video to define the crop area. This draws a rectangle over the video.
+ \item Click-drag anywhere in the video to start a new rectangle.
+ \item Click-drag over any corner of the rectangle to reposition the corner.
+ \item Alt-click in the cropping rectangle to translate the rectangle to any position without resizing it.
+ \item The crop control dialog allows text entry of the top left coordinates (X1,Y1) and bottom right coordinates (X2,Y2) that define the crop rectangle.
+ When the rectangle is positioned, hit the \emph{Do it} button in the crop control dialog to execute the cropping operation: the portion of the image outside the rectangle will be cut off and the projector will make the output fit the canvas.
+ \item The Set Format window will show the new project Width and Height values.
+ \item The projector tool window will show the new X, Y values.
+ \item Track size will remain unchanged.
+\end{itemize}
+
+To undo the cropping enter the original project dimensions in the Set Format window and click on Reset projector in the popup menu of the compositor.
+
+\subsection{Safe Regions}%
+\label{sub:safe_regions}
+
+On consumer displays the borders of the image are cut off and within the cut-off point is a region which is not always square like it is in the compositor window.
+The borders are intended for scratch room and vertical blanking data.
+You can show where these borders are by enabling the safe regions toggle.
+Keep titles inside the inner rectangle and keep action inside the outer rectangle.
+
+\begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.6\linewidth]{images/safe_regions.png}
+ \caption{Note the black frames showing the safe regions}
+ \label{fig:safe_regions}
+\end{figure}
+
+\subsection{Track and Output Sizes}%
+\label{sub:track_and_output_sizes}
+
+
+The size of the temporary and the size of the output in our compositing pipeline are independent and variable.
+The camera's viewport is the temporary size.
+Effects are processed in the temporary and are affected by the temporary size.
+Projectors are rendered to the output and are affected by the output size.
+If the temporary is smaller than the output, the temporary is bordered by blank regions in the output.
+If the temporary is bigger than the output, the temporary is cropped.
+
+\subsubsection*{Track size}%
+\label{ssub:track_size}
+
+The temporary size is defined as the track size.
+Each track has a different size.
+Right click on a track to bring up the track's menu.
+Select \emph{Resize Track} to resize the track to any arbitrary size.
+Alternatively you can select \emph{Match output size} to make the track the same size as the output.
+If you resize a track, then its appearance on the compositor changes accordingly.
+Using the relationship between the track and the project's output size you can effectively reduce or magnify the size of a particular track with regards to the final output and therefore create visual effects like split screens, pans, and zooms on the compositor.
+
+\subsubsection*{Output size}%
+\label{ssub:output_size}
+
+
+The output size is set in either File$\rightarrow$\emph{New} when creating a new project or Settings$\rightarrow$\emph{Format}.
+In the Resources window there is another way to change the output size.
+Right click on a video asset and select \emph{Match project size} to conform the output to the asset.
+When new tracks are created, the track size always conforms to the output size specified by these methods.
+
+When rendering, the project's output size is the final video track size where the temporary pipeline is rendered into.
+If the output size is larger than the temporary then the image transferred from the temporary will fit inside the Output Track.
+Any space left on the Output is left blank.
+If the output size is smaller than the temporary then some of the temporary video will be cropped.
+
projects / goodguy / cin-manual-latex.git / blobdiff