\chapter{Editing}%
\label{cha:editing}
- Editing comprises both time and track space. The timeline consists of the time certain media appear on the track going left to right and a set of tracks from the top to the bottom. There are 2 methods of timeline editing --- drag and drop editing, also called \textit{arrow mode}, and cut and paste editing or \textit{I-beam mode}. Cut and Paste is the default editing mode. An additional, but not often considered editing method is called \textit{two-screen editing} where the Viewer is used to view media and then the desired media is transferred to the timeline.
+ Editing comprises both time and track space. The timeline consists of the time certain media appear on the track going left to right and a set of tracks from the top to the bottom. There are 2 methods of timeline editing --- drag and drop editing, also called \textit{arrow mode}, and cut and paste editing or \textit{I-beam mode}. Cut and Paste is the default editing mode. An additional, but not often considered editing method is called \textit{two-screen editing} where the Viewer is used to view media and then the desired clip from the media is transferred to the timeline.
- The timeline is where all editing decisions are made. This is a stack of tracks in the center of the main window. It can be scrolled up, down, left and right with the scrollbars on the right and bottom. It can also be scrolled up and down with a mouse wheel, or left and right while holding down the Ctrl key and using the mouse wheel.
+ The timeline is where all editing decisions are made (figure~\ref{fig:timeline}). This is a stack of tracks in the center of the main window. It can be scrolled up, down, left and right with the scrollbars on the right and bottom. It can also be scrolled up and down with a mouse wheel, or left and right while holding down the Ctrl key and using the mouse wheel.
+
+ \begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{images/timeline.png}
+ \caption{Timeline editing session using the upcoming Cinfinity theme.}
+ \label{fig:timeline}
+ \end{figure}
The active region is the range of time which is affected by editing commands on the timeline. The active region is determined first by the presence of in/out points on the timeline. If those do not exist the highlighted region is used. If no highlighted region exists, the insertion point is used as the start of the active region. Some commands treat all the space to the right of the insertion point as active while others treat the active length as 0 if no end point for the active region is defined.
\item[Expander] which is a down arrow on the right side, is for viewing more options on the patchbay and for viewing the effects represented on the track. You can just click on the expander to expand or collapse the patchbay and the track. If it is pointing sideways, the track is collapsed. If it is pointing down, the track is expanded. Existing effects appear below the media for the track.
\end{description}
++<<<<<<< HEAD
++=======
+ \noindent Below the textbox name are several toggles referred to as \textit{attributes} for different features (currently there are 5 as shown in figure~\ref{fig:patchbay01}). If the toggle button is shadowed by a color, the feature is enabled . If the toggle is the background color of most of the window, it is disabled. Click
+ on the toggle to enable/disable the feature.
+
++>>>>>>> einhander
\begin{wrapfigure}[17]{O}{0.4\linewidth}
\vspace{-2ex}
\centering
\label{fig:patchbay}
\end{wrapfigure}
++<<<<<<< HEAD
+Below the textbox name are several toggles referred to as \textit{attributes} for different features (currently there are 5 as shown in figure~\ref{fig:patchbay}).
+
+If the toggle button is shadowed by a color, the feature is enabled . If the toggle is the background color of most of the window, it is disabled. Click on the toggle to enable/disable the feature.
++=======
++
++>>>>>>> einhander
+
Several mouse operations speed up the configuration of several tracks at a time. Click on an attribute and drag the cursor across adjacent tracks to copy the same attribute to those tracks. Hold down Shift while clicking a track's attribute to enable the attribute in the current track and toggle the attribute in all the other tracks. Or you can:
\begin{enumerate}
\item[Arm Track] determines whether the track is armed or not. Only the armed tracks are affected by editing operations. Make sure you have enough armed destination tracks when you paste or splice material or some tracks in the material will get left out. In addition to restricting editing operations, the armed tracks in combination with the active region determine where material is inserted when loading files. If the files are loaded with one of the insertion strategies which do not delete the existing project, the armed tracks will be used as destination tracks.
\item[Gang Fader] cause the fader to track the movement of whatever other fader you are adjusting by dragging either the fader or the curve on the track. It doesn't affect the editing made with menu controls. A fader is only ganged if the arm track is also on. This is often used to adjust audio levels on all the tracks simultaneously. Gang also causes Nudge parameters to synchronize across all the ganged tracks.
\item[Draw Media] determines if picons or waveforms are drawn on the asset in the track. You may want to disable this if you know that the media/format takes a long time to draw on the timeline. By default it is set to on in order to see picons on the timeline.
- \item[Don’t send to output] , more commonly called \textit{mute}, causes the output to be thrown away once the track is completely rendered. This happens whether or not \textit{Play track} is on. For example if you mute all the video tracks, the rendered media file will have a blank video track. Mute track is represented on the timeline with a line that has the default color of blue. Use the pulldown View $\rightarrow$ Mute to have the line displayed. It is a keyframable attribute, but Mute track keyframing is a toggle and it has only the two values of on or off. If a track is part of a shared track effect, the output of the track with the shared track effect is overlaid on the final output even though it is routed back to another track (the shared track). Mute track is used to keep the track with the shared track effect from overlapping the output of the source track (the shared track) where the shared track effect is not present.
- \item[Fader slider] fade values are represented on the timeline with a white curve that is keyframable. All tracks have a fader, but the units of each fader depend on whether it is audio or video. Audio fade values are in dB. They represent relative levels, where 0 is the unaltered original sound level, -40 is silence, -80 the minimum value set by default. You can move fader and keyframes down to -80 but the parameter's curve won't go below -40. For your convenience you can set a different fade range with the curve zoom. Audio fader’s main purpose is to \textit{fade out} sound or to lower the sound level smoothly to silence, or \textit{fade in} to make sounds appear gradually instead of suddenly. Video fade values are the percentage of opacity of the image in normal overlay mode, the percentage of the layer that is mixed into the render pipeline in the other overlay modes.
+ \item[Don’t send to output] , more commonly called \textit{mute}, causes the output to be thrown away once the track is completely rendered. This happens whether or not \textit{Play track} is on. For example if you mute all the video tracks, the rendered media file will have a blank video track. Mute track is represented on the timeline with a line that has the default color of pink/orange. Use the pulldown View $\rightarrow$ Mute to have the line displayed. It is a keyframable attribute, but Mute track keyframing is a toggle and it has only the two values of on or off. If a track is part of a shared track effect, the output of the track with the shared track effect is overlaid on the final output even though it is routed back to another track (the shared track). Mute track is used to keep the track with the shared track effect from overlapping the output of the source track (the shared track) where the shared track effect is not present.
+ \item[Fader slider] fade values are represented on the timeline with a pink curve that is keyframable. All tracks have a fader, but the units of each fader depend on whether it is audio or video. Audio fade values are in dB. They represent relative levels, where 0 is the unaltered original sound level, -40 is silence, -80 the minimum value set by default. You can move fader and keyframes down to -80 but the parameter's curve won't go below -40. For your convenience you can set a different fade range with the curve zoom. Audio fader’s main purpose is to \textit{fade out} sound or to lower the sound level smoothly to silence, or \textit{fade in} to make sounds appear gradually instead of suddenly. Video fade values are the percentage of opacity of the image in normal overlay mode, the percentage of the layer that is mixed into the render pipeline in the other overlay modes.
Click and drag the fader to fade the track in and out. If it is ganged to other tracks of the same media type, with the arm option enabled, the other faders should follow. Hold down the Shift key and drag a fader to center it on the original source value (0 for audio, 100 for video).
\item[mixer] in the expanded patchbay for that track designate the multi-camera mixer mode.
- \item[Overlay mode] in the expanded patchbay is used for porter-duff operations and is full explained in the section on Overlay Modes.
+ \item[Overlay mode] in the expanded patchbay is used for porter-duff operations and is full explained in Overlay Modes \ref{cha:???}.
\item[Nudge] is in the expanded patchbay. The nudge value is the amount the track is shifted left or right during playback. The track is not displayed shifted on the timeline, but it is shifted when it is played back. This is useful for synchronizing audio with video, creating fake stereo, or compensating for an effect which shifts time, all without altering any edits (figure~\ref{fig:overlay}).
\begin{figure}[htpb]
\begin{description}
\item[Audio$\rightarrow$Map 1:1] This maps every track to its own channel and wraps around when all the channels are allocated. It is most useful for making 2 tracks with 2 channels map to stereo and for making 6 tracks with 6 channels map to a 6 channel sound card.
- \item[Audio$\rightarrow$Map 5.1:2] This maps 6 tracks to 2 channels. The project should have 2 channels when using this function. Go to Settings $\rightarrow$ Format to set the output channels to 2. This is most useful for down-mixing 5.1 audio to stereo.
+ \item[Audio$\rightarrow$Map 5.1:2] This maps 6 tracks to 2 channels. The project should have 2 channels when using this function. Go to Settings $\rightarrow$ Format to set the output channels to 2. This is most useful for down-mixing 5.1 audio to to stereo (for more information refer to Configuration, Settings and Preferences chapter 15.1).
\end{description}
\paragraph{Standard audio mappings} Although Cinelerra lets you map any audio track to any speaker, there are standard mappings you should use to ensure the media can be played back elsewhere. Also, most audio encoders require the audio tracks to be mapped to standard speaker numbers or they will not work.
\item Set the starting point with the In pointer button. You will see a left hand bracket on the timebar.
\item Move your cursor to the ending point of the clip you want to use.
\item Set the ending point with the Out pointer right hand bracket.
+ \item You will see a colored bar inside the brackets for easier viewing.
+ \item Drag the In/Out point with the mouse to conveniently change their position.
\end{enumerate}
\noindent These In/Out points define a clip. You can now use this in a couple of different ways.
\begin{enumerate} [noitemsep]
\item Arm only tracks to change.
\item Define the destination region on the timeline with [ and ], the In and Out points.
+ \item You can achieve maximum precision by setting the active region in the zoom panel.
\item Define the clip you want to use in the viewer with [ and ], the In and Out points.
\item Overwrite from Viewer to the timeline.
\end{enumerate}
\section{Cut and Paste Editing}%
\label{sec:cut_paste_editing}
- This is the more traditional method of editing and therefore is the default. To enable the cut and paste editing mode on the timeline, select the I-beam toggle on the control bar at the top of the main program window. You can copy edits in the same track, copy from different tracks in the same instance, start a second instance of Cinelerra and copy from one instance to the other or load a media file into the Viewer and copy from there.
+ This is the more traditional method of editing in Cinelerra and therefore is the default. To enable the cut and paste editing mode on the timeline, select the I-beam toggle on the control bar at the top of the main program window. You can copy edits in the same track, copy from different tracks in the same instance, start a second instance of Cinelerra and copy from one instance to the other or load a media file into the Viewer and copy from there.
To start editing, load some files onto the timeline. Select a region of the timeline by click dragging on it and select the cut button to cut it. Move the insertion point to another point in the timeline and select the paste button. Assuming no In/Out points are defined on the timeline this performs a cut and paste operation.
\paragraph{Split --- blade cut and hard edges:} You can cut the tracks into 2 pieces on the timeline by putting the hairline cursor on the place you want to do a cut and then using the character “x” or the scissors tool (figure~\ref{fig:cut}).
++<<<<<<< HEAD
+\begin{wrapfigure}[16]{O}{0.3\textwidth}
++=======
+ \begin{wrapfigure}[16]{O}{0.3\linewidth}
+ \vspace{-1ex}
++>>>>>>> einhander
\centering
\includegraphics[width=0.9\linewidth]{images/cut.png}
\caption{Blade cut}
\end{wrapfigure}
A \textit{cut} uses a non-empty selection region, where the \textit{blade cut} or \textit{split} has no duration in the selection, just a hairline. As usual the use of cut when a selection is set, deletes/cuts the highlighted area. In the case where an In point or an Out point exists on the timeline, the clip is split at the location of the In/Out point since it has priority over the cursor location. A blade cut simply splits the edit into two edits. In order to have the video and audio aligned, it works best to have Settings $\rightarrow$ Align cursor on frames. When a blade cut occurs, the edges are created as \textit{hard edges}. These are edges that cannot be deleted by track optimizations.
-
+ Cinelerra has built-in optimization on the timeline. So that whenever two parts on the timeline are sequential frames, it automatically optimizes by making them into 1 item. So if you are cutting, dragging, editing, or whatever and somehow frame \# 40 ends up right next to frame \# 41, it optimizes them together. This optimization affects many areas throughout the program code.
When you do a blade cut/split, all armed tracks will be included in the cut and green-colored triangles will show on the bottom of the track on both the left and the right side of the cut. This is a \textit{hard edge} marker toggle, as opposed to the soft edge designation for an ordinary edit. The \textit{hard edge} marker can be toggled off/on if so desired. In order to not interfere with the usual drag handles, only a few pixels are used for the toggle so you have to be sure you have the cursor right over the hard edge triangle --- when in position, it will be obvious because you can see an arrow pointing to the corner. Use Shift-left mouse button 1 to toggle off/on the hard edge marker on all tracks simultaneously.
\section{Drag and Drop Editing}%
\begin{center}
\begin{tabular}{l p{12.9cm}}
\toprule
- \textbf{Key} & \textbf{Operations} \\ \hline
+ \textbf{Key} & \textbf{Operations} \\
+ \midrule
Drag & Hold down the Ctrl key while dragging to move a single edit elsewhere. \\
Left mouse button & Selects and highlights the edit under the cursor with a red selection box. Left mouse button also will toggle that clip selection off if it is on. \\
\bottomrule
\begin{itemize}
\item Do your editing as usual on the timeline until you are ready to see what is used or unused.
++<<<<<<< HEAD
+ \item Make sure you are in Preview mode in the Resources window; you enable this mode using the menu
+ \textit{Full play} to the left of the word Search \quad
+ \includegraphics[height=\baselineskip]{images/fullplay.png}.
+ \item Middle mouse click on a thumbnail in the Resources window and a popup occurs of that media with a
+ white colored bar at the top and a red colored bar at the bottom with black sections.
++=======
+ \item Make sure you are in any of the Preview modes in the Resources window; you enable the mode using the pulldown to the left of the word Search. The option looks like this
+ \quad \includegraphics[height=\baselineskip]{images/fullplay.png}. \item Middle mouse click on a thumbnail in the Resources window and a popup occurs of that media with a
+ white colored bar at the top and a red colored bar at the bottom with black sections.
++>>>>>>> einhander
\end{itemize}
The red/white bars represent the presence and the black sections represent the absence of where that media is used on the timeline. To get to a bigger representation, use the “f” key for a full screen. Now
\item[Edge Left / Right] moves the edge of the clips.
\item[No effect] no changes are made. You might want to use this choice to prevent accidental movements.
\end{description}
++<<<<<<< HEAD
+The next two tables displays the options and results with the Key Table here first.
+
+\vspace{1ex}
+\noindent s = src media start\\
+p = proj position \\
+l = length \\
+c = cut distance \\
+rest == p+=c: for rest of clips \\
+01 = flags edits\_moved, rest\_moved
+
+{\small
+\begin{verbatim}
+ drag left drag right
+curr s+=c,l-=c; +rest < > ... rest
++-------------+ all left +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|012345|xyz++abc|2345|xyz+
++-------------+ 11 +-------------+ +-------------+
+curr l+=c; +rest < > ... rest
++-------------+ ripple right +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|1234|xyz+ +abc|123456|xyz+
++-------------+ 01 +-------------+ +-------------+
+
+prev l+=c; curr ps+=c,l-=c < >
++-------------+ roll left +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +ab|012345|xyz+ +abcd|2345|xyz+
++-------------+ 00 +-------------+ +-------------+
+|curr l+=c; next ps+=c,l-=c < >
++-------------+ roll right +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|1234|wxyz+ +abc|123456|yz+
++-------------+ 00 +-------------+ +-------------+
+
+s-=c < >
++-------------+ slip left +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|23456|xyz+ +abc|01234|xyz+
++-------------+ 10 +-------------+ +-------------+
+s-=c < >
++-------------+ slip right +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|23456|xyz+ +abc|01234|xyz+
++-------------+ 10 +-------------+ +-------------+
+
+prev l+=c; curr p+=c; next ps+=c,l-=c < >
++-------------+ slide left +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +ab|12345|wxyz+ +abcd|12345|yz+
++-------------+ 10 +-------------+ +-------------+
+prev l+=c; curr p+=c; next ps+=c,l-=c < >
++-------------+ slide right +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +ab|12345|wxyz+ +abcd|12345|yz+
++-------------+ 10 +-------------+ +-------------+
+
+curr s-=c,l+=c; +rest < > ... rest
++-------------+ edge left +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|2345|xyz+ +abc|012345|xyz+
++-------------+ 11 +-------------+ +-------------+
+curr l+=c; +rest < > ... rest
++-------------+ edge right +-------------+ +-------------+
++abc|12345|xyz+ ---------------> +abc|1234|xyz+ +abc|123456|xyz+
++-------------+ 01 +-------------+ +-------------+
+\end{verbatim}
+}
++=======
+ The next table displays the options and results with the Key Table here first.
+
+ \begin{lstlisting}[language=bash]
+ s = src media start\\
+ p = proj position \\
+ l = length \\
+ c = cut distance \\
+ rest == p+=c: for rest of clips \\
+ 01 = flags edits_moved, rest_moved
+ \end{lstlisting}
+
+
+ \begin{longtable}{c c c c c}
+ \toprule
+ & & \textbf{Drag Left} & \textbf{Drag Right} & \\
+ \midrule
+ \endhead
+ \multicolumn{2}{c}{\textit{curr s += c, l -= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest} \\
+ abc12345xyz & \textbf{Ripple} left edge 11 $\rightarrow$ & abc012345xyz & abc2345xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{curr l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest} \\
+ abc12345xyz & \textbf{Ripple} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{prev l += c; curr ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Roll} left edge 00 $\rightarrow$ & ab012345xyz & abcd2345xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{curr l += c; next ps+= c, l -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Roll} right edge 00 $\rightarrow$ & abc1234wxyz & abc123456yz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Slip} left edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{s -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Slip} right edge 10 $\rightarrow$ & abc23456xyz & abc01234xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Slide} left edge 10 $\rightarrow$ & ab012345wxyz & abcd12345yz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{prev l += c; curr p+= c; next ps += c, l -= c}} & $\leftarrow$ & $\rightarrow$ & \\
+ abc12345xyz & \textbf{Slide} right edge 10 $\rightarrow$ & ab12345wxyz & abcd12345yz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{curr s -+= c, l += c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest} \\
+ abc12345xyz & \textbf{Edge} left edge 11 $\rightarrow$ & abc2345xyz & abc0123456xyz & \\
+ \midrule
+ \multicolumn{2}{c}{\textit{curr l -+= c; + rest}} & $\leftarrow$ & $\rightarrow$ & \textit{rest} \\
+ abc12345xyz & \textbf{Edge} right edge 01 $\rightarrow$ & abc1234xyz & abc123456xyz & \\
+ \bottomrule
+ \end{longtable}
+
+ Next, a more immediate and colorful view shows these trimming options ((figure~\ref{fig:trim-color})).
+
+ \begin{figure}[htpb]
+ \centering
+ \includegraphics[width=0.8\linewidth]{images/trim-color.png}
+ \caption{The 5 types of Trim: note the different lengths of the results.}
+ \label{fig:trim-color}
+ \end{figure}
++>>>>>>> einhander
\paragraph{How to do a J-cut or L-cut} A J-cut is a split edit film editing technique in which the audio from a following scene overlaps the picture from the preceding scene, so that the audio portion of the later scene starts playing before its picture as a lead-in to the visual cut. An L-cut is a different split edit film editing technique in which the audio from preceding scene overlaps the picture from the following scene, so that the audio cuts after the picture, and continues playing over the beginning of the next scene (figure~\ref{fig:j-cut}). To do either a J-cut or an L-cut, you first shorten the first or second video a little. Then you block the audio tracks from changing by disarming the appropriate tracks. Finally use \textit{One Edit (roll)} the cutting edge off the videos. Moving to the right creates a J-cut and moving to the left creates an L-cut.
\begin{figure}[htpb]
\paragraph{Cutting/Snapping edits} cuts from an edit handle to the insert point.
There are Edit Panel buttons which normally are used to move to the previous or next edit handle/label.
++<<<<<<< HEAD
+
+\begin{wrapfigure}[8]{O}{0.3\textwidth}
+ \vspace{-2ex}
+ \centering
+ \includegraphics[width=0.99\linewidth]{images/snap.png}
++=======
+ \begin{wrapfigure}[5]{r}{0.2\linewidth}
+ \vspace{-1ex}
+ \centering
+ \includegraphics[width=0.7\linewidth]{images/snap.png}
++>>>>>>> einhander
\end{wrapfigure}
+
They look like tags and the letter E on the menu bar and are oriented forward/backward. These same buttons can be used to \textit{cut} from the insert pointer to the previous or next edit/label when the \texttt{ctrl+alt} keys are both pressed when the buttons are used. They \textit{snap} off the media instead of doing the standard re-positioning. This is useful to minimize the number of operations necessary to cut between edits/labels.
Instead of using the edit panel buttons, you can more easily use the following keyboard shortcuts to perform the same functions:
\begin{center}
\begin{tabular}{l l l}
++<<<<<<< HEAD
+ \toprule
+ snap\_right\_edit & ctrl+alt+ '.' \\
+ snap\_left\_edit & ctrl+alt+ ',' \\
++=======
+ \toprule
+ snap\_right\_edit & ctrl+alt+ '.' & \\
+ snap\_left\_edit & ctrl+alt+ ',' & \\
++>>>>>>> einhander
snap\_right\_label & ctrl+alt +shift '.' & shift+period is the > sign on US keyboards \\
snap\_left\_label & ctrl+alt +shift',' & shift+comma is the < sign on US keyboards \\
\bottomrule
\subsection{Copy/Paste clips/medias across Multiple Instances}%
\label{sub:copy_paste_multiple_instances}
- It is easy to copy/paste clips/media within a single instance of cinelerra or across multiple instances. The reason this works is because there are hidden X cut butters and these are used to transmit EDL from 1 instance to another.
+ It is easy to copy/paste clips/media within a single instance of cinelerra or across multiple instances. The reason this works is because there are hidden X cut buffers and these are used to transmit EDL from 1 instance to another.
\noindent Steps to copy from a source timeline and paste to a target timeline:
\noindent To change any key value to an alternative value, just edit the file and make the changes. Besides just keys and alphabetic letters of numbers, you can also use any cinelerra value that contains the combination with Shift, Alt, and Ctrl. For keys that are not printable characters, you can look up the symbol name to use for a specific operation in the file called: \texttt{/usr/include/X11/keysymdef.h} .
\noindent Some examples:
- \begin{lstlisting}[language=Bash]
+ \begin{lstlisting}[language=bash]
K10 Alt-XK_Left # Go to previous edit \\
K13 Ctrl-XK_Right # Go to next label
\end{lstlisting}
\subsection{Troubleshooting auxilliary information}%
\label{sub:troubleshooting_auxilliary_information}
- In order to see if you hardware was recognized by the operating system, keyin:
+ In order to see if you hardware was recognized by the operating system, key in:
\begin{lstlisting}[language=Bash]
$ lsusb -v -d 0b33:0030 # for the Shuttle Pro or PROv2 \\
\begin{enumerate}
- \item From a terminal window as an ordinary user keyin: lsusb (the first character is a lower case L ---for
+ \item From a terminal window as an ordinary user key in: lsusb (the first character is a lower case L ---for
list). You will see something like the following depending on which usb device you have the
ShuttlePro plugged into:
\begin{lstlisting}[language=Bash]
Bus 003 Device 002: ID 0b33:0030 Contour Design, Inc. ShuttlePro v2
\end{lstlisting}
++<<<<<<< HEAD
+ \item To make sure you have usbmon installed keyin:
+\begin{lstlisting}[language=Bash]
+$ sudo modprobe usbmon
+\end{lstlisting}
+ \item Next keyin the following:
++=======
+ \item To make sure you have usbmon installed key in:
+ \begin{lstlisting}[language=Bash]
+ $ sudo modprobe usbmon
+ \end{lstlisting}
+ \item Next key in the following:
++>>>>>>> einhander
\begin{lstlisting}[language=Bash]
$ sudo od -tx1 /dev/usbmon3
\end{lstlisting}
\noindent When done, you will have to Ctrl-C to get out of the program.
++<<<<<<< HEAD
+\paragraph{Note 4} For developers, it is also possible to do the following for further in depth testing:
+ \begin{lstlisting}[language=Bash]
+# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
+$ ls /sys/kernel/debug/hid
+$ cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” # substitute your own numerical value
+$ cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” # press keys to see the results
+ \end{lstlisting}
++=======
+ \paragraph{Note 4} For developers, if you have a pre-UEFI Secure Boot kernel it is also possible to do the following for further in depth testing:
+
+ \begin{enumerate}
+ \item \texttt{ls /sys/kernel/debug/hid \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
+ \item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc” \# substitute your own numerical value}
+ \item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events” \# press keys to see the results}
+ \end{enumerate}
++>>>>>>> einhander
\subsection{Shuttle key default arrangement for Cinelerra / Composer / Viewer:}%
\label{sub:shuttle_key_default_cinelerra}
++<<<<<<< HEAD
+The following is the default setting for the ShuttlePROv2 and ShuttleXpress:
+
+\vspace{1ex} \textbf{ShuttlePROv2:}
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=1.0\linewidth]{images/shuttle-prov2.png}
+\end{figure}
++=======
+ The following is the default setting for the ShuttlePROv2 and ShuttleXpress (table~\ref{tab:shuttleprov2} and table~\ref{tab:xpress}):
++>>>>>>> einhander
- \vspace{1ex} \textbf{ShuttleXpress:}
-
+ \begin{landscape}
+ \begin{table}[htpb]
+ \centering
+ \caption{ShuttlePROv2 key default arrangement for Cinelerra / Composer / Viewer}
+ \label{tab:shuttleprov2}
+ \begin{tabular}{c c c c c c c}
+ \toprule
+ K1 & K2 & & K3 & K4 & & \\
+ Label & Future use & & Future use & Clip & & \\
+ & Splice (viewer) & & Copy & Overwrite (viewer) & & \\
+ \midrule
+ K5 & K6 & K7 & K8 & K9 & & \\
+ Home & Reverse & Stop & Play & End & & \\
+ & & Fullscreen & & & & \\
+ & & (viewer / compositor) & & & & \\
+ \midrule
+ Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & & \\
+ \midrule
+ \multicolumn{7}{c}{Shuttle Outer Wheel} \\
+ \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)} \\
+ S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x \\
+ S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x \\
+ \midrule
+ K14 & & Jog Left & (Inner Wheel) & Jog Right & & K15 \\
+ Toggle In & & Frame reverse & & Frame forward & & Toggle Out \\
+ & & Scroll up(Defaults) & & Scroll down(Defaults) & & \\
+ \midrule
+ & & K10 & & K11 & & \\
+ & & Previous Edit & & Next Edit & & \\
+ & & Future Use(Viewer) & & Future Use(Viewer) & & \\
+ \midrule
+ & & K12 & & K13 & & \\
+ & & Previous Edit & & Next Edit & & \\
+ & & Previous Label & & Next label & & \\
+ \bottomrule
+ \end{tabular}
+ \end{table}
+ \end{landscape}
+
+ \begin{landscape}
+ \begin{table}[htpb]
+ \centering
+ \caption{ShuttleXpress key default arrangement for Cinelerra / Composer / Viewer}
+ \label{tab:xpress}
+ \begin{tabular}{c c c c c c c}
+ \toprule
+ K5 & K6 & K7 & K8 & K9 & & \\
+ Home & Reverse & Stop & Play & End & & \\
+ & & Fullscreen & & & & \\
+ & & (viewer / compositor) & & & & \\
+ \midrule
+ Home(Defaults) & MouseBtn1(D) & MouseBtn2(D) & MouseBtn3(D) & End(Defaults) & & \\
+ \midrule
+ \multicolumn{7}{c}{Shuttle Outer Wheel} \\
+ \multicolumn{7}{c}{Play forward (first row) or Play reverse (second row)} \\
+ S1=Stop & S2=1/2 & S3=Normal & S4=2x & S5=4x & S6=8x & S7=16x \\
+ S-1=Stop & S-2=1/2 & S-3=Normal & S-4=2x & S-5=4x & S-6=8x & S-7=16x \\
+ \midrule
+ & & Jog Left & (Inner Wheel) & Jog Right & & \\
+ & & Frame reverse & & Frame forward & & \\
+ & & Scroll up(Defaults) & & Scroll down(Defaults) & & \\
+ \bottomrule
+ \end{tabular}
+ \end{table}
+ \centering
+
+
+
+ \end{landscape}
+
++<<<<<<< HEAD
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=1.0\linewidth]{images/xpress.png}
+\end{figure}
++=======
++>>>>>>> einhander
The software and this manual were merged in from various sources and each person is to be thanked and commended for their efforts.
Numerous software modifications were made by William Morrow.
These are all under GPLv2+ license.
- Refer to: \url{https://www.gnu.org/licenses/old-licenses/gpl-2.0-standalone.html}
+ Refer to: {\small\url{https://www.gnu.org/licenses/old-licenses/gpl-2.0-standalone.html}}
\textbf{This is a copy of the header from the original source code.}
- \begin{lstlisting}[numbers=none]
+ \begin{lstlisting}[numbers=none,basicstyle=\footnotesize]
/*
* CINELERRA
* Copyright (C) 1997-2012 Adam Williams <broadcast at earthling dot net>
\textbf{This is a copy of the information in the Cinelerra-CV manual.}
-Copyright c 2003, 2004, 2005, 2006 Adam Williams - Heroine Virtual Ltd.
+\noindent Copyright c 2003, 2004, 2005, 2006 Adam Williams - Heroine Virtual Ltd. \\
Copyright c 2003, 2004, 2005, 2006, 2007 Cinelerra CV Team.
This manual is free; you can redistribute it and/or modify it under the terms of the GNU General
The Cinfinity set of plugin icons come in square or roundish versions --- your choice.
In keeping up with the current expectation of users for a certain “look and feel”, a very modern Neophyte theme recent addition provides an alternative to the already existing 9 themes.
These 10 themes give the user the choice to get the look they like best for their own eyes.
- \item[Cerrent and up-to-date] ~\\
+ \item[Current and up-to-date] ~\\
For today’s software, included thirdparty libraries are kept up to date in a timely manner and effort is made to always used a relatively recent version of FFmpeg, if not the latest.
This is a big deal because there is a whole set of separate programmers continuously working diligently to cover all of the old and newly created formats.
Thus Cinelerra programmers can be dedicated to working solely on Cinelerra rather than just trying to keep up with many formats.
Besides how to Load and Save files, there is also information on using raw camera formats.
Helpful hints on working with image sequences, such as a bunch of pictures from your camera all loaded at once, is a time saver.
- \item[Chapter 6] Editing.
+ \item[Chapter \ref{cha:editing}] \nameref{cha:editing}.
New and occasional users will find it necessary to read this chapter. However, you can decide which editing mode you prefer and concentrate on reading that section.
Even seasoned users will want to read this chapter in order to take advantage of features that have been newly implemented or may be less familiar due to infrequent usage.
Anyone who wants the editing capabilities that comes with use of the Shuttle Jog Wheel, will initially need to read that section to become familiar with its usage.
- \item[Chapter 7] Rendering.
+ \item[Chapter \ref{cha:rendering}] \nameref{cha:rendering}.
Minimally most users will need to read the section on single file rendering to get started; since after all the whole purpose of using an NLE is to create your own media.
The end of this chapter includes some helpful specific rendering scenarios which could prove quite useful.
You might also want to consider using batch rendering and background rendering for performance reasons.
And, of course, render farm usage to take advantage of multiple computers can be a real boost.
- \item[Chapter 8] Keyframes.
+ \item[Chapter \ref{cha:keyframes}] \nameref{cha:keyframes}.
This is a more advanced topic but extremely useful to know.
Keyframes are data values that have been associated to the timeline that affect the media presentation.
\begin{itemize}
\item Chapter \ref{cha:the_4_windows} \nameref{cha:the_4_windows}.
\item Chapter \ref{cha:load_save_and_the_EDL} \nameref{cha:load_save_and_the_EDL}.
- \item Chapter 6 - Editing; read all sections except emphasize only either Cut\&Paste or Drag\&Drop
-
- \item editing to suit your purpose and then skim the editing mode that is not your preference as some operations work in either mode. Skip the Shuttle section unless you have this jog wheel in hand.
- \item Chapter 7 – Rendering; minimally read the “single file rendering” section.
+ \item Chapter \ref{cha:editing} \nameref{cha:editing}; read all sections except emphasize only either \nameref{sec:cut_paste_editing} or \nameref{sec:drag_drop_editing} to suit your purpose and then skim the editing mode that is not your preference as some operations work in either mode.
+ Skip the \nameref{sec:shuttle_jog_wheels_editing} section unless you have this jog wheel in hand.
+ \item Chapter \ref{cha:rendering} \nameref{cha:rendering}; minimally read the \nameref{sec:single_file_rendering} section.
\item Chapter 10 – Effect Plugins; read the section on “how to use plugins”.
\item Chapter 11 – Transition Plugins
\item Chapter 16 – Configuration, Settings and Preferences; read at least the first couple of paragraphs.
\section{Single File Rendering}%
\label{sec:single_file_rendering}
++<<<<<<< HEAD
+\noindent Use the File pulldown and select Render to start the render dialog (figure~\ref{fig:render}). Then choose the desired parameters.
++=======
+ Use the File pulldown and select Render to start the render dialog (figure~\ref{fig:render}). Then choose the desired parameters.
++>>>>>>> einhander
\begin{figure}[htpb]
\centering
\item[EDL:] the path and filename of the source EDL for the batch job.
\item[Elapsed:] the amount of time taken to render the batch if finished. If field is empty, it did not run.
\end{description}
++<<<<<<< HEAD
+
+\noindent To start rendering from the first enabled batch, hit \texttt{Start}. Once rendering, the main window shows the progress of the batch. After each batch finishes, the elapsed column in the batch list is updated and the next batch is rendered until all the enabled batches are finished. The currently rendering batch is always highlighted red. To stop rendering before the batches are finished without closing the batch render dialog, hit \texttt{Stop}. To stop rendering before the batches are finished and close the batch render dialog, hit \texttt{Close}. Or you can exit the batch render dialog whether or not anything is being rendered, by hitting \texttt{Close}.
++=======
+ To start rendering from the first enabled batch, hit \texttt{Start}. Once rendering, the main window shows the progress of the batch. After each batch finishes, the elapsed column in the batch list is updated and the next batch is rendered until all the enabled batches are finished. The currently rendering batch is always highlighted red. To stop rendering before the batches are finished without closing the batch render dialog, hit \texttt{Stop}. To stop rendering before the batches are finished and close the batch render dialog, hit \texttt{Close}. Or you can exit the batch render dialog whether or not anything is being rendered, by hitting \texttt{Close}.
++>>>>>>> einhander
You can automate Cinelerra batch renders from other programs. In the batch render dialog, once you have created your list of batch render jobs, you can click the button \texttt{Save Jobs} and choose a file to save your batch render list to. Once you have created this file, you can start up a batch render without needing to interact with the Cinelerra user interface. From a shell prompt, from a script, or other program, execute:
run them more than once, it is beneficial to save the jobs for later use so you easily run them again.
\item[Load Jobs] reload a previous set of saved jobs. This can come in handy if you did not have the
time to render them when you originally set them up, if you need to rerun, or if you got interrupted.
++<<<<<<< HEAD
+ \item[warn if jobs/session mismatched] After you set up your render and press Start, the
++=======
+ \item[warn if jobs/session mismatched]
+ \todo{First char should be capitalised}%
+ After you set up your render and press Start, the
++>>>>>>> einhander
program checks to see if the current EDL session matches your Batch Render job. If the EDL has
been changed since the batch job was created, it warns you so that you have the opportunity to
\textit{Save to EDL} path to record those changes. Otherwise, you can dismiss that warning box, disable
\begin{itemize}
\item check the \texttt{Use render farm} box;
\item in the Hostname box, keyin your hostname or ip address such as $192.168.1.12$ or \texttt{localhost};
++<<<<<<< HEAD
+ \item enter in a port number such as $401-405$ or $1025$ and click on \texttt{Add Nodes};
+ \item you will see something like the following in the Nodes listbox to the right:
+ \begin{lstlisting}[language=bash]
+ On Hostname Port Framerate
+ X 192.168.1.12 401 0.0
+ X 192.168.1.12 402 0.0
+ X 192.168.1.12 403 0.0
+ X 192.168.1.12 404 0.0
+ X 192.168.1.12 405 0.0
+ X localhost 406 0.0
+ X localhost 407 0.0
+ \end{lstlisting}
++=======
+ \item enter in a port number such as $401-405$ (only a root user can use privileged ports) or $1025$ and click on \texttt{Add Nodes};
+ \item you will see something like the following in the Nodes listbox to the right:
+ \begin{tabular}{lllc}
+ On & Hostname & Port & Framerate \\\midrule
+ X & 192.168.1.12 & 401 & 0.0 \\
+ X & 192.168.1.12 & 402 & 0.0 \\
+ X & 192.168.1.12 & 403 & 0.0 \\
+ X & 192.168.1.12 & 404 & 0.0 \\
+ X & 192.168.1.12 & 405 & 0.0 \\
+ X & localhost & 406 & 0.0 \\
+ X & localhost & 407 & 0.0 \\
+ \end{tabular}
++>>>>>>> einhander
\item set the Total number of jobs to create;
\item click OK on the bottom of the Preferences window.
\end{itemize}
\item On the client computers ($192.168.1.12$), start 5 background cinelerra tasks via:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ cd /{path_to_cinelerra}
+ cin -d 401
+ cin -d 402
+ …
+ cin -d 405
+ \end{lstlisting}
+ \item On the master node (localhost), start the 2 background cinelerra tasks via:
+ \begin{lstlisting}[language=bash]
+ cd /{path_to_cinelerra}
+ cin -d 406
+ cin -d 407
++=======
+ $ cd /{path_to_cinelerra}
+ $ cin -d 401
+ $ cin -d 402
+ ...
+ $ cin -d 405
+ \end{lstlisting}
+ \item On the master node (localhost), start the 2 background cinelerra tasks via:
+ \begin{lstlisting}[language=bash]
+ $ cd /{path_to_cinelerra}
+ $ cin -d 406
+ $ cin -d 407
++>>>>>>> einhander
\end{lstlisting}
\item When your video is ready, setup a render job via \texttt{File $\rightarrow$ Render} or \texttt{File $\rightarrow$ Batch Render} and check \texttt{OK}.
\item The results will be in the shared file path / filename that you selected in the render menu with the
\item On each of the computers, install the nfs software if not already installed. For example, on Debian 9
you will need to run: (be sure to check/verify before using any command line):
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ apt-get install nfs-kernel-server
++=======
+ $ apt-get install nfs-kernel-server
++>>>>>>> einhander
\end{lstlisting}
\item On the computer that contains the disk storage to be shared, define the network filesystem. For
example to export \texttt{/tmp}, edit the \texttt{/etc/exports} file to add the following line:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ /tmp 192.168.1.0/24(rw,fsid=1,no_root_squash,sync,no_subtree_check)
+ \end{lstlisting}
+ \item Next reset the exported nfs directories using:
+ \begin{lstlisting}[language=bash]
+ exportfs -ra
+ \end{lstlisting}
+ and you may have to start or restart nfs:
+ \begin{lstlisting}[language=bash]
+ systemctl restart nfs
++=======
+ 192.168.1.0/24(rw,fsid=1,no_root_squash,sync,no_subtree_check)
+ \end{lstlisting}
+ \item Next reset the exported nfs directories using:
+ \begin{lstlisting}[language=bash]
+ $ exportfs -ra
+ \end{lstlisting}
+ and you may have to start or restart nfs:
+ \begin{lstlisting}[language=bash]
+ $ systemctl restart nfs
++>>>>>>> einhander
\end{lstlisting}
\item Each of the render farm computers must mount the exported nfs target path. To see the exports
which are visible from a client, login as root to the client machine and keyin:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ showmount -e <ip-addr> #using the ip address of the storage host
++=======
+ $ showmount -e <ip-addr> #using the ip address of the storage host
++>>>>>>> einhander
\end{lstlisting}
\item to access the host disk storage from the other computers in the render farm, mount the nfs export on
the corresponding target path: (be sure to check/verify before using any command line):
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ mount -t nfs <ip-addr>:/<path> <path>
++=======
+ $ mount -t nfs <ip-addr>:/<path> <path>
++>>>>>>> einhander
\end{lstlisting}
where \texttt{<path>} is the storage host directory, and \texttt{<ip-addr>} is the network address of the storage host.
Because all of the computers must have the same directory path, create that same directory path with the same uid/gid/permissions on each storage client computer ahead of time.
\item To make this permanent across reboots on the client nodes, add the following line to \texttt{/etc/fstab}:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ {masternode}:/nfsshare /mnt nfs defaults 0 0
++=======
+ {masternode}:/nfsshare /mnt nfs defaults 0 0
++>>>>>>> einhander
\end{lstlisting}
You can make this permanent on the disk storage host BUT the command lines shown, which were
correct in January 2018 on Fedora, may be different for your operating system or in the future. In
addition if your network is not up, there may be numerous problems. If you make a mistake, your
system may not boot. To make permanent, add the following line to \texttt{/etc/fstab}:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ 192.168.1.12:/tmp /tmp nfs rw,async,hard,intr,noexec,noauto 0 0
++=======
+ 192.168.1.12:/tmp /tmp nfs rw,async,hard,intr,noexec,noauto 0 0
++>>>>>>> einhander
\end{lstlisting}
You will still have to mount the above manually because of the \textit{noauto} parameter but you won’t
have to remember all of the other necessary parameters. Depending on your expertise level, you can
Later, to remove access to the storage host filesystem:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ umount <path>
++=======
+ $ umount <path>
++>>>>>>> einhander
\end{lstlisting}
Be aware that you may have to adjust any security or firewalls you have in place. \textit{Most firewalls will require extra rules to allow nfs access}. Many have built-in configurations for this.
number that you want to use in the Port textbox. You can make sure a port number is not already in
use by keying in on the command line:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ netstat -n -l -4 --protocol inet
++=======
+ $ netstat -n -l -4 --protocol inet
++>>>>>>> einhander
\end{lstlisting}
Next, click on the \texttt{Add Nodes}
button and then you will see that host appear in the Nodes list box to the right. The \texttt{X} in the first
\item[Create Workflow] While working on the master computer, it is recommended that you keep all the resources being used on the same shared disk. Load your video/audio piece and do your editing and preparation. Add any desired plugins, such as a Title, to fine-tune your work. You want to make sure your video is ready to be rendered into the final product.
\item[Start the Client Nodes] To start up the client nodes run Cinelerra from the command line on each of the client computers using the following command:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ /{cinelerra_pathname}/cin -d [port #] ; \#for example /mnt1/bin/cinelerra -d 401
+ \end{lstlisting}
+ This starts cinelerra in command prompt mode so that it listens to the specified port number for commands from the master node for rendering. When you start each of the clients up, you will see some messages scroll by as each client is created on that computer, such as:
+ \begin{lstlisting}[language=bash]
+ RenderFarmClient::main_loop: client started
+ RenderFarmClient::main_loop: Session started from 127.0.0.1
+ \end{lstlisting}
+ As it completes its jobs, you will should see:
+ \begin{lstlisting}[language=bash]
+ RenderFarmClientThread::run: Session finished
+ \end{lstlisting}
+ A quick way to start a sequence of clients is to use:
+ \begin{lstlisting}[language=bash]
+ or n in `seq 1501 1505`; do cin -d $n; done
++=======
+ /{cinelerra_pathname}/cin -d [port #] ; \#for example /mnt1/bin/cinelerra -d 401
+ \end{lstlisting}
+ This starts cinelerra in command prompt mode so that it listens to the specified port number for commands from the master node for rendering. When you start each of the clients up, you will see some messages scroll by as each client is created on that computer, such as:
+ \begin{lstlisting}[language=bash]
+ RenderFarmClient::main_loop: client started
+ RenderFarmClient::main_loop: Session started from 127.0.0.1
+ \end{lstlisting}
+ As it completes its jobs, you will should see:
+ \begin{lstlisting}[language=bash]
+ RenderFarmClientThread::run: Session finished
+ \end{lstlisting}
+ A quick way to start a sequence of clients is to use:
+ \begin{lstlisting}[language=bash]
+ or n in `seq 1501 1505`; do cin -d $n; done
++>>>>>>> einhander
\end{lstlisting}
\item[Render Using Render Farm] After you have followed the preceding steps, you are ready to use the render farm. Click on File $\rightarrow$ Render\dots which opens the render dialog. The most important point here is to use for \texttt{the Output path / Select a file to render to} a path/file name that is on the shared volume that is also mounted on the clients. Click on \texttt{OK} to render. The cinelerra program divides the timeline into the number of jobs specified by the user. These jobs are then dispatched to the various nodes depending upon the load balance. The first segment will always render on the master node and the other segments will be farmed out to the render nodes. Batch Rendering, as well as BD/DVD rendering, may use the render farm. Each line in the batchbay can enable/disable the render farm. Typically, video can be rendered into many file segments and concatenated, but normally audio is rendered as one monolithic file (not farmed).
\end{itemize}
\item On each buddy client, create a job for each port:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ /{cinelerra_pathname}/cin -d port#
++=======
+ /{cinelerra_pathname}/cin -d port#
++>>>>>>> einhander
\end{lstlisting}
\item On the master, bring up the render menu and name the output files, for example \texttt{/tmp/myoutput.mp4}.
\item The client nodes output results will be on their local \texttt{/tmp} filesystems so you will have to again use
in the Nodes listbox. Check the \texttt{X} to disable it which sets \texttt{On} to \texttt{Off}.
\item A red message in the lower left hand corner of the main timeline that reads \textit{Failed to start render
farm} often means that the client cinelerra programs were not started up.
++<<<<<<< HEAD
+ \item A message of \texttt{RenderFarmWatchdog::run 1 killing server thread \#address\#} means that the client did
++=======
+ \item A message of \texttt{RenderFarmWatchdog::run 1 killing server thread \\ \#address\#} means that the client did
++>>>>>>> einhander
not respond in time. You can adjust the timer in Settings $\rightarrow$ Preferences, Performance tab.
\item When you get the message \texttt{RenderFarmClient::main\_loop: bind port 400: Address already in use}, use a different port.
\item A message of \texttt{RenderFarmServerThread::open\_client: unknown host abcompany} means that the
hostname of abcompany is not in \texttt{/etc/hosts} so you will have to add it or use the ip address instead.
\item There are numerous error messages associated with file \texttt{open/close/status} or problems with the file
that should be dealt with according to what is printed out.
++<<<<<<< HEAD
+ \item Other illustrative messages may be shown such as: \texttt{RenderFarmClientThread::run: Session finished}.
++=======
+ \item Other illustrative messages may be shown such as: \texttt{RenderFarmClientThread:: run: Session finished}.
++>>>>>>> einhander
\end{itemize}
\paragraph{Warnings}
\item Set the bitrate to $2600000$ ($2600k$ as in ffmpeg example above).
\item Add the following 2 lines after the first line:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ flags +pass1
+ passlogfile /tmp/{temporary log file name}.log
++=======
+ flags +pass1
+ passlogfile /tmp/{temporary log file name}.log
++>>>>>>> einhander
\end{lstlisting}
Click checkmark \texttt{OK}.
\end{itemize}
\item Click on \texttt{New} to create the second pass job. You will see this second job in the listbox below.
Use the Video wrench and change pass1 to pass2 as follows.
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ flags +pass2
++=======
+ flags +pass2
++>>>>>>> einhander
\end{lstlisting}
\item Click checkmark \texttt{OK}.
\item Click on the \texttt{Start} box and watch it go!
\begin{description}
\item[x265:] add this line:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ x265-params=pass=1:stats=/tmp/{temporary log file name}.log
++=======
+ x265-params=pass=1:stats=/tmp/{temporary log file name}.log
++>>>>>>> einhander
\end{lstlisting}
at the time this document was written, you should see in the output: \texttt{stats-read=2}
\item[libvpx-vp9, xvid, and huffyuv:]
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ cin_stats_filename /tmp/{temporary log file name}.log
+ flags +pass1 (or flags +pass2 for the second pass)
++=======
+ cin_stats_filename /tmp/{temporary log file name}.log
+ flags +pass1 (or flags +pass2 for the second pass)
++>>>>>>> einhander
\end{lstlisting}
\noindent \textit{NOTE:} for vp9, the best Pixels is \texttt{gbrp}
\end{description}
\begin{enumerate}
\item on a terminal window create a named pipe file, for example:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ mknod /tmp/piper.yuv p
++=======
+ mknod /tmp/piper.yuv p
++>>>>>>> einhander
\end{lstlisting}
load your video and do your editing
\item set up your Render (\texttt{Shift-R}), you can choose a raw format such as \textit{yuv} or \textit{rgb}
\item click for \texttt{OK} on the green checkmark.(the cinelerra gui will look like it is hanging while waiting for a command line to use the pipe.)
\item on the terminal window, keyin your command, for example:
\begin{lstlisting}[language=bash]
++<<<<<<< HEAD
+ /mnt0/build5/cinelerra-5.1/thirdparty/ffmpeg-3.4.1/ffmpeg -f rawvideo -pixel_format yuv420p \ -video_size 1280x720 -framerate 30000/1001 -i /tmp/piper.yuv /tmp/pys.mov
++=======
+ /mnt0/build5/cinelerra-5.1/thirdparty/ffmpeg-3.4.1/ffmpeg -f rawvideo -pixel_format yuv420p \ -video_size 1280x720 -framerate 30000/1001 -i /tmp/piper.yuv /tmp/pys.mov
++>>>>>>> einhander
\end{lstlisting}
\end{enumerate}
projects / goodguy / cin-manual-latex.git / commitdiff