2 changes to accomodate HTML + Andrea lots of index entries added

diff --git a/parts/Advanced.tex b/parts/Advanced.tex
index cf42459a317572b6f98577c7d5f2eb9aca1b289c..85c6c5c47359f39169daed9c0a652df00fa9fc30 100644 (file)
--- a/parts/Advanced.tex
+++ b/parts/Advanced.tex
@@ -6,7 +6,7 @@
 \index{proxy}
 
 Proxies was introduced to allow for a smoother timeline experience. Full HD and everything from 4K size up are usually very large in file size. In addition, some commonly used codecs (e.g. h264/5) are very compressed and interframe type, so they are more stressful for timeline playback. These files cause performance problems on weaker PCs. As a solution the developers have introduced proxies to reduce the file size. Reduced means to minimize the resolution/dimension, as usually not the full resolution is needed, because the compositor usually takes only a fraction of the computer screen. Therefore the scaling factor, which indicates how much the original resolution should be reduced. 
 \index{proxy}
 
 Proxies was introduced to allow for a smoother timeline experience. Full HD and everything from 4K size up are usually very large in file size. In addition, some commonly used codecs (e.g. h264/5) are very compressed and interframe type, so they are more stressful for timeline playback. These files cause performance problems on weaker PCs. As a solution the developers have introduced proxies to reduce the file size. Reduced means to minimize the resolution/dimension, as usually not the full resolution is needed, because the compositor usually takes only a fraction of the computer screen. Therefore the scaling factor, which indicates how much the original resolution should be reduced. 

-There is also the \textit{proxy 1:1} \index{proxy 1:1} that maintains the original resolution but still allows you to act on the codec (lowering the bit rate, for example). See also next section: \ref{sec:transcode}.
+There is also the \textit{proxy 1:1} \index{proxy!1:1} that maintains the original resolution but still allows you to act on the codec (lowering the bit rate, for example). See also next section: \ref{sec:transcode}.

 When rendering, the original setting will be used to avoid loss of image quality.  
 
 To use the proxy in a classic way, i.e. as a scaling, select \texttt{Settings $\rightarrow$ Proxy settings} and change the Scale factor from Original size to your downsized choice.  You can choose ffmpeg as the File Format \index{file format} and a choice of various codecs associated with that.  A good choice is the default of mpeg which can usually be quite fast.  In addition, to modify values for that codec, click on the wrench icon.
 When rendering, the original setting will be used to avoid loss of image quality.  
 
 To use the proxy in a classic way, i.e. as a scaling, select \texttt{Settings $\rightarrow$ Proxy settings} and change the Scale factor from Original size to your downsized choice.  You can choose ffmpeg as the File Format \index{file format} and a choice of various codecs associated with that.  A good choice is the default of mpeg which can usually be quite fast.  In addition, to modify values for that codec, click on the wrench icon.


@@ -15,7 +15,7 @@ We can use the \textit{Proxy 1:1} in two ways: setting "1" as \textit{Scale fact
 
 When you have completed your choices, just click OK, and then the video tracks will be rendered. This may take some time, but previous proxy renders will be reused.
 
 
 When you have completed your choices, just click OK, and then the video tracks will be rendered. This may take some time, but previous proxy renders will be reused.
 

-The proxy videos will be added to your assets in a separate Proxy folder \index{proxy folder}, and the video track edits will use the proxies.
+The proxy videos will be added to your assets in a separate Proxy folder \index{proxy!folder}, and the video track edits will use the proxies.

 The assets in both the Media folder and Proxy folder will look proxied when dragged to the Viewer although the scale may be different.
 Proxy downsizing renders all loaded tracks, but only work on the $1^{st}$ video layer of any multi-layer media.  Rendered proxy media is saved in the same directory as the original media.
 However, if you proxy your session, the clips do not get proxied to the Proxy folder, but if you Drag and Drop the clip from the Clip folder to the Viewer or the Timeline, you will see that it too is proxied.  
 The assets in both the Media folder and Proxy folder will look proxied when dragged to the Viewer although the scale may be different.
 Proxy downsizing renders all loaded tracks, but only work on the $1^{st}$ video layer of any multi-layer media.  Rendered proxy media is saved in the same directory as the original media.
 However, if you proxy your session, the clips do not get proxied to the Proxy folder, but if you Drag and Drop the clip from the Clip folder to the Viewer or the Timeline, you will see that it too is proxied.  


@@ -76,7 +76,7 @@ Or if you want small files with high image quality, a File Format of \texttt{m2t
 
 Checking the \textit{Creation of proxy on media loading} results in any additional media loads to be automatically proxy scaled.  However, single frame media such as PNG or JPEG \textit{stills}, can not be scaled to \textit{stream} media.  If this type of media exists, you should \textit{Proxy 1:1}.
 
 
 Checking the \textit{Creation of proxy on media loading} results in any additional media loads to be automatically proxy scaled.  However, single frame media such as PNG or JPEG \textit{stills}, can not be scaled to \textit{stream} media.  If this type of media exists, you should \textit{Proxy 1:1}.
 

-If you get error messages \index{proxy error} when creating proxies, check the Video wrench settings.  These usually default to values that are expected to work correctly for the \textit{File Format} and codec you selected but they can be changed and may result in errors.  If you get an error message of \textit{check\_frame\_rate failed} followed by \textit{Error making proxy} in the popup Errors window, do just that and check the Frame rate value by going to the Resources window, Media folder, and use the right mouse button for the Info option for that specific media in question.  You can change the frame rate in this window to a more codec acceptable value.  Different codecs may have different legal values.
+If you get error messages \index{proxy!error} when creating proxies, check the Video wrench settings.  These usually default to values that are expected to work correctly for the \textit{File Format} and codec you selected but they can be changed and may result in errors.  If you get an error message of \textit{check\_frame\_rate failed} followed by \textit{Error making proxy} in the popup Errors window, do just that and check the Frame rate value by going to the Resources window, Media folder, and use the right mouse button for the Info option for that specific media in question.  You can change the frame rate in this window to a more codec acceptable value.  Different codecs may have different legal values.

 
 More specific information on which plugins need to use \textit{Proxy 1:1}. is provided here next. If the keyframe data uses coordinate data that is absolute, then the Factor scale = 1 should be used.  If the data is normalized (like always $0-100\%$) then the proxy can be done with downsize (i.e. classic \textit{Proxy}).  The session geometry format, shown in \texttt{Settings $\rightarrow$ Format} as $width \times height$, is changed if scale factor $\neq$ 1 is used to cause all of the data to be in the reduced format.  If this affects the plugin operation, then \textit{Proxy 1:1} should be used.  Examples of plugins that need the \textit{Proxy 1:1} are: Title, AutoScale, Scale, ScaleRatio, and Translate.  Most others are safe to use with downsize.
 
 
 More specific information on which plugins need to use \textit{Proxy 1:1}. is provided here next. If the keyframe data uses coordinate data that is absolute, then the Factor scale = 1 should be used.  If the data is normalized (like always $0-100\%$) then the proxy can be done with downsize (i.e. classic \textit{Proxy}).  The session geometry format, shown in \texttt{Settings $\rightarrow$ Format} as $width \times height$, is changed if scale factor $\neq$ 1 is used to cause all of the data to be in the reduced format.  If this affects the plugin operation, then \textit{Proxy 1:1} should be used.  Examples of plugins that need the \textit{Proxy 1:1} are: Title, AutoScale, Scale, ScaleRatio, and Translate.  Most others are safe to use with downsize.
 


@@ -84,7 +84,7 @@ More specific information on which plugins need to use \textit{Proxy 1:1}. is pr
 \label{sec:transcode}
 \index{transcode}
 
 \label{sec:transcode}
 \index{transcode}
 

-Transcode, an option under the \textit{Settings} pulldown right next to the Proxy settings option, is a type of full resolution \textbf{1:1 Proxy} \index{proxy 1:1}.
+Transcode, an option under the \textit{Settings} pulldown right next to the Proxy settings option, is a type of full resolution \textbf{1:1 Proxy} \index{proxy!1:1}.

 The process of transcoding works directly from the resource; it is independent of the timeline. 
 All of the loaded asset media will be converted, that is, rendered in the selected format and loaded onto the timeline. 
 Menu choices besides the usual File Format \index{file format} and File Type include: \textit{Tag suffix} (to add to media filename), \textit{Remove originals from project}, \textit{Into Nested Proxy directory} (an option to have the file saved here instead of the location of the original media), and \textit{Beep on done} volume.
 The process of transcoding works directly from the resource; it is independent of the timeline. 
 All of the loaded asset media will be converted, that is, rendered in the selected format and loaded onto the timeline. 
 Menu choices besides the usual File Format \index{file format} and File Type include: \textit{Tag suffix} (to add to media filename), \textit{Remove originals from project}, \textit{Into Nested Proxy directory} (an option to have the file saved here instead of the location of the original media), and \textit{Beep on done} volume.


@@ -116,7 +116,7 @@ EDL you had to remake the whole clip from scratch.  The program is
 actually "opening" the file as it currently exists for that particular
 media so that it can be edited separately from the project EDL. In other NLEs the term \textit{sub-timeline} is used.
 
 actually "opening" the file as it currently exists for that particular
 media so that it can be edited separately from the project EDL. In other NLEs the term \textit{sub-timeline} is used.
 

-Here is how this works. In the Clip \index{clip folder} or Media folder \index{media folder} or on a timeline
+Here is how this works. In the Clip \index{clip !older} or Media folder \index{media folder} or on a timeline

 EDL edit, the option \textit{Open EDL} for the highlighted clip or
 nested clip is available so that when you choose this option, that
 EDL will be brought up on the timeline superseding the current EDL
 EDL edit, the option \textit{Open EDL} for the highlighted clip or
 nested clip is available so that when you choose this option, that
 EDL will be brought up on the timeline superseding the current EDL


@@ -313,7 +313,7 @@ Here is a step by step example of how you can use \textit{File by
 
 \section{Trimming}%
 \label{sec:trimming}
 
 \section{Trimming}%
 \label{sec:trimming}

-\index{trimming}
+\index{trim}

 
 With some edits on the timeline it is possible to do trimming. By
 trimming you shrink or grow the edit boundaries (\textit{head} or \textit{tail}) by dragging them. In
 
 With some edits on the timeline it is possible to do trimming. By
 trimming you shrink or grow the edit boundaries (\textit{head} or \textit{tail}) by dragging them. In


@@ -358,7 +358,7 @@ A description of the fundamental/common terminology for choices
 follows.
 
 \begin{description}
 follows.
 
 \begin{description}

-       \item[All Edits (ripple)] \index{trimmming: ripple} shorten or lengthen the start or end
+       \item[All Edits (ripple)] \index{trim!ripple} shorten or lengthen the start or end

        of a single piece of media while moving all media to the right of
        that clip up or down on the timeline correspondingly.  Timeline
        duration is modified.  In a drag \textit{All Edits} operation, the
        of a single piece of media while moving all media to the right of
        that clip up or down on the timeline correspondingly.  Timeline
        duration is modified.  In a drag \textit{All Edits} operation, the


@@ -368,25 +368,25 @@ follows.
        it forward or cuts data from the end of the edit if you move it
        backward. All the following edits shift. If you drag the end of the
        edit past the start of the edit, the edit is deleted.
        it forward or cuts data from the end of the edit if you move it
        backward. All the following edits shift. If you drag the end of the
        edit past the start of the edit, the edit is deleted.

-       \item[One Edit (roll)] \index{trimming: roll} move the in and out point of a single
+       \item[One Edit (roll)] \index{trim!roll} move the in and out point of a single

        clip without changing the timeline duration. In a drag \textit{One
                Edit} operation, nothing is cut or pasted. If you move the beginning
        or end of the edit forward, the source reference in the edit shifts
        forward. If you move the beginning or end of the edit backward, the
        source reference shifts backward. The edit remains in the same spot
        in the timeline but the source shifts.
        clip without changing the timeline duration. In a drag \textit{One
                Edit} operation, nothing is cut or pasted. If you move the beginning
        or end of the edit forward, the source reference in the edit shifts
        forward. If you move the beginning or end of the edit backward, the
        source reference shifts backward. The edit remains in the same spot
        in the timeline but the source shifts.

-       \item[Src Only (slip)] \index{trimming: slip} move the in and out point of a single
+       \item[Src Only (slip)] \index{trim!slip} move the in and out point of a single

        clip without changing the timeline duration. In a drag \textit{Src
                Only} operation, nothing is cut or pasted. If you move the beginning
        or end of the edit forward, the source reference in the edit shifts
        forward. If you move the beginning or end of the edit backward, the
        source reference shifts backward. The edit remains in the same spot
        in the timeline but the source shifts.
        clip without changing the timeline duration. In a drag \textit{Src
                Only} operation, nothing is cut or pasted. If you move the beginning
        or end of the edit forward, the source reference in the edit shifts
        forward. If you move the beginning or end of the edit backward, the
        source reference shifts backward. The edit remains in the same spot
        in the timeline but the source shifts.

-       \item[Slide] \index{trimming: slide} a single clip is moved but retains its current in
+       \item[Slide] \index{trim!slide} a single clip is moved but retains its current in

        and out point; however the out point of the clip to the left changes
        and the in point of the clip to the right also changes.  Timeline
        duration remains the same.
        and out point; however the out point of the clip to the left changes
        and the in point of the clip to the right also changes.  Timeline
        duration remains the same.

-       \item[Edge Left/Right] \index{trimming: edge} moves the edge of the clips.
+       \item[Edge Left/Right] \index{trim!edge} 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}
        \item[No effect] no changes are made.  You might want to use
        this choice to prevent accidental movements.
 \end{description}


@@ -481,7 +481,7 @@ creates an L-cut.
 
 \subsection{Split View in Compositor Using the Drag Handle with Trim}%
 \label{sub:split_view_compositor_using_drag_trim}
 
 \subsection{Split View in Compositor Using the Drag Handle with Trim}%
 \label{sub:split_view_compositor_using_drag_trim}

-\index{trimming: split view}
+\index{trim!split view}

 The Trim Feature using the drag handle provides some good ways to
 view your video while editing.  The playback position in the
 compositor is updated live and the view in the compositor can be
 The Trim Feature using the drag handle provides some good ways to
 view your video while editing.  The playback position in the
 compositor is updated live and the view in the compositor can be


@@ -684,7 +684,7 @@ Figure~\ref{fig:multicam01} shows 9 media sources in the left corner, the compos
        \item From the \textit{File} pulldown, create a \textit{New project} with the desired format for Audio and Video output (or you can just use the default).
        \item \texttt{File $\rightarrow$ Load} the media files you want to work with using \textit{Create new resources only}.
        \item In the Resources window, with  the Media folder, highlight the list of media you want to \textit{Mix}. This is done using a ctrl or shift mouse button press as you would in a standard listbox selection.
        \item From the \textit{File} pulldown, create a \textit{New project} with the desired format for Audio and Video output (or you can just use the default).
        \item \texttt{File $\rightarrow$ Load} the media files you want to work with using \textit{Create new resources only}.
        \item In the Resources window, with  the Media folder, highlight the list of media you want to \textit{Mix}. This is done using a ctrl or shift mouse button press as you would in a standard listbox selection.

-       \item Right click the mouse on the media selection and choose \textit{open mixers} \index{mixer: open mixers}. This opens multiple mixer viewer \index{mixer viewer} windows, one for each media item that was highlighted.  You can
+       \item Right click the mouse on the media selection and choose \textit{open mixers} \index{mixers!open mixers}. This opens multiple mixer viewer \index{mixers!viewer} windows, one for each media item that was highlighted.  You can

        do them 1 at a time instead.  This also adds the source media tracks to the main window.
        \item Now use the timeline \index{timeline} to play and you will see all viewers/cameras playing.  Stop when you get to the
        end of the \textit{good} camera playback.
        do them 1 at a time instead.  This also adds the source media tracks to the main window.
        \item Now use the timeline \index{timeline} to play and you will see all viewers/cameras playing.  Stop when you get to the
        end of the \textit{good} camera playback.


@@ -712,7 +712,7 @@ Figure~\ref{fig:multicam01} shows 9 media sources in the left corner, the compos
 \subsubsection*{But, I want to use only the first set of audio tracks\dots}%
 \label{ssub:but_use_only_first_audio}
 
 \subsubsection*{But, I want to use only the first set of audio tracks\dots}%
 \label{ssub:but_use_only_first_audio}
 

-There are many cases where you may want to compose using media from several different tracks while using the the same audio tracks as associated from a specific viewer.  Since mixer source tracks can be updated any time by using a mixer toggle \index{mixer toggle}, this makes it possible to do this.  
+There are many cases where you may want to compose using media from several different tracks while using the the same audio tracks as associated from a specific viewer.  Since mixer source tracks can be updated any time by using a mixer toggle \index{mixers!toggle}, this makes it possible to do this.  

 
 Procedure to update the mixer audio source track list:
 
 
 Procedure to update the mixer audio source track list:
 


@@ -772,13 +772,13 @@ The best way to use proxy \index{proxy} with your multiple cameras is to follow
        \item Choose the size and other options you want and click the checkmark OK. If you choose the option \textit{Beep when done} you will hear a short beep if all media is already proxied or a longer beep when all proxies have been created.
        \item When your editing is complete, use \textit{Settings} pulldown and proxy to \textit{original size}.
 \end{enumerate}
        \item Choose the size and other options you want and click the checkmark OK. If you choose the option \textit{Beep when done} you will hear a short beep if all media is already proxied or a longer beep when all proxies have been created.
        \item When your editing is complete, use \textit{Settings} pulldown and proxy to \textit{original size}.
 \end{enumerate}

-Instead of Open Mixers, you can Insert Mixers \index{mixer: insert mixers} with new tracks at the timeline insertion point.
+Instead of Open Mixers, you can Insert Mixers \index{mixers!insert mixers} with new tracks at the timeline insertion point.

 
 \subsubsection*{Options available in the \textit{Mixer Windows}}%
 \label{ssub:options_available_with_mixers}
 
 \subsubsection*{Options available in the \textit{Mixer Windows}}%
 \label{ssub:options_available_with_mixers}

-\index{mixer viewer RMB options}
+\index{mixers!viewer RMB options}

 
 

-There are several options you will see in each Mixer viewer \index{mixer viewer} that help with using them. These
+There are several options you will see in each Mixer viewer \index{mixers!viewer} that help with using them. These

 are shown in figure~\ref{fig:mixer-playable}. To use these, RMB in the desired mixer window,
 and choose one of the options as described here.
 
 are shown in figure~\ref{fig:mixer-playable}. To use these, RMB in the desired mixer window,
 and choose one of the options as described here.
 


@@ -792,7 +792,7 @@ and choose one of the options as described here.
 \begin{enumerate}
        \item Fullscreen / Windowed - will bring up a fullscreen display of that window or revert to the original size.
        \item Resize Window - allows for resizing the window to a choice of different sizes.
 \begin{enumerate}
        \item Fullscreen / Windowed - will bring up a fullscreen display of that window or revert to the original size.
        \item Resize Window - allows for resizing the window to a choice of different sizes.

-       \item Tile Mixers \index{mixer: tile mixers} - makes it easy to get all of the mixers nicely tiled to a standard size.
+       \item Tile Mixers \index{mixers!tile mixers} - makes it easy to get all of the mixers nicely tiled to a standard size.

        This is also available in the \textit{Window} pulldown.
        \item Playable - enabled by default so that you will see a checkmark next to it in the 
        popup.  The benefit of making a mixer window not playable is to save cpu time. When a specific
        This is also available in the \textit{Window} pulldown.
        \item Playable - enabled by default so that you will see a checkmark next to it in the 
        popup.  The benefit of making a mixer window not playable is to save cpu time. When a specific


@@ -822,16 +822,16 @@ From Program windows menu we can access the \texttt{windows $\rightarrow$ mixers
 \end{figure}
 
 \begin{description}
 \end{figure}
 
 \begin{description}

-       \item[Mixer Viewer:] \index{mixer viewer} (Shift-M) opens a new empty \textit{Mixer 1} window, which will then be associated with a track. We can open as many Mixers as we like.
-       \item[Drag Tile mixers:] \index{mixer: drag tile mixers} (Alt-t) the default size of a mixer window is related to the std size of the \textit{Viewer} window. If we want to modify it at our convenience, we can build a window of the desired size with the \textit{Drag Tile mixers} function and then automatically order our mixers within it with the right click of the mouse.
-       \item[Align mixers:] \index{mixer: align mixers} see \nameref{sub:audio_video_sync_waveform}
-       \item[Mix masters:] \index{mixer: mix masters} this feature makes it very easy to get into the multi-camera mixer mode after tracks have already been set up and edited. Before this addition, you could only \textit{Open Mixers} from original media assets in the \textit{Resources} window.
+       \item[Mixer Viewer:] \index{mixers!viewer} (Shift-M) opens a new empty \textit{Mixer 1} window, which will then be associated with a track. We can open as many Mixers as we like.
+       \item[Drag Tile mixers:] \index{mixers!drag tile mixers} (Alt-t) the default size of a mixer window is related to the std size of the \textit{Viewer} window. If we want to modify it at our convenience, we can build a window of the desired size with the \textit{Drag Tile mixers} function and then automatically order our mixers within it with the right click of the mouse.
+       \item[Align mixers:] \index{mixers!align mixers} see \nameref{sub:audio_video_sync_waveform}
+       \item[Mix masters:] \index{mixers!mix masters} this feature makes it very easy to get into the multi-camera mixer mode after tracks have already been set up and edited. Before this addition, you could only \textit{Open Mixers} from original media assets in the \textit{Resources} window.

        \item[Entries:] If the mixers of several sources have been opened, the entries of each assets will appear, useful for recalling a specific mixer window.
 \end{description}
 
 \subsection{Recover Mixer Windows}%
 \label{sub:recover_mixer_windows}
        \item[Entries:] If the mixers of several sources have been opened, the entries of each assets will appear, useful for recalling a specific mixer window.
 \end{description}
 
 \subsection{Recover Mixer Windows}%
 \label{sub:recover_mixer_windows}

-\index{mixer: recover mixer window}
+\index{mixers!recover mixer window}

 
 It is a hazard that you might accidentally \textit{undo} (\texttt{z or Ctrl-z}) too far and lose your mixer windows.  Here are the steps to recover.  It is recommended that you make a backup of your project before performing the recovery steps just in case there are other problems.
 
 
 It is a hazard that you might accidentally \textit{undo} (\texttt{z or Ctrl-z}) too far and lose your mixer windows.  Here are the steps to recover.  It is recommended that you make a backup of your project before performing the recovery steps just in case there are other problems.
 

diff --git a/parts/Attributes.tex b/parts/Attributes.tex
index 8709c5f03214fedc830f1b2489245e1a7466b91f..7b13583c9cf993f72f54a7dfb53cf93d9f0c737e 100644 (file)
--- a/parts/Attributes.tex
+++ b/parts/Attributes.tex
@@ -1,5 +1,8 @@
 \chapter{Project and Media Attributes}%
 \label{cha:project_and_media_attributes}
 \chapter{Project and Media Attributes}%
 \label{cha:project_and_media_attributes}

+\index{project attributes}
+\index{format}
+\index{settings}

 
 When you play media files in \CGG{}, the media files have a certain
 number of tracks, frame size, sample size, and so on.  No matter
 
 When you play media files in \CGG{}, the media files have a certain
 number of tracks, frame size, sample size, and so on.  No matter


@@ -10,8 +13,8 @@ if a video file's frame size is different than the project
 attributes, the video is composited on a black frame, either cropped
 or bordered with black.
 
 attributes, the video is composited on a black frame, either cropped
 or bordered with black.
 

-The project attributes are adjusted in \texttt{file $\rightarrow$
-Set Format} (figure~\ref{fig:set-format}) or can be created in
+The project attributes are adjusted in \texttt{Settings $\rightarrow$
+Format} (figure~\ref{fig:set-format}) or can be created in

 \texttt{File $\rightarrow$ New}.  When you adjust project settings
 in \texttt{File $\rightarrow$ New}, a new empty timeline is created.
 Every timeline created from this point on uses the same settings.
 \texttt{File $\rightarrow$ New}.  When you adjust project settings
 in \texttt{File $\rightarrow$ New}, a new empty timeline is created.
 Every timeline created from this point on uses the same settings.


@@ -28,9 +31,9 @@ from this point uses the same settings.
 In addition to the standard settings for sample rate, frame rate,
 and frame size, \CGG{} uses some less traditional settings like
 channel positions, color model, and aspect ratio.  The aspect ratio
 In addition to the standard settings for sample rate, frame rate,
 and frame size, \CGG{} uses some less traditional settings like
 channel positions, color model, and aspect ratio.  The aspect ratio

-refers to the screen aspect ratio.
+refers to the screen aspect ratio (SAR).

 
 

-Edit decision lists , the EDL stored in XML, save the project
+Edit decision lists , the EDL \index{EDL} stored in XML, save the project

 settings.  Formats which contain media but no edit decisions just
 add data to the tracks.  Keep in mind details such as if your
 project sample rate is 48\,kHz and you load a sound file with
 settings.  Formats which contain media but no edit decisions just
 add data to the tracks.  Keep in mind details such as if your
 project sample rate is 48\,kHz and you load a sound file with


@@ -54,6 +57,7 @@ Explanation of the various fields is described next.
 
 \section{Audio attributes}%
 \label{sec:audio_attributes}
 
 \section{Audio attributes}%
 \label{sec:audio_attributes}

+\index{audio!attributes}

 
 
 \begin{description}
 
 
 \begin{description}


@@ -66,11 +70,11 @@ audio.
 tracks for the new project. Tracks can be added or deleted later,
 but this option is on the New Project menu for convenience.
 
 tracks for the new project. Tracks can be added or deleted later,
 but this option is on the New Project menu for convenience.
 

-\item[Samplerate:] sets the samplerate of the audio. The project
+\item[Samplerate:] \index{sample rate} sets the samplerate of the audio. The project

 samplerate does not have to be the same as the media sample rate
 that you load. Media is resampled to match the project sample rate.
 
 samplerate does not have to be the same as the media sample rate
 that you load. Media is resampled to match the project sample rate.
 

-\item[Channels:] sets the number of audio channels for the new
+\item[Channels:] \index{audio!channels} sets the number of audio channels for the new

 project. The number of audio channels does not have to be the same
 as the number of tracks.
 
 project. The number of audio channels does not have to be the same
 as the number of tracks.
 


@@ -105,24 +109,25 @@ close together to make them have the same output.
 
 \section{Video attributes}%
 \label{sec:video_attributes}
 
 \section{Video attributes}%
 \label{sec:video_attributes}

+\index{video!attributes}

 
 \begin{description}
 \item[Tracks:] (in New Project menu only) sets the number of video
 tracks the new project is assigned.  Tracks can be added or deleted
 later, but options are provided here for convenience.
 
 
 \begin{description}
 \item[Tracks:] (in New Project menu only) sets the number of video
 tracks the new project is assigned.  Tracks can be added or deleted
 later, but options are provided here for convenience.
 

-\item[Framerate:] sets the framerate of the video.  The project
+\item[Framerate:] \index{framerate} sets the framerate of the video.  The project

 framerate does not have to be the same as an individual media file
 frame rate that you load.  Media is reframed to match the project
 framerate.
 
 framerate does not have to be the same as an individual media file
 frame rate that you load.  Media is reframed to match the project
 framerate.
 

-\item[Canvas size:] sets the size of the video output.  In addition,
+\item[Canvas size:] \index{canvas size} sets the size of the video output \index{output size}.  In addition,

 each track also has its own frame size.  Initially, the New Project
 dialog creates video tracks whose size match the video output.  The
 video track sizes can be changed later without changing the video
 output.
 
 each track also has its own frame size.  Initially, the New Project
 dialog creates video tracks whose size match the video output.  The
 video track sizes can be changed later without changing the video
 output.
 

-\item[Aspect ratio:] sets the aspect ratio; this aspect ratio refers
+\item[Aspect ratio:] \index{aspect ratio} sets the aspect ratio; this aspect ratio refers

 to the screen aspect ratio.  The aspect ratio is applied to the
 video output.  The aspect ratio can be different than the ratio that
 results from the formula: $\dfrac{h}{v}$ (the number of horizontal
 to the screen aspect ratio.  The aspect ratio is applied to the
 video output.  The aspect ratio can be different than the ratio that
 results from the formula: $\dfrac{h}{v}$ (the number of horizontal


@@ -134,7 +139,7 @@ will be in non-square pixels.
 dialog always recalculates the Aspect ratio setting based upon the
 given Canvas size. This ensures pixels are always square.
 
 dialog always recalculates the Aspect ratio setting based upon the
 given Canvas size. This ensures pixels are always square.
 

-\item[Color model:] the internal color space of \CGG{} is X11 sRGB
+\item[Color model:] \index{color model} the internal color space of \CGG{} is X11 sRGB

 without color profile. \CGG{} always switches to sRGB when applying
 filters or using the compositing engine. Different case for
 decoding/playback or encoding/output; the project will be stored in
 without color profile. \CGG{} always switches to sRGB when applying
 filters or using the compositing engine. Different case for
 decoding/playback or encoding/output; the project will be stored in


@@ -170,8 +175,10 @@ derivative allows video to be processed fast with the least color
 degradation.
   \item[YUVA-8 bit] Allocates an alpha channel to the 8\,bit YUV
 colormodel for transparency.
 degradation.
   \item[YUVA-8 bit] Allocates an alpha channel to the 8\,bit YUV
 colormodel for transparency.

-  \end{description} In order to do effects which involve alpha
-channels, a colormodel with an alpha channel must be selected.
+  \end{description}
+
+In order to do effects which involve alpha
+channels \index{alpha channel}, a colormodel with an alpha channel must be selected.

 These are RGBA-8 bit, YUVA-8 bit, and RGBA-Float.  The 4 channel
 colormodels are slower than 3\,channel colormodels, with the slowest
 being RGBA-Float.  Some effects, like fade, work around the need for
 These are RGBA-8 bit, YUVA-8 bit, and RGBA-Float.  The 4 channel
 colormodels are slower than 3\,channel colormodels, with the slowest
 being RGBA-Float.  Some effects, like fade, work around the need for


@@ -181,8 +188,8 @@ results, it is always a good idea to try the effect without alpha
 channels to see if it works before settling on an alpha channel and
 slowing it down.
 
 channels to see if it works before settling on an alpha channel and
 slowing it down.
 

-  When using compressed footage, YUV colormodels are usually faster
-than RGB colormodels.  They also destroy fewer colors than RGB
+  When using compressed footage, YUV colormodels \index{YUV} are usually faster
+than RGB colormodels \index{RGB}.  They also destroy fewer colors than RGB

 colormodels.  If footage stored as JPEG or MPEG is processed many
 times in RGB, the colors will fade whereas they will not fade if
 processed in YUV\@.  Years of working with high dynamic range footage
 colormodels.  If footage stored as JPEG or MPEG is processed many
 times in RGB, the colors will fade whereas they will not fade if
 processed in YUV\@.  Years of working with high dynamic range footage


@@ -193,7 +200,7 @@ information when used with YUV source footage and also supports
 brightness above 100\,\%.  Be aware that some effects, like
 Histogram, still clip above 100\,\% when in floating point.
 
 brightness above 100\,\%.  Be aware that some effects, like
 Histogram, still clip above 100\,\% when in floating point.
 

-\item[Interlace mode:] this is mostly obsolete in the modern digital
+\item[Interlace mode:] \index{interlacing} this is mostly obsolete in the modern digital

 age, but may be needed for older media such as that from broadcast
 TV\@.  Interlacing uses two fields to create a frame. One field
 contains all odd-numbered lines in the image; the other contains all
 age, but may be needed for older media such as that from broadcast
 TV\@.  Interlacing uses two fields to create a frame. One field
 contains all odd-numbered lines in the image; the other contains all

diff --git a/parts/Configuration.tex b/parts/Configuration.tex
index 88a4ecf084d209c01a7266120a38eef7a54925be..3e192b9f14def0117969aef802cc587c3e6acd40 100644 (file)
--- a/parts/Configuration.tex
+++ b/parts/Configuration.tex
@@ -1,6 +1,9 @@
 
 \chapter{Configuration, Settings and Preferences}%
 \label{cha:configuration_settings_preferences}
 
 \chapter{Configuration, Settings and Preferences}%
 \label{cha:configuration_settings_preferences}

+\index{configuration}
+\index{settings}
+\index{preferences}

 
 \begin{figure}[htpb]
     \centering \includegraphics[width=0.9\linewidth]{settings.png}
 
 \begin{figure}[htpb]
     \centering \includegraphics[width=0.9\linewidth]{settings.png}


@@ -15,6 +18,7 @@ Several ways exist to change \CGG{}’s operational characteristics.  A lot of v
 
 \section{Playback A / Playback B}%
 \label{sec:playback_a_b}
 
 \section{Playback A / Playback B}%
 \label{sec:playback_a_b}

+\index{preferences!playback\_a\_b}

 
 \CGG{} supports 2 separate preferences for the playback configuration.  \CGG{} can be operated in a single or dual screen configuration, both by using Xinerama or dual screen configuration of X windows.  It will take some setup using Xconfig to make this work.
 
 
 \CGG{} supports 2 separate preferences for the playback configuration.  \CGG{} can be operated in a single or dual screen configuration, both by using Xinerama or dual screen configuration of X windows.  It will take some setup using Xconfig to make this work.
 


@@ -30,7 +34,7 @@ The \texttt{Settings $\rightarrow$ Preferences} menu has \textit{Playback A and
        \label{fig:multi-screen01}
 \end{figure}
 
        \label{fig:multi-screen01}
 \end{figure}
 

-Figure~\ref{fig:multi-screen01} shows partial window of \textit{*Playback A} selected and the second tab for \textit{Playback B}.  Note that on the bottom right of the window, \textit{Default B Display:} is set to $:0.1$, representing the setting for Screen 1.  On the unseen \textit{Playback A} window, the \textit{Default A Display:} will be set to $:0.0$ meaning for Screen 0.  Otherwise, the default would be nothing there or just <empty>.
+Figure~\ref{fig:multi-screen01} shows partial window of \textit{*Playback A} selected and the second tab for \textit{Playback B}.  Note that on the bottom right of the window, \textit{Default B Display:} \index{default A/B display} is set to $:0.1$, representing the setting for Screen 1.  On the unseen \textit{Playback A} window, the \textit{Default A Display:} will be set to $:0.0$ meaning for Screen 0.  Otherwise, the default would be nothing there or just <empty>.

 
 \subsection{Audio Out section}%
 \label{sub:audio_out_section}
 
 \subsection{Audio Out section}%
 \label{sub:audio_out_section}


@@ -38,14 +42,14 @@ Figure~\ref{fig:multi-screen01} shows partial window of \textit{*Playback A} sel
 The audio drivers are used for both recording and playback. The Audio Out settings affect the outcome when you play sound on the timeline.
 
 \begin{description}
 The audio drivers are used for both recording and playback. The Audio Out settings affect the outcome when you play sound on the timeline.
 
 \begin{description}

-    \item[Playback buffer samples] for playing audio, small fragments of sound are read from disk and processed sequentially. A larger value here causes more latency when you change mixing parameters but yields more reliable playback.  Some sound drivers do not allow changing of the fragment, so latency is unchanged no matter what the value. Since different stages of the rendering pipeline can change the rate of the incoming data, it would be difficult to disconnect the size of the console fragments from the size of the fragments read from disk.
-    \item[Audio offset (sec)] the ability to tell the exact playback position on Linux sound drivers is poor.  The audio offset allows users to adjust the position returned by the sound driver in order to reflect reality. The audio offset does not affect the audio playback or rendering at all. It merely changes the synchronization of video playback. The easiest way to set the audio offset is to create a timeline with one video track and one audio track. Expand the audio track and center the audio pan. The frame rate should be larger than $24 fps$ and the sampling rate should be greater than $32000$. The frame size should be small enough for your computer to render it at the full framerate. Highlight a region of the timeline starting at 10 seconds and ending at 20 seconds. Drop a gradient effect on the video track and configure it to be clearly visible. Drop a synthesizer effect on the audio and configure it to be clearly audible. Play the timeline from 0 and watch to see if the gradient effect starts exactly when the audio starts. If it does not, expand the audio track and adjust the nudge. If the audio starts ahead of the video, decrease the nudge value. If the audio starts after the video, increase the nudge value. Once the tracks play back synchronized, copy the nudge value to the audio offset value in preferences. Note: if you change sound drivers or Disable hardware synchronization, you will need to change the audio offset because different sound drivers are unequally inaccurate.
-    \item[View follows playback] this causes the timeline window to scroll when the playback cursor moves. This can slow down the X Server or cause the timeline window to lock up for long periods of time while drawing the assets.
-    \item[Disable hardware synchronization] most sound cards and sound drivers do not give reliable information on the number of samples the card has played. You need this information for synchronization when playing back video. This option causes the sound driver to be ignored and a software timer to be used for synchronization.
+    \item[Playback buffer samples] \index{playback buffer samples} for playing audio, small fragments of sound are read from disk and processed sequentially. A larger value here causes more latency when you change mixing parameters but yields more reliable playback.  Some sound drivers do not allow changing of the fragment, so latency is unchanged no matter what the value. Since different stages of the rendering pipeline can change the rate of the incoming data, it would be difficult to disconnect the size of the console fragments from the size of the fragments read from disk.
+    \item[Audio offset (sec)] \index{audio offset} the ability to tell the exact playback position on Linux sound drivers is poor.  The audio offset allows users to adjust the position returned by the sound driver in order to reflect reality. The audio offset does not affect the audio playback or rendering at all. It merely changes the synchronization of video playback. The easiest way to set the audio offset is to create a timeline with one video track and one audio track. Expand the audio track and center the audio pan. The frame rate should be larger than $24 fps$ and the sampling rate should be greater than $32000$. The frame size should be small enough for your computer to render it at the full framerate. Highlight a region of the timeline starting at 10 seconds and ending at 20 seconds. Drop a gradient effect on the video track and configure it to be clearly visible. Drop a synthesizer effect on the audio and configure it to be clearly audible. Play the timeline from 0 and watch to see if the gradient effect starts exactly when the audio starts. If it does not, expand the audio track and adjust the nudge. If the audio starts ahead of the video, decrease the nudge value. If the audio starts after the video, increase the nudge value. Once the tracks play back synchronized, copy the nudge value to the audio offset value in preferences. Note: if you change sound drivers or Disable hardware synchronization, you will need to change the audio offset because different sound drivers are unequally inaccurate.
+    \item[View follows playback] \index{view follows playback} this causes the timeline window to scroll when the playback cursor moves. This can slow down the X Server or cause the timeline window to lock up for long periods of time while drawing the assets.
+    \item[Disable hardware synchronization] \index{disable hardware synchronization} most sound cards and sound drivers do not give reliable information on the number of samples the card has played. You need this information for synchronization when playing back video. This option causes the sound driver to be ignored and a software timer to be used for synchronization.

     \item[Audio playback in realtime priority (root only)] for really old computers, this setting allows uninterrupted playback during periods of heavy load. It forces the audio playback to the highest priority in the kernel. Today, it is most useful for achieving very low latency between console tweaks and sound card output. You must be root to get real-time priority. Only experts might want to use this because it interferes with ordinary time-share scheduling and can lock up the system.  When this is enabled, audio gets the first shot and burns audio until audio lets go. To explain, there are 2 kinds of scheduling, \textit{time-sharing} which is the default, and \textit{real time} where the scheduled task must explicitly request scheduling to allow other tasks to execute.  Time-share interrupts when you use up your allocated time slice.  Realtime priority audio will execute audio decode until it finishes, which may slow down other types of processing like video decoding.  Most decoders use a policy that video may be downsampled to accommodate scheduling, but will never skip audio because it creates a much more obvious defect.  This feature helps to make sure audio gets priority over video during decode. Be sure to check apply in order for this feature to take effect.
     \item[Audio playback in realtime priority (root only)] for really old computers, this setting allows uninterrupted playback during periods of heavy load. It forces the audio playback to the highest priority in the kernel. Today, it is most useful for achieving very low latency between console tweaks and sound card output. You must be root to get real-time priority. Only experts might want to use this because it interferes with ordinary time-share scheduling and can lock up the system.  When this is enabled, audio gets the first shot and burns audio until audio lets go. To explain, there are 2 kinds of scheduling, \textit{time-sharing} which is the default, and \textit{real time} where the scheduled task must explicitly request scheduling to allow other tasks to execute.  Time-share interrupts when you use up your allocated time slice.  Realtime priority audio will execute audio decode until it finishes, which may slow down other types of processing like video decoding.  Most decoders use a policy that video may be downsampled to accommodate scheduling, but will never skip audio because it creates a much more obvious defect.  This feature helps to make sure audio gets priority over video during decode. Be sure to check apply in order for this feature to take effect.

-    \item[Map 5.1$\rightarrow$2] playback 5.1 $\rightarrow$ 2 driver downmix maps 6 tracks to 2 channels when checked, that is mixes $5.1$ down to stereo on the output device side.  This is different from the patchbay and menubar functions which reset the pan/mix levels of the input channels.  In this way, you can render $5.1$ media, and use stereo speakers to listen in the same session setup.  This downmix only occurs if the playback is $5.1$ (6 channels) and the device config is stereo (2 channels).
-    \item[Gain] set audio gain to a different value than the default of $1.0$ This feature, device level gain, corrects for hardware conditions which some devices may need to be useful.  For example, you may need to increase the gain for a weak microphone or a noisy speaker, since it affects rendering when you crank up or down the audio via use of the patchbay.  With the audio H/W gain support, you have the ability to fine tune the audio volume by some numerical value for the scale.  You are adjusting the scaling of data into the audio driver -- H/W scaling is done before it goes into or out of the driver.  This is a one time linear multiplication of the sample values, and may offer better control than the logarithmic DB gain controls of the application.
-    \item[Audio driver] there are many sound drivers for Linux. This allows selecting one sound driver and setting parameters specific to it. The currently available possibilities are listed next.
+    \item[Map 5.1$\rightarrow$2] \index{audio!map 5.1:2} playback 5.1 $\rightarrow$ 2 driver downmix maps 6 tracks to 2 channels when checked, that is mixes $5.1$ down to stereo on the output device side.  This is different from the patchbay and menubar functions which reset the pan/mix levels of the input channels.  In this way, you can render $5.1$ media, and use stereo speakers to listen in the same session setup.  This downmix only occurs if the playback is $5.1$ (6 channels) and the device config is stereo (2 channels).
+    \item[Gain] \index{audio!gain} set audio gain to a different value than the default of $1.0$ This feature, device level gain, corrects for hardware conditions which some devices may need to be useful.  For example, you may need to increase the gain for a weak microphone or a noisy speaker, since it affects rendering when you crank up or down the audio via use of the patchbay.  With the audio H/W gain support, you have the ability to fine tune the audio volume by some numerical value for the scale.  You are adjusting the scaling of data into the audio driver -- H/W scaling is done before it goes into or out of the driver.  This is a one time linear multiplication of the sample values, and may offer better control than the logarithmic DB gain controls of the application.
+    \item[Audio driver] \index{audio!driver} there are many sound drivers for Linux. This allows selecting one sound driver and setting parameters specific to it. The currently available possibilities are listed next.

     \begin{description}
         \item[\textit{ALSA}] is the most common sound driver these days and supports almost all sound cards. ALSA
         is frequently updated but is very stable.
     \begin{description}
         \item[\textit{ALSA}] is the most common sound driver these days and supports almost all sound cards. ALSA
         is frequently updated but is very stable.


@@ -54,7 +58,7 @@ The audio drivers are used for both recording and playback. The Audio Out settin
         \item[\textit{Raw 1394, DV 1394, IEC 61883}] are older audio drivers used by camcorders and not much else.
         \item[Pulseaudio] Extends the functionality of ALSA. It is a more modern and highly supported driver.
     \end{description}
         \item[\textit{Raw 1394, DV 1394, IEC 61883}] are older audio drivers used by camcorders and not much else.
         \item[Pulseaudio] Extends the functionality of ALSA. It is a more modern and highly supported driver.
     \end{description}

-    \item[Device] with the down arrow, you can see the device choices on your computer.
+    \item[Device] \index{audio!device} with the down arrow, you can see the device choices on your computer.

     \item[Bits] 8, 16 or 24 Bit Linear are the current choices for the number of bits of precision \CGG{} should set the device for. The meaning of the number of bits can be misleading. Some sound drivers need to be set to 32 bits to perform 24 bit playback and will not play anything when set to 24 bits. Other sound drivers need to be set to 24 bits for 24 bit playback.
     \item[Stop playback locks up] this ALSA only checkbox is needed if stopping playback causes the software to lock up.  This has worked some time ago, but may no longer work as expected
 \end{description}
     \item[Bits] 8, 16 or 24 Bit Linear are the current choices for the number of bits of precision \CGG{} should set the device for. The meaning of the number of bits can be misleading. Some sound drivers need to be set to 32 bits to perform 24 bit playback and will not play anything when set to 24 bits. Other sound drivers need to be set to 24 bits for 24 bit playback.
     \item[Stop playback locks up] this ALSA only checkbox is needed if stopping playback causes the software to lock up.  This has worked some time ago, but may no longer work as expected
 \end{description}


@@ -65,9 +69,9 @@ The audio drivers are used for both recording and playback. The Audio Out settin
 The video drivers are used for video playback in the compositor and the viewer.  These determine how you will see video on the timeline.
 
 \begin{description}
 The video drivers are used for video playback in the compositor and the viewer.  These determine how you will see video on the timeline.
 
 \begin{description}

-    \item[Play every frame] this causes every frame of video to be displayed even if it means that the playback of the video tracks fall behind. Most likely you will want this enabled because, after all, in order to edit you want to see each frame.  However, if you are just watching a big video, you can switch to not play every frame so that you can at least not be distracted by slowness.
-    \item[Framerate achieved] the number of frames per second being displayed during playback. This is updated during playback only.  The goal is to get as close to the frame rate as possible, even if Play every frame is not enabled.
-    \item[Scaling equation] Enlarge / Reduce -- this algorithm is used when video playback involves scaling or translation (only X11 video driver). This does not affect $1:1$ playback.  Choices available are:
+    \item[Play every frame] \index{play every frame} this causes every frame of video to be displayed even if it means that the playback of the video tracks fall behind. Most likely you will want this enabled because, after all, in order to edit you want to see each frame.  However, if you are just watching a big video, you can switch to not play every frame so that you can at least not be distracted by slowness.
+    \item[Framerate achieved] \index{framerate achivied} the number of frames per second being displayed during playback. This is updated during playback only.  The goal is to get as close to the frame rate as possible, even if Play every frame is not enabled.
+    \item[Scaling equation] \index{scaling equation} Enlarge / Reduce -- this algorithm is used when video playback involves scaling or translation (only X11 video driver). This does not affect $1:1$ playback.  Choices available are:

     \begin{description}
         \item[\textit{Nearest Neighbor / Nearest Neighbor}] low quality output with fast playback. Often produces jagged edges and uneven motion.
         \item[\textit{Bicubic / Bicubic}] Bicubic interpolation is used for both enlarging and reducing, enlarging blurs slightly but does not show stair step artifacts.
     \begin{description}
         \item[\textit{Nearest Neighbor / Nearest Neighbor}] low quality output with fast playback. Often produces jagged edges and uneven motion.
         \item[\textit{Bicubic / Bicubic}] Bicubic interpolation is used for both enlarging and reducing, enlarging blurs slightly but does not show stair step artifacts.


@@ -81,7 +85,7 @@ The video drivers are used for video playback in the compositor and the viewer.
     \item[TOC Program No] Table of Contents program number used in DVB ??
     \item[Interpolate CR2 images] enables interpolation of CR2 images. Interpolation is required since the raw image in a CR2 file is a Bayer pattern. The interpolation uses dcraw's built-in interpolation and is very slow. This operation can be disabled and the Interpolate Pixels effect used instead for faster previewing
     \item[White balance CR2 images] this enables white balancing for CR2 images if interpolation is also enabled. This is because proper white balancing needs a blending of all 3 primary colors. White balance uses the camera's matrix which is contained in the CR2 file.  Disabling white balancing is useful for operations involving dark frame subtraction. The dark frame and the long exposure need to have the same color matrix.  If you disable Interpolate CR2 Images and use the Interpolate Pixels effect, be aware the Interpolate Pixels effect always does both interpolation and white balancing using the camera's matrix, regardless of the settings in Preferences. Dark frame subtraction needs to be performed before Interpolate Pixels.
     \item[TOC Program No] Table of Contents program number used in DVB ??
     \item[Interpolate CR2 images] enables interpolation of CR2 images. Interpolation is required since the raw image in a CR2 file is a Bayer pattern. The interpolation uses dcraw's built-in interpolation and is very slow. This operation can be disabled and the Interpolate Pixels effect used instead for faster previewing
     \item[White balance CR2 images] this enables white balancing for CR2 images if interpolation is also enabled. This is because proper white balancing needs a blending of all 3 primary colors. White balance uses the camera's matrix which is contained in the CR2 file.  Disabling white balancing is useful for operations involving dark frame subtraction. The dark frame and the long exposure need to have the same color matrix.  If you disable Interpolate CR2 Images and use the Interpolate Pixels effect, be aware the Interpolate Pixels effect always does both interpolation and white balancing using the camera's matrix, regardless of the settings in Preferences. Dark frame subtraction needs to be performed before Interpolate Pixels.

-    \item[Video driver] normally video on the timeline goes to the compositor window during both continuous   playback and when the insertion point is repositioned. Instead of sending video to the Compositor window, the video driver can be set to send video to another output device during continuous playback. However, this does not affect where video is routed when the insertion point is repositioned. Options are listed next.
+    \item[Video driver] \index{video!driver} normally video on the timeline goes to the compositor window during both continuous   playback and when the insertion point is repositioned. Instead of sending video to the Compositor window, the video driver can be set to send video to another output device during continuous playback. However, this does not affect where video is routed when the insertion point is repositioned. Options are listed next.

     \begin{description}
         \item[\textit{X11}] this was the first method of graphical display on Unix systems. It just writes the RGB triplet for each pixel directly to the window. It is useful when graphics hardware can not handle very large frames.  And when X11 is usled with the associated checkbox enabled of \textit{use direct x11 render if possible} it can be a really good playback method to speed up playback for large frames.
         \item[\textit{X11-XV}] this was an enhancement to X11 in 1999. It converts YUV to RGB in hardware with scaling. In some cases it may be the preferred playback method, but it can not handle large frame sizes. Maximum video size for XV is usually $1920\times1080$.
     \begin{description}
         \item[\textit{X11}] this was the first method of graphical display on Unix systems. It just writes the RGB triplet for each pixel directly to the window. It is useful when graphics hardware can not handle very large frames.  And when X11 is usled with the associated checkbox enabled of \textit{use direct x11 render if possible} it can be a really good playback method to speed up playback for large frames.
         \item[\textit{X11-XV}] this was an enhancement to X11 in 1999. It converts YUV to RGB in hardware with scaling. In some cases it may be the preferred playback method, but it can not handle large frame sizes. Maximum video size for XV is usually $1920\times1080$.


@@ -94,6 +98,7 @@ The video drivers are used for video playback in the compositor and the viewer.
 
 \section{Recording}%
 \label{sec:recording}
 
 \section{Recording}%
 \label{sec:recording}

+\index{preferences!recording}

 
 The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots function by allowing the user to pre-configure the file format and the hardware used for recording, since the hardware generally determines the supported file format. Once set, the file format is applied to all recordings.
 
 
 The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots function by allowing the user to pre-configure the file format and the hardware used for recording, since the hardware generally determines the supported file format. Once set, the file format is applied to all recordings.
 


@@ -101,9 +106,9 @@ The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots functio
 \label{sub:file_format_section}
 
 \begin{description}
 \label{sub:file_format_section}
 
 \begin{description}

-    \item[File Format] this determines the output file format for recordings. It depends heavily on the type of driver used. The menu selections are the same as those of the rendering interface.
-    \item[Record audio tracks] toggle must be enabled to record audio.
-    \item[Record video tracks] toggle must be enabled to record video. The wrench button left of both the audio and video tracks toggle, opens a configuration dialog in order to set the compression scheme (codec) for each audio and video output stream. The audio and video is wrapped in a container format defined by the \textit{File Format} menu. Different wrappers may record audio only, video only, or both.  Some video drivers can only record to a certain container. If the video driver is changed, the file format may be updated to give the supported output. If you change the file format to an unsupported format, it may not work with the video driver.
+    \item[File Format] \index{file format} this determines the output file format for recordings. It depends heavily on the type of driver used. The menu selections are the same as those of the rendering interface.
+    \item[Record audio tracks] \index{record audio tracks} toggle must be enabled to record audio.
+    \item[Record video tracks]\index{record video tracks} toggle must be enabled to record video. The wrench \index{wrench} button left of both the audio and video tracks toggle, opens a configuration dialog in order to set the compression scheme (codec) for each audio and video output stream. The audio and video is wrapped in a container format defined by the \textit{File Format} menu. Different wrappers may record audio only, video only, or both.  Some video drivers can only record to a certain container. If the video driver is changed, the file format may be updated to give the supported output. If you change the file format to an unsupported format, it may not work with the video driver.

     \item[Realtime TOC] setup for DVB recording to automatically generate a Table of Contents. This will scan the stream data \textit{on the fly} on its way to being written while the asset is being captured. ??
 \end{description}
 
     \item[Realtime TOC] setup for DVB recording to automatically generate a Table of Contents. This will scan the stream data \textit{on the fly} on its way to being written while the asset is being captured. ??
 \end{description}
 


@@ -111,17 +116,17 @@ The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots functio
 \label{sub:audio_in_section}
 
 \begin{description}
 \label{sub:audio_in_section}
 
 \begin{description}

-    \item[Record Driver] is used for recording audio in the Record window. It may be configured the same as the Record Driver for video if the audio and video are wrapped in the same stream. Available parameters vary depending on the driver.  The drivers are the same as described in Playback A/B with the addition of DVB and V4L2 MPEG but no Raw 1394.
+    \item[Record Driver] \index{audio!record driver} is used for recording audio in the Record window. It may be configured the same as the Record Driver for video if the audio and video are wrapped in the same stream. Available parameters vary depending on the driver.  The drivers are the same as described in Playback A/B with the addition of DVB and V4L2 MPEG but no Raw 1394.

     \item[DVB Adapter] name of a suitable DVB adapter for linux that is usb connected to your computer and has a connected broadcast TV antenna.??
     \item[dev] your DVB adapter device number, which is usually 0.
     \item[Bits] same as described in Playback A/B audio section.
     \item[Follow audio config] ??
     \item[DVB Adapter] name of a suitable DVB adapter for linux that is usb connected to your computer and has a connected broadcast TV antenna.??
     \item[dev] your DVB adapter device number, which is usually 0.
     \item[Bits] same as described in Playback A/B audio section.
     \item[Follow audio config] ??

-    \item[Samples read from device] a good value is $2048$ or approximate dev buffer size ($2k-16k$ probably).
+    \item[Samples read from device] \index{sample read from device} a good value is $2048$ or approximate dev buffer size ($2k-16k$ probably).

     Samples to write to disk -- at a time. First, audio is read in small fragments from the device. Then, many small fragments are combined into a large fragment before writing to disk. The disk writing process is done in a different thread. The value here determines how large the combination of fragments is for each disk write.  A good starting value is $48000$ but this will will most likely automatically change, probably to $44100$ if necessary.
     Samples to write to disk -- at a time. First, audio is read in small fragments from the device. Then, many small fragments are combined into a large fragment before writing to disk. The disk writing process is done in a different thread. The value here determines how large the combination of fragments is for each disk write.  A good starting value is $48000$ but this will will most likely automatically change, probably to $44100$ if necessary.

-    \item[Sample rate for recording] regardless of what the project settings are, the value set here will be the sample rate used for recording. The sample rate should be set to the highest value the audio device supports.
+    \item[Sample rate for recording] \index{samples read from recording} regardless of what the project settings are, the value set here will be the sample rate used for recording. The sample rate should be set to the highest value the audio device supports.

     \item[Channels to record] usually set to 2.
     \item[Channels to record] usually set to 2.

-    \item[Map 5.1$\rightarrow$2] eave unchecked to record all possible channels.
-    \item[Gain] usually leave at default of $1.0$, but this device level gain corrects for hardware conditions on some devices which need  help.  This gives you the ability to fine tune the audio volume by some numerical value for the scale.  It is useful as better explained for the Gain in the Playback A/B Audio section discussed previously.
+    \item[Map 5.1$\rightarrow$2] \index{audio!map 5.1:2} eave unchecked to record all possible channels.
+    \item[Gain] \index{audio!gain} usually leave at default of $1.0$, but this device level gain corrects for hardware conditions on some devices which need  help.  This gives you the ability to fine tune the audio volume by some numerical value for the scale.  It is useful as better explained for the Gain in the Playback A/B Audio section discussed previously.

     \item[Record in realtime priority] (root only) -- only experts might want to use this because it interferes with ordinary time-share scheduling and can lock up the system.  When this is enabled, audio gets the first shot and burns audio until audio lets go.
 \end{description}
 
     \item[Record in realtime priority] (root only) -- only experts might want to use this because it interferes with ordinary time-share scheduling and can lock up the system.  When this is enabled, audio gets the first shot and burns audio until audio lets go.
 \end{description}
 


@@ -129,7 +134,7 @@ The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots functio
 \label{sub:video_in_section}
 
 \begin{description}
 \label{sub:video_in_section}
 
 \begin{description}

-    \item[Record driver] used for recording video in the Record window. It may be configured the same as the Record Driver for video if the audio and video are wrapped in the same container. Available parameters vary depending on the driver. The drivers available are as follows.
+    \item[Record driver] \index{video!record driver} used for recording video in the Record window. It may be configured the same as the Record Driver for video if the audio and video are wrapped in the same container. Available parameters vary depending on the driver. The drivers available are as follows.

     \begin{itemize}
         \item Video4Linux2
         \item JPEG webcam
     \begin{itemize}
         \item Video4Linux2
         \item JPEG webcam


@@ -154,6 +159,7 @@ The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots functio
 
 \section{Performance}%
 \label{sec:performance}
 
 \section{Performance}%
 \label{sec:performance}

+\index{preferences!performance}

 
 \subsection{Performance section}%
 \label{sub:performance_section}
 
 \subsection{Performance section}%
 \label{sub:performance_section}


@@ -161,10 +167,10 @@ The parameters here expedite the \texttt{File $\rightarrow$ Record}\dots functio
 The main focus of the performance section is rendering parameters not available in the rendering dialog with the obvious gain of perhaps better performance.
 
 \begin{description}
 The main focus of the performance section is rendering parameters not available in the rendering dialog with the obvious gain of perhaps better performance.
 
 \begin{description}

-    \item[Cache size] to speed up rendering, several assets are kept open simultaneously. This determines how     many are kept open. A number too large may exhaust your memory rapidly. A number too small may result in slow playback as assets need to be reopened more frequently.
-    \item[Seconds to preroll renders] some effects need a certain amount of time to settle in. Checking this option sets a number of seconds to render without writing to disk before the selected region is rendered. When using the render farm, you will sometimes need to preroll to get seamless transitions between the     jobs. Every job in a render farm is prerolled by this value. This does not affect background rendering because background rendering uses a different preroll value.
-    \item[Force single processor use] \CGG{} tries to use all processors on the system by default, but sometimes you will only want to use one processor, like in a render farm client. This forces only one processor to be used.  The operating system usually uses the second processor for disk access. The value of this parameter is used in render farm clients.
-    \item[Project SMP cpus ] to restrict the number of processors utilized, change the count number.  This number will be used for the plugin per load balance operation cpu limit, which uses smp-cpus to stripe your data. It does not affect the number of cpus used in any other \CGG{} operation besides plugins. On large cpu systems, it can come in handy to downgrade the number of cpus used for some plugins; otherwise it uses all of the processors and splits up the program into too many pieces which may add
+    \item[Cache size] \index{cache size} to speed up rendering, several assets are kept open simultaneously. This determines how     many are kept open. A number too large may exhaust your memory rapidly. A number too small may result in slow playback as assets need to be reopened more frequently.
+    \item[Seconds to preroll renders] \index{pre-roll} some effects need a certain amount of time to settle in. Checking this option sets a number of seconds to render without writing to disk before the selected region is rendered. When using the render farm, you will sometimes need to preroll to get seamless transitions between the     jobs. Every job in a render farm is prerolled by this value. This does not affect background rendering because background rendering uses a different preroll value.
+    \item[Force single processor use] \index{force single processor} \CGG{} tries to use all processors on the system by default, but sometimes you will only want to use one processor, like in a render farm client. This forces only one processor to be used.  The operating system usually uses the second processor for disk access. The value of this parameter is used in render farm clients.
+    \item[Project SMP cpus ] \index{entry}SMP cpus to restrict the number of processors utilized, change the count number.  This number will be used for the plugin per load balance operation cpu limit, which uses smp-cpus to stripe your data. It does not affect the number of cpus used in any other \CGG{} operation besides plugins. On large cpu systems, it can come in handy to downgrade the number of cpus used for some plugins; otherwise it uses all of the processors and splits up the program into too many pieces which may add

     considerable overhead in high cpu count systems.
 \end{description}
 
     considerable overhead in high cpu count systems.
 \end{description}
 


@@ -172,12 +178,12 @@ The main focus of the performance section is rendering parameters not available
 \label{sub:background_rendering_section}
 
 \begin{description}
 \label{sub:background_rendering_section}
 
 \begin{description}

-    \item[Use background rendering] checking this box, enables automatic background rendering.  This works in conjunction with the interactive function \texttt{Settings menu $\rightarrow$ Toggle background rendering} which sets the point where background rendering starts up to the position of the insertion point.
-    \item[Frames per background rendering job] his only works if a render farm is being used; otherwise, background rendering creates a single job for the entire timeline. The number of frames specified here is scaled to the relative CPU speed of rendering nodes and used in a single render farm job.
-    \item[Frames to preroll background] the number of frames to render ahead of each background rendering job. Background rendering is degraded when preroll is used since the jobs are small. When using background rendering, this number is ideally 0. Some effects may require 3 frames of preroll.
-    \item[Output for background rendering] background rendering generates a sequence of image files in a certain directory. This parameter determines the filename prefix of the image files. It should be on a disk, accessible to every node in the render farm by the same path.
-    \item[File format] the file format for background rendering has to be a sequence of images. The format of the image sequences determines the quality and speed of playback. JPEG is a good choice usually.
-    \item[Video wrench] this has the single option of \textit{use alpha}.  It is by default unchecked.
+    \item[Use background rendering] \index{background rendering!use} checking this box, enables automatic background rendering.  This works in conjunction with the interactive function \texttt{Settings menu $\rightarrow$ Toggle background rendering} which sets the point where background rendering starts up to the position of the insertion point.
+    \item[Frames per background rendering job] \index{frame per job} his only works if a render farm is being used; otherwise, background rendering creates a single job for the entire timeline. The number of frames specified here is scaled to the relative CPU speed of rendering nodes and used in a single render farm job.
+    \item[Frames to preroll background] \index{frame per pre-roll} the number of frames to render ahead of each background rendering job. Background rendering is degraded when preroll is used since the jobs are small. When using background rendering, this number is ideally 0. Some effects may require 3 frames of preroll.
+    \item[Output for background rendering] \index{background rendering!output} background rendering generates a sequence of image files in a certain directory. This parameter determines the filename prefix of the image files. It should be on a disk, accessible to every node in the render farm by the same path.
+    \item[File format] \index{file format} the file format for background rendering has to be a sequence of images. The format of the image sequences determines the quality and speed of playback. JPEG is a good choice usually.
+    \item[Video wrench] \index{wrench} this has the single option of \textit{use alpha}.  It is by default unchecked.

 \end{description}
 
 \subsection{Render Farm section}%
 \end{description}
 
 \subsection{Render Farm section}%


@@ -187,34 +193,35 @@ In the Render Farm Section are many options that are explained in detail in the
 
 \section{Interface}%
 \label{sec:interface}
 
 \section{Interface}%
 \label{sec:interface}

+\index{preferences!interface}

 
 \subsection{Editing section}%
 \label{sub:editing_section}
 
 \begin{description}
 
 \subsection{Editing section}%
 \label{sub:editing_section}
 
 \begin{description}

-    \item[Clicking on edit boundaries] (trimming) \CGG{} not only allows you to perform editing by dragging edit boundaries, but also defines five separate operations that occur when you drag an edit boundary. Here you can select the behavior of each mouse button. The usage of each editing mode is described in great detail in the \hyperref[sub:split_view_compositor_using_drag_trim]{Advanced Editing} chapter.
-    \item[Keyframe reticle] the options are \textit{Newer}, \textit{Dragging}, or \textit{Always}. This is used to help in checking edit alignment across tracks.  Always renders a line over all plugins, and dragging only over the drag icon. Never draws nothing.
-    \item[Snapshot path] designates the default directory path for snapshot and grabshot generated output.
+    \item[Clicking on edit boundaries] \index{trim} (trimming) \CGG{} not only allows you to perform editing by dragging edit boundaries, but also defines five separate operations that occur when you drag an edit boundary. Here you can select the behavior of each mouse button. The usage of each editing mode is described in great detail in the \hyperref[sub:split_view_compositor_using_drag_trim]{Advanced Editing} chapter.
+    \item[Keyframe reticle] \index{keyframe reticle} the options are \textit{Newer}, \textit{Dragging}, or \textit{Always}. This is used to help in checking edit alignment across tracks.  Always renders a line over all plugins, and dragging only over the drag icon. Never draws nothing.
+    \item[Snapshot path] \index{snapshot!path} designates the default directory path for snapshot and grabshot generated output.

 \end{description}
 
 \subsection{Operation section}%
 \label{sub:operation_section}
 
 \begin{description}
 \end{description}
 
 \subsection{Operation section}%
 \label{sub:operation_section}
 
 \begin{description}

-    \item[Probe Order] clicking on this box brings up a popup allowing you to change the probe order usually for media that is raw camera output but it is also helpful if you want to ensure that a specific driver is used for certain media; for example you may want \textit{tiff} files to be read natively instead of by ffmpeg.
+    \item[Probe Order] \index{probe order} clicking on this box brings up a popup allowing you to change the probe order usually for media that is raw camera output but it is also helpful if you want to ensure that a specific driver is used for certain media; for example you may want \textit{tiff} files to be read natively instead of by ffmpeg.

     \item[trap sigSEGV] always enable this so that if \CGG{} crashes, a dump will be generated for analysis.
     \item[trap sigINT] always enable this so that you can use Ctrl-c to interrupt the program if it appears to be hanging.  This will often generate some useful information for analysis.
     \item[trap sigSEGV] always enable this so that if \CGG{} crashes, a dump will be generated for analysis.
     \item[trap sigINT] always enable this so that you can use Ctrl-c to interrupt the program if it appears to be hanging.  This will often generate some useful information for analysis.

-    \item[Use yuv420p dvd interlace format] for DVD media this option maintains the interlacing in Chroma sample addressing, which ordinarily would be deleted because the upsampling of interlaced chroma fields is normally done using a progressive algorithm.  With this mode enabled, the MPEG decoder uses a different algorithm for interlaced frames so that the 4:2:0 format chroma interlacing is preserved.
+    \item[Use yuv420p dvd interlace format] \index{DVD!yuv420p interlace mode} for DVD media this option maintains the interlacing in Chroma sample addressing, which ordinarily would be deleted because the upsampling of interlaced chroma fields is normally done using a progressive algorithm.  With this mode enabled, the MPEG decoder uses a different algorithm for interlaced frames so that the 4:2:0 format chroma interlacing is preserved.

     \item[Min / Max DB for meter] \textit{Min DB} is useful because some sound sources have a lower noise threshold than others. Everything below the noise threshold is meaningless. This option sets the meters to clip below a certain level.  \textit{Max DB} sets the maximum sound level represented by the sound meters. This value is presented merely to show how far over the limit a sound wave is. No matter what this value is, no sound card can play sound over 0 dB.
     \item[Import images with a duration of \# seconds] when you load single images, like \textit{png} or \textit{jpeg}, automatically load for \# number of seconds.  This makes it easier to see an image on the timeline.  If you just want the single frames, uncheck this option.
     \item[Min / Max DB for meter] \textit{Min DB} is useful because some sound sources have a lower noise threshold than others. Everything below the noise threshold is meaningless. This option sets the meters to clip below a certain level.  \textit{Max DB} sets the maximum sound level represented by the sound meters. This value is presented merely to show how far over the limit a sound wave is. No matter what this value is, no sound card can play sound over 0 dB.
     \item[Import images with a duration of \# seconds] when you load single images, like \textit{png} or \textit{jpeg}, automatically load for \# number of seconds.  This makes it easier to see an image on the timeline.  If you just want the single frames, uncheck this option.

-    \item[Auto start lv2 gui] some lv2 plugins display a \textit{glitzy} UI (User Interface); for example the Calf plugins.  For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified ui interface, this is the flag to enable that.
+    \item[Auto start lv2 gui] \index{LV2 gui} some lv2 plugins display a \textit{glitzy} UI (User Interface); for example the Calf plugins.  For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified ui interface, this is the flag to enable that.

     \item[Android Remote Control] check this to enable using an android device as a remote control for broradcast TV.
     \item[Port] default port 23432 is used for the android remote control.
     \item[Pin] default PIN Cinelerra is used for the android remote control.
     \item[Android Remote Control] check this to enable using an android device as a remote control for broradcast TV.
     \item[Port] default port 23432 is used for the android remote control.
     \item[Pin] default PIN Cinelerra is used for the android remote control.

-    \item[Shell Commands] this button brings up the controls for setting up your own shell commands or editing previously set up commands.  See the section on Menu Bar Shell Commands for information.
-    \item[Reload plugin index] execute this reload command when you have modified plugins and want to make sure your changes take effect.
-    \item[Nested Proxy Path] designates the default directory path for Nested Proxy files.
-    \item[Default LV2\_Path] when there is no system \texttt{LV2\_PATH} set, if you want lv2 plugins loaded, you must set the correct directory path name here. When you change this field, cin will automatically restart and load the newly specified lv2 plugins.
+    \item[Shell Commands] \index{shel commands} this button brings up the controls for setting up your own shell commands or editing previously set up commands.  See the section on Menu Bar Shell Commands for information.
+    \item[Reload plugin index] \index{plugins!reload index} execute this reload command when you have modified plugins and want to make sure your changes take effect.
+    \item[Nested Proxy Path] \index{nested proxy path} designates the default directory path for Nested Proxy files.
+    \item[Default LV2\_Path] \index{default lv2 path} when there is no system \texttt{LV2\_PATH} set, if you want lv2 plugins loaded, you must set the correct directory path name here. When you change this field, cin will automatically restart and load the newly specified lv2 plugins.

 \end{description}
 
 \subsection{Index Files section}%
 \end{description}
 
 \subsection{Index Files section}%


@@ -229,22 +236,23 @@ Screencast below shows part of the Preferences menu where you can change the ind
 \end{figure}
 
 \begin{description}
 \end{figure}
 
 \begin{description}

-    \item[Index files go here] index files exist in order to speed up drawing the audio/video tracks. This option determines where index files are placed on the disk.
-    \item[Size of index file] determines the size of an index file. Larger index sizes allow smaller files to be drawn faster, while slowing down the drawing of large files. Smaller index sizes allow large files to be drawn faster, while slowing down small files.  The default is currently 4kB for average size files.
-    \item[Number of index files to keep] to keep the index directory from becoming very large, old index files are deleted. This determines the maximum number of index files to keep in the directory.
-    \item[build ffmpeg marker indexes] improves ffmpeg seeks in certain cases although not clear which ones.
+    \item[Index files go here] \index{index file!path} index files exist in order to speed up drawing the audio/video tracks. This option determines where index files are placed on the disk.
+    \item[Size of index file] \index{index file!size} determines the size of an index file. Larger index sizes allow smaller files to be drawn faster, while slowing down the drawing of large files. Smaller index sizes allow large files to be drawn faster, while slowing down small files.  The default is currently 4kB for average size files.
+    \item[Number of index files to keep] \index{index file!number} to keep the index directory from becoming very large, old index files are deleted. This determines the maximum number of index files to keep in the directory.
+    \item[build ffmpeg marker indexes] \index{ffmpeg!build index} improves ffmpeg seeks in certain cases although not clear which ones.

     \item[Scan for commercial during toc build] used for working with broadcast TV commercial removal.
     \item[Scan for commercial during toc build] used for working with broadcast TV commercial removal.

-    \item[Delete existing indexes] when you change the index size or you want to clean out excess index files, this deletes all the index files.
-    \item[Delete clip thumbnails] as clip thumbnails accumulate over time, you may want to delete them to get the disk space back.
+    \item[Delete existing indexes] \index{index file!delete} when you change the index size or you want to clean out excess index files, this deletes all the index files.
+    \item[Delete clip thumbnails] \index{delete clip thumbnails} as clip thumbnails accumulate over time, you may want to delete them to get the disk space back.

 \end{description}
 
 \section{Appearance}%
 \label{sec:appearance}
 \end{description}
 
 \section{Appearance}%
 \label{sec:appearance}

+\index{preferences!appearance}

 
 \subsection{Layout section}%
 \label{sub:layout_section}
 
 
 \subsection{Layout section}%
 \label{sub:layout_section}
 

-\paragraph{Theme} \CGG{} supports 11 different themes to suit the preferences of different
+\paragraph{Theme} \index{theme} \CGG{} supports 11 different themes to suit the preferences of different

 users (figure~\ref{fig:theme}).  When you change the theme, \CGG{} automatically saves your
 session and restarts exactly where you were.  The \textit{Themes User Interface} are described
 in more detail next.  \textit{Akirad} themes are all available in Cin-GG as designed by the
 users (figure~\ref{fig:theme}).  When you change the theme, \CGG{} automatically saves your
 session and restarts exactly where you were.  The \textit{Themes User Interface} are described
 in more detail next.  \textit{Akirad} themes are all available in Cin-GG as designed by the


@@ -287,10 +295,10 @@ then in Preferences window, click on the \textit{Appearance} tab. In the Editing
 
 To create a personal theme see \hyperref[sec:how_create_theme]{How to create your own theme}.
 
 
 To create a personal theme see \hyperref[sec:how_create_theme]{How to create your own theme}.
 

-\paragraph{Plugin Icons} here are currently 4 choices for different plugin icons to include the old original.
-\paragraph{Locale} The default is \textit{sys} so that the system language is active. With the pulldown menu we can choose among the other languages present in ... This language will be saved in
+\paragraph{Plugin Icons} \index{plugins!icons} here are currently 4 choices for different plugin icons to include the old original.
+\paragraph{Locale} \index{locale/language} The default is \textit{sys} so that the system language is active. With the pulldown menu we can choose among the other languages present in ... This language will be saved in

 your Configuration and used each time you start up CinGG. In order to change the environment variable, LANGUAGE, the setting must be \textit{sys} because that is the best way we could get it working.
 your Configuration and used each time you start up CinGG. In order to change the environment variable, LANGUAGE, the setting must be \textit{sys} because that is the best way we could get it working.

-\paragraph{Layout Scale} allows for setting up scaling for your 4K monitors or any monitor where you would like the text and icons to be just a little bigger or a lot bigger. This scale setting is automatically saved across sessions. 
+\paragraph{Layout Scale} \index{layout scale} allows for setting up scaling for your 4K monitors or any monitor where you would like the text and icons to be just a little bigger or a lot bigger. This scale setting is automatically saved across sessions. 

 When first using \CGG{}, or if \textit{Layout Scale} has never been set, the initial value is 0.0.
 This means an automatic probe of the biggest monitor in use will be used for the setting. The advantage of this is that "new users" with a 4K monitor will not immediately be discouraged with too small text/icons.
 Leaving it at 0 instead of 1 is what most people will do and is probably preferable so that if you move to a different monitor with different dimensions/resolution, it will automatically probe. 
 When first using \CGG{}, or if \textit{Layout Scale} has never been set, the initial value is 0.0.
 This means an automatic probe of the biggest monitor in use will be used for the setting. The advantage of this is that "new users" with a 4K monitor will not immediately be discouraged with too small text/icons.
 Leaving it at 0 instead of 1 is what most people will do and is probably preferable so that if you move to a different monitor with different dimensions/resolution, it will automatically probe. 


@@ -310,12 +318,13 @@ and then when you get back into \CGG{}, fix \textit{Layout Scale} value in Prefe
 \begin{lstlisting}[numbers=none]
         BC_SCALE=1.0 {your Cinelerra path}/bin/cin
 \end{lstlisting}
 \begin{lstlisting}[numbers=none]
         BC_SCALE=1.0 {your Cinelerra path}/bin/cin
 \end{lstlisting}

-\paragraph{View thumbnail size} you can increase or decrease the thumbnail size -- larger size uses more cpu.
-\paragraph{Vicon quality}  increase the quality used for thumbnails to get more clarity of pixels -- this will use more memory.
-\paragraph{Vicon color mode} modify the color mode to Low, Medium, or High for the thumbnails -- High will look the best but takes more memory.
+\paragraph{View thumbnail size} \index{view thumbnais size} you can increase or decrease the thumbnail size -- larger size uses more cpu.
+\paragraph{Vicon quality} \index{vicon quality}  increase the quality used for thumbnails to get more clarity of pixels -- this will use more memory.
+\paragraph{Vicon color mode} \index{vicon color mode} modify the color mode to Low, Medium, or High for the thumbnails -- High will look the best but takes more memory.

 
 \subsection{Time Format section}%
 \label{sub:time_format_section}
 
 \subsection{Time Format section}%
 \label{sub:time_format_section}

+\index{timebar}

 
 Various representations of time are given so that you can select the most convenient one for you. The time representation can also be changed by Ctrl-clicking on the timebar in the main window.
 
 
 Various representations of time are given so that you can select the most convenient one for you. The time representation can also be changed by Ctrl-clicking on the timebar in the main window.
 


@@ -334,24 +343,25 @@ Various representations of time are given so that you can select the most conven
 \label{sub:color_section}
 
 
 \label{sub:color_section}
 
 

-\paragraph{Highlighting Inversion color} modify the selection area color; default is \textit{ffffff} which is white. When you make a selection, that area becomes an inverse image which by default becomes a whitish color.  You can set it to a different color by modifying the hex value in the box next to \textit{Highlight inversion color}.   Keep in mind that if you set the value to a low value, you will not be able to see the outlined selected area (for example the hex value "f" is not readily visible and leads to confusion).  A leading 0 or blank is not allowed and will be automatically changed to \textit{ffffff}.
-\paragraph{YUV color space} default is \textit{BT601}; others \textit{BT709} (high definition), \textit{BT2020} (ultra high definition).
-\paragraph{YUV color range} JPEG [$0-255$] and MPEG [$16-235$]
+\paragraph{Highlighting Inversion color} \index{inverted colors} modify the selection area color; default is \textit{ffffff} which is white. When you make a selection, that area becomes an inverse image which by default becomes a whitish color.  You can set it to a different color by modifying the hex value in the box next to \textit{Highlight inversion color}.   Keep in mind that if you set the value to a low value, you will not be able to see the outlined selected area (for example the hex value "f" is not readily visible and leads to confusion).  A leading 0 or blank is not allowed and will be automatically changed to \textit{ffffff}.
+\paragraph{Composer BG Color} \index{background color} You can choose the background color of the viewer window.
+\paragraph{YUV color space} \index{yuv color space} default is \textit{BT601}; others \textit{BT709} (high definition), \textit{BT2020} (ultra high definition).
+\paragraph{YUV color range} \index{yuv color range} JPEG [$0-255$] and MPEG [$16-235$]

 
 
 \subsection{Warnings section}%
 \label{sub:warnings_section}
 
 \begin{description}
 
 
 \subsection{Warnings section}%
 \label{sub:warnings_section}
 
 \begin{description}

-       \item[ffmpeg probe warns rebuild indexes] this warning is very important for switching from using ffmpeg to using native formats, such as in the case of MPEG, so that you are reminded to \textit{rebuild indexes}.  If you do not rebuild the indexes, seeking on the timeline back and forth could very well be problematic, meaning it might not go to the right place.  Notification about rebuilding the indexes will appear by default as shown in the figure~\ref{fig:ff_probe} when you click on the FF icon in the main timeline in the upper right hand corner.  Once you click on \textit{Don’t show this warning again} you will no longer be warned and this flag will no longer be enabled.
+       \item[ffmpeg probe warns rebuild indexes] \index{warnings!ffmpeg probe} this warning is very important for switching from using ffmpeg to using native formats, such as in the case of MPEG, so that you are reminded to \textit{rebuild indexes}.  If you do not rebuild the indexes, seeking on the timeline back and forth could very well be problematic, meaning it might not go to the right place.  Notification about rebuilding the indexes will appear by default as shown in the figure~\ref{fig:ff_probe} when you click on the FF icon in the main timeline in the upper right hand corner.  Once you click on \textit{Don’t show this warning again} you will no longer be warned and this flag will no longer be enabled.

        \begin{figure}[htpb]
                \centering \includegraphics[width=0.9\linewidth]{ff_probe.png}
                \caption{Default warning when you click on FF icon in main window}
                \label{fig:ff_probe}
        \end{figure}
        \begin{figure}[htpb]
                \centering \includegraphics[width=0.9\linewidth]{ff_probe.png}
                \caption{Default warning when you click on FF icon in main window}
                \label{fig:ff_probe}
        \end{figure}

-       \item[EDL version warns if mismatched] in the case of a Batch Render, it is often helpful to be warned if the EDL has been changed so that you are aware that what is going to be rendered is different than your current EDL session.
-       \item[Create Bluray warns if not root] if checked and you are not logged in as root, you will get an error message in order to avoid doing a lot of work and then failing out because root is required for automount and to write on DVD hardware.
-       \item[Warn on creating file references] if checked, you will always be warned when using "File by 
+       \item[EDL version warns if mismatched] \index{warnings!EDL version} in the case of a Batch Render, it is often helpful to be warned if the EDL has been changed so that you are aware that what is going to be rendered is different than your current EDL session.
+       \item[Create Bluray warns if not root] \index{warnings! bluray no root} if checked and you are not logged in as root, you will get an error message in order to avoid doing a lot of work and then failing out because root is required for automount and to write on DVD hardware.
+       \item[Warn on creating file references] \index{warnings! file by reference} if checked, you will always be warned when using "File by 

        Reference", that is when an EDL is opened as \textit{Reference}.  This is best left checked to ensure that you are aware of the fact that when changes are made to this file and rendered, any other uses of the same file will be affected and modified also.  
 \end{description}
 
        Reference", that is when an EDL is opened as \textit{Reference}.  This is best left checked to ensure that you are aware of the fact that when changes are made to this file and rendered, any other uses of the same file will be affected and modified also.  
 \end{description}
 


@@ -361,29 +371,31 @@ Various representations of time are given so that you can select the most conven
 This section contains many useful options to cater to the various preferences of individual users.
 
 \begin{description}   
 This section contains many useful options to cater to the various preferences of individual users.
 
 \begin{description}   

-    \item[Autocolor assets] to make it visually easier to see your clips on the timeline that are from the same media file, you can have them automatically colored. Use of this feature requires additional memory and cpu on every timeline redraw, therefore smaller computers may not want this checked on.
-    \item[Perpetual session] is very useful for working on a project over many days so you can just quit before
+    \item[Autocolor assets] \index{autocolor assets} to make it visually easier to see your clips on the timeline that are from the same media file, you can have them automatically colored. Use of this feature requires additional memory and cpu on every timeline redraw, therefore smaller computers may not want this checked on.
+    \item[Perpetual session] \index{perpetual session} is very useful for working on a project over many days so you can just quit before

     shutting down and the next time you start up \CGG{} you will be right back where you left off. You
     will retain all of your undo's and redo's.
     shutting down and the next time you start up \CGG{} you will be right back where you left off. You
     will retain all of your undo's and redo's.

-    \item[Timeline Rectify Audio] for displaying rectified audio on the timeline instead of a standard audio waveform, check this flag.  The waveform is cut on the zero line, thus making the silent areas more visible and the waveform is stretched more over the entire height of the audio track, which improves the visibility of certain areas. This only affects the timeline and not any other audio waveform displays.
-    \item[Clears before toggle] when using copy/paste in drag and drop mode some users prefer to resort to the addition of the Ctrl key for adding multiple selections.  By checking this flag, the user retains usage as is commonly done for listbox operations.
-    \item[Always show next frame] in this mode the insertion pointer reflects the same as the Compositor so that for playing forward, the result is what looks like 1 was added to the frame displayed in the Compositor window.  This is fully explained in another section (\nameref{sub:playing_seeking}).
+    \item[Timeline Rectify Audio] \index{timeline rectify audio} for displaying rectified audio on the timeline instead of a standard audio waveform, check this flag.  The waveform is cut on the zero line, thus making the silent areas more visible and the waveform is stretched more over the entire height of the audio track, which improves the visibility of certain areas. This only affects the timeline and not any other audio waveform displays.
+    \item[Clears before toggle] \index{clears before toggle} when using copy/paste in drag and drop mode some users prefer to resort to the addition of the Ctrl key for adding multiple selections.  By checking this flag, the user retains usage as is commonly done for listbox operations.
+    \item[Always show next frame] \index{always show next frame} in this mode the insertion pointer reflects the same as the Compositor so that for playing forward, the result is what looks like 1 was added to the frame displayed in the Compositor window.  This is fully explained in another section (\nameref{sub:playing_seeking}).

     \item[Show tip of the day] if checked, a tip will be displayed in a popup box when start up \CGG{}.
     \item[Show tip of the day] if checked, a tip will be displayed in a popup box when start up \CGG{}.

-    \item[Use thumbnails in resource window] the Resource Window displays thumbnails of assets by default, but drawing asset thumbnails can take more time and CPU so you may want to uncheck this.   
-    \item[Popups activate on button up] this is the default but if unchecked, popups activate on button down.
-    \item[Set Input Focus when window entered] this is checked on by default because on some operating system distros, when you move your mouse to a different window, nothing happens and you are left wondering why you can not enter information.  When checked this causes the input focus to shift to any \CGG{} window when the cursor enters an exposed region of the window which eliminates the need to switch input focus by tabbing. 
-    \item[Click to activate text focus] Click to activate text focus
-    \item [Click to deactivate text focus] if checked, you will have to click to deactivate text focus.
-    \item [Auto rotate ffmpeg media] this is the default setting so that your media will automatically be rotated when there is metadata in the file with a rotation value.  Especially useful for cell phone.    
+    \item[Use thumbnails in resource window] \index{use thumbnails in resources window} the Resource Window displays thumbnails of assets by default, but drawing asset thumbnails can take more time and CPU so you may want to uncheck this.   
+    \item[Popups activate on button up] \index{popups activate on button up} this is the default but if unchecked, popups activate on button down.
+    \item[Set Input Focus when window entered] \index{set input focus} this is checked on by default because on some operating system distros, when you move your mouse to a different window, nothing happens and you are left wondering why you can not enter information.  When checked this causes the input focus to shift to any \CGG{} window when the cursor enters an exposed region of the window which eliminates the need to switch input focus by tabbing. 
+    \item[Click to activate text focus] \index{click to activate text focus} Click to activate text focus
+    \item [Click to deactivate text focus] \index{click to deactivate text focus} if checked, you will have to click to deactivate text focus.
+    \item [Auto rotate ffmpeg media] \index{auto rotate ffmpeg media} this is the default setting so that your media will automatically be rotated when there is metadata in the file with a rotation value.  Especially useful for cell phone.    

 \end{description}
 
 \section{About}%
 \label{sec:about}
 \end{description}
 
 \section{About}%
 \label{sec:about}

+\index{preferences!about}

 
 This section gives you information about the \CGG{} program and version you are running.  The original author’s copyright and name are first and foremost.  Next is a textbox with additional information and a summary of the monthly new features of note. Below that is a summary of the GPL License and the fact that it is provided without any warranty.  Then the licensing verbage is the item that you may need to refer to most often -- the \textit{built} date and time in case you need to know which version you are currently running.
 
 \section{Environment Variables for Customization}%
 \label{sec:environment_variables_customization}
 
 This section gives you information about the \CGG{} program and version you are running.  The original author’s copyright and name are first and foremost.  Next is a textbox with additional information and a summary of the monthly new features of note. Below that is a summary of the GPL License and the fact that it is provided without any warranty.  Then the licensing verbage is the item that you may need to refer to most often -- the \textit{built} date and time in case you need to know which version you are currently running.
 
 \section{Environment Variables for Customization}%
 \label{sec:environment_variables_customization}

+\index{configuration!environment variables}

 
 Environment variables are global variables in the shell which all applications can read. They are set with a command like \texttt{set VARIABLE=value} or \texttt{export VARIABLE=value}. Environment variables can be viewed with a command like \texttt{env}.   The values set can be removed with \texttt{unset VARIABLE}.
 
 
 Environment variables are global variables in the shell which all applications can read. They are set with a command like \texttt{set VARIABLE=value} or \texttt{export VARIABLE=value}. Environment variables can be viewed with a command like \texttt{env}.   The values set can be removed with \texttt{unset VARIABLE}.
 

diff --git a/parts/DVD.tex b/parts/DVD.tex
index e24e2e2b537d6046c06a3257a0e9c8f1ee33e129..2a9710118ad43abede26f187ad79b9834fd5aff5 100644 (file)
--- a/parts/DVD.tex
+++ b/parts/DVD.tex
@@ -1,5 +1,7 @@
 \chapter{DVD and Bluray Creation}%
 \label{cha:dvd_bluray_creation}
 \chapter{DVD and Bluray Creation}%
 \label{cha:dvd_bluray_creation}

+\index{DVD}
+\index{BluRay}

 
 This section describes how to create a blu-ray DVD, or \textcolor{red}{BD} referring to a \textcolor{red}{B}lu-ray \textcolor{red}{D}VD, and a regular DVD, or \textcolor{red}{SD} referring to a \textcolor{red}{S}tandard \textcolor{red}{D}VD.  The DVDs (plural usage of DVD means either BD or SD) created are unencrypted, unlike commercially available movie DVDs.  This \CGG{} version conceivably can create different variations of DVD/Blu-ray media but for the casual user the most standard usages are readily usable and will be described here. 
 
 
 This section describes how to create a blu-ray DVD, or \textcolor{red}{BD} referring to a \textcolor{red}{B}lu-ray \textcolor{red}{D}VD, and a regular DVD, or \textcolor{red}{SD} referring to a \textcolor{red}{S}tandard \textcolor{red}{D}VD.  The DVDs (plural usage of DVD means either BD or SD) created are unencrypted, unlike commercially available movie DVDs.  This \CGG{} version conceivably can create different variations of DVD/Blu-ray media but for the casual user the most standard usages are readily usable and will be described here. 
 


@@ -204,6 +206,7 @@ To burn blu-ray media you will need to run from the command line interface.  In
 
 \subsubsection*{Blu-ray Media}
 \label{ssub:bluray_media}
 
 \subsubsection*{Blu-ray Media}
 \label{ssub:bluray_media}

+\index{BluRay}

 
 For rewritable blu-ray (recommended) (BD-RE):
 
 
 For rewritable blu-ray (recommended) (BD-RE):
 


@@ -229,6 +232,7 @@ growisofs -dvd-compat -Z /dev/bd=./bd.udfs
 
 \subsubsection*{DVD Media}
 \label{ssub:dvd_media}
 
 \subsubsection*{DVD Media}
 \label{ssub:dvd_media}

+\index{DVD}

 
 For rewritable DVD (DVD+RW):
 
 
 For rewritable DVD (DVD+RW):
 


@@ -270,6 +274,7 @@ Below are examples of what the batch jobs generate and you will see on the termi
 
 \subsubsection*{SD Example: Partial Output during \CGG{} run}
 \label{ssub:sd_example_partial_output}
 
 \subsubsection*{SD Example: Partial Output during \CGG{} run}
 \label{ssub:sd_example_partial_output}

+\index{DVD!partial output messages run}

 
 \begin{lstlisting}[style=sh]
 ...
 
 \begin{lstlisting}[style=sh]
 ...


@@ -312,6 +317,7 @@ growisofs -dvd-compat -Z /dev/dvd -dvd-video /tmp/dvd_20160407-113530/iso
 
 \subsubsection*{BD Example: Partial Output during \CGG{} run}
 \label{ssub:bd_example_partial_output}
 
 \subsubsection*{BD Example: Partial Output during \CGG{} run}
 \label{ssub:bd_example_partial_output}

+\index{BluRay!partial output messages run}

 
 \begin{lstlisting}[style=sh]
 ...
 
 \begin{lstlisting}[style=sh]
 ...


@@ -348,6 +354,7 @@ for RW: dd if=/tmp/bd_20161224-162059/bd.udfs of=/dev/bd bs=2048000
 
 \subsubsection*{SD Example – Partial Output during writing disc media}
 \label{ssub:sd_example_partial_output_writing}
 
 \subsubsection*{SD Example – Partial Output during writing disc media}
 \label{ssub:sd_example_partial_output_writing}

+\index{DVD!partial output messages writing}

 
 \begin{lstlisting}[style=sh]
 growisofs -dvd-compat -Z /dev/sr0 -dvd-video /tmp/dvd_20161224-160756/iso
 
 \begin{lstlisting}[style=sh]
 growisofs -dvd-compat -Z /dev/sr0 -dvd-video /tmp/dvd_20161224-160756/iso


@@ -369,6 +376,7 @@ builtin_dd: 6624*2KB out @ average 0.7x1352KBps
 
 \subsubsection*{BD Example – Partial Output during writing disc media}
 \label{ssub:bd_example_partial_output_writing}
 
 \subsubsection*{BD Example – Partial Output during writing disc media}
 \label{ssub:bd_example_partial_output_writing}

+\index{BluRay!partial output messages writing}

 
 \begin{lstlisting}[style=sh]
 growisofs -dvd-compat -Z /dev/sr0=/tmp/bd_20161224-155658/bd.udfs
 
 \begin{lstlisting}[style=sh]
 growisofs -dvd-compat -Z /dev/sr0=/tmp/bd_20161224-155658/bd.udfs


@@ -387,6 +395,8 @@ builtin_dd: 11984*2KB out @ average 0.2x4390KBps
 
 \section{Debugging DVDs Creation}%
 \label{sec:debugging_dvd_creation}
 
 \section{Debugging DVDs Creation}%
 \label{sec:debugging_dvd_creation}

+\index{DVD!debugging}
+\index{BluRay!debugging}

 
 This section contains helpful hints, how to initially check the results, and some information on determining what might have gone wrong and how to address it.
 
 
 This section contains helpful hints, how to initially check the results, and some information on determining what might have gone wrong and how to address it.
 


@@ -428,6 +438,8 @@ Note that there will be no files in the actual AUDIO\_TS directory.
 
 \subsubsection*{Checklist for Troubleshooting}
 \label{ssub:checklist_troubleshooting}
 
 \subsubsection*{Checklist for Troubleshooting}
 \label{ssub:checklist_troubleshooting}

+\index{DVD!troubleshooting}
+\index{BluRay!troubleshooting}

 
 \begin{itemize}
     \item Are you logged in as root?  This is required in order to loopback mount files for bluray and to write media on \texttt{/dev/hardware}.  See section \hyperref[sec:bluray_workaround_mount_umount]{13.7} for a workaround for normal user mode.
 
 \begin{itemize}
     \item Are you logged in as root?  This is required in order to loopback mount files for bluray and to write media on \texttt{/dev/hardware}.  See section \hyperref[sec:bluray_workaround_mount_umount]{13.7} for a workaround for normal user mode.


@@ -449,6 +461,7 @@ Note that there will be no files in the actual AUDIO\_TS directory.
 
 \section{Subtitles}%
 \label{sec:subtitles}
 
 \section{Subtitles}%
 \label{sec:subtitles}

+\index{DVD!subtitles}

 
 DVD (not blu-ray... yet) subtitles are added by using the main window pulldown   \texttt{File $\rightarrow$ Subtitle}   which brings up a window allowing you to type the filename of a previously generated text file containing the desired words/lines, the script.  After entering the filename, click \texttt{Load} to read in your script.  By creating a script file ahead of time, it lets you easily add dialog that was already written out and carefully edited for spelling and proper grammar.
 
 
 DVD (not blu-ray... yet) subtitles are added by using the main window pulldown   \texttt{File $\rightarrow$ Subtitle}   which brings up a window allowing you to type the filename of a previously generated text file containing the desired words/lines, the script.  After entering the filename, click \texttt{Load} to read in your script.  By creating a script file ahead of time, it lets you easily add dialog that was already written out and carefully edited for spelling and proper grammar.
 


@@ -499,6 +512,7 @@ Figure~\ref{fig:subtitle02} shows what the pasted subtitle script looks like in
 
 \section{Dvd Interlaced Chroma}%
 \label{sec:dvd_interlaced_chroma}
 
 \section{Dvd Interlaced Chroma}%
 \label{sec:dvd_interlaced_chroma}

+\index{DVD!yuv420p interlace mode}

 
 \CGG{} uses 4:4:4 colorspace to edit, so it is necessary to convert interlaced 4:2:0 video to 4:4:4.
 But you can run into problems, referred to as the \textit{chroma bug}, which you see in DVD media displayed on higher resolution monitors -- streaks or spiky horizontal lines are visible in the chroma channel, especially on diagonal edges. The Chroma Bug is specific to MPEG and 4:2:0 encoding.
 
 \CGG{} uses 4:4:4 colorspace to edit, so it is necessary to convert interlaced 4:2:0 video to 4:4:4.
 But you can run into problems, referred to as the \textit{chroma bug}, which you see in DVD media displayed on higher resolution monitors -- streaks or spiky horizontal lines are visible in the chroma channel, especially on diagonal edges. The Chroma Bug is specific to MPEG and 4:2:0 encoding.


@@ -564,6 +578,7 @@ For some time, DVD manufacturers have been employing  a variety of measures to m
 
 \section{HDV on a Blu-ray Disc Without Re-encoding}%
 \label{sec:hdv_bd_without_reencoding}
 
 \section{HDV on a Blu-ray Disc Without Re-encoding}%
 \label{sec:hdv_bd_without_reencoding}

+\index{BluRay!HDV without re-encoding}

 
 An MTS file is a video file saved in the high-definition (HD) MPEG Transport Stream video format, commonly called \textit{AVCHD}.  It contains HD video compatible with Blu-ray disc format and is based on the MPEG-2 transport stream.   MTS files are often used by Sony, Panasonic, Canon and other HD camcorders.  Legal input for Video -- MPEG1VIDEO, MPEG2VIDEO, H264; Audio -- MP1, MP2, AC3, AC3PLUS, DTS, TRUHD. 
 
 
 An MTS file is a video file saved in the high-definition (HD) MPEG Transport Stream video format, commonly called \textit{AVCHD}.  It contains HD video compatible with Blu-ray disc format and is based on the MPEG-2 transport stream.   MTS files are often used by Sony, Panasonic, Canon and other HD camcorders.  Legal input for Video -- MPEG1VIDEO, MPEG2VIDEO, H264; Audio -- MP1, MP2, AC3, AC3PLUS, DTS, TRUHD. 
 


@@ -595,6 +610,7 @@ Also, be sure to do a \texttt{mkdir bluray} in your \texttt{/home/name} director
 
 \section{Blu-ray from Multiple \CGG{} Output}%
 \label{sec:bluray_multiple_cinelerra_output}
 
 \section{Blu-ray from Multiple \CGG{} Output}%
 \label{sec:bluray_multiple_cinelerra_output}

+\index{BluRay!multiple output}

 
 Writing prepared multiple \CGG{} output files, \texttt{bd.m2ts}, to a single bluray disc is relatively easy to do but is not done automatically.  You can render all of the desired files via the Create BD menu, save each individual \texttt{bd.m2ts} file with a unique name, construct a Menu Title that reflects the contents of each of these files, then manually use a few commands to create a udfs file to be written to BD.
 
 
 Writing prepared multiple \CGG{} output files, \texttt{bd.m2ts}, to a single bluray disc is relatively easy to do but is not done automatically.  You can render all of the desired files via the Create BD menu, save each individual \texttt{bd.m2ts} file with a unique name, construct a Menu Title that reflects the contents of each of these files, then manually use a few commands to create a udfs file to be written to BD.
 

diff --git a/parts/Editing.tex b/parts/Editing.tex
index fa08674f653bb2801eb8d4d0caa3b04841a7efe3..6fa99a0cbe721158ae88223a88915d4e5c91594b 100644 (file)
--- a/parts/Editing.tex
+++ b/parts/Editing.tex
@@ -160,7 +160,7 @@ The 7 \textit{attributes} are described here next followed by the other availabl
   simultaneously.  Gang also causes Nudge parameters to synchronize
   across all the ganged tracks.
 \item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged}
   simultaneously.  Gang also causes Nudge parameters to synchronize
   across all the ganged tracks.
 \item[Master Track] Mark a track as \textit{master} serves when using \textit{Gang Channels} or \textit{Gang Media} mode. See \nameref{sub:displaying_tracks_ganged}

-\item[Track Data Height] \index{track height} this up/down toggle symbol to the immediate right
+\item[Track Data Height] \index{track!height} this up/down toggle symbol to the immediate right

 of the 5 attributes, is used to individually resize each track.  This makes
 it very easy to temporarily expand or contract the size of that track either
 by clickin with the left mouse button or using the middle wheel up/down.
 of the 5 attributes, is used to individually resize each track.  This makes
 it very easy to temporarily expand or contract the size of that track either
 by clickin with the left mouse button or using the middle wheel up/down.


@@ -182,7 +182,7 @@ by clickin with the left mouse button or using the middle wheel up/down.
   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).
   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] \index{mixer toggle} in the expanded patchbay for that track designates
+\item[Mixer] \index{mixers!toggle} in the expanded patchbay for that track designates

   the multi-camera mixer mode.
 \item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for
   porter-duff operations and is full explained in
   the multi-camera mixer mode.
 \item[Overlay mode] \index{overlay pulldown} in the expanded patchbay is used for
   porter-duff operations and is full explained in


@@ -223,18 +223,18 @@ Press the Tab key while the cursor is anywhere over a track to
 toggle the track arming status. Press Shift-Tab while the cursor is
 over a track to toggle the arming status of every other track.
 
 toggle the track arming status. Press Shift-Tab while the cursor is
 over a track to toggle the arming status of every other track.
 

-\paragraph{Automatic audio mappings} \index{audio map} Several convenience functions
+\paragraph{Automatic audio mappings} \index{audio!map} Several convenience functions

 are provided for automatically setting the panning to several common
 standards. They are listed in the Audio menu. These functions only
 affect armed audio tracks. They are:
 
 \begin{description}
 are provided for automatically setting the panning to several common
 standards. They are listed in the Audio menu. These functions only
 affect armed audio tracks. They are:
 
 \begin{description}

-\item[Audio~$\rightarrow$~Map 1:1] \index{audio map 1:1} This maps every track to
+\item[Audio~$\rightarrow$~Map 1:1] \index{audio!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.
   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] \index{audio map 5.1:2} This maps 6 tracks to 2
+\item[Audio~$\rightarrow$~Map 5.1:2] \index{audio!map 5.1:2} This maps 6 tracks to 2

   channels. The project should have 2 channels when using this
   function. Go to \texttt{Settings $\rightarrow$ Format} to set the
   output channels to 2. This is most useful for down-mixing 5.1 audio
   channels. The project should have 2 channels when using this
   function. Go to \texttt{Settings $\rightarrow$ Format} to set the
   output channels to 2. This is most useful for down-mixing 5.1 audio


@@ -262,7 +262,7 @@ not store high frequencies in most cases.
 
 \section{Manipulating Tracks}%
 \label{sec:manipulating_tracks}
 
 \section{Manipulating Tracks}%
 \label{sec:manipulating_tracks}

-\index{tracks pulldowns}
+\index{track!pulldown}

 
 Tracks in \CGG{} either contain audio or video.  There is no special
 designation for tracks other than the type of media they contain.
 
 Tracks in \CGG{} either contain audio or video.  There is no special
 designation for tracks other than the type of media they contain.


@@ -303,7 +303,7 @@ are armed.
   the other tracks.
 \end{description}
 
   the other tracks.
 \end{description}
 

-The \textbf{Audio} \index{audio pulldowns} and \textbf{Video pulldowns} \index{video pulldowns} each contain an
+The \textbf{Audio} \index{audio!pulldowns} and \textbf{Video pulldowns} \index{video!pulldown} each contain an

 option to add a track of their specific type. In the case of audio,
 the new track is put on the bottom of the timeline and the output
 channel of the audio track is incremented by one. In the case of
 option to add a track of their specific type. In the case of audio,
 the new track is put on the bottom of the timeline and the output
 channel of the audio track is incremented by one. In the case of


@@ -313,7 +313,7 @@ on top of old tracks.
 
 \subsection{Displaying tracks: Ganged mode}%
 \label{sub:displaying_tracks_ganged}
 
 \subsection{Displaying tracks: Ganged mode}%
 \label{sub:displaying_tracks_ganged}

-\index{tracks: ganged mode}
+\index{track!ganged mode}

 
 Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group.
 
 
 Often users working on media where Audio is the main focus, want all of a media's audio channels, whether stereo or 5:1 channels, to be treated as a single unit. They are more familiar with working with a DAW (Digital Audio Workstation software) and find that it takes extra work and a lot more care to have to individually manage audio tracks rather than have them automatically edited as a ganged group.
 


@@ -550,7 +550,7 @@ 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.
 
 timeline and select the paste button.  Assuming no In/Out points are
 defined on the timeline this performs a cut and paste operation.
 

-Most editing operations are listed in the \textit{Edit} pulldown \index{edit pulldown}. Some of
+Most editing operations are listed in the \textit{Edit} pulldown \index{edit!pulldown}. Some of

 them have a button on the program control toolbar as well as a
 keyboard shortcut.  The keyboard shortcut is in parenthesis here.
 
 them have a button on the program control toolbar as well as a
 keyboard shortcut.  The keyboard shortcut is in parenthesis here.
 


@@ -700,7 +700,7 @@ Resources window \index{resources window}.
 
 \begin{enumerate}
 \item Create some video and audio tracks on the timeline using
 
 \begin{enumerate}
 \item Create some video and audio tracks on the timeline using

-  the \textit{Video} \index{video pulldown} and \textit{Audio} \index{audio pulldown} pulldowns.
+  the \textit{Video} \index{video!pulldown} and \textit{Audio} \index{audio!pulldown} pulldowns.

 \item Open the Media folder in the Resources window.  Make sure
   the necessary tracks are armed and drag a media file from the
   Resources window to the timeline \index{timeline}. If the media has video, drag it
 \item Open the Media folder in the Resources window.  Make sure
   the necessary tracks are armed and drag a media file from the
   Resources window to the timeline \index{timeline}. If the media has video, drag it


@@ -777,13 +777,13 @@ pulldown to view the list and their keyboard shortcuts.
 
 \subsection{Copy/Paste Behavior}%
 \label{sub:copy_paste_behavior}
 
 \subsection{Copy/Paste Behavior}%
 \label{sub:copy_paste_behavior}

-\index{drag and drop: MMB options}
+\index{drag and drop!MMB options}

 
 There are many options for moving, copying, pasting, inserting, and
 deleting selected \textit{edits}, more commonly referred to by the
 user as \textit{clips}, when in the Drag and Drop (arrow) editing
 mode.  This makes it easier to avoid constantly having to disarm/arm
 
 There are many options for moving, copying, pasting, inserting, and
 deleting selected \textit{edits}, more commonly referred to by the
 user as \textit{clips}, when in the Drag and Drop (arrow) editing
 mode.  This makes it easier to avoid constantly having to disarm/arm

-tracks.  To create a selection \index{edits selection} move the cursor over the clip and
+tracks.  To create a selection \index{edit!selection} move the cursor over the clip and

 just click the left mouse button; remove a selection by left mouse
 button click again.  This will mark your selection with a colored
 border which contains some red.  The easiest way to initially use
 just click the left mouse button; remove a selection by left mouse
 button click again.  This will mark your selection with a colored
 border which contains some red.  The easiest way to initially use


@@ -907,7 +907,7 @@ transition does not drag.
 \label{syb:snapping_cutting_dragging}
 \index{snap}
 
 \label{syb:snapping_cutting_dragging}
 \index{snap}
 

-\paragraph{Cutting/Snapping edits} \index{edits: cut with snap} cuts from an edit handle to the
+\paragraph{Cutting/Snapping edits} \index{edit!cut with snap} 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.
 
 insert point.  There are Edit Panel buttons which normally are used
 to move to the previous or next edit handle/label.
 


@@ -939,7 +939,7 @@ following keyboard shortcuts to perform the same functions:
        \end{tabular}
 \end{center}
 
        \end{tabular}
 \end{center}
 

-\paragraph{Drag Snapping} \index{edits: drag with snap} if you hold down the Ctrl + Alt keys while
+\paragraph{Drag Snapping} \index{edit!drag with snap} if you hold down the Ctrl + Alt keys while

 dragging using the mouse, once the clip gets near to an edit, a
 label, an in/out pointer or the start/end of the timeline, the
 dragged clip will snap next to that marker.  The 2 will now be
 dragging using the mouse, once the clip gets near to an edit, a
 label, an in/out pointer or the start/end of the timeline, the
 dragged clip will snap next to that marker.  The 2 will now be


@@ -973,7 +973,7 @@ Steps to copy from a source timeline and paste to a target timeline:
 
 \subsection{Grouping edits}%
 \label{sub:grouping_edits}
 
 \subsection{Grouping edits}%
 \label{sub:grouping_edits}

-\index{edits: grouping}
+\index{edit!grouping}

 
 \CGG{} recognizes as a group, the edits of different armed tracks
 that have aligned beginnings, regardless of whether they have the
 
 \CGG{} recognizes as a group, the edits of different armed tracks
 that have aligned beginnings, regardless of whether they have the


@@ -984,7 +984,7 @@ same positions the edit the mouse pointer is currently over. Another
 method of Grouping of edits is performed as follows:
 
 \begin{enumerate}
 method of Grouping of edits is performed as follows:
 
 \begin{enumerate}

-\item Select \index{edits selection} each of the clips you would like to be part of a
+\item Select \index{edit!selection} each of the clips you would like to be part of a

   group.
 \item Use the desired Copy mode as described above to get into
   the buffer.
   group.
 \item Use the desired Copy mode as described above to get into
   the buffer.


@@ -1025,10 +1025,10 @@ different Group Id and a different color.
 
 \subsection{Dragging Groups}%
 \label{sub:dragging_groups}
 
 \subsection{Dragging Groups}%
 \label{sub:dragging_groups}

-\index{edits: dragging group}
+\index{edit!dragging group}

 
 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)
 
 Dragging while in \textit{Drop and Drag editing mode} (arrow mode)

-is really easy.  Just select \index{edits selection} the clip or clips you want to drag
+is really easy.  Just select \index{edit!selection} the clip or clips you want to drag

 using the left mouse button, then put your cursor over one of them
 and drag while holding down the left mouse button.  Keyframes,
 autos, labels, and plugins will also be dragged.  Dragging honors
 using the left mouse button, then put your cursor over one of them
 and drag while holding down the left mouse button.  Keyframes,
 autos, labels, and plugins will also be dragged.  Dragging honors


@@ -1079,7 +1079,7 @@ to drag clips together that are not columnated.
 
 \subsection{Selection Methods}%
 \label{sub:selection_method}
 
 \subsection{Selection Methods}%
 \label{sub:selection_method}

-\index{edits selection}
+\index{edit!selection}

 \index{active region}
 
 Concerning \textit{Selection} methods, the following information is
 \index{active region}
 
 Concerning \textit{Selection} methods, the following information is


@@ -1106,7 +1106,7 @@ have a position on the timeline which can be used for editing.  This
 is input for the vertical style cut/paste drag/drop editing.
 
 More recently, in addition to the column oriented timeline drag
 is input for the vertical style cut/paste drag/drop editing.
 
 More recently, in addition to the column oriented timeline drag

-selection, there is now \textit{group} \index{edits: grouping} capabilities which have
+selection, there is now \textit{group} \index{edit!grouping} capabilities which have

 various \textit{edit} selections.  These are created in the Drag and
 Drop editing mode by clicking edits to toggle
 select/deselection.  These groups are input to a different (more
 various \textit{edit} selections.  These are created in the Drag and
 Drop editing mode by clicking edits to toggle
 select/deselection.  These groups are input to a different (more


@@ -1219,7 +1219,7 @@ confusion in the display.
 \item Ctrl-click on the bottom bar and the timeline and composer
   are re-positioned to the beginning of that edit.
 \item Shift-click on the bottom bar and a \textit{selection} is
 \item Ctrl-click on the bottom bar and the timeline and composer
   are re-positioned to the beginning of that edit.
 \item Shift-click on the bottom bar and a \textit{selection} is

-  made of that section in the timeline and the composer is updated
+  made of that section in the timeline and the compqoser is updated

   with that start position.
 \end{itemize}
 
   with that start position.
 \end{itemize}
 


@@ -1248,7 +1248,7 @@ not for Proxy.
 
 \subsection{Edit Length}%
 \label{sub:edit-lenght}
 
 \subsection{Edit Length}%
 \label{sub:edit-lenght}

-\index{edit length}
+\index{edit!length}

 
 To set the length of an edit in the timeline, select the region
 which contains the edit to be modified. Now select the menu bar
 
 To set the length of an edit in the timeline, select the region
 which contains the edit to be modified. Now select the menu bar

diff --git a/parts/FFmpeg.tex b/parts/FFmpeg.tex
index adac22d85470cc2c3cad4830406682b2e7cdcf8a..4424804f114faffaf3c7b8ee4a2cf96d27928ad9 100644 (file)
--- a/parts/FFmpeg.tex
+++ b/parts/FFmpeg.tex
@@ -6,9 +6,9 @@
 
 \section{FFmpeg Early Probe Explanation}%
 \label{sec:ffmpeg_early_probe_explanation}
 
 \section{FFmpeg Early Probe Explanation}%
 \label{sec:ffmpeg_early_probe_explanation}

-\index{ffmpeg: early probe}
-\index{ffmpeg: try first}
-\index{ffmpeg: try last}
+\index{ffmpeg!early probe}
+\index{ffmpeg!try first}
+\index{ffmpeg!try last}

 
 When you open media, a series of libraries and codec functions are used to \textit{probe} the data, to see if it can determine the type of file format and codec parameters needed to correctly decode the file.  If ffmpeg probes early -- \textit{Try FFMpeg first} is in effect for the FF button (green icon) -- it will usually find some way to try to decode just about any contemporary media file.  But there are some times that the built in codecs are actually a better choice.  A lot of this may fall into the category of personal preference.  For example, some may prefer the mpeg library in the \CGG{} code over the ffmpeg code because it has more decoding capability and seems to be more robust when the media is damaged.  In that case you will want the FF button to read \textit{Try FFMpeg last}.
 
 
 When you open media, a series of libraries and codec functions are used to \textit{probe} the data, to see if it can determine the type of file format and codec parameters needed to correctly decode the file.  If ffmpeg probes early -- \textit{Try FFMpeg first} is in effect for the FF button (green icon) -- it will usually find some way to try to decode just about any contemporary media file.  But there are some times that the built in codecs are actually a better choice.  A lot of this may fall into the category of personal preference.  For example, some may prefer the mpeg library in the \CGG{} code over the ffmpeg code because it has more decoding capability and seems to be more robust when the media is damaged.  In that case you will want the FF button to read \textit{Try FFMpeg last}.
 


@@ -36,7 +36,7 @@ that ffmpeg early probes is enabled; (2) \textit{Try FFMpeg last}  indicator mes
 
 \section{How to Create FFmpeg Options Files}%
 \label{sec:create_ffmpeg_options_files}
 
 \section{How to Create FFmpeg Options Files}%
 \label{sec:create_ffmpeg_options_files}

-\index{ffmpeg: options files}
+\index{ffmpeg!options files}

 
 This section describes how the FFmpeg options files work for decoding and encoding and goes into great detail.  It will make more sense if you look at \CGG{}'s ffmpeg config directory and the \CGG{} menus at the same time.  
 It is meant to include everything necessary for complete understanding.  You will be able to personalize your own options files without knowing all of the information included below if you know the basics.  The word encoding is used interchangeably with the word rendering.
 
 This section describes how the FFmpeg options files work for decoding and encoding and goes into great detail.  It will make more sense if you look at \CGG{}'s ffmpeg config directory and the \CGG{} menus at the same time.  
 It is meant to include everything necessary for complete understanding.  You will be able to personalize your own options files without knowing all of the information included below if you know the basics.  The word encoding is used interchangeably with the word rendering.


@@ -63,9 +63,9 @@ In the ffmpeg configuration directory there are a series of options files used w
     \end{tabular}
 \end{center}
 
     \end{tabular}
 \end{center}
 

-\paragraph{Decoder options:} \index{ffmpeg: decoder options} Normally, only \texttt{ffmpeg.opts} and \texttt{decode.opts} are used when reading/decoding files, but may be specialized if a \texttt{<path>/media.opts} exists for a given \texttt{<path>/media.ext} file.  For example, if you want to only fail on fatal errors and to always use the video filter, edgedetect, when working with your media file \texttt{dreaming.y4m}, then create a file \texttt{dreaming.opts} in the same directory with the contents of \textit{loglevel=fatal} on the first line and \textit{video\_filter=edgedetect} on the next.  These specialized settings will override the defaults.  The fatal loglevel is especially handy for lesser quality media.
+\paragraph{Decoder options:} \index{ffmpeg!decoder options} Normally, only \texttt{ffmpeg.opts} and \texttt{decode.opts} are used when reading/decoding files, but may be specialized if a \texttt{<path>/media.opts} exists for a given \texttt{<path>/media.ext} file.  For example, if you want to only fail on fatal errors and to always use the video filter, edgedetect, when working with your media file \texttt{dreaming.y4m}, then create a file \texttt{dreaming.opts} in the same directory with the contents of \textit{loglevel=fatal} on the first line and \textit{video\_filter=edgedetect} on the next.  These specialized settings will override the defaults.  The fatal loglevel is especially handy for lesser quality media.

 
 

-\paragraph{Encoder Options:} \index{ffmpeg: encoder options} Within the audio/video subdirectories of the first level ffmpeg directory, the \texttt{typ.ext} files are for encoder (rendering) setups.
+\paragraph{Encoder Options:} \index{ffmpeg!encoder options} Within the audio/video subdirectories of the first level ffmpeg directory, the \texttt{typ.ext} files are for encoder (rendering) setups.

 
 \begin{center}
     \begin{longtable}{l p{23em}}
 
 \begin{center}
     \begin{longtable}{l p{23em}}


@@ -89,7 +89,7 @@ In the ffmpeg configuration directory there are a series of options files used w
 
 \subsection{Option File Format / Content}%
 \label{sub:option_file_format_content}
 
 \subsection{Option File Format / Content}%
 \label{sub:option_file_format_content}

-\index{ffmpeg: option file format}
+\index{ffmpeg!option file format}

 
 For the option files a specific format must be followed in creating the file content.
 In \texttt{typ.ext} encoder parameter files, the first line is defined as:
 
 For the option files a specific format must be followed in creating the file content.
 In \texttt{typ.ext} encoder parameter files, the first line is defined as:


@@ -280,9 +280,9 @@ Then to use and to get 10 bit depth and preserve depth from decode to encode:
 
 \subsection{Modifying FFmpeg Format Options inside \CGG{}}%
 \label{sub:modifying_ffmpeg_cinelerra}
 
 \subsection{Modifying FFmpeg Format Options inside \CGG{}}%
 \label{sub:modifying_ffmpeg_cinelerra}

-\index{ffmpeg: option file format}
-\index{ffmpeg: wrench}
-\index{ffmpeg: private options}
+\index{ffmpeg!option file format}
+\index{ffmpeg!wrench}
+\index{ffmpeg!private options}

 
 There are thousands of options for using ffmpeg.  Now it is possible to \textit{view} the available options for a particular video and audio choice by using the \textit{wrench icon} and then clicking on the \textit{view} box.  FFmpeg has to be the selected file format for this feature to be visible.  It makes it a lot easier since only the applicable options show up as opposed to everything that ffmpeg can do.  These options are just \textit{Hints} and some may be missing due to the way that ffmpeg options are coded -- \CGG{} shows the option data ffmpeg has exposed.
 
 
 There are thousands of options for using ffmpeg.  Now it is possible to \textit{view} the available options for a particular video and audio choice by using the \textit{wrench icon} and then clicking on the \textit{view} box.  FFmpeg has to be the selected file format for this feature to be visible.  It makes it a lot easier since only the applicable options show up as opposed to everything that ffmpeg can do.  These options are just \textit{Hints} and some may be missing due to the way that ffmpeg options are coded -- \CGG{} shows the option data ffmpeg has exposed.
 


@@ -325,7 +325,7 @@ Figure~\ref{fig:audio-preset02} shows \textit{ffmpeg} video for the Kind. Note t
 
 \section{The FFmpeg Image2 Streams}%
 \label{sec:ffmpeg_image2_streams}
 
 \section{The FFmpeg Image2 Streams}%
 \label{sec:ffmpeg_image2_streams}

-\index{ffmpeg: image2 streams}
+\index{ffmpeg!image2 streams}

 
 Another feature gained from using ffmpeg in \CGG{} takes advantage of what is being referred to as the \textit{\%d trick}.  This trick uses the ffmpeg muxer image2 and a filename template to create a series of image files of a given type.  A specific example is described below.
 
 
 Another feature gained from using ffmpeg in \CGG{} takes advantage of what is being referred to as the \textit{\%d trick}.  This trick uses the ffmpeg muxer image2 and a filename template to create a series of image files of a given type.  A specific example is described below.
 


@@ -350,7 +350,7 @@ The resulting directory of images can be opened for reading by simply opening th
 
 \section{Raw Input Opts File for Video/Audio}%
 \label{sec:raw_input_opts_video_audio}
 
 \section{Raw Input Opts File for Video/Audio}%
 \label{sec:raw_input_opts_video_audio}

-\index{ffmpeg: raw input options}
+\index{ffmpeg!raw input options}

 
 Raw video is not affected by decoding on read in.  This makes it very attractive to provide raw image data for editing and rendering media.  A wide variety of raw formats are available via the ffmpeg file interface.  To load media in a raw format, select \textit{try ffmpeg first} and create an accompanying \textit{opts} file.  The opts files must be in the same directory as your media, with the same base name, and the \texttt{.opts} extension.  The opts file contents should reflect your video setup.  An example follows:
 
 
 Raw video is not affected by decoding on read in.  This makes it very attractive to provide raw image data for editing and rendering media.  A wide variety of raw formats are available via the ffmpeg file interface.  To load media in a raw format, select \textit{try ffmpeg first} and create an accompanying \textit{opts} file.  The opts files must be in the same directory as your media, with the same base name, and the \texttt{.opts} extension.  The opts file contents should reflect your video setup.  An example follows:
 


@@ -368,7 +368,7 @@ duration=90.25
 
 \section{FFmpeg Items of Note}%
 \label{sec:ffmpeg_items_note}
 
 \section{FFmpeg Items of Note}%
 \label{sec:ffmpeg_items_note}

-\index{ffmpeg: notes}
+\index{ffmpeg!notes}

 
 \begin{description}
     \item[Quality Option when rendering:] FFmpeg responds variably to the quality option in the render option but seems to respond well to bitrate. The subranges used by quality even seem to vary somewhat depending on how old the codec is. Some use $0$ to $35$, some use $0$ to $500$ or so.  The quality is supposed to cause the codec to output data until the noise level is below a limit determined by the quality setting. Your specific results may vary.
 
 \begin{description}
     \item[Quality Option when rendering:] FFmpeg responds variably to the quality option in the render option but seems to respond well to bitrate. The subranges used by quality even seem to vary somewhat depending on how old the codec is. Some use $0$ to $35$, some use $0$ to $500$ or so.  The quality is supposed to cause the codec to output data until the noise level is below a limit determined by the quality setting. Your specific results may vary.

diff --git a/parts/Keyframes.tex b/parts/Keyframes.tex
index b94faaa6dbc2d521b080681932d2ab8afcf8abd4..709ff209406ddd0f3f063f7fe0a9b87a61475d96 100644 (file)
--- a/parts/Keyframes.tex
+++ b/parts/Keyframes.tex
@@ -15,7 +15,7 @@ $\leftarrow$ Keyframe $\rightarrow$ Plugin
 
 \section{Automation Keyframes /\,Autos}%
 \label{sec:automation_keyframes_autos}
 
 \section{Automation Keyframes /\,Autos}%
 \label{sec:automation_keyframes_autos}

-\index{keyframes: autos}
+\index{keyframes!autos}

 
 The \textit{autos} are created by clicking on an \textit{automation curve} to establish the time position for the new keyframe anchor point.  The basic nature of these simple auto values make them primitive operations that are easy to apply when needed.
 
 
 The \textit{autos} are created by clicking on an \textit{automation curve} to establish the time position for the new keyframe anchor point.  The basic nature of these simple auto values make them primitive operations that are easy to apply when needed.
 


@@ -38,7 +38,7 @@ Curve smoothing is called \textit{interpolation} and it uses keyframe point valu
 
 The first click on the curve, creates a keyframe which you can click drag on to reposition.  The second click at a later position, generates the smoothing by creating a smooth ramp.  Ctrl-dragging on a keyframe round control point handle \index{control point handle} changes the value of either the input control or the output control.  This affects the sharpness of the curve.  While the input control and the output control can be moved horizontally as well as vertically, the horizontal movement is only for legibility and is not used in the curve value.  When you Shift-drag on a timeline curve, the keyframe snaps to the value of either the next or previous keyframe, depending on which exists.  It will snap up or down depending on direction of movement.  This lets you set a constant curve value without having to copy the next or previous keyframe.
 
 
 The first click on the curve, creates a keyframe which you can click drag on to reposition.  The second click at a later position, generates the smoothing by creating a smooth ramp.  Ctrl-dragging on a keyframe round control point handle \index{control point handle} changes the value of either the input control or the output control.  This affects the sharpness of the curve.  While the input control and the output control can be moved horizontally as well as vertically, the horizontal movement is only for legibility and is not used in the curve value.  When you Shift-drag on a timeline curve, the keyframe snaps to the value of either the next or previous keyframe, depending on which exists.  It will snap up or down depending on direction of movement.  This lets you set a constant curve value without having to copy the next or previous keyframe.
 

-To make it easier to navigate curve keyframes, since there is not much room on the timeline for a wide range of curve values, you need to zoom the curves in and out vertically to have any variability.  This is done by 2 tools: the automation fit button, Alt-f, and automation zoom \index{zoom panel} menu which is seen at the bottom of the main window (figure~\ref{fig:automation}). The automation fit button scales and offsets the vertical range so the selected curve area appears in the timeline.  If a region of the timeline is highlighted by the cursor, only that region is scaled.  In/out points do not affect the zoomed region.  The automation zoom menu manually changes the vertical scaling of the curves in multiples of 2.  Click on its tumbler to change the zoom.  Alt$-\uparrow$ and Alt$-\downarrow$ change the automation zoom from the keyboard.
+To make it easier to navigate curve keyframes, since there is not much room on the timeline for a wide range of curve values, you need to zoom the curves in and out vertically to have any variability.  This is done by 2 tools: the automation fit button, Alt-f, and automation zoom \index{zoom!panel} menu which is seen at the bottom of the main window (figure~\ref{fig:automation}). The automation fit button scales and offsets the vertical range so the selected curve area appears in the timeline.  If a region of the timeline is highlighted by the cursor, only that region is scaled.  In/out points do not affect the zoomed region.  The automation zoom menu manually changes the vertical scaling of the curves in multiples of 2.  Click on its tumbler to change the zoom.  Alt$-\uparrow$ and Alt$-\downarrow$ change the automation zoom from the keyboard.

 
 \begin{figure}[htpb]
     \centering
 
 \begin{figure}[htpb]
     \centering


@@ -68,7 +68,7 @@ Other mouse actions have the following effects:
     \end{enumerate}
 \end{itemize}
 
     \end{enumerate}
 \end{itemize}
 

-You can click mouse button 3 on a keyframe box \index{keyframes MMB options} and a menu pops up with the first menu item showing the keyframe type.  The top menu item can be activated for immediate access to update the automation keyframe value.  Some keyframe types, which have values that can be manipulated in another way than by dragging the color coded line, now show up with a different colored background to make them more visible.  Keep in mind that Zoombar \index{zoom panel} ranges/values must be set to appropriate values when working with specific keyframe types, such as Fade or Speed.  If you do not see the auto line in the visible area of the video track, try the key combination Alt-f or select the speed in the \textit{Automation Type} drop-down menu at the bottom of the main window.  To the right of this field is \textit{Automation Range} where you can set the display ratio of these lines. Simply change the values until the lines are visible again.
+You can click mouse button 3 on a keyframe box \index{keyframes!MMB options} and a menu pops up with the first menu item showing the keyframe type.  The top menu item can be activated for immediate access to update the automation keyframe value.  Some keyframe types, which have values that can be manipulated in another way than by dragging the color coded line, now show up with a different colored background to make them more visible.  Keep in mind that Zoombar \index{zoom!panel} ranges/values must be set to appropriate values when working with specific keyframe types, such as Fade or Speed.  If you do not see the auto line in the visible area of the video track, try the key combination Alt-f or select the speed in the \textit{Automation Type} drop-down menu at the bottom of the main window.  To the right of this field is \textit{Automation Range} where you can set the display ratio of these lines. Simply change the values until the lines are visible again.

 
 Figure~\ref{fig:overlays1} and figure~\ref{fig:fade} shows several color coded lines for different key\-fra\-mes and specifically the slider bar for the Fade keyframe.  It is in the same color as the color coded keyframe type line which is the same color which would be shown in the \textit{Show overlays} window figure~\ref{fig:overlays_window}.
 
 
 Figure~\ref{fig:overlays1} and figure~\ref{fig:fade} shows several color coded lines for different key\-fra\-mes and specifically the slider bar for the Fade keyframe.  It is in the same color as the color coded keyframe type line which is the same color which would be shown in the \textit{Show overlays} window figure~\ref{fig:overlays_window}.
 


@@ -79,7 +79,7 @@ Figure~\ref{fig:overlays1} and figure~\ref{fig:fade} shows several color coded l
     \label{fig:fade}
 \end{figure}
 
     \label{fig:fade}
 \end{figure}
 

-In the \textit{Editing} section of \texttt{Settings $\rightarrow$ Preferences, Interface} tab there is \textit{Keyframe reticle} \index{keyframes reticle} with options of Never, Dragging, or Always.  This is used to help in checking edit alignment across tracks.  (A reticle is a sighting line used to line up visual items, like cross hairs in a eyepiece.)  The appearance and function of sighting lines can be changed when dragging auto keyframes.  To see the effect, create some fader autos and drag a few to see the reticles drawn --- you will see something similar to the next screencast (figure~\ref{fig:always}).  \textit{Always} renders a line over all plugins, and \textit{dragging} only over the drag icon. \textit{Never} draws nothing.  The default is \textit{dragging}.
+In the \textit{Editing} section of \texttt{Settings $\rightarrow$ Preferences, Interface} tab there is \textit{Keyframe reticle} \index{keyframes!reticle} with options of Never, Dragging, or Always.  This is used to help in checking edit alignment across tracks.  (A reticle is a sighting line used to line up visual items, like cross hairs in a eyepiece.)  The appearance and function of sighting lines can be changed when dragging auto keyframes.  To see the effect, create some fader autos and drag a few to see the reticles drawn --- you will see something similar to the next screencast (figure~\ref{fig:always}).  \textit{Always} renders a line over all plugins, and \textit{dragging} only over the drag icon. \textit{Never} draws nothing.  The default is \textit{dragging}.

 
 \begin{figure}[htpb]
     \centering
 
 \begin{figure}[htpb]
     \centering


@@ -103,7 +103,7 @@ In the screencast to the right, the Fade Auto has pink colored curves and contro
 
 \section{Speed\,/\,Fade Automation Usage and Auto Gang}%
 \label{sec:speed_fade_automation_gang}
 
 \section{Speed\,/\,Fade Automation Usage and Auto Gang}%
 \label{sec:speed_fade_automation_gang}

-\index{keyframes auto gang}
+\index{keyframes!auto gang}

 
 Speed automation resamples the data at a higher or lower playback rate. Speed automation can operate
 on all tracks of the same type, either video or audio, with a single click; or all tracks, both video and
 
 Speed automation resamples the data at a higher or lower playback rate. Speed automation can operate
 on all tracks of the same type, either video or audio, with a single click; or all tracks, both video and


@@ -145,7 +145,7 @@ One other helpful item is a small colored indicator in the zoombar \textit{Autom
 
 \section{Bump autos}%
 \label{sec:bump_autos}
 
 \section{Bump autos}%
 \label{sec:bump_autos}

-\index{keyframes: bump autos}
+\index{keyframes!bump autos}

 
 Bump autos are a kind of floating point keyframe that differs from the rest
 of the floating autos, like smooth and linear, in that they have two values:
 
 Bump autos are a kind of floating point keyframe that differs from the rest
 of the floating autos, like smooth and linear, in that they have two values:


@@ -234,7 +234,7 @@ In the Camera and Projector tools configuration window \index{tool info} you wil
 
 \section{Plugin Keyframes}%
 \label{sec:plugin_keyframe}
 
 \section{Plugin Keyframes}%
 \label{sec:plugin_keyframe}

-\index{keyframes: plugin}
+\index{keyframes!plugin}

 
 The Plugin keyframes are structured.  The individual data values are named parameters to the keyframe function.  For example, the hue plugin has keyframe parameters of hue, saturation, and value.  Each plugin has its own parameters, and what they do depends on the plugin.  Most of the time, it is pretty obvious what the value controls, like the audio gain plugin with the level parameter.  Some of the plugins have a wide variety of controls, like the titler which can setup a wide number of controls, like formats, fonts, styles, placement, and so on.
 
 
 The Plugin keyframes are structured.  The individual data values are named parameters to the keyframe function.  For example, the hue plugin has keyframe parameters of hue, saturation, and value.  Each plugin has its own parameters, and what they do depends on the plugin.  Most of the time, it is pretty obvious what the value controls, like the audio gain plugin with the level parameter.  Some of the plugins have a wide variety of controls, like the titler which can setup a wide number of controls, like formats, fonts, styles, placement, and so on.
 


@@ -243,8 +243,8 @@ is usually due to the nature of the keyframe parameter data.  For example, it do
 
 \section{Default Keyframe}%
 \label{sec:default_keyframe}
 
 \section{Default Keyframe}%
 \label{sec:default_keyframe}

-\index{keyframes: default keyframe}
-\index{keyframes pulldown}
+\index{keyframes!default keyframe}
+\index{keyframes!pulldown}

 
 For plugins, there is a special hidden keyframe, called the \textit{default keyframe}, that is used when no previous keyframe exists.  It is like keyframe zero on the timeline, and it is persistent and shared on
 all sessions.  The intent is to make a parameter set that is likely to be reused on all initial instances of the plugin.  An example may be to color correct a set of media that was taken in low light, or needs resampling to be played correctly.  The default keyframe is \textit{off the bar on the left side} of the plugin title bar and can not be seen.  It is used when there is no \textit{previous} keyframe for its default values.
 
 For plugins, there is a special hidden keyframe, called the \textit{default keyframe}, that is used when no previous keyframe exists.  It is like keyframe zero on the timeline, and it is persistent and shared on
 all sessions.  The intent is to make a parameter set that is likely to be reused on all initial instances of the plugin.  An example may be to color correct a set of media that was taken in low light, or needs resampling to be played correctly.  The default keyframe is \textit{off the bar on the left side} of the plugin title bar and can not be seen.  It is used when there is no \textit{previous} keyframe for its default values.


@@ -261,9 +261,9 @@ The \texttt{keyframes $\rightarrow$ paste} \texttt{keyframes} function may then
 
 \section{Keyframe \textit{Edit Params} for Plugins}%
 \label{sec:keyframe_edit_params_plugin}
 
 \section{Keyframe \textit{Edit Params} for Plugins}%
 \label{sec:keyframe_edit_params_plugin}

-\index{plugins: preset edit}
+\index{plugins!preset edit}

 
 

-Keyframe values can be set using the various plugin \textit{plugins: show controls} \index{plugins: show controls} (magnifying glass) icon on the plugin track (figure~\ref{fig:parameters}).  It is possible to see all of the keyframe data in a raw format using the \textit{Edit Params} popup menu item which you will see when you right mouse click the keyframe icon on the timeline.  The keyframe data is stored in xml format, and the \textit{edit params} feature allows you to view and modify the xml data directly.  This normally should not be necessary since the plugin's control gui displays the intended parameters, but this will let you view and specify just about anything that can be specified in xml.  There is no validation checking of the modified data.
+Keyframe values can be set using the various plugin \textit{plugins: show controls} \index{plugins!show controls} (magnifying glass) icon on the plugin track (figure~\ref{fig:parameters}).  It is possible to see all of the keyframe data in a raw format using the \textit{Edit Params} popup menu item which you will see when you right mouse click the keyframe icon on the timeline.  The keyframe data is stored in xml format, and the \textit{edit params} feature allows you to view and modify the xml data directly.  This normally should not be necessary since the plugin's control gui displays the intended parameters, but this will let you view and specify just about anything that can be specified in xml.  There is no validation checking of the modified data.

 
 \begin{figure}[htpb]
     \centering
 
 \begin{figure}[htpb]
     \centering


@@ -274,7 +274,7 @@ Keyframe values can be set using the various plugin \textit{plugins: show contro
 
 \section{Generate Keyframes while Tweaking / Automatic Keyframe Mode}%
 \label{sec:generate_keyframe_tweaking}
 
 \section{Generate Keyframes while Tweaking / Automatic Keyframe Mode}%
 \label{sec:generate_keyframe_tweaking}

-\index{keyframes: automatic mode}
+\index{keyframes!automatic mode}

 
 Tweaking is defined as changing a parameter while playing -- it can be small changes or small motion increments performed in a series.  These changes are recorded as a series of new keyframes on the timeline.  Enable automatic keyframe mode by enabling the automatic keyframe toggle, that is \textit{Generate keyframes while tweaking}.  In automatic keyframe mode, every time you tweak a key-framable parameter it creates a keyframe on the timeline.  Since keyframes affect playback, you should enable generate keyframes just before you need a keyframe and disable when your parameter changes are complete.  So turn on when ready to make changes and turn off when done!
 
 
 Tweaking is defined as changing a parameter while playing -- it can be small changes or small motion increments performed in a series.  These changes are recorded as a series of new keyframes on the timeline.  Enable automatic keyframe mode by enabling the automatic keyframe toggle, that is \textit{Generate keyframes while tweaking}.  In automatic keyframe mode, every time you tweak a key-framable parameter it creates a keyframe on the timeline.  Since keyframes affect playback, you should enable generate keyframes just before you need a keyframe and disable when your parameter changes are complete.  So turn on when ready to make changes and turn off when done!
 


@@ -282,7 +282,7 @@ Also, before making a change, be sure to check the \textit{View} pulldown and ma
 
 \section{Compositor Keyframes}%
 \label{sec:compositor_keyframes}
 
 \section{Compositor Keyframes}%
 \label{sec:compositor_keyframes}

-\index{keyframes: compositor}
+\index{keyframes!compositor}

 
 Camera and projector translation is represented by two parameters: \textit{x} and \textit{y}, making it difficult to adjust with curves.  \CGG{} solves this problem by relying on automatic keyframes.  With a video track loaded, move the insertion point to the beginning of the track and enable automatic keyframe mode.  Move the projector slightly in the compositor window to create a keyframe.  Then go forward several seconds.  Move the projector a long distance to create another keyframe and emphasize motion.  This creates a second projector box in the compositor, with a line joining the two boxes. The joining line is the motion path.  If you create more keyframes, more boxes are created.  Once all the desired keyframes are created, disable automatic keyframe mode.
 
 
 Camera and projector translation is represented by two parameters: \textit{x} and \textit{y}, making it difficult to adjust with curves.  \CGG{} solves this problem by relying on automatic keyframes.  With a video track loaded, move the insertion point to the beginning of the track and enable automatic keyframe mode.  Move the projector slightly in the compositor window to create a keyframe.  Then go forward several seconds.  Move the projector a long distance to create another keyframe and emphasize motion.  This creates a second projector box in the compositor, with a line joining the two boxes. The joining line is the motion path.  If you create more keyframes, more boxes are created.  Once all the desired keyframes are created, disable automatic keyframe mode.
 


@@ -292,7 +292,7 @@ Image translation, motion direction, and speed determine the results.  Motion va
 
 \section{More about Editing Keyframes}%
 \label{sec:more_about_editing_keyframes}
 
 \section{More about Editing Keyframes}%
 \label{sec:more_about_editing_keyframes}

-\index{keyframes editing operations}
+\index{keyframes!editing operations}

 
 Keyframes can be shifted around and moved between tracks on the timeline using similar cut and paste operations to editing media.  Only the keyframes selected in the View menu are affected by keyframe editing operations.
 
 
 Keyframes can be shifted around and moved between tracks on the timeline using similar cut and paste operations to editing media.  Only the keyframes selected in the View menu are affected by keyframe editing operations.
 


@@ -302,7 +302,7 @@ And there is an easy way to delete keyframes besides selecting a region and usin
 
 \section{Allow Keyframe Spanning}%
 \label{sec:allow_keyframes_spanning}
 
 \section{Allow Keyframe Spanning}%
 \label{sec:allow_keyframes_spanning}

-\index{keyframes spanning}
+\index{keyframes!spanning}

 
 \textit{Allow keyframe spanning} is enabled on the timeline by clicking on the icon that
 is on the right side of the \textit{Generate keyframes while tweaking}.  With this enabled,
 
 \textit{Allow keyframe spanning} is enabled on the timeline by clicking on the icon that
 is on the right side of the \textit{Generate keyframes while tweaking}.  With this enabled,

diff --git a/parts/Plugins.tex b/parts/Plugins.tex
index 2b9b5e27c7537ebbd784b2cfb7c86b212265dfbd..036bd1be7c440fdd4e4b4946fc199837fd4c2c1f 100644 (file)
--- a/parts/Plugins.tex
+++ b/parts/Plugins.tex
@@ -13,7 +13,7 @@ Effect plugins modify the track when played, according to how they are set, with
     \label{fig:video-plugins}
 \end{figure}
 
     \label{fig:video-plugins}
 \end{figure}
 

-There is a choice of plugin icons \index{plugins: icons} which can be displayed.
+There is a choice of plugin icons \index{plugins!icons} which can be displayed.

 
 In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By -- \url{https://creativhecommons.org/licenses/by/3.0/}} -- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
 
 
 In \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ Appearance} tab, there is a pulldown for \textit{Plugin icons} where the user can choose between the \textit{original} icons, \textit{regular} or \textit{smoother}, \textit{cinfinity}\protect\footnote{Cinfinity /2 icon set is credited to Sam - Creative Common By -- \url{https://creativhecommons.org/licenses/by/3.0/}} -- the default modernized set, or \textit{cinfinity2} (figure~\ref{fig:audio-plugins}).
 


@@ -44,13 +44,13 @@ Note that when you change the plugin icons, your session will automatically save
 \section{How to Use Plugins}%
 \label{sec:how_use_plugins}
 
 \section{How to Use Plugins}%
 \label{sec:how_use_plugins}
 

-\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected in which case the effect is pasted into that region only. If there is no data on the track the effect is not added.
+\textit{Realtime} effect plugins are listed in the Resources window as \textit{Audio} Effects and \textit{Video} Effects. Effect plugins are used by dragging them from the Resources window onto an audio track if it is an audio effect or video track if it is a video effect. You will see a colored bar \index{plugins!toolbar} appear beneath the track with the plugin name on it. If there is data on the destination track, the effect is applied to the entire track, unless a edit or a region of the track is selected in which case the effect is pasted into that region only. If there is no data on the track the effect is not added.

 
 Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on.
 
 
 Plugins are layered under the track they apply to. When dragging more than one effect onto a track, you will see the effects layering from \textit{top to bottom}, on the bottom of that track. When the track is played back, effects are processed from \textit{top to bottom}. The output of the top effect becomes the input of the bottom effect and so on.
 

-Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} \index{plugins: attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.
+Instead of dragging from the Resources window, effects may be applied to a track via a popup menu. Right click on a track and select \textit{Attach effect} \index{plugins!attch effect} from the popup. The attach effect dialog gives you more capability than just dragging and dropping. For example, the attach effect dialog lets you attach two more types of effects: \textit{shared effects} and \textit{shared tracks} which are explained in a later section. Select a plugin from the Plugins column and hit the green colored checkmark under the plugins column to attach it. The result is the same as if the effect was dragged from the Resources window.

 
 

-After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins: show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.
+After attaching an effect to a track, it often needs to be configured. There are two ways to get to the configuration controls. Click on the magnifying glass \index{plugins!show controls} symbol on the right side of the effect bar -- this is the middle symbol on the bar as you can see in the picture below. Alternatively, you can right click on the effect bar to bring up the effect popup which has a \textit{Show} option. Either method causes the GUI for the effect to appear in a separate window. There will not be a popup if the plugin has no GUI.

 
 
 Besides the magnifying glass, for Show Controls, on the effect colored bar beneath the track, there are two more symbols.
 
 
 Besides the magnifying glass, for Show Controls, on the effect colored bar beneath the track, there are two more symbols.


@@ -61,11 +61,11 @@ Besides the magnifying glass, for Show Controls, on the effect colored bar benea
     \includegraphics[width=0.7\linewidth]{button-options.png}
 \end{wrapfigure}
 
     \includegraphics[width=0.7\linewidth]{button-options.png}
 \end{wrapfigure}
 

-The rightmost knob is used to Turn Off/Turn \index{plugins: turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins: preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.
+The rightmost knob is used to Turn Off/Turn \index{plugins!turn on/off} On the effect where the default is On. This is useful to easily see that the plugin is doing what you expect. The leftmost symbol that looks like a gear is for \textit{Preset Edit} \index{plugins!preset edit} and its usage is described in the section \nameref{sec:saved_plugin_preset}.

 
 \section{Editing Effects}%
 \label{sec:editing_effects}
 
 \section{Editing Effects}%
 \label{sec:editing_effects}

-\index{plugins editing}
+\index{plugins!editing}

 
 Many operations exist for manipulating effects once they are on the timeline. Because mixing effects and media is quite complex, the methods used in editing effects are not as concise as cutting and pasting. Some of the editing happens by dragging in/out points, some of the editing happens through popup menus, and some of it happens by dragging effects.
 
 
 Many operations exist for manipulating effects once they are on the timeline. Because mixing effects and media is quite complex, the methods used in editing effects are not as concise as cutting and pasting. Some of the editing happens by dragging in/out points, some of the editing happens through popup menus, and some of it happens by dragging effects.
 


@@ -82,9 +82,9 @@ To edit effects, you can move the timeline cursor over the effect borders until
 
 When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown \textit{Settings} and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
 
 
 When you perform a trim edit on an effect, the effect boundary is moved by dragging it. Unlike track editing, the effect has no source length. You can extend the end of an effect as much as you want. Also unlike track editing, the starting position of the drag operation does not bind the edit decision to media. The media the effect is bound to does not follow effect edits. Other effects, however, do follow editing decisions made on an effect. You can disable effects from being subject to the edit decisions by using the pulldown \textit{Settings} and toggling off Edit effects. If you drag the end of an effect which is lined up to effects on other tracks, the effects on the other tracks will be edited while the media stays the same. When you drag an effect in from the Resources window you can insert the effect in the portion of the row unoccupied by the trimming operation. In some cases you will want a trimming operation to change only one row of effects. This can be achieved by first positioning the insertion point on the start or end of the effect. Then press the shift key while beginning the trimming operation. This causes the operation to change only one row of effects.
 

-You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins: RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.
+You can move effects up or down. Every track can have a stack of effects under it. By moving an effect up or down you change the order in which effects are processed in the stack. Go to an effect and right click \index{plugins!RMB on toolbar} to bring up the effect menu. The \textit{Move up} and \textit{Move down} options move the effect up or down. When you are moving effects up or down, be aware that if they are shared as shared effects, any references will be pointing to a different effect after the move operation.

 
 

-Finally, there is dragging of effects \index{plugins: dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track.  The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards.  It is recommended that you re-construct shared effect track references.
+Finally, there is dragging of effects \index{plugins!dragging}. Dragging effects works just like dragging edits. You must select the arrow in the main window transport buttons line to enter drag and drop mode before dragging effects. Dragging a plugin causes a highlight outline to be drawn over a targetable timeline region, and the plugin can be re-positioned into any plugin track.  The effects snap to media boundaries, effect boundaries, and tracks. If you drag a reference to a shared effect, the reference may point to the wrong effect afterwards.  It is recommended that you re-construct shared effect track references.

 
 Figure~\ref{fig:drag-effect} showing 3 plugins, two still plugin, two have already been dragged and the \textit{Color 3 Way} in the process of being dragged. Note the gold-colored frame which enables allow \textit{drag and drop} editing mode.
 
 
 Figure~\ref{fig:drag-effect} showing 3 plugins, two still plugin, two have already been dragged and the \textit{Color 3 Way} in the process of being dragged. Note the gold-colored frame which enables allow \textit{drag and drop} editing mode.
 


@@ -97,8 +97,8 @@ Figure~\ref{fig:drag-effect} showing 3 plugins, two still plugin, two have alrea
 
 \section{Shared Effects and Shared Tracks}%
 \label{sec:shared_effect_tracks}
 
 \section{Shared Effects and Shared Tracks}%
 \label{sec:shared_effect_tracks}

-\index{plugins: shared effect}
-\index{plugins: shared tracks}
+\index{plugins!shared effect}
+\index{plugins!shared tracks}

 
 Two other effect types available in the Attach Effect dialog are \textit{Shared effects} and \textit{Shared tracks}. In the case of a shared effect, the following conditions must be true:
 
 
 Two other effect types available in the Attach Effect dialog are \textit{Shared effects} and \textit{Shared tracks}. In the case of a shared effect, the following conditions must be true:
 


@@ -111,7 +111,7 @@ Two other effect types available in the Attach Effect dialog are \textit{Shared
 Before going into further detail about how to use \textit{Shared effects}, an easier
 alternative method of application which is especially useful for Audio tracks is
 available.  In this method, all you have to do is use the \textit{Audio} pulldown and
 Before going into further detail about how to use \textit{Shared effects}, an easier
 alternative method of application which is especially useful for Audio tracks is
 available.  In this method, all you have to do is use the \textit{Audio} pulldown and

-choose \textit{Attach effect} \index{plugins: attach effect}, highlight the effect you would like and make sure the
+choose \textit{Attach effect} \index{plugins!attach effect}, highlight the effect you would like and make sure the

 default of \textit{Attach single standalone and share others} is checked on.  It will
 automatically be a "Shared Effect" on all audio tracks (be sure to disarm any audio
 tracks that you do not want to have the effect shared on).  This method also works for
 default of \textit{Attach single standalone and share others} is checked on.  It will
 automatically be a "Shared Effect" on all audio tracks (be sure to disarm any audio
 tracks that you do not want to have the effect shared on).  This method also works for


@@ -131,7 +131,7 @@ In order to prevent the shared track from mixing the same data as the original t
 
 \section{Saved Plugin Presets}%
 \label{sec:saved_plugin_preset}
 
 \section{Saved Plugin Presets}%
 \label{sec:saved_plugin_preset}

-\index{plugins: preset edit}
+\index{plugins!preset edit}

 
 \textit{Presets} and \textit{Factory Presets} for Plugin settings are now combined with the Preset Keyframe Parameters allowing you to choose, apply, delete, and edit your own Presets which can then be easily saved in the file \texttt{\$HOME/.bcast5/Cinelerra\_presets}. In addition to your own saved presets, there are automatically available Factory presets for some plugins, for example the Lens video plugin. The Factory presets are preceded by an asterisk (*) and can not be modified permanently.
 
 
 \textit{Presets} and \textit{Factory Presets} for Plugin settings are now combined with the Preset Keyframe Parameters allowing you to choose, apply, delete, and edit your own Presets which can then be easily saved in the file \texttt{\$HOME/.bcast5/Cinelerra\_presets}. In addition to your own saved presets, there are automatically available Factory presets for some plugins, for example the Lens video plugin. The Factory presets are preceded by an asterisk (*) and can not be modified permanently.
 


@@ -166,7 +166,7 @@ These next few sections explain some details about the plugins that are not dire
 
 \subsection{How to see short Description of a Plugin}%
 \label{sub:short_description_plugin}
 
 \subsection{How to see short Description of a Plugin}%
 \label{sub:short_description_plugin}

-\index{plugins: short description}
+\index{plugins!short description}

 
 To get a short one or a few lines description of a plugin, mouse over that plugin in the Resources window and a popup appears. You can disable the popup by right-clicking and choosing \textit{Info Off} (shortcut "i"). And again enable it with \textit{Info On}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
 
 
 To get a short one or a few lines description of a plugin, mouse over that plugin in the Resources window and a popup appears. You can disable the popup by right-clicking and choosing \textit{Info Off} (shortcut "i"). And again enable it with \textit{Info On}. Some of the plugins may not have any description included. An example screenshot is next (figure~\ref{fig:info-effect}).
 


@@ -191,7 +191,7 @@ Maybe you just don't ever use certain plugins or would prefer to only find the o
 
 \subsection{Updatable Icon Image Support}%
 \label{sub:updatable_icon_image_support}
 
 \subsection{Updatable Icon Image Support}%
 \label{sub:updatable_icon_image_support}

-\index{plugins: change icons}
+\index{plugins!change icons}

 
 When running \CGG{} Infinity builtin icons are loaded before the
 program starts. Png files in the path:\\
 
 When running \CGG{} Infinity builtin icons are loaded before the
 program starts. Png files in the path:\\


@@ -287,7 +287,7 @@ Restart cin by changing \texttt{Settings$\rightarrow$ Preferences$\rightarrow$ A
 
 \subsection{Plugins/Effects Visibility}%
 \label{sub:plugins_effects_visibility}
 
 \subsection{Plugins/Effects Visibility}%
 \label{sub:plugins_effects_visibility}

-\index{plugins: visibility}
+\index{plugins!visibility}

 
 \CGG{} contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In \CGG{} Infinity, the plugins have been categorized into the following subsets in the \textit{Visibility} section of the Resources window to make it easier to locate a particular one:
 
 
 \CGG{} contains many plugins, especially with the addition of ffmpeg, and it is somewhat difficult to find the one you are looking for in the Resources window. In \CGG{} Infinity, the plugins have been categorized into the following subsets in the \textit{Visibility} section of the Resources window to make it easier to locate a particular one:
 


@@ -324,7 +324,9 @@ The \texttt{expanders.txt} file has very specific requirements. The most specifi
 \begin{figure}[htpb]
        \centering
        \includegraphics[width=0.8\linewidth]{expander.png}
 \begin{figure}[htpb]
        \centering
        \includegraphics[width=0.8\linewidth]{expander.png}

-       \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}
+        \caption{Down facing triangle, Right facing triangle = expander; "-" = options}
+%       the next line causes problems for the HTML version so do not use
+%      \caption{$\triangledown$,$\triangleright$ = expander; "-" = options}

        \label{fig:expander}
 \end{figure}
 
        \label{fig:expander}
 \end{figure}
 


@@ -344,7 +346,7 @@ Audio Effects
 
 \subsection{Speed-up of Ffmpeg plugin usage with OPTS files}%
 \label{sub:speedup_ffmpeg_plugin_opts}
 
 \subsection{Speed-up of Ffmpeg plugin usage with OPTS files}%
 \label{sub:speedup_ffmpeg_plugin_opts}

-\index{plugins: speed-up via options}
+\index{plugins!speed-up via options}

 
 You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU\@. For a specific color-based example, \CGG{} uses 6 primary rendering color models. All of them have 3 components at full scale. Direct usage of a particular ffmpeg plugin from the ffmpeg command line might handle the planar at less than full scale chroma (yuv420), which means there is less data to manipulate. But when cinelerra loads a video it uses full scale color models. In other words:
 
 
 You can speed up some ffmpeg plugins that are quite time-consuming and use a lot of CPU\@. For a specific color-based example, \CGG{} uses 6 primary rendering color models. All of them have 3 components at full scale. Direct usage of a particular ffmpeg plugin from the ffmpeg command line might handle the planar at less than full scale chroma (yuv420), which means there is less data to manipulate. But when cinelerra loads a video it uses full scale color models. In other words:
 


@@ -374,7 +376,7 @@ This converts the input to rgb before xxxxxx runs, and so it too is slower (beca
 \section{Audio Effects - Native}%
 \label{sec:audio_effects_native}
 \settocdepth{subsection}
 \section{Audio Effects - Native}%
 \label{sec:audio_effects_native}
 \settocdepth{subsection}

-\index{audio plugins}
+\index{audio!plugins}

 
 \subsection{AudioScope}%
 \label{sub:audioscope}
 
 \subsection{AudioScope}%
 \label{sub:audioscope}


@@ -798,7 +800,7 @@ If there is no default \texttt{LV2\_PATH} set automatically, the value will be \
 
 When you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via:
 
 
 When you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via:
 

-\texttt{Settings $\rightarrow$  Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins: reload index}
+\texttt{Settings $\rightarrow$  Preferences $\rightarrow$ Interface tab $\rightarrow$ Reload plugin index} \index{plugins!reload index}

 or else before you bring up \CGG{}, delete \texttt{\$HOME/.bcast5/\CGG{}\_\\plugins} so that the plugins get properly reloaded.
 
 There are some lv2 plugins that display a \textit{glitzy} UI (User Interface); for example the \textit{Calf plugins}. For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified UI interface, there is a flag to enable that. It is at:
 or else before you bring up \CGG{}, delete \texttt{\$HOME/.bcast5/\CGG{}\_\\plugins} so that the plugins get properly reloaded.
 
 There are some lv2 plugins that display a \textit{glitzy} UI (User Interface); for example the \textit{Calf plugins}. For these LV2 plugins, if you want that to automatically come up without having to click on the UI button on the simplified UI interface, there is a flag to enable that. It is at:


@@ -848,7 +850,7 @@ For example:
 \section[Video Effects --- Native]{Video Effects -- Native}%
 \label{sec:video_effects_native}
 \settocdepth{subsection}
 \section[Video Effects --- Native]{Video Effects -- Native}%
 \label{sec:video_effects_native}
 \settocdepth{subsection}

-\index{video plugins}
+\index{video!plugins}

 
 \subsection{1080 to 480}%
 \label{sub:1080_to_480}
 
 \subsection{1080 to 480}%
 \label{sub:1080_to_480}


@@ -3530,7 +3532,7 @@ Figure~\ref{fig:zoom} shows the parameters: Radius=21 and Steps=3.
 \section{CUDA plugins}%
 \label{sec:cuda_plugins}
 \settocdepth{section}
 \section{CUDA plugins}%
 \label{sec:cuda_plugins}
 \settocdepth{section}

-\index{CUDA plugin}
+\index{CUDA!plugin}

 
 Only for Nvidia GPU and Cuda SDK
 
 
 Only for Nvidia GPU and Cuda SDK
 

diff --git a/parts/Recording.tex b/parts/Recording.tex
index 4884ec1b72a78ebde5bbb1055204f80146b8ce6c..ecc1a290f3beee670951dc0ab47aae8082cf4501 100644 (file)
--- a/parts/Recording.tex
+++ b/parts/Recording.tex
@@ -1,5 +1,7 @@
 \chapter{Capturing and Recording Media}%
 \label{cha:capturing_recording_media}
 \chapter{Capturing and Recording Media}%
 \label{cha:capturing_recording_media}

+\index{capture}
+\index{recording}

 
 \begin{figure}[htpb]
     \centering
 
 \begin{figure}[htpb]
     \centering


@@ -33,6 +35,7 @@ The media file will be written using the format and codec specified in the \text
 
 \section{Record Web Media in real-time}%
 \label{sec:record_web_media_rt}
 
 \section{Record Web Media in real-time}%
 \label{sec:record_web_media_rt}

+\index{recording!web media in real time}

 
 Below describes the necessary steps for recording freely available media from the internet for your own personal use.  You have to be on a system using pulseaudio, such as ubuntu, fedora, centos.
 
 
 Below describes the necessary steps for recording freely available media from the internet for your own personal use.  You have to be on a system using pulseaudio, such as ubuntu, fedora, centos.
 


@@ -176,6 +179,7 @@ One other noted new feature is a new choice for recording -  \texttt{V4L2 MPEG}.
 
 \section{Digital Video Broadcasting (DVB)}%
 \label{sec:digital_video_broadcasting}
 
 \section{Digital Video Broadcasting (DVB)}%
 \label{sec:digital_video_broadcasting}

+\index{capture!digital broadcasting}

 
 You can do real-time capture of a full transport stream of Broadcast TV.  Record television programs using \CGG{} by setting up ahead of time to start recording later at the specified time.  Then you can use \CGG{} to watch later and easily fast forward through the commercials or edit the program, deleting the commercials, to watch uninterrupted.  Some details may be slightly different than what it is in the United States.  There are 3 requirements you must have to take advantage of this capability.
 
 
 You can do real-time capture of a full transport stream of Broadcast TV.  Record television programs using \CGG{} by setting up ahead of time to start recording later at the specified time.  Then you can use \CGG{} to watch later and easily fast forward through the commercials or edit the program, deleting the commercials, to watch uninterrupted.  Some details may be slightly different than what it is in the United States.  There are 3 requirements you must have to take advantage of this capability.
 


@@ -430,6 +434,7 @@ Figure~\ref{fig:two-monitors04} shows 2 monitors with Compositor window on the 2
 
 \subsection{Remote Control for DVB}%
 \label{sub:remote_control_dvb}
 
 \subsection{Remote Control for DVB}%
 \label{sub:remote_control_dvb}

+\index{capture!remote control for DVB}

 
 \CGG{} DVB recording/playback can now easily be done in \textit{couch potato} mode using a remote control.  This comes in handy when you want to playback on a big TV screen for multiple person viewing. You can use the Application/Menu key on the keyboard to toggle between standard \CGG{} usage or a Dispatcher methodology through use of a remote control, an Android programmed device such as a tablet, or keyboard. The Application/Menu key on most keyboards is between the Alt and Ctrl keys on the right hand side bottom and depicts a menu on it either with or without a pointer (see image below).  An ati-x10 Remote Control device (figure~\ref{fig:remote01}) is currently working with \CGG{} and other remote controls may work but have never been tried.  The red/orange box on the top left main screen of \CGG{}  indicates Dispatcher Method access is activated which allows for keyboard grab which routes all key strokes until toggled off.  Below are the currently defined operations.
 
 
 \CGG{} DVB recording/playback can now easily be done in \textit{couch potato} mode using a remote control.  This comes in handy when you want to playback on a big TV screen for multiple person viewing. You can use the Application/Menu key on the keyboard to toggle between standard \CGG{} usage or a Dispatcher methodology through use of a remote control, an Android programmed device such as a tablet, or keyboard. The Application/Menu key on most keyboards is between the Alt and Ctrl keys on the right hand side bottom and depicts a menu on it either with or without a pointer (see image below).  An ati-x10 Remote Control device (figure~\ref{fig:remote01}) is currently working with \CGG{} and other remote controls may work but have never been tried.  The red/orange box on the top left main screen of \CGG{}  indicates Dispatcher Method access is activated which allows for keyboard grab which routes all key strokes until toggled off.  Below are the currently defined operations.
 


@@ -553,6 +558,7 @@ SECTION NOT DONE !! This section explains how you can take your own brand of rem
 
 \section{The commercial DB}%
 \label{sec:commercial_db}
 
 \section{The commercial DB}%
 \label{sec:commercial_db}

+\index{capture! commercials database}

 
 While watching broadcast television, it is possible to use \CGG{} to automatically mute commercials being aired during a broadcast capture.  Visual muting as well as sound muting is done!  You can NOT use ffmpeg for the format when working with the \textit{commercial DB}.  This database that was added is a \textit{novel architecture} shared memory database, a \textit{Traveling Data Base} (TDB). With TDB you have direct access to the shared database presence (instead of having to go to the server).
 
 
 While watching broadcast television, it is possible to use \CGG{} to automatically mute commercials being aired during a broadcast capture.  Visual muting as well as sound muting is done!  You can NOT use ffmpeg for the format when working with the \textit{commercial DB}.  This database that was added is a \textit{novel architecture} shared memory database, a \textit{Traveling Data Base} (TDB). With TDB you have direct access to the shared database presence (instead of having to go to the server).
 


@@ -613,6 +619,7 @@ Currently, only a customized \textit{ati-x10} (kernel mod required) radio remote
 
 \section{Transfer VHS/DVD Media or Video8/Hi8 Tapes into \CGG{}}%
 \label{sec:transfer_vhs_dvd_tapes_into_cinelerra}
 
 \section{Transfer VHS/DVD Media or Video8/Hi8 Tapes into \CGG{}}%
 \label{sec:transfer_vhs_dvd_tapes_into_cinelerra}

+\index{recording!transfer VHS/DVD media}

 
 If you want to transfer the data on a VHS tape, DVD disc, or Video8/Hi8 Tapes into \CGG{}, you
 can do so by playing the media and recording while playing.  This captures the media, which you
 
 If you want to transfer the data on a VHS tape, DVD disc, or Video8/Hi8 Tapes into \CGG{}, you
 can do so by playing the media and recording while playing.  This captures the media, which you


@@ -679,6 +686,7 @@ Now you can \textit{Load} the file that you played and recorded via the \textit{
 
 \subsection{Use Case \#1 – EasyCap Model \# DC60}
 \label{sub:use_case_easycap_model_dc60}
 
 \subsection{Use Case \#1 – EasyCap Model \# DC60}
 \label{sub:use_case_easycap_model_dc60}

+\index{capture!EasyCap model}

 
 A very specific case using an Easy CAPture USB 2.0 Video Adapter with Audio, Model \#DC60 (supports
 NTSC and PAL) is shown here next. The setup for this device is seen in figure~\ref{fig:recording-05}.
 
 A very specific case using an Easy CAPture USB 2.0 Video Adapter with Audio, Model \#DC60 (supports
 NTSC and PAL) is shown here next. The setup for this device is seen in figure~\ref{fig:recording-05}.


@@ -741,6 +749,7 @@ Output from "dmesg" for EasyCap - Model \# DC60:
 
 \subsection{Use Case \#2 – Hauppauge WinTV-HVR}
 \label{sub:use_case_wintv}
 
 \subsection{Use Case \#2 – Hauppauge WinTV-HVR}
 \label{sub:use_case_wintv}

+\index{capture!Hauppage WinTV}

  
 In the case of the Hauppauge 9500 WinTV-HVR Hybrid TV stick, the setup is similar as in case
 \#1 with the major exception being that the Video In, Record Driver should be Video4Linux2 MPEG.
  
 In the case of the Hauppauge 9500 WinTV-HVR Hybrid TV stick, the setup is similar as in case
 \#1 with the major exception being that the Video In, Record Driver should be Video4Linux2 MPEG.

diff --git a/parts/Rendering.tex b/parts/Rendering.tex
index 809b94f62992404f4af3c87f14a43fb9462d83a7..35a47bc7ed20d50e2b660c335ebe8d752caa8500 100644 (file)
--- a/parts/Rendering.tex
+++ b/parts/Rendering.tex
@@ -17,7 +17,7 @@ But you also have the choice to render \textit{one frame}.
 
 \section{Single File Rendering}%
 \label{sec:single_file_rendering}
 
 \section{Single File Rendering}%
 \label{sec:single_file_rendering}

-\index{single file rendering}
+\index{rendering!single file}

 
 Use the \textit{File} pulldown and select Render to start the render dialog
 (figure~\ref{fig:render}).  Then choose the desired parameters.
 
 Use the \textit{File} pulldown and select Render to start the render dialog
 (figure~\ref{fig:render}).  Then choose the desired parameters.


@@ -106,7 +106,7 @@ Use the \textit{File} pulldown and select Render to start the render dialog
   check this box.  It gives you the chance to work on something else
   while waiting and still be immediately notified when the render is
   complete.
   check this box.  It gives you the chance to work on something else
   while waiting and still be immediately notified when the render is
   complete.

-\item[Render Profile:] \index{render profile} another convenience feature to take advantage
+\item[Render Profile:] \index{rendering!profile} another convenience feature to take advantage

   of if you use specific render formats frequently, is to save that
   profile for future usage without having to set it up again.
 \item[Save Profile:] after setting up your render preference
   of if you use specific render formats frequently, is to save that
   profile for future usage without having to set it up again.
 \item[Save Profile:] after setting up your render preference


@@ -260,7 +260,7 @@ creating its usual windows.
 
 \subsection{Command Line Rendering}%
 \label{sub:command_line_rendering}
 
 \subsection{Command Line Rendering}%
 \label{sub:command_line_rendering}

-\index{rendering: command line}
+\index{rendering!command line}

 
 The command line rendering method consists of a way to load the
 current set of batch rendering jobs and process them without a
 
 The command line rendering method consists of a way to load the
 current set of batch rendering jobs and process them without a


@@ -288,7 +288,7 @@ cin -r
 
 \subsection{More about Save/Use EDL and Save/Load Jobs}%
 \label{sub:more_save_use_edl_jobs}
 
 \subsection{More about Save/Use EDL and Save/Load Jobs}%
 \label{sub:more_save_use_edl_jobs}

-\index{batch render: more options}
+\index{batch rendering!more options}

 
 The \texttt{File $\rightarrow$ Batch Render} pulldown brings up the
 Batch Render window to be used for batch rendering as well as DVD/BD
 
 The \texttt{File $\rightarrow$ Batch Render} pulldown brings up the
 Batch Render window to be used for batch rendering as well as DVD/BD


@@ -378,7 +378,7 @@ real-time effects if enough network bandwidth and CPU nodes exist.
 
 Background rendering is enabled in the \texttt{Performance} tab of
 the \texttt{Preferences} window. It has one interactive function
 
 Background rendering is enabled in the \texttt{Performance} tab of
 the \texttt{Preferences} window. It has one interactive function

-\texttt{Settings $\rightarrow$ Toggle background rendering} \index{background rendering toggle}. This
+\texttt{Settings $\rightarrow$ Toggle background rendering} \index{background rendering!toggle}. This

 sets the point where background rendering starts up to the position
 of the insertion point. If any video exists, a red bar appears in
 the time ruler showing what has been background rendered
 sets the point where background rendering starts up to the position
 of the insertion point. If any video exists, a red bar appears in
 the time ruler showing what has been background rendered


@@ -514,7 +514,7 @@ cin -d 407
 
 \subsection{Render Farm Menu and Parameter Description}%
 \label{sub:render_farm_parameter_description}
 
 \subsection{Render Farm Menu and Parameter Description}%
 \label{sub:render_farm_parameter_description}

-\index{render farm parameters}
+\index{render farm!parameters}

 
 Below we describe the Performance tab for configuring a render farm
 (figure~\ref{fig:farm}).
 
 Below we describe the Performance tab for configuring a render farm
 (figure~\ref{fig:farm}).


@@ -610,7 +610,7 @@ render farm session to restart with a good balance.
 
 \subsection{Detailed Setup Description}%
 \label{sub:detailed_setup_description}
 
 \subsection{Detailed Setup Description}%
 \label{sub:detailed_setup_description}

-\index{render farm setup}
+\index{render farm!setup}

 
 {\color{red} CAUTION }, any exact command lines worked as of
 $01/2018$ on a Fedora system.  These can change over time and on
 
 {\color{red} CAUTION }, any exact command lines worked as of
 $01/2018$ on a Fedora system.  These can change over time and on


@@ -858,7 +858,7 @@ want to bother setting up NFS for a shared disk.
 
 \subsection{Multi-core Computers Render Farm Setup}%
 \label{sub:multi_core_render_farm_setup}
 
 \subsection{Multi-core Computers Render Farm Setup}%
 \label{sub:multi_core_render_farm_setup}

-\index{render farm: multi core CPU}
+\index{render farm!multi core CPU}

 
 If you are lucky enough to have a computer with a large cpu core
 count, setting up a render farm can really take advantage of using
 
 If you are lucky enough to have a computer with a large cpu core
 count, setting up a render farm can really take advantage of using


@@ -873,7 +873,7 @@ count.
 
 \subsection{Troubleshooting Tips and Warnings}%
 \label{sub:troubleshhoting_tips_warnings}
 
 \subsection{Troubleshooting Tips and Warnings}%
 \label{sub:troubleshhoting_tips_warnings}

-\index{render farm: troubleshooting}
+\index{render farm!troubleshooting}

 
 \noindent If you have problems running the Render Farm.  Here is a
 list of items to check.
 
 \noindent If you have problems running the Render Farm.  Here is a
 list of items to check.


@@ -995,7 +995,7 @@ outlined below.  These setup steps make it easy to just get started.
 
 \subsection{Lossless Rendering}%
 \label{sub:loseeless_rendering}
 
 \subsection{Lossless Rendering}%
 \label{sub:loseeless_rendering}

-\index{rendering: lossless}
+\index{rendering!lossless}

 
 Lossless means that in the compression of a file, all of the
 original data, every single bit, can be recovered when the file is
 
 Lossless means that in the compression of a file, all of the
 original data, every single bit, can be recovered when the file is


@@ -1026,7 +1026,7 @@ you see $qp=0$.  This option is also available for bluray creation.
 
 \subsection{Extra “cin\_” Options for Render with FFmpeg}%
 \label{sub:extra_cin_option_ffmpeg}
 
 \subsection{Extra “cin\_” Options for Render with FFmpeg}%
 \label{sub:extra_cin_option_ffmpeg}

-\index{rendering: ffmpeg options}
+\index{rendering!ffmpeg options}

 
 There are several special parameters that can be used in the ffmpeg
 options file to pass values to the codecs that are not normally
 
 There are several special parameters that can be used in the ffmpeg
 options file to pass values to the codecs that are not normally


@@ -1108,7 +1108,7 @@ sections 19 and 21.
 
 \subsection{Two-pass Encoding with FFmpeg}%
 \label{sub:two_pass_encoding_ffmpeg}
 
 \subsection{Two-pass Encoding with FFmpeg}%
 \label{sub:two_pass_encoding_ffmpeg}

-\index{rendering: ffmpeg two-pass encoding}
+\index{rendering!ffmpeg two-pass encoding}

 
 In \CGG{} for two-pass, you need to run ffmpeg twice, with the same
 settings, except for designating the options of pass~1 for the first
 
 In \CGG{} for two-pass, you need to run ffmpeg twice, with the same
 settings, except for designating the options of pass~1 for the first


@@ -1306,7 +1306,7 @@ Further links:
 
 \subsection{Piping Video to a Command Line}%
 \label{sub:piping_video_command_line}
 
 \subsection{Piping Video to a Command Line}%
 \label{sub:piping_video_command_line}

-\index{rendering: command line}
+\index{rendering!command line}

 
 You can pipe a video to any command line on the computer, such as
 ffmpeg.  This can be especially useful with raw video files.  Next
 
 You can pipe a video to any command line on the computer, such as
 ffmpeg.  This can be especially useful with raw video files.  Next

diff --git a/parts/Shortcuts.tex b/parts/Shortcuts.tex
index 50bba1eafd93c5863ee0ca5cfbe260f7b3f694c6..9b82e921ae8d83147cd54a8b76f31010a27845c6 100644 (file)
--- a/parts/Shortcuts.tex
+++ b/parts/Shortcuts.tex
@@ -1,5 +1,6 @@
 \chapter{Shortcuts}%
 \label{cha:shortcuts}
 \chapter{Shortcuts}%
 \label{cha:shortcuts}

+\index{shortcuts}

 
 In \CGGI{} a lot of shortcuts are defined for various operations.
 Although it is quite possible to do everything with the mouse, the extensive
 
 In \CGGI{} a lot of shortcuts are defined for various operations.
 Although it is quite possible to do everything with the mouse, the extensive


@@ -23,11 +24,13 @@ Alt or Ctrl always refers to the left one on the keyboard.
 
 \section{Main window }%
 \label{sec:main_window}
 
 \section{Main window }%
 \label{sec:main_window}

+\index{shortcuts!main window}

 
 The Main window (also called the program window) consists of pulldown menus, buttons and keys.
 
 \subsection*{Main menu pulldowns}% Without numbering.
 \label{sub:main_menu_pulldowns}
 
 The Main window (also called the program window) consists of pulldown menus, buttons and keys.
 
 \subsection*{Main menu pulldowns}% Without numbering.
 \label{sub:main_menu_pulldowns}

+\index{shortcuts!main window pulldowns}

 
 \renewcommand{\arraystretch}{1.15}% Increase line spacing slightly.
 
 
 \renewcommand{\arraystretch}{1.15}% Increase line spacing slightly.
 


@@ -167,6 +170,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \subsection*{Main menu buttons}%
 \label{sub:main_menu_buttons}
 
 \subsection*{Main menu buttons}%
 \label{sub:main_menu_buttons}

+\index{shortcuts!main window buttons}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -263,6 +267,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \subsection*{Main menu Keys}%
 \label{sub:main_menu_keys}
 
 \subsection*{Main menu Keys}%
 \label{sub:main_menu_keys}

+\index{shortcuts!main window keys}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -349,9 +354,11 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \section{Compositor window}%
 \label{sec:compositor_window_shortcuts}
 
 \section{Compositor window}%
 \label{sec:compositor_window_shortcuts}

+\index{shortcuts!compositor window}

 
 \subsection*{Compositor buttons}%
 \label{ssec:compositor_buttons}
 
 \subsection*{Compositor buttons}%
 \label{ssec:compositor_buttons}

+\index{shortcuts!compositor buttons}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -395,6 +402,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \subsection*{Compositor keys }%
 \label{ssec:compositor_keys}
 
 \subsection*{Compositor keys }%
 \label{ssec:compositor_keys}

+\index{shortcuts!compositor keys}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -443,9 +451,11 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \section{Viewer window }%
 \label{sec:viewer_window_shortcuts}
 
 \section{Viewer window }%
 \label{sec:viewer_window_shortcuts}

+\index{shortcuts!viewer window}

 
 \subsection*{Viewer buttons }%
 \label{ssec:viewer_buttons}
 
 \subsection*{Viewer buttons }%
 \label{ssec:viewer_buttons}

+\index{shortcuts!viewer window buttons}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -498,6 +508,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \subsection*{Viewer Keys }%
 \label{ssec:viewer_keys}
 
 \subsection*{Viewer Keys }%
 \label{ssec:viewer_keys}

+\index{shortcuts!viewer keys}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -524,6 +535,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \section{Resources window Keys }%
 \label{sec:resources_window_keys}
 
 \section{Resources window Keys }%
 \label{sec:resources_window_keys}

+\index{shortcuts!resources window}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -558,9 +570,11 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \section{Other windows }%
 \label{sec:other_windows}
 
 \section{Other windows }%
 \label{sec:other_windows}

+\index{shortcuts!other windows}

 
 \subsection*{Other Buttons }%
 \label{ssec:other_buttons}
 
 \subsection*{Other Buttons }%
 \label{ssec:other_buttons}

+\index{shortcuts!other windows} buttons

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule


@@ -599,6 +613,7 @@ The Main window (also called the program window) consists of pulldown menus, but
 
 \subsection*{Other Keys }%
 \label{ssec:other_keys}
 
 \subsection*{Other Keys }%
 \label{ssec:other_keys}

+\index{shortcuts!other windows keys}

 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule
 
 \begin{longtable}[h]{>{\bfseries}p{0.15\textwidth-2\tabcolsep}p{0.25\textwidth-2\tabcolsep}p{0.2\textwidth-2\tabcolsep}p{0.4\textwidth-2\tabcolsep}}
   \toprule

diff --git a/parts/Transition.tex b/parts/Transition.tex
index f7cd6021cc5e1ff2f71e018f3217c9dcccda2311..41c90b331f81eac4af2c1c5b0f0531eef35ae48f 100644 (file)
--- a/parts/Transition.tex
+++ b/parts/Transition.tex
@@ -143,7 +143,9 @@ Next, there is a \textit{Feather} textbox with tumbler arrows or a slider bar to
 
 \begin{figure}[htpb] \centering
        \includegraphics[width=0.9\linewidth]{star.png}
 
 \begin{figure}[htpb] \centering
        \includegraphics[width=0.9\linewidth]{star.png}

-       \caption{Example of the Shape Wipe $\rightarrow$ Star}
+       \caption{Example of the Shape Wipe -> Star}
+%      do not use rightarrow in a figure as HTML version does not like it
+%      \caption{Example of the Shape Wipe $\rightarrow$ Star}

        \label{fig:star}
 \end{figure}
 
        \label{fig:star}
 \end{figure}
 

diff --git a/parts/Windows.tex b/parts/Windows.tex
index cbdb831c01245be50edead81d678d181562d2cfb..ea32d57f56a1a999fd57c9bb512c8ede5623ddde 100644 (file)
--- a/parts/Windows.tex
+++ b/parts/Windows.tex
@@ -136,7 +136,7 @@ without having to modify your Preference.
 
 \subsection{Zoom Panel}%
 \label{sub:zoom_panel}
 
 \subsection{Zoom Panel}%
 \label{sub:zoom_panel}

-\index{zoom panel}
+\index{zoom!panel}

 
 Below the displayed tracks in the timeline, you will find the zoom panel as seen in figure~\ref{fig:patchbay}.
 In addition to the scrollbars, these options and their values are another set of tools for positioning the timeline.  
 
 Below the displayed tracks in the timeline, you will find the zoom panel as seen in figure~\ref{fig:patchbay}.
 In addition to the scrollbars, these options and their values are another set of tools for positioning the timeline.  


@@ -175,7 +175,7 @@ Shortcuts, \texttt{Ctrl-Pgup} and \texttt{Ctrl-Pgdown}, change the track zoom to
 the timeline and is being manipulated, a small square the same color as the line will be shown to 
 the left of the Automation type when the left mouse button (LMB) is pressed.  This is just an indicator to make it easy to see what is being worked.
  
 the timeline and is being manipulated, a small square the same color as the line will be shown to 
 the left of the Automation type when the left mouse button (LMB) is pressed.  This is just an indicator to make it easy to see what is being worked.
  

-The \emph{curve zoom} \index{autos zoom} affects the curves for the selected \emph{automation type} in all the tracks of that type and determines the value range for those curves. 
+The \emph{curve zoom} \index{autos!zoom} affects the curves for the selected \emph{automation type} in all the tracks of that type and determines the value range for those curves. 

 Use the tumbler arrows to the left of the numbers for the minimum value and the tumblers to the right for the maximum value, or manually enter the values in the text box. 
 Good default values for audio fade are -40.0 to 6.0 and for video fade are 0.0 to 100.0. 
 The tumbler arrows change curve amplitude, but the only way to curve offset is to use the fit curves button on the curve itself.
 Use the tumbler arrows to the left of the numbers for the minimum value and the tumblers to the right for the maximum value, or manually enter the values in the text box. 
 Good default values for audio fade are -40.0 to 6.0 and for video fade are 0.0 to 100.0. 
 The tumbler arrows change curve amplitude, but the only way to curve offset is to use the fit curves button on the curve itself.


@@ -197,7 +197,7 @@ there is an X with the tooltip of "Cancel operation" \index{cancel operation} us
 
 \subsection{Track Popup Menu}%
 \label{sub:track_popup_menu}
 
 \subsection{Track Popup Menu}%
 \label{sub:track_popup_menu}

-\index{track popup menu}
+\index{track!popup menu}

 
 Each Track has a popup menu. 
 To activate the track popup menu, Right mouse click (RMB) on the track. 
 
 Each Track has a popup menu. 
 To activate the track popup menu, Right mouse click (RMB) on the track. 


@@ -483,13 +483,13 @@ The main window pulldowns as pointed out in figure~\ref{fig:insertion-points} ar
 \begin{description}
     \item[File] \index{file} options for loading, saving, and rendering as described in other sections (\ref{cha:load_save_and_the_EDL}).
     \item[Edit] \index{edit} edit functions; most of which have shortcuts that you will quickly learn (\ref{cha:editing}).
 \begin{description}
     \item[File] \index{file} options for loading, saving, and rendering as described in other sections (\ref{cha:load_save_and_the_EDL}).
     \item[Edit] \index{edit} edit functions; most of which have shortcuts that you will quickly learn (\ref{cha:editing}).

-    \item[Keyframes] \index{keyframes} keyframe options which are described in the Keyframe section (\ref{cha:keyframes}).
+    \item[Keyframes] keyframe options which are described in the Keyframe section (\ref{cha:keyframes}).

     \item[Audio] \index{audio} audio functions such as \textit{Add track}, \textit{Attach effect}
 and \textit{Attach transition}.  The \textit{Attach effect} is especially useful when
 you need the effect to be applied to all related audio tracks as a \textit{Shared effect}
 and is described as an alternative method of application in section \ref{sec:shared_effect_tracks}.
     \item[Video] \index{video} video functions such as \textit{Add track, Default/Attach transition, Render effect}.
     \item[Audio] \index{audio} audio functions such as \textit{Add track}, \textit{Attach effect}
 and \textit{Attach transition}.  The \textit{Attach effect} is especially useful when
 you need the effect to be applied to all related audio tracks as a \textit{Shared effect}
 and is described as an alternative method of application in section \ref{sec:shared_effect_tracks}.
     \item[Video] \index{video} video functions such as \textit{Add track, Default/Attach transition, Render effect}.

-    \item[Tracks] \index{tracks} move or delete tracks are the most often used plus \textit{Align Timecodes}.
+    \item[Tracks] \index{track} move or delete tracks are the most often used plus \textit{Align Timecodes}.

     \item[Settings] \index{settings} much of this is described elsewhere with the most frequently used to include
 Preferences (\ref{cha:configuration_settings_preferences}), Format (\ref{cha:project_and_media_attributes}), 
 Proxy and Transcode (\ref{sec:proxy_settings}), as well as the others.
     \item[Settings] \index{settings} much of this is described elsewhere with the most frequently used to include
 Preferences (\ref{cha:configuration_settings_preferences}), Format (\ref{cha:project_and_media_attributes}), 
 Proxy and Transcode (\ref{sec:proxy_settings}), as well as the others.


@@ -500,7 +500,7 @@ Proxy and Transcode (\ref{sec:proxy_settings}), as well as the others.
 
 \subsection{Window Layouts}%
 \label{sub:window_layouts}
 
 \subsection{Window Layouts}%
 \label{sub:window_layouts}

- \index{window layout}
+ \index{window!layout}

 
 If you like to use different window layouts than the default for certain scenarios, you can setup, save, and load 4 variations.   
 First, position your \CGG{} windows where you want them to be and then use the \textit{Window} pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight. 
 
 If you like to use different window layouts than the default for certain scenarios, you can setup, save, and load 4 variations.   
 First, position your \CGG{} windows where you want them to be and then use the \textit{Window} pulldown and choose \emph{Save layout}. Note the words \emph{Save layout} highlighted in Figure~\ref{fig:window_layouts}a with 4 names shown to the right and below of that highlight. 


@@ -614,7 +614,7 @@ Now you can clip/play/expand or edit the previous playback selection.
 
 \subsubsection*{Playback Speed Automation Support}%
 \label{ssub:playback_speed_automation_support}
 
 \subsubsection*{Playback Speed Automation Support}%
 \label{ssub:playback_speed_automation_support}

- \index{autos speed}
+ \index{autos!speed}

 
 The speed automation causes the playback sampling rate to increase or decrease to a period controlled by the speed automation curve.  
 This can make playback speed-up or slow-down according to the scaled sampling rate, as \textit{time is multiplied by speed} (Speed $\times$ Unit\_rate). For more information on changing
 
 The speed automation causes the playback sampling rate to increase or decrease to a period controlled by the speed automation curve.  
 This can make playback speed-up or slow-down according to the scaled sampling rate, as \textit{time is multiplied by speed} (Speed $\times$ Unit\_rate). For more information on changing


@@ -656,7 +656,7 @@ will not include audio.
 
 \section{Compositor Window}%
 \label{sec:compositor_window}
 
 \section{Compositor Window}%
 \label{sec:compositor_window}

- \index{compositor window}
+ \index{compositor!window}

 
 \begin{figure}[htpb]
     \centering
 
 \begin{figure}[htpb]
     \centering


@@ -678,7 +678,7 @@ in more detail in the following sections.
 
 \subsection{Compositor Controls}%
 \label{sub:compositor_controls}
 
 \subsection{Compositor Controls}%
 \label{sub:compositor_controls}

-\index{compositor controls}
+\index{compositor!controls}

 
 On the bottom of the window, there are many
 of the same transport buttons \index{transport buttons} and controls that are available in the Program window.
 
 On the bottom of the window, there are many
 of the same transport buttons \index{transport buttons} and controls that are available in the Program window.


@@ -687,13 +687,13 @@ when you mouse over each of the icons so their use is fairly obvious.  However,
 of particular note is the button \textit{Click to play} \index{click to play} which is described in~\ref{sub:click_to_play_in_viewer_and_compositor}.  Next is the \textit{Videoscope} \index{videoscope} button which is used to enable the scopes window
 without having to apply the filter to the tracks/edits.
 
 of particular note is the button \textit{Click to play} \index{click to play} which is described in~\ref{sub:click_to_play_in_viewer_and_compositor}.  Next is the \textit{Videoscope} \index{videoscope} button which is used to enable the scopes window
 without having to apply the filter to the tracks/edits.
 

-Next to all of these controls all the way to the right side, there is a \textit{zoom menu} \index{zoom menu} and a \textit{tally light}.  The \textit{zoom menu} has a pulldown with different settings that you can choose from
+Next to all of these controls all the way to the right side, there is a \textit{zoom menu} \index{zoom!menu} and a \textit{tally light}.  The \textit{zoom menu} has a pulldown with different settings that you can choose from

 or you can just use the tumbler arrows to the right. Generally when just getting started, you
 will be using the default \textit{Auto} option.  The window size is not changed, but rather
 the size of the video itself. In addition there are many shortcuts for zooming that you
 will find in the Shortcuts chapter (\ref{cha:shortcuts}).
 
 or you can just use the tumbler arrows to the right. Generally when just getting started, you
 will be using the default \textit{Auto} option.  The window size is not changed, but rather
 the size of the video itself. In addition there are many shortcuts for zooming that you
 will find in the Shortcuts chapter (\ref{cha:shortcuts}).
 

-Using a RMB click in the compositor window brings up a menu with several options \index{compositor RMB options}.  One of these
+Using a RMB click in the compositor window brings up a menu with several options \index{compositor!RMB options}.  One of these

 is \emph{Resize Window} which allows for resizing the entire window instead of just the video
 and if you highlight that, you can choose from several variations for the window size. 
 Other available options include self-explanatory ones of \emph{Fullscreen} with "f" as a toggle
 is \emph{Resize Window} which allows for resizing the entire window instead of just the video
 and if you highlight that, you can choose from several variations for the window size. 
 Other available options include self-explanatory ones of \emph{Fullscreen} with "f" as a toggle


@@ -711,7 +711,7 @@ bottom set of controls for a cleaner look.
 
 Next to the zoom tumbler arrows, is a \textit{tally light} that will be filled in with some color
 (often red or blue) when a rendering operation
 
 Next to the zoom tumbler arrows, is a \textit{tally light} that will be filled in with some color
 (often red or blue) when a rendering operation

-is taking place \index{render operation light}. This is especially helpful when loading a very large video so you know
+is taking place \index{rendering!operation light}. This is especially helpful when loading a very large video so you know

 when it is finished loading.  You should pay attention to this \textit{tally light} when performing
 a particularly time-consuming operation so that you do not keep executing more operations
 that just have to wait until completion of that CPU intensive operation.  Also, you should look
 when it is finished loading.  You should pay attention to this \textit{tally light} when performing
 a particularly time-consuming operation so that you do not keep executing more operations
 that just have to wait until completion of that CPU intensive operation.  Also, you should look


@@ -723,7 +723,7 @@ be accomplished with the bottom and right hand side scroll bars when displayed.
 
 \subsection{Compositor Toolbar}%
 \label{sub:compositor_toolbar}
 
 \subsection{Compositor Toolbar}%
 \label{sub:compositor_toolbar}

-\index{compositor toolbar}
+\index{compositor!toolbar}

 
 On the left hand side of the Compositor window, there is a toolbar with several icons that
 provide functions for viewing and compositing the video. Each of these operational features 
 
 On the left hand side of the Compositor window, there is a toolbar with several icons that
 provide functions for viewing and compositing the video. Each of these operational features 


@@ -735,7 +735,7 @@ compositor output when clicking on the Compositor window. It allows for using th
 to prevent an accidental click from making unwanted changes. When you enable this option, any
 of the other enabled tools will automatically be disabled.
 
 to prevent an accidental click from making unwanted changes. When you enable this option, any
 of the other enabled tools will automatically be disabled.
 

-     \item[Zoom view / magnifying glass] \index{zoom slider} when enabled, the \textit{Zoom view} immediately results
+     \item[Zoom view / magnifying glass] \index{zoom!slider} when enabled, the \textit{Zoom view} immediately results

 in the addition of a zoom slider for fine viewing.  
 The vertically oriented \textit{zoom slider} will be displayed underneath the last icon of the toolbar and extends
 to almost the end of the toolbar.
 in the addition of a zoom slider for fine viewing.  
 The vertically oriented \textit{zoom slider} will be displayed underneath the last icon of the toolbar and extends
 to almost the end of the toolbar.


@@ -867,7 +867,7 @@ cropped.
 
 \subsubsection*{Track and Output size}%
 \label{ssub:track_size}
 
 \subsubsection*{Track and Output size}%
 \label{ssub:track_size}

-\index{track size}
+\index{track!size}

 \index{output size}
 
 The \textit{Track size} is used to define the temporary size with each track having a different size (viewports). It also serves to conform the input media to a chosen format (aspect ratio). So each track can have a different format (viewport).
 \index{output size}
 
 The \textit{Track size} is used to define the temporary size with each track having a different size (viewports). It also serves to conform the input media to a chosen format (aspect ratio). So each track can have a different format (viewport).


@@ -1034,7 +1034,7 @@ In the \textit{Curve type} section we can choose between various interpolation a
        \item[bump:] has 2 values, one viewed from the left/right, discontinuous.
 \end{description}
 
        \item[bump:] has 2 values, one viewed from the left/right, discontinuous.
 \end{description}
 

-In the \textit{Keyframe} \index{keyframes} section we can create new keyframes and set them as Bump autos (\textit{Right/Left edges} and \textit{Span} buttons). For further details see \nameref{sec:bump_autos}.
+In the \textit{Keyframe} section we can create new keyframes and set them as Bump autos (\textit{Right/Left edges} and \textit{Span} buttons). For further details see \nameref{sec:bump_autos}.

 
 \subsubsection*{Reset to Default}%
 \label{ssub:reset_default}
 
 \subsubsection*{Reset to Default}%
 \label{ssub:reset_default}


@@ -1541,7 +1541,7 @@ As you type in characters a match is made with that substring.
 Names that do not match are filtered out making it a lot easier to find the item you are looking for.  
 The characters can be any where within the phrase and it does not matter if upper or lower case. 
 
 Names that do not match are filtered out making it a lot easier to find the item you are looking for.  
 The characters can be any where within the phrase and it does not matter if upper or lower case. 
 

-Other options you will see if you \textit{right mouse click in the folder} which brings up the menu are described next \index{folders contents RMB options}.  
+Other options you will see if you \textit{right mouse click in the folder} which brings up the menu are described next \index{folders!RMB options}.  

 
 \begin{description}
     \item[ Load files ]  for convenience to load files same as from the main window so you do not have to move the mouse so far in case you have multiple monitors.
 
 \begin{description}
     \item[ Load files ]  for convenience to load files same as from the main window so you do not have to move the mouse so far in case you have multiple monitors.


@@ -1554,7 +1554,7 @@ Other options you will see if you \textit{right mouse click in the folder} which
     \item[Snapshot/Grabshot]  use to take a quick snapshot or to grab a specific area on the screen.  These functions are described in detail in section \ref{sub:snapshot_grabshot}).
 \end{description}
 
     \item[Snapshot/Grabshot]  use to take a quick snapshot or to grab a specific area on the screen.  These functions are described in detail in section \ref{sub:snapshot_grabshot}).
 \end{description}
 

-Using the right mouse click to bring up a menu in the folder area \index{folders RMB options}, you can also switch from Display text to Display icons, Sort items and create, delete and manipulate user defined folders/bins. Select Folder to create a user Folder or modify an existing folder.
+Using the right mouse click to bring up a menu in the folder area \index{folders!RMB options}, you can also switch from Display text to Display icons, Sort items and create, delete and manipulate user defined folders/bins. Select Folder to create a user Folder or modify an existing folder.

 
 If you \textit{right mouse click on a highlighted/selected resource}, several options are available depending on whether the resource is an effect or transition or a piece of media.  
 You can highlight several for some options so that it is applicable to all of them, such as Info.  
 
 If you \textit{right mouse click on a highlighted/selected resource}, several options are available depending on whether the resource is an effect or transition or a piece of media.  
 You can highlight several for some options so that it is applicable to all of them, such as Info.  


@@ -1579,8 +1579,8 @@ Those listed immediately below are the available choices for media assets \index
 \end{description}
 
 In the case of Effects or Transitions \index{effects/transitions info}, a right mouse click on a highlighted selection leads to an \emph{Info} button which gives a short 1 line description of what the effect/transition can be used for.
 \end{description}
 
 In the case of Effects or Transitions \index{effects/transitions info}, a right mouse click on a highlighted selection leads to an \emph{Info} button which gives a short 1 line description of what the effect/transition can be used for.

-For Labels \index{label RMB options}, choices are \emph{Edit}, \emph{Label}, and \emph{Go to}.
-For Clips \index{clip RMB options}, \emph{Nest} and \emph{UnNest} as described elsewhere are available.
+For Labels \index{label!RMB options}, choices are \emph{Edit}, \emph{Label}, and \emph{Go to}.
+For Clips \index{clip!RMB options}, \emph{Nest} and \emph{UnNest} as described elsewhere are available.

 
 \subsection{Info Asset Details}%
 \label{sub:info_asset_details}
 
 \subsection{Info Asset Details}%
 \label{sub:info_asset_details}