author Спицын Андрей Thu, 3 Oct 2019 18:43:15 +0000 (21:43 +0300) committer Спицын Андрей Thu, 3 Oct 2019 18:43:15 +0000 (21:43 +0300)
Fix lines that goes beyond right border.

 parts/Editing.tex patch | blob | history parts/FFmpeg.tex patch | blob | history parts/Instalation.tex patch | blob | history parts/Introduction.tex patch | blob | history parts/Keyframes.tex patch | blob | history parts/Loadandsave.tex patch | blob | history parts/Overlays.tex patch | blob | history parts/Plugins.tex patch | blob | history parts/Rendering.tex patch | blob | history parts/Transition.tex patch | blob | history

index 690e8c6a9a9de61b0d050eba185dbe194ff1cbac..f3e8d44821e36e63473b382a8cae81eb080fcfc3 100644 (file)
@@ -63,8 +63,7 @@ The \textit{attributes} are described here next.
Click and drag the fader to fade the track in and out.  If it is ganged to other tracks of the same media type, with the arm option enabled, the other faders should follow.  Hold down the Shift key and drag a fader to center it on the original source value (0 for audio, 100 for video).
\item[mixer] in the expanded patchbay for that track designate the multi-camera mixer mode.
-    \item[Overlay mode] in the expanded patchbay is used for porter-duff operations and is full explained in Overlay Modes \nameref{cha:???}.
-        \todo{Link to Overlay Modes chapter}%
+    \item[Overlay mode] in the expanded patchbay is used for porter-duff operations and is full explained in \nameref{cha:overlays} chapter.
\item[Nudge] is in the expanded patchbay.  The nudge value is the amount the track is shifted left or right during playback. The track is not displayed shifted on the timeline, but it is shifted when it is played back. This is useful for synchronizing audio with video, creating fake stereo, or compensating for an effect which shifts time, all without altering any edits (figure~\ref{fig:overlay}).

\begin{figure}[htpb]
@@ -942,11 +941,16 @@ event: (0, 0, 0x0)

\paragraph{Note 4} For developers, if you have a pre-UEFI Secure Boot kernel it is also possible to do the following for further in depth testing:

-\begin{enumerate}
-    \item \texttt{ls /sys/kernel/debug/hid   \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
-    \item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc”    \# substitute your own numerical value}
-    \item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events”  \# press keys to see the results}
-\end{enumerate}
+    \begin{lstlisting}[language=Bash]
+ls /sys/kernel/debug/hid   \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006
+cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc"  # substitute your own numerical value
+cat "/sys/kernel/debug/hid/0003:0B33.0030.0006/events"  # press keys to see the results
+    \end{lstlisting}
+%\begin{enumerate}
+    %\item \texttt{ls /sys/kernel/debug/hid   \# to locate numerical value of the shuttle, e.g. 0003:0B33.0030.0006}
+    %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/rdesc”    \# substitute your own numerical value}
+    %\item \texttt{cat “/sys/kernel/debug/hid/0003:0B33.0030.0006/events”  \# press keys to see the results}
+%\end{enumerate}

\subsection{Shuttle key default arrangement for Cinelerra / Composer / Viewer:}%
\label{sub:shuttle_key_default_cinelerra}
index c33edb56332a9a18da8de148bcecaa76e892aed1..b0a427dd7c372ca753f255d2214674252932ebaa 100644 (file)
@@ -55,7 +55,7 @@ In the ffmpeg configuration directory there are a series of options files used w
\paragraph{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 l}
+    \begin{longtable}{l p{23em}}
\toprule
ffmpeg/audio & directory of audio encoder settings \\
\midrule
index 5e182db447a6c29aa960349691e6a15ff77b7f9a..74545c3c455e3d7da07b0704da5f5af2103f7196 100644 (file)
@@ -144,7 +144,7 @@ In the single-user build, the target directory is always “cin”.
Because this is also the developer build, constant names are used throughout.
However, you can rename files after the install is complete.

-f your distro/operating system has issues with the default install to \texttt{/usr/local}, you might have to change the location to /usr for a system build.  Then you will have to use:
+If your operating system has issues with the default install to \texttt{/usr/local}, you might have to change the location to \texttt{/usr} for a system build.  Then you will have to use:
\begin{lstlisting}[language=bash]
$./configure --prefix=/usr \end{lstlisting} @@ -159,7 +159,7 @@ The application name can be set during installation, but defaults to cin so that$ ./configure --with-exec-name=cinelerra
\end{lstlisting}

-The home configuration directory can also be set, but defaults to \texttt{\$\$HOME/.bcast5}.
+The home configuration directory can also be set, but default location is \texttt{\$HOME/.bcast5}. For example: \begin{lstlisting}[language=bash] @@ -237,7 +237,7 @@ The "yes" means force build and “auto” means probe and use the system versio To get your customized build to work, you need to change the probe options for the conflicting libraries from "yes" to "auto", or even rework the \texttt{configure.ac} script. There may be several libraries which need special treatment. -An example of a problem you might encounter with your customized installation is with “\texttt{a52dec}” which has probes \texttt{(CHECK\_LIB/CHECK\_HEADER)} in \texttt{configure.ac}, but \texttt{djbfft} does not. +An example of a problem you might encounter with your customized installation is with “\texttt{a52dec}” which has probes line \texttt{(CHECK\_LIB/CHECK\_HEADER)} in \texttt{configure.ac}, but \texttt{djbfft} does not. In this case, \texttt{djbfft} is only built because \texttt{a52dec} is built, so if your system has \texttt{a52dec}, set \texttt{a52dec} to auto and see if that problem is solved by retrying the build with: \begin{lstlisting}[language=bash]$ ./confgure --with-single-user –enable-a52dec=auto .
@@ -245,7 +245,7 @@ $./confgure --with-single-user –enable-a52dec=auto . With persistence, you can get results, but it may take several tries to stabilize the build. If you need help, email the "\texttt{log}" and "\texttt{config.log}", which is usually sufficient to determine why a build failed. -\vspace{5ex} +%\vspace{5ex} If you have already installed the \texttt{libfdk\_aac} development package on your computer because you prefer this version over the default aac, you will have to do the following to get this alternative operational. @@ -391,7 +391,7 @@ The names of the build scripts are: arch.bld , bsd.bld , deb.bld , and rpm.bld These scripts are in the “blds” subdirectory. The bsd.bld should be used with the bsd.patch file in that same directory. -The reason that Cin Infinity traditionally uses thirdparty builds (bundled builds) is because there are a lot of different distros with varying levels of ffmpeg and other needed thirdparty libraries. +The reason that Cin Infinity traditionally uses thirdparty builds (bundled builds)\todo{hanging line} is because there are a lot of different distros with varying levels of ffmpeg and other needed thirdparty libraries. However, some users prefer using their current system baseline without another/different copy of ffmpeg. With different levels of the user’s libraries, uncertainty, potential instability, and unknown issues may come up while running Cinelerra and this will make it, for all practical purposes, impossible to diagnose and debug problems or crashes. There may be no help in these cases. You are encouraged to report any errors which potentially originate from Cin Infinity, but if the data indicates alternate library sources, please report the problems to the appropriate maintainers. index 61a1047c9f9ecebe3a0174b0ba5d5701c3284248..9173f1a5cc77e12416bf03e360ed8ff27c8dc409 100644 (file) @@ -191,12 +191,12 @@ And which chapters are important for beginning to learn to use Cinelerra-GG. At You will not want to read about each and every plugin, most of which you will never use. On the other hand, going over the section on “some specific details concerning plugins” might come in handy. - \item[Chapter 11] Transition Plugins. + \item[Chapter \ref{cha:transition_plugin}] \nameref{cha:transition_plugin}. Everyone who does not know about using transitions should read this chapter because you will want to use transitions between cuts in your video for smoothly changing scenes. It is short and easy reading. - \item[Chapter 12] Overlay Modes, Alpha Blending, and Porter Duff. + \item[Chapter \ref{cha:overlays}] \nameref{cha:overlays} Modes, Alpha Blending, and Porter Duff. Experts can really use the information in this chapter to spiff up their editing work through some blending type techniques. A lot of information and possibilities are described here. @@ -257,13 +257,13 @@ And which chapters are important for beginning to learn to use Cinelerra-GG. At In summary, “must” reads for a new user would be these chapters or sections: \begin{itemize} - \item Chapter \ref{cha:the_4_windows} \nameref{cha:the_4_windows}. - \item Chapter \ref{cha:load_save_and_the_EDL} \nameref{cha:load_save_and_the_EDL}. - \item Chapter \ref{cha:editing} \nameref{cha:editing}; read all sections except emphasize only either \nameref{sec:cut_paste_editing} or \nameref{sec:drag_drop_editing} to suit your purpose and then skim the editing mode that is not your preference as some operations work in either mode. + \item Chapter \ref{cha:the_4_windows} --- \nameref{cha:the_4_windows}. + \item Chapter \ref{cha:load_save_and_the_EDL} --- \nameref{cha:load_save_and_the_EDL}. + \item Chapter \ref{cha:editing} --- \nameref{cha:editing}; read all sections except emphasize only either \nameref{sec:cut_paste_editing} or \nameref{sec:drag_drop_editing} to suit your purpose and then skim the editing mode that is not your preference as some operations work in either mode. Skip the \nameref{sec:shuttle_jog_wheels_editing} section unless you have this jog wheel in hand. - \item Chapter \ref{cha:rendering} \nameref{cha:rendering}; minimally read the \nameref{sec:single_file_rendering} section. - \item Chapter \ref{cha:plugins} \nameref{cha:plugins}; read the section on \nameref{sec:how_use_plugins}. - \item Chapter 11 – Transition Plugins + \item Chapter \ref{cha:rendering} --- \nameref{cha:rendering}; minimally read the \nameref{sec:single_file_rendering} section. + \item Chapter \ref{cha:plugins} --- \nameref{cha:plugins}; read the section on \nameref{sec:how_use_plugins}. + \item Chapter \ref{cha:transition_plugin} --- \nameref{cha:transition_plugin}. \item Chapter 16 – Configuration, Settings and Preferences; read at least the first couple of paragraphs. \end{itemize} index adc0547ba99ce4596086b900319faa36040debb9..1230d64061f6cebfea47b8383e4a5ced147bd684 100644 (file) @@ -3,8 +3,10 @@ The word \textit{keyframe} has at least 3 contextual meanings in the NLE environment. First, the oldest meaning, is the \textit{I-Frame} definition used in codecs algorithms. These are \textit{key} frames that begin a new sequence of pictures, and are anchor points for repositioning (seeks). Next are the automation parameter data points. These are usually input to primitive math forms, like translation and zoom. And last are blobs of data that are chunks of parameters to plugins that can do almost anything. The data can be a simple value, like a fader value, or more complex like a group of points and colors in a sketcher plugin keyframe. The word keyframe has changed a lot in meaning. In the context of Cinelerra, keyframes are data values that have been associated to the timeline which affect the media presentation. So a keyframe no longer refers to a frame, but to a position on the timeline. -In Cinelerra, there are two general types of keyframe data, \textit{automation keyframes} (autos) which are drawn as colored lines and box icons overlayed at a point on a media track, and \textit{plugin keyframes} which are drawn as gold key symbols on a plugin bar of a track. \quad -\includegraphics[height=\baselineskip]{images/auto.png} Auto$\leftarrow$Keyframe$\rightarrow$Plugin \includegraphics[height=\baselineskip]{images/plugin.png} +In Cinelerra, there are two general types of keyframe data, \textit{automation keyfra\-mes} (autos) which are drawn as colored lines and box icons overlayed at a point on a media track, and \textit{plugin keyframes} which are drawn as gold key symbols on a plugin bar of a track. \quad +\includegraphics[height=\baselineskip]{images/auto.png} +Auto$\leftarrow$Keyframe$\rightarrow$+Plugin \includegraphics[height=\baselineskip]{images/plugin.png} \section{Automation Keyframes / Autos}% \label{sec:automation_keyframes_autos} @@ -63,7 +65,7 @@ To make it easier to navigate curve keyframes, since there is not much room on t You can click mouse button 3 on a keyframe box 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 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 \texttt{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 keyframes 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}. \begin{figure}[htpb] \centering @@ -151,9 +153,10 @@ all sessions. The intent is to make a parameter set that is likely to be reused It may be useful to create a default keyframe which has specific desirable values for later use. To do this, set the timeline to position 0 and be sure to disable \textit{generate keyframes while tweaking}. This will create a default keyframe at the beginning of the timeline which contains global parameters for the entire duration. Or if you have copied a non-default keyframe via Keyframes pulldown \textit{copy default keyframe}, it can be stored as the default keyframe by calling \texttt{keyframes$\rightarrow$paste default keyframe}. After using paste default keyframe to convert a non-default keyframe into a default keyframe, you will not see the value of the default keyframe reflected until all the non-default keyframes are removed. -The \texttt{keyframes$\rightarrow$copy default keyframe} and \texttt{keyframes$\rightarrow$paste default keyframe} allow conversion of the default keyframe to a non-default keyframe. +The \texttt{keyframes$\rightarrow$copy default keyframe} and \texttt{keyframes}$\rightarrow$\texttt{paste} {\texttt{de\-fault keyframe} allow conversion of the default keyframe to a non-default key\-fra\-me. -\texttt{Keyframes$\rightarrow$copy default keyframe} copies the default keyframe to the clipboard, no matter what region of the timeline is selected. The \texttt{keyframes$\rightarrow$paste keyframes} function may then be used to paste the clipboard as a non-default keyframe. +\texttt{Keyframes$\rightarrow$copy default keyframe} copies the default keyframe to the clipboard, no matter what region of the timeline is selected. +The \texttt{keyframes}$\rightarrow$\texttt{pas\-te} \texttt{keyframes} function may then be used to paste the clipboard as a non-default keyframe. \textit{Typeless keyframes} enabled under the Settings pulldown allow keyframes from any track to be pasted on either audio or video tracks. Ordinarily audio keyframes can only be pasted to another audio track and video keyframes can only be pasted to another video track. index 3a4929a8900b0f2337490c75925d12da4f503685..af61b6c2df0fa9152e107834be07fb5ea0730f18 100644 (file) @@ -62,13 +62,17 @@ An image sequence is a series of ordered still pictures; for example a bunch of File lists formats can be utilized in some way for the following list of types of \textit{Sequence files} The first line of the sequence list file identifies the list codec. -\vspace*{1ex} -\begin{tabular}{l l l l} -PNGLIST = *.png & PPMLIST = *.ppm & TGALIST = *.tga & TIFFLIST = *.tiff \\ -EXALIST = *.exa & CR2LIST = *.cr2 & JPEGLIST = *.jpg & GIFLIST = *.gif -\end{tabular} +%\vspace*{1ex} -\vspace*{1ex} + +\begin{center} + \begin{tabular}{l l l l} + PNGLIST = *.png & PPMLIST = *.ppm & TGALIST = *.tga & TIFFLIST = *.tiff \\ + EXALIST = *.exa & CR2LIST = *.cr2 & JPEGLIST = *.jpg & GIFLIST = *.gif + \end{tabular} +\end{center} + +%\vspace*{1ex} Using the example of jpeg’s, the jpeg list sequence file type is the easiest and fastest way to access a sequence of jpg images as a single asset. First build a jpeglist sequence file and name it something like jpeglist.sh. There is an example script of how to do this in the Auxiliary Programs section of the Appendix. Once the jpeglist.sh file is built you can then run it similar to this line: \begin{lstlisting}[language=bash] index 06e27a2cea3c40abce0f2f28ee74baf9e6e52d96..488bf670d264d52336ea8d44621b53ed2b4f7c66 100644 (file) @@ -1,6 +1,5 @@ \chapter{Overlays}% \label{cha:overlays} -\todo{same wrong border for title's number} The purpose of the Overlay Modes is to control the foreground and background stacking and use blending to reshape image object boundaries. It normally makes use of a binary type alpha blending system for all in or all out. To use the available operations in Cinelerra GG, follow these steps: @@ -126,7 +125,7 @@ Each line describes a pair with the left one for alpha and the right one for chr \item[SCREEN:]$[Sa + Da - Sa \times Da, Sc + Dc - (Sc \times Dc)]$(same as OR) \item[BURN:]$[Sa + Da - Sa \times Da, Sc \times (1 - Da) + Dc \times (1 - Sa) + Sc \leqslant 0 \parallel Sc \times Da + Dc \times Sa \leqslant Sa \times Da \quad ? \quad 0 : (Sc \times Da + Dc \times Sa - Sa \times Da) \times Sa/Sc]$\item[DODGE:]$[Sa + Da - Sa \times Da, Sc \times (1 - Da) + Dc \times (1 - Sa) + Sa \leqslant Sc \parallel Sc \times Da + Dc \times Sa \geqslant Sa \times Da \quad ? \quad       Sa \times Da : Dc \times Sa / (1 - Sc/Sa)]$- \item[DIFFERENCE:]$[Sa + Da - Sa \times Da,  Sc \times (1 - Da) + Dc \times (1 - Sa) + abs{(Sc \times Da - Dc \times Sa)}]$+ \item[DIFFERENCE:]~\\$[Sa + Da - Sa \times Da,  Sc \times (1 - Da) + Dc \times (1 - Sa) + abs{(Sc \times Da - Dc \times Sa)}]$\item[HARDLIGHT:]$[Sa + Da - Sa \times Da, Sc \times (1 - Da) + Dc \times (1 - Sa) + 2 \times Sc < Sa \quad ? \quad 2 \times Sc \times Dc : Sa \times Da -        2 \times (Da - Dc) \times (Sa - Sc)]$\item[SOFTLIGHT:]$[Sa + Da - Sa \times Da, Sc \times (1 - Da) + Dc \times (1 - Sa) + Da > 0 \quad ? \quad (Dc \times Sa + 2 \times Sc \times (Da -        Dc))/Da : 0]$\end{description} index 5e7afefd84feb206c345c959c4c3fda0680e4ffd..c792a6d4a15ac09148fef7efebbd418f9d5b902b 100644 (file) @@ -67,7 +67,7 @@ The rightmost knob is used to \texttt{Turn Off/Turn On} the effect where the def Many operations exist for manipulating effects once they are on the timeline. Because mixing effects and media is quite complex, the methods used in editing effects are not as concise as cutting and pasting. Some of the editing happens by dragging in/out points, some of the editing happens through popup menus, and some of it happens by dragging effects. -When enabled, which is the default, and you edit tracks, the effects follow the editing decisions. If you cut from a track, the effect shrinks. If you drag edit in/out points, the effect changes length. This behavior can be disabled by selecting \texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$Editing section} (figure~\ref{fig:editing-effects}). +When enabled, which is the default, and you edit tracks, the effects follow the editing decisions. If you cut from a track, the effect shrinks. If you drag edit in/out points, the effect changes length. This behavior can be disabled by selecting \texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$Editing section}, see figure~\ref{fig:editing-effects}. \begin{figure}[htpb] \centering @@ -119,10 +119,10 @@ 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} -\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. -\begin{wrapfigure}[3]{r}{0.3\linewidth} - \vspace{-4ex} +\begin{wrapfigure}[4]{r}{0.3\linewidth} + \vspace{-2ex} \centering \includegraphics[width=0.7\linewidth]{images/preset.png} \end{wrapfigure} @@ -188,7 +188,9 @@ For most User installs, the \texttt{<plugin\_name>.png} file will be located at: For some System installs, the files might be located at: -\texttt{/usr/lib/cin/plugins/picon/cinfinity} (or cinfinity2, original or smoother) (ubuntu distros) +\texttt{/usr/lib/cin/plugins/picon/cinfinity} (or cinfinity2, original or +\todo{raphrase to avoid boarder break} +smoo\-ther) (ubuntu distros) \texttt{/usr/lib64/cin/plugins/picon/cinfinity} (or cinfinity2, original or smoother) (Leap distro) @@ -226,7 +228,8 @@ Keep in mind these points for newly created plugin icons: \item If there is currently no theme-specific \texttt{.png} files present, it may be necessary to first create the theme directory in \texttt{<cinlib\_path>plugins} as \texttt{<theme\_name>} in order to put the \texttt{.png} files in that subdirectory. \item Make sure that the \textit{ownership} and file \textit{permissions} match the existing directory and files. \item All ffmpeg icons must begin with \texttt{ff\_<plugin\_name>.png} (Resources window title will still be \texttt{F\_\dots}) - \item For ladspa, check in the \texttt{<cin\_config>} directory (\texttt{\$HOME/.bcast5} normally) and look for the text file \texttt{\$HOME/.bcast5/ladspa\_plugins\dots} for the names of the ladspa libraries which correspond to plugin names where the needed name is the basename of the \texttt{.so} file. For example \texttt{phasers\_1217.so} would need to have a \texttt{phasers\_1217.png} file. There may be multiple plugins in a single “so” file which means that you can only have 1 icon to represent all of the plugins in that file; again as in phasers. + \item For ladspa, check in the \texttt{<cin\_config>} directory (\texttt{\$HOME/.bcast5} normally) and look for the text file \texttt{\$HOME/.bcast5/ladspa\_plugins\dots} for the names of the ladspa libraries which correspond to plugin names where the needed name is the basename of the \texttt{.so} file. + For example \texttt{pha\-sers\_1217.so} would need to have a \texttt{phasers\_1217.png} file. There may be multiple plugins in a single “so” file which means that you can only have 1 icon to represent all of the plugins in that file; again as in phasers. \item Once you have placed the .png file in the correct spot, you will have to restart Cinelerra to test it. \item To submit your .png file for inclusion into Cinelerra-GG Infinity for all to enjoy, it is best to upload it to any datafilehost and notify the community via email with any informative documentation. \end{itemize} @@ -283,7 +286,9 @@ Highlight the set you want to turn on and a check mark appears to show it is act \subsection{Expanders for Plugin Subtrees in the Resources Window}% \label{sub:expanders_plugin_subtrees} -To accentuate a set of common plugins, there are \textit{expander} arrows on the left side of the Resources window. You will see these expanders only when in \textit{Display text} mode, not \textit{icon} mode. Cinelerra’s default setup is in the file \texttt{\$CIN\_DAT/expanders.txt} but if the user wants their own specific setup and if the file in \texttt{\$HOME/.bcast5/expanders.txt} exists, it will take precedence. If there are recommendations for other relevant categories, they can be added. The subtree structure is applicable to any of the \textit{Video Effects/Transitions} or \textit{Audio Effects/Transitions}. You can not sort once an expansion is in effect (figure~\ref{fig:expander}). +To accentuate a set of common plugins, there are \textit{expander} arrows on the left side of the Resources window. You will see these expanders only when in \textit{Display text} mode, not \textit{icon} mode. +Cinelerra’s default setup is in the file \texttt{\$CIN\_DAT/expan\-ders.txt} but if the user wants their own specific setup and if the file in \texttt{\$HOME/.\\bcast5/expanders.txt} exists, it will take precedence. +If there are recommendations for other relevant categories, they can be added. The subtree structure is applicable to any of the \textit{Video Effects/Transitions} or \textit{Audio Effects/Transitions}. You can not sort once an expansion is in effect (figure~\ref{fig:expander}). The \texttt{expanders.txt} file has very specific requirements. The most specific is that there are no blanks --- you must use tabs only. A \# (pound sign) can be used in column 1 to indicate a comment. Here is a short example: @@ -595,15 +600,15 @@ You can specify a certain set of LV2 plugins to use by setting \texttt{LV2\_PATH export LV2_PATH=/tmp/j/balance.lv2/usr/local/lib/lv2/:/usr/local/lv2 \end{lstlisting} -If there is no default \texttt{LV2\_PATH} set automatically, the value will be \texttt{\$CIN\_DAT/lv2}, which is a placeholder only so that no lv2 plugins will be loaded. When there is no system \texttt{LV2\_PATH} set it is important to note, that if you do want lv2 plugins loaded, you must set the correct path in:
+If there is no default \texttt{LV2\_PATH} set automatically, the value will be \texttt{\$CIN\_DAT/\\lv2}, which is a placeholder only so that no lv2 plugins will be loaded. When there is no system \texttt{LV2\_PATH} set it is important to note, that if you do want lv2 plugins loaded, you must set the correct path in: -\texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$Default LV2$\rightarrow$directory \\ +\texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$Default LV2$\rightarrow$direc\-tory path name} When you change this field, cin will automatically restart and load the newly specified lv2 plugins. If when switching \texttt{LV2\_PATH} or if the lv2 audio plugins are not displayed/usable in the Resources window, you can execute a reload via: -\texttt{Settings$\rightarrow$Preferences$\rightarrow$Interface tab$\rightarrow$Reload plugin index} \\ -or else before you bring up cinelerra, delete \texttt{\$HOME/.bcast5/Cinelerra\_plugins} so that the plugins get properly reloaded.
+\texttt{Settings$\rightarrow$  Preferences$\rightarrow$ Interface tab$\rightarrow$ Reload plugin in\-dex}
+or else before you bring up cinelerra, delete \texttt{\$HOME/.bcast5/Cinelerra\_\\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: @@ -860,7 +865,7 @@ This case uses stacked BlueBanana plugins working like \textit{chroma-key} filte \item Add 2 BlueBanana plugins on the first track. Turn off all checkboxes in both plugins. \item On the top plugin, use the top pane to create a selection mask, using \texttt{Mark Selected Areas}. \item Turn off top plugin \texttt{Mark Selected Areas}, and disable the top plugin via the plugin title bar on/off. - \item Create another selection using the second plugin's mask, using \texttt{Mark Selected Areas}. + \item Create another selection using the second plugin's mask, using \texttt{Mark Selec\-ted Areas}. \item Turn on the top plugin. Make sure both plugins \texttt{Mark Selected Areas} is off. \item Check \texttt{Mask Selection} and \texttt{Filter Active} in both. \item Check \texttt{Combine Selection} on second BlueBanana to see the final results. @@ -1004,7 +1009,7 @@ Here we assume that we have a good video, filmed on green (or blue) screen that As in any other effect, add it to the timeline in the main window. You can tweak each parameter in order to improve the keying. -Start with \texttt{Hue Tolerance} at$10\%$, \texttt{Min Brightness} at$0$, \texttt{Max brightness} at$100\%$, \texttt{Saturation offset} at$0$, \texttt{Min Saturation} at$0$, \texttt{In Slope} at$0$, \texttt{Out Slope} at$0$, \texttt{Alpha Offset} at$0$(that’s mid-way through), \texttt{Spill Threshold} at$0$, \texttt{Spill Compensation} at$100\%$. At any time, you can check what the Mask looks like by clicking on \texttt{Show Mask}. This will output a black and white image of the mask (\textit{matte}). +Start with \texttt{Hue Tolerance} at$10\%$, \texttt{Min Bright\-ness} at$0$, \texttt{Max bright\-ness} at$100\%$, \texttt{Saturation offset} at$0$, \texttt{Min Saturation} at$0$, \texttt{In Slope} at$0$, \texttt{Out Slope} at$0$, \texttt{Alpha Offset} at$0$(that’s mid-way through), \texttt{Spill Threshold} at$0$, \texttt{Spill Compensation} at$100\%$. At any time, you can check what the Mask looks like by clicking on \texttt{Show Mask}. This will output a black and white image of the mask (\textit{matte}). \begin{description} \item[Key color:] Select the key color (green, blue, etc) using the color wheel or the color picker. Remember, only the Hue matters, not Saturation or Value. To use the color picker, click on the \texttt{color picker} icon in the Compositor window, then click on the color you want in the Compositor window. Finally in the Chromakey (HSV) parameters window, click on \texttt{Use Color Picker}. @@ -1814,16 +1819,14 @@ This effect makes video tracks appears as a painting. It can be controlled by \t \subsection{Overlay}% \label{sub:overlay} -This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by Cinelerra GG Infinity to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a bottom layer. It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Additive}, \textit{Subtractive}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list refer to the chapter on Overlay Modes -\todo{Link to Overlay Modes chapter} ---- PorterDuff. +This effect can combine several tracks by using the so called Overlayer. This is a basic internal device normally used by Cinelerra GG Infinity to create the dissolve transitions and for compositing the final output of every track onto the output bitmap. The Overlayer has the ability to combine one or several image layers on top of a bottom layer. It can do this combining of images in several different (and switchable) output modes such as \textit{Normal}, \textit{Additive}, \textit{Subtractive}, \textit{Multiply} (Filter), \textit{Divide}, \textit{Max} and \textit{Replace}. For a detailed list refer to the on \nameref{cha:overlays} chapter --- PorterDuff. The \texttt{overlay} plugin enables the use of this Overlayer device in the middle of any plugin stack, opening endless filtering and processing possibilities. It is only useful as a \textit{shared plugin} (i.e. a multitrack plugin). To use the overlay plugin: \begin{enumerate} \item Add the effect to Track A. \item Choose \textit{attach effect} from the context menu of another track (Track B). - \item Choose Track A:Overlay as a shared plugin. + \item Choose Track A: Overlay as a shared plugin. \item Manipulate the plugin parameters in Track A. \end{enumerate} @@ -2324,7 +2327,7 @@ If the video is displayed on a consumer TV, the outer border is going to be crop \begin{description} \item[Drag] initial default checkbox is \texttt{off} so that the Title plugin will work as it always has. \begin{description} - \item[Anchors] When you turn on the Drag feature, nine different anchors/handles will appear on compositor window. The \textit{middle anchor} allows you to drag your title wherever you want in the compositor window ($X, Y coordinates$). The other 8 handles, drawn as arrows in each corner and in the middle of each side, let you change the size of the drag area box so that your title is within that area if it fits and as it is directed. + \item[Anchors] When you turn on the Drag feature, nine different anchors/handles will appear on compositor window. The \textit{middle anchor} allows you to drag your title wherever you want in the compositor window ($X, Y$coordinates). The other 8 handles, drawn as arrows in each corner and in the middle of each side, let you change the size of the drag area box so that your title is within that area if it fits and as it is directed. \item[W/H] the values in these 2 boxes specify the size of the drag area box measured in pixels as shown in the compositor window. You can set these manually and if you can't see the location of your box or find your handles, set them to zero because$0$sets it to the same as the width/height of the media. The Drag effect ignores all boundaries, including the \textit{Title Safe Region} of the Compositor so that if you drag your titles off the screen, it will look like they disappeared completely. Reset X and Y to reasonable values to have it reappear. The Title \textit{text}, \textit{background}, and \textit{pngs} are applied on a single layer so that they will drag together as an entity. All of the Title capabilities work in conjunction with dragging so if you want to justify the title, you can still use the \textit{Left/Center/Right/Top/Mid/Bottom} within the drag area. Be sure to turn off Drag when rendering or the box will show in the video; keep in mind that drag bars do not appear until there is some text in the text box and you can not actually drag until the Title window controls are available. \end{description} @@ -2416,7 +2419,9 @@ Figure~\ref{fig:title03}. \begin{description} \item[Background] in this box you can keyin the name of a file of the type that cinelerra accepts and use that file as a background for your Title characters. This will be seen in the compositor window on top of the video that is loaded in the main track canvas. Besides typing in the filename, you must also check the checkbox. This makes it easy to turn it \texttt{on} and \texttt{off} to see what it looks like. Next to the background box is a \texttt{Loop} checkbox. If the background file takes less time than the main track canvas video to run, you can turn on the loop checkbox so that it runs over and over again to match the time size of your video. \item[Stroker] to add \textit{pen strokes} to the text letters, adjust the stroke width numerically. This looks particularly nice on certain fonts and with a negative adjustment of the \texttt{Drop shadow}. - \item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. \texttt{Ctrl-Shift-U} followed by$2022$and a carriage return is an example of the bullet. Refer to section 40.11 for details. + \item[Unicode Insertion] if you want to enter a special character like the mathematical \textit{summation} symbol, you can use the unicode equivalent to do so. Press \texttt{Ctrl-Shift-U} followed by$2022and a carriage return is an example of the bullet. Refer to section 40.11 + \todo{lost link} + for details. \item[Popup Helper] put your cursor where you want to add an attribute, then right mouse will bring up a list of the available attributes for you to choose, along with a submenu to choose from. The program will insert that attribute for you and all you have to add is a value when required! (see figure~\ref{fig:title02}). \end{description} @@ -2464,7 +2469,8 @@ export BC_FONT_PATH=/usr/share/fonts The current set of fonts in cinelerra's directory will be automatically included and will be the default set if this environment variable is not set. Keep in mind that if you add a lot of fonts, it will considerably slow down the startup every time you bring up the Title plugin. -If you want to only have a limited number of fonts set up, you can manipulate the cinelerra directory directly at \texttt{<cinelerra\_install\_path> /bin/plugins/fonts}. Here you will find the default set of fonts that come with the install. Copy any other fonts you would like to include here with read permission, delete any fonts you do not want to have, then execute \texttt{mkfontscale} which creates the file \texttt{fonts.scale} that cinelerra will read. However, the next time you install a new version of cinelerra GG, your changes will be written over so you will have to make sure to save them elsewhere and then re-establish. +If you want to only have a limited number of fonts set up, you can manipulate the cinelerra directory directly at \texttt{<cinelerra\_install\_path> /bin/plug\-ins/fonts}. +Here you will find the default set of fonts that come with the install. Copy any other fonts you would like to include here with read permission, delete any fonts you do not want to have, then execute \texttt{mkfontscale} which creates the file \texttt{fonts.scale} that cinelerra will read. However, the next time you install a new version of cinelerra GG, your changes will be written over so you will have to make sure to save them elsewhere and then re-establish. If you have problems with a specific font or set of fonts, there is a debug option available to determine which font is an issue. When starting cinelerra, you should set up the variable: @@ -2570,7 +2576,7 @@ The Waveform scope helps correct image light levels for contrast range or for co \item Precise adjustments can be made by measuring the values on the waveform with the crosshair (by click with \texttt{LMB}, and reading numeric values on top left of the window) and reporting these numbers in the effects window (\textit{Histogram Bézier/Curves}, for example). \end{enumerate} -For instance, if you are looking for maximum contrast range, adjust the \texttt{Brightness/Contrast} levels to align the darkest point on the scope with the0\%$level and the brightest portion with$100\%$. Anything above$100\%is over saturated. Limits which may be highlighted with checkbox controls. +For instance, if you are looking for maximum contrast range, adjust the \texttt{Bright\-ness/Contrast} levels to align the darkest point on the scope with the0\%$level and the brightest portion with$100\%$. Anything above$100\%$is over saturated. Limits which may be highlighted with checkbox controls. \subsubsection*{HDTV or sRGB (ITU-R BT.709)}% \label{ssub:hdtv_srgb_bt709} @@ -2735,8 +2741,9 @@ cin/plugins/opencv/stylizeobj.plugin \item download the corresponding distro static tarball; for example for arch: \end{enumerate} + \url{https://cinelerra-gg.org/download/tars/cinelerra-5.1-arch-{date}-x86_64-static.txz} - %\todo{How make a new line into the link?} + \begin{enumerate}[resume] \item create a temporary directory on your computer; \item \texttt{cd} that-directory; @@ -2837,7 +2844,7 @@ Once the replacement corners are calculated, the replacement object is overlayed The following steps were used to set up the example in figure~\ref{fig:findobj}. \begin{enumerate} - \item For best results, set \textit{Play every frame} in \texttt{Settings$\rightarrow$Preferences$\rightarrow$Playback A}. + \item For best results, set \textit{Play every frame} in \texttt{Settings$\rightarrow$Preferences$\rightarrow$Play\-back A}. \item Load 3 tracks of png/jpg files – this is one of the more useful working cases: \begin{itemize} \item$1^{st}$track should be the \textit{scene}; that is the output index 2350365281ddbcae7d8c47bfb124cfe8e353529c..1287f88d95491982c1c0bce0de25447d3ce63ef1 100644 (file) @@ -33,7 +33,9 @@ Use the File pulldown and select Render to start the render dialog (figure~\ref{ \begin{description} \item[Wrench:] select the \textit{wrench} next to each toggle to set compression parameters. If the file format can not store audio or video the compression parameters will be blank. If \textit{Render audio tracks} or \textit{Render video tracks} is selected and the file format does not support it, trying to render will result in an error message. \item[Create new file at each label] the option causes a new file to be created when every label in the timeline is encountered – a separate file for each. This is useful for dividing long audio recordings into individual tracks. When using the Render Farm (described later), \textit{Create new file at each label} causes one render farm job to be created at every label instead of using the internal load balancing algorithm to space jobs. If the filename given in the render dialog has a 2 digit number in it, the 2 digit number is overwritten with a different incremental number for every output file. If no 2 digit number is given, Cinelerra automatically concatenates a number to the end of the given filename for every output file. - For example, in the filename \texttt{/movies/track01.wav} the$01$would be overwritten for every output file. The filename \texttt{/movies/track.wav}; however, would become \texttt{/movies/track.wav001} and so on. Filename regeneration is only used when either render farm mode is active or creating new files for every label is active. + For example, in the filename \texttt{/movies/track01.wav} the$01$would be overwritten for every output file. + The filename \texttt{/movies/track.wav}; however, eventually would become \texttt{/movies/track.wav001} and so on. + Filename regeneration is only used when either render farm mode is active or creating new files for every label is active. \item[Render range:] choices are \textit{Project}, \textit{Selection}, \textit{In/Out points}, and \textit{One Frame} for single images like Tiff. For these images, Render range will have \textit{One Frame} automatically checked and all of the others ghosted since nothing else makes sense (figure~\ref{fig:render02}). This makes it easy to set the insertion point where you want the 1 frame to be rendered rather than having to precisely zoom in to set the in/out pointers. Note that whichever Render range is checked, remains checked so that if \textit{One Frame} gets automatically checked, the next time you render it will still be checked and you will have to select a different one if desired. That is why you should always check the settings. \end{description} @@ -196,11 +198,12 @@ Cinelerra can distribute the rendering tasks over the network to the other compu The following steps are just a guideline to start your render farm. It is assumed that you already have the master and client nodes communication, shared filesystem, permissions and usernames synched. \begin{enumerate} - \item On the master computer, use \texttt{Settings$\rightarrow$Preferences$\rightarrow$Performance tab} to set up a Render Farm: + \item On the master computer, use \texttt{Settings}$\rightarrow$\texttt{Preferences}$\rightarrow$\texttt{Performance} \texttt{tab} to set up a Render Farm: \begin{itemize} \item check the \texttt{Use render farm} box; - \item in the Hostname box, keyin your hostname or ip address such as$192.168.1.12$or \texttt{localhost}; - \item enter in a port number such as$401-405$(only a root user can use privileged ports) or$1025$and click on \texttt{Add Nodes}; + \item in the \texttt{Hostname} box, keyin your hostname or ip address such as \\ + 192.168.1.12 or \texttt{localhost}; + \item enter in a port number such as 401--405 (only a root user can use privileged ports) or$1025$and click on \texttt{Add Nodes}; \item you will see something like the following in the Nodes listbox to the right: \begin{tabular}{lllc} On & Hostname & Port & Framerate \\\midrule @@ -267,7 +270,7 @@ Below we describe the Performance tab for configuring a render farm (figure~\ref \item[Reset rates] sets the framerate for all the nodes to$0$. Frame rates are used to scale job sizes based on CPU speed of the node. Frame rates are calculated only when render farm is enabled. \end{description} -Framerates can really affect how the Render Farm works. The first time you use the render farm all of the rates are displayed as$0$in the \texttt{Settings$\rightarrow$Preferences}, Performance tab in the Nodes box. As rendering occurs, all of the nodes send back framerate values to the master node and the preferences page is updated with these values. A rate accumulates based on speed. Once all nodes have a rate of non-zero, the program gives out less work to lower rated nodes in an effort to make the total time for the render to be almost constant. +Framerates can really affect how the Render Farm works. The first time you use the render farm all of the rates are displayed as$0$in the \texttt{Settings$\rightarrow$Prefe\-rences}, Performance tab in the Nodes box. As rendering occurs, all of the nodes send back framerate values to the master node and the preferences page is updated with these values. A rate accumulates based on speed. Once all nodes have a rate of non-zero, the program gives out less work to lower rated nodes in an effort to make the total time for the render to be almost constant. Initially, when the framerate scaling values are zero, the program just uses package length --- render size divided by the number of packages to portion out the work (if not labels). If something goes wrong or the rates become suspect, then all of the rest of the work will be dumped into the last job. When this happens, you really should \texttt{reset rates} for the next render farm session to restart with a good balance. @@ -421,15 +424,13 @@ These steps are for quickly setting up render farm with the least amount of addi Because index files speed up displaying the video you may want to share these files with the clients on a shared filesystem. There is a configuration option available in \texttt{Settings$\rightarrow\$ Preferences}, the Interface tab, that sets up in your preferences the location of the index files which you can put on a shared disk.
Screencast below shows part of the Preferences menu where you can change the index files setup (figure~\ref{fig:index}).
-
\begin{figure}[htpb]
\centering
\includegraphics[width=0.8\linewidth]{images/index.png}
\caption{Index file setup for your preferred configuration for Render Farm sharing or anything}
\label{fig:index}
\end{figure}
-
-\noindent Or, one of the convenient features of cin5 is the redirection of the path via \texttt{CIN\_CONFIG} as in:
+ Or, one of the convenient features of cin5 is the redirection of the path via \texttt{CIN\_CONFIG} as in:
\begin{lstlisting}[language=bash]
CIN_CONFIG=/<shared_file_pathname>/<filename_such_as_.bcast5> /<cinelerra_pathname>/cin
\end{lstlisting}
@@ -603,18 +604,20 @@ flags +pass2

If you need to re-render this, the Batch Render will still be set up but you have to click on the \texttt{Enabled} column in the listbox to re-enable the jobs to run which puts an X there.  Click Start again. You can reuse batch job using the \texttt{save jobs} and \texttt{load jobs} buttons in the batch render dialog.

-\paragraph{Render shortcuts for webm, h264, h265} are available by using the option files that are already set up for this purpose.  Use the render menu as usual, with ffmpeg/mp4, choose h264 or h265 \texttt{pass1of2\_h26x} for the video and \texttt{passes1and2\_h26x} for the audio; with ffmpeg/webm, choose \texttt{pass1of2\_vp9}.  When that is finished, you will have to use the render menu again and this time for video, choose \texttt{pass2of2\_h26x} or \texttt{pass2of2\_vp9}.  The logfile is hard coded in the options file so will write over any currently existing logfile if you do not change it before you start the render.
+\paragraph{Render shortcuts for webm, h264, h265} are available by using the option files that are already set up for this purpose.  Use the render menu as usual, with ffmpeg/mp4, choose h264 or h265 \texttt{pass1of2\_h26x} for the video and \texttt{passes1and\-2\_h26x} for the audio;
+with ffmpeg/webm, choose \texttt{pass1of2\_vp9}.  When that is finished, you will have to use the render menu again and this time for video, choose \texttt{pass2of2\_h26x} or \texttt{pass2of2\_vp9}.  The logfile is hard coded in the options file so will write over any currently existing logfile if you do not change it before you start the render.

-\paragraph{Requirements for some other libraries} (used instead of \texttt{flags +pass1} \& \texttt{passlogfile}):
+\paragraph{Requirements for some other libraries} ~\\ (used instead of \texttt{flags +pass1} \& \texttt{passlogfile}):

\begin{description}
\begin{lstlisting}[language=bash]
x265-params=pass=1:stats=/tmp/{temporary log file name}.log
\end{lstlisting}
-    at the time this document was written, you should see in the output:  \texttt{stats-read=2}
+    at the time this document was written, you should see in the output: \\  \texttt{stats-read=2}

-    \item[libvpx-vp9, xvid, and huffyuv:]
+    \item[libvpx-vp9, xvid, and huffyuv:]~
+
\begin{lstlisting}[language=bash]
cin_stats_filename /tmp/{temporary log file name}.log
flags +pass1 (or flags +pass2 for the second pass)
index 116b0e37f688d3a6742ee4da650a65e980889aac..da113d14b4d5c57b2cac8f2942f2cce13d0d4f91 100644 (file)
@@ -1,6 +1,5 @@
\chapter{Transition Plugins}%
\label{cha:transition_plugin}
-\todo{wrong border for title's number}

When one edit ends and another edit begins, the default behavior is to have the first edit's output immediately become the output of the second edit when played back. Transitions are a way for the first edit’s output to become the second edit’s output with different variations. The audio and video transitions are listed in the Resources window as figure~\ref{fig:transition}.

@@ -77,7 +76,7 @@ Wipe a specific shape across the video. Currently available shapes are: \textit{

You can add your own images to the Shape Wipe transition and there are some free ones available to download such as at \url{assistcg.com}.

-To include new images in the Shape Wipe Transition, simply copy the \texttt{{shape}.png} file to your location of cinelerra in the subdirectory \texttt{plugins/shapes}.
+To include new images in the Shape Wipe Transition, simply copy the file \texttt{{shape}.png} to your location of cinelerra in the subdirectory \texttt{plugins/shapes}.

\subsection*{Slide}%
\label{sub:slide}