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2 <head>
8 </head>
9 <body>
12 <p><hr>
16 <br>
17 </div>
24 <ul>
27 <ul>
29 </li></ul>
31 <ul>
34 </li></ul>
36 <ul>
39 <ul>
42 </li></ul>
44 <ul>
47 </li></ul>
49 <ul>
52 </li></ul>
55 </li></ul>
57 <li><a name="toc_LOADING%20AND%20SAVING%20FILES" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
58 <ul>
60 <ul>
64 </li></ul>
68 <ul>
72 </li></ul>
73 </li></ul>
74 <li><a name="toc_NAVIGATING%20THE%20PROJECT" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>
75 <ul>
77 <ul>
80 <li><a href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>
81 </li></ul>
82 <li><a href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>
86 </li></ul>
88 <ul>
96 </li></ul>
98 <ul>
100 <ul>
103 </li></ul>
107 </li></ul>
108 <li><a name="toc_SETTING%20PROJECT%20ATTRIBUTES" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>
110 <ul>
117 </li></ul>
119 <ul>
125 </li></ul>
127 <ul>
130 </li></ul>
131 <li><a name="toc_IMPROVING%20PERFORMANCE" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>
132 <ul>
142 </li></ul>
144 <ul>
146 <li><a href="#DRAGGING%20IN%20AND%20OUT%20POINTS%20DOESN'T%20WORK">DRAGGING IN AND OUT POINTS DOESN'T WORK</a>
147 <li><a href="#SYNCHRONIZATION%20LOST%20WHILE%20RECORDING">SYNCHRONIZATION LOST WHILE RECORDING</a>
148 </li></ul>
149 <li><a name="toc_SECRETS%20OF%20CINELERRA" href="#SECRETS%20OF%20CINELERRA">SECRETS OF CINELERRA</a>
150 <ul>
156 </li></ul>
158 <ul>
165 <ul>
168 </li></ul>
170 </li></ul>
172 <ul>
174 <ul>
178 </li></ul>
184 <li><a href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>
186 </li></ul>
188 </li></ul>
189 </div>
193 <li><a accesskey="2" href="#INSTALLATION">INSTALLATION</a>: Making Cinelerra work on your system.
194 <li><a accesskey="3" href="#CONFIGURATION">CONFIGURATION</a>: Adjusting the behavior of Cinelerra.
195 <li><a accesskey="4" href="#THE%20MAIN%20WINDOWS">THE MAIN WINDOWS</a>: The most often used user interface.
196 <li><a accesskey="5" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>: Moving media between disk and Cinelerra.
197 <li><a accesskey="6" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>: Moving around the media.
200 <li><a accesskey="9" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>: Changing the way the media is displayed.
204 <li><a href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>: Making Cinelerra run better on Linux.
206 <li><a href="#SECRETS%20OF%20CINELERRA">SECRETS OF CINELERRA</a>: Unusual applications of Cinelerra to common problems.
207 <li><a href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>: How to use the more complicated effects.
209 <li><a href="#RELEASE%20NOTES">RELEASE NOTES</a>: Changes in the most recent versions of Cinelerra.
210 </ul>
213 <p><hr>
218 <br>
219 </div>
223 <p>For years some people have wanted a way to edit their audio and video
224 in one place as fluidly as writing text. Cinelerra tries to be a
225 single location for all audio and video editing needs. All the
226 recording, editing, and playback are handled here. It can be used as
227 an audio player. It can be used to record audio or video. It can even
228 be used as a photo retoucher.
230 <p>There are two types of moviegoers: producers who create new content,
231 going back over their content at future points for further refinement,
232 and consumers who want to acquire the content and watch it. Cinelerra
233 is not intended for consumers. Cinelerra has many features for
234 uncompressed content, high resolution processing, and compositing, with
235 very few shortcuts. Producers need these features because of the need
236 to retouch many generations of footage with alterations to the format,
237 which makes Cinelerra very complex. There are many more standard tools
238 for consumers like MainActor, Kino, or Moxy, which you should consider
239 before using Cinelerra.
242 with a waveform in it, it could cut and paste stereo audio waveforms on
243 a UNIX box, except unlike other audio editors it could handle files up
245 only accessible to the highest end professional audio houses.
248 window had a menubar, patchbay, console, and transport control.
249 Broadcast 2.0 still only handled audio but this time it handled
250 unlimited tracks, and it could perform effects on audio and save the
251 resulting waveform to disk. More notably a few effects could be
252 performed as the audio was playing back, in realtime. A user could mix
253 unlimited numbers of tracks, adjust fade, pan, and EQ, and hear the
254 result instantly. Amazingly this real time tweeking is still
255 unavailable on most audio programs.
258 at audio either. In 1999 video broke into the story with Broadcast
259 2000. This iteration of the Broadcast series could do wonders with
260 audio and offered a pretty good video feature set. It could edit video
262 with audio except now all effects for video and audio could be chained
263 and performed on the fly, with instant feedback as a user tweeked
264 parameters during playback. Broadcast 2000 made it very easy to do a
265 lot of processing and editing on video and audio that would otherwise
266 involve many hours setting up command line sequences and writing to
267 disk. For a time it seemed as if the original dream of immersive movie
268 making for everyone regardless of income level had arrived.
271 graceful if you knew how to use it efficiently, but quality issues and
272 new user interface techniques were emerging. Broadcast 2000 kept the
273 audio interface from its ancestors, which didn't apply well to video.
274 Users likewise were maturing. No longer would it be sufficient to just
275 edit video on a UNIX box. Most users expected on UNIX the same thing
277 replacement were drafted. The Broadcast name was officially retired
278 from the series and the software would now be called Cinelerra.
279 Cinelerra would allow users to configure certain effects in much less
280 time than required with Broadcast 2000. It would begin to emulate some
281 of the features found in Win and Mac software while not attempting to
282 become a clone. It's interface would be designed for video from the
283 ground up, while supplementing that with the Broadcast audio
284 interface. As always, quality improvements would happen.
288 </ul>
291 <p><hr>
294 <br>
295 </div>
299 <p>Like the operating system and compiler for a piece of software, the
300 document writing format is the most important thing in choosing our
301 document format. A piece of software which compiles on GCC and Linux
302 will be usable as long as there are C compilers. Documents written in
303 Texinfo will be readable as long as there's a C compiler.
305 <p>After many years of searching for the perfect documentation format
306 we've arrived at TexInfo. This format can be converted to HTML,
307 printed, automatically indexed, but most importantly is not bound to
308 any commercial word processor.
310 <p>There are no screenshots in this manual. Screenshots become obsolete
311 quickly and as a result confuse the users. What looks one way in a
312 screenshot will always look different in the real program because the
313 real program and the manual are always evolving, never perfectly
314 synchronized. It is true that manuals should have screenshots, but our
315 objective in omitting screenshots is to keep the software costs minimal
316 so you don't have to pay for it. That includes additional labor to
317 synchronize the manual with the software.
319 <p>In addition to telling you the basic editing features of Cinelerra this
320 manual covers tricks that won't be described anywhere else. We're
321 going to try to come up with certain things you can do with Cinelerra
322 that you wouldn't think of on your own.
325 <p><hr>
330 <br>
331 </div>
335 <p>The Cinelerra package contains Cinelerra and most of the libraries
336 needed to run it. We try to include all the dependancies because of
337 the difficulty in tracking down the right versions. Also included are
338 some utilities for handling files. The following are the general
339 contents of all Cinelerra packages.
341 <ul>
343 <li>
346 <li>
349 <li>
352 <li>
355 <li>
358 <li>
360 conformance but more efficiently.
362 <li>
365 </ul>
370 </ul>
373 <p><hr>
377 <br>
378 </div>
382 <p>Cinelerra is best installed by downloading an RPM and running
385 </pre>
387 <p>on a RedHat system.
389 <p>On systems which don't support RPM look for a utility called
391 directory run
394 </pre>
397 <p><hr>
401 <br>
402 </div>
406 <p>It should be noted that the compiler used in building Cinelerra
407 binaries is the free GNU compiler and very conservative optimization
408 flags. You can try different compilers and optimization flags by
409 compiling the source but this is hard.
413 installed manually for compilation to succeed. Compiling the source is
414 hard and there's no warranty if the source code fails to compile, but
415 the method for compiling starts by downloading the source code and
416 decompressing.
419 </pre>
421 <p>Enter the hvirtual directory
424 </pre>
426 <p>and set the CFLAGS environment variable. The flags for the GCC
427 compiler are constantly changing. These are our most recent flags.
428 For Pentium II use:
430 <pre class="example"> export CFLAGS='-O3 -march=i686 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -falign-loops=2 -falign-jumps=2 -falign-functions=2'
431 </pre>
433 <p>For Pentium I and old AMD's use:
435 <pre class="example"> export CFLAGS='-O3 -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -falign-loops=2 -falign-jumps=2 -falign-functions=2'
436 </pre>
438 <p>For new AMD's use:
440 <pre class="example"> export CFLAGS='-O3 -march=athlon -fmessage-length=0 -funroll-all-loops -fomit-frame-pointer -falign-loops=2 -falign-jumps=2 -falign-functions=2'
441 </pre>
443 <p>Then run
446 </pre>
448 <p>This checks the build environment for the right tools and should give
449 you an error if a tool is missing. Once that succeeds run
452 </pre>
454 <p>The make procedure should run through all the directories and put
456 Alpha it was convenient to compile Alpha and i686 binaries
457 simultaneously, in different directories, so all the binaries are put in
458 subdirectories.
460 <p>Once finished run
463 </pre>
465 <p>to install the binaries. The output is put in the following directories:
467 <ul>
471 </ul>
473 <p>The main binaries are /usr/bin/cinelerra and several utilities for
474 reading MPEG transport streams.
476 <p>Run Cinelerra by running
479 </pre>
482 <p><hr>
487 <br>
488 </div>
492 <p>Because of the variety of uses, Cinelerra cannot be run optimally
493 without some intimate configuration for your specific needs. Very few
494 parameters are adjustible at compile time. Runtime configuration is
495 the only option for most configuration because of the multitude of
496 parameters.
501 <li><a accesskey="1" href="#ENVIRONMENT%20VARIABLES">ENVIRONMENT VARIABLES</a>: These environment variables are recognized by Cinelerra
503 <li><a accesskey="3" href="#RECORDING">RECORDING</a>: Configuring parameters related to recording.
504 <li><a accesskey="4" href="#PERFORMANCE">PERFORMANCE</a>: Configuring parameters related to how fast things go.
507 </ul>
510 <p><hr>
514 <br>
515 </div>
519 <p>In UNIX derivatives, environment variables are global variables in the
520 shell which all applications can read. They are set with a command
523 environment variables:
525 <ul>
528 for LADSPA plugins. These are not native Cinelerra plugins.
532 native plugins in. The default is /usr/lib/cinelerra but you may need an
533 alternate directory if you're sharing the same executable directory
534 among many machines via NFS. Plugins of different binary formats need
535 to be in different directories.
537 </ul>
540 <p><hr>
543 Previous:<a rel="previous" accesskey="p" href="#ENVIRONMENT%20VARIABLES">ENVIRONMENT VARIABLES</a>,
545 <br>
546 </div>
553 </ul>
556 <p><hr>
560 <br>
561 </div>
565 <p>These determine what happens when you play sound from the timeline.
567 <ul>
569 <li>SAMPLES TO READ FROM DISK
571 <p>Cinelerra uses a pipeline for rendering audio. The first stage is
572 reading large chunks of audio from disk, the samples to read from
573 disk. This is followed by processing small fragments in a virtual
574 console.
576 </p><li>SAMPLES TO SEND TO CONSOLE:
578 <p>The second stage is rendering small fragments through the virtual
579 console to the sound driver. A larger value here causes more latency
580 when you change mixing parameters but gives more reliable playback.
582 <p>Some sound drivers don't allow changing of the console fragment so
583 latency is unchanged no matter what this value is.
585 </p><li>
586 VIEW FOLLOWS PLAYBACK
588 <p>Causes the timeline window to scroll when the playback cursor moves out
589 of view. This can bog down the X Server.
591 </p><li>USE SOFTWARE FOR POSITIONING INFORMATION
593 <p>Most soundcards and sound drivers don't give reliable information on
594 the number of samples the card has played. When playing video you need
595 this information for synchronization. This option causes the sound
596 driver to be ignored and a software timer to be used for
597 synchronization.
599 </p><li>AUDIO PLAYBACK IN REALTIME:
602 uninterrupted playback on heavy loads. Now you'll probably only need it
603 for playing video and audio when the load is to high for uninterrupted
604 audio.
606 </p><li>AUDIO DRIVER
608 <p>There are many sound drivers for Linux. This allows selecting one and
609 setting parameters specific to it. Some of the common parameters for a
610 sound driver are
612 <ul>
614 <li>DEVICE PATH
617 device.
619 </p><li>
620 BITS
622 <p>The number of bits of precision Cinelerra should set the device for.
623 This sometimes has a figuritive meaning. Some sound drivers need to be
626 bit playback.
628 </p><li>
629 CHANNELS
631 <p>The number of channels Cinelerra should set the device for. Regardless
632 of the number of channels in the project, the number of channels set
633 here will be written to the device. When this is set to 2 and the
634 project has 1 channel you'll hear sound through the left speaker and
635 not centered as expected for a monaural project. When this is set to 1
636 and the project has 2 channels you'll hear the left channel centered
637 and not 2 channels mixed together.
639 </ul>
640 </ul>
643 <p><hr>
647 <br>
648 </div>
652 <p>These determine what happens when you play video from the timeline.
654 <ul>
656 <li>
657 FRAMERATE ACHIEVED
659 <p>The number of frames per second being
660 displayed during playback.
662 </p><li>
663 SCALING EQUATION
665 <p>The algorithm used in all video resizing in
666 the virtual console. This doesn't affect scaling to the size of the
667 compositor window.
669 <ul>
671 <li>NEAREST NEIGHBOR ENLARGE AND REDUCE
673 <p>lowest but fastest
674 quality. Produces jagged edges and uneven motion.
676 </p><li>
677 BICUBIC ENLARGE AND BILINEAR REDUCE
679 <p>highest but slowest
680 quality. For enlarging a bicubic interpolation is used, which blurs
681 slightly but doesn't reveal stair steps. For reduction a bilinear
682 interpolation is used, which produces very sharp images and reduces
683 noise. The bilinear reduced images can be sharpened with a sharpen
684 effect with less noise than a normal sized image.
686 </p><li>
687 BILINEAR ENLARGE AND BILINEAR REDUCE
689 <p>when slight enlargement
690 is needed a bilinear enlargement looks better than a bicubic
691 enlargement.
693 </ul>
695 </p><li>
696 PRELOAD BUFFER FOR QUICKTIME
698 <p>The Quicktime/AVI decoder can
699 handle CDROM sources better when this is around 1000000. This reduces
700 the amount of seeking. For normal use this should be 0.
702 </p><li>
703 MPEG-4 DEBLOCKING
705 <p>For assets which are compressed in OpenDivx and Quicktime, this enables
706 deblocking. This greatly improves the picture quality during decoding
707 while slowing it down.
709 </p><li>
710 VIDEO DRIVER
712 <p>Normally video on the timeline goes to the
713 compositor window during continuous playback and when the insertion
714 point is repositioned. Instead of sending video to the Compositor
715 window the video driver can be set to send video to another output
716 device during continuous playback. This doesn't affect where video
717 goes when the insertion point is repositioned, however.
719 <p>Various parameters are given for Video Driver depending on the driver.
721 <ul>
723 <li>
724 DISPLAY
726 <p>The is intended for dual monitor
727 displays. Depending on the value of Display, the Compositor window
728 will appear on a different monitor from the rest of the windows.
730 </p><li>
731 DEVICE PATH
734 which controls the device.
736 </p><li>
737 SWAP FIELDS
739 <p>Make the even lines odd and the odd lines even
740 when sending to the device. On an NTSC or 1080i monitor the fields may
741 need to be swapped to prevent jittery motion.
743 </p><li>
744 OUTPUT CHANNEL
746 <p>Devices with multiple outputs may need a
747 specific connector to send video on.
749 </p><li>
750 PORT
752 <p>The IEEE1394 standard specifies something known as the
754 to use.
756 </p><li>
757 CHANNEL
759 <p>The IEEE1394 standard specifies something known as the
762 </ul>
764 </ul>
767 <p><hr>
772 <br>
773 </div>
780 </ul>
783 <p><hr>
787 <br>
788 </div>
792 <p>These determine what happens when you record audio.
794 <ul>
795 <li>
796 RECORD DRIVER
798 <p>This is used for recording audio in the Record window. It may be
799 shared with the Record Driver for video if the audio and video are
800 wrapped in the same stream. It takes variable parameters depending on
801 the driver. The parameters have the same meaning as they do for
802 playback.
804 <ul>
805 <li>
806 DEVICE PATH
809 device.
811 </p><li>
812 BITS
814 <p>The number of bits of precision Cinelerra should set the device for.
815 This sometimes has a figuritive meaning. Some sound drivers need to be
818 24 bit recording.
820 </p><li>CHANNELS
822 <p>The number of channels Cinelerra should set the device for. Regardless
823 of the number of channels in the record operation, the number of
824 channels set here will be read from the device. When this is set to 2
825 and the record operation has 1 channel you'll record the left speaker
826 and not a mix of the left and right speakers as expected for a monaural
828 record the left and right channels mixed into the left speaker and not
829 1 channel spead across two speakers.
831 </ul>
833 </p><li>
834 SAMPLES TO WRITE AT A TIME
836 <p>Audio is first read in small fragments from the device. Many small
837 fragments are combined into a large fragment before writing to disk.
838 The disk writing process is done in a different thread. The value here
839 determines how large the combination of fragments is for each disk
840 write.
842 </p><li>
843 SAMPLE RATE FOR RECORDING
845 <p>Regardless of what the project settings are. This is the sample rate
846 used for recording. This should be the highest the audio device
847 supports.
849 </ul>
852 <p><hr>
856 <br>
857 </div>
861 <p>These determine what happens when you record video.
863 <ul>
864 <li>
865 RECORD DRIVER
867 <p>This is used for recording video in the Record window. It may be
868 shared with the Record Driver for audio if the audio and video are
869 wrapped in the same stream. It takes variable parameters depending on
870 the driver. The parameters have the same meaning as they do for
871 playback.
873 </p><li>
874 FRAMES TO RECORD TO DISK AT A TIME
876 <p>Frames are recorded in a pipeline. First frames are buffered in the
877 device. Then they're read into a larger buffer for writing to disk.
878 The disk writing is done in a different thread as the device reading.
879 For certain codecs the disk writing uses multiple processors. This
880 value determines how many frames are written to disk at a time.
882 </p><li>
883 FRAMES TO BUFFER IN DEVICE
885 <p>The number of frames to store in the device before reading. This
886 determines how much latency there can be in the system before frames
887 are dropped.
889 </p><li>USE SOFTWARE FOR POSITIONING INFORMATION
891 <p>Video uses audio for
893 <p>synchronization but most soundcards don't give accurate position
894 information. This calculates an estimation of audio position in
895 software instead of the hardware for synchronization.
897 </p><li>
898 SYNC DRIVES AUTOMATICALLY
900 <p>For high bitrate recording the drives may be fast enough to store the
901 data but Linux may wait several minutes and stall as it writes several
902 minutes of data at a time. This forces Linux to flush its buffers
903 every second instead of every few minutes and produce slightly better
904 realtime behavior.
906 </p><li>
907 SIZE OF CAPTURED FRAME
909 <p>This is the size of the frames recorded. It is independant of the
910 project frame size because most video devices only record a fixed frame
911 size. If the frame size given here isn't supported by the device it
912 might crash Cinelerra.
914 </p><li>FRAME RATE FOR RECORDING
916 <p>The frame rate recorded is different from the project settings. This
917 sets the recorded frame rate.
919 </ul>
922 <p><hr>
927 <br>
928 </div>
932 <p>You'll spend most of your time configuring this section. The main
933 focus of performance is rendering parameters not available in the
934 rendering dialog.
936 <ul>
938 <li>CACHE ITEMS
940 <p>To speed up rendering, several assets are kept open simultaneously.
941 This determines how many are kept open. A number too large may exhaust
942 your memory pretty fast and result in a crash. A number too small may
943 result in slow playback as assets need to be reopened more frequently.
945 </p><li>
946 SECONDS TO PREROLL RENDERS
948 <p>Some effects need a certain amount of time to settle in. This sets a
949 number of seconds to render without writing to disk before the selected
950 region is rendered. When using the renderfarm you'll sometimes need to
951 preroll to get seemless transitions between the jobs. Every job in a
952 renderfarm is prerolled by this value. This does not affect background
953 rendering, however. Background rendering uses a different preroll
954 value.
956 </p><li>
957 FORCE SINGLE PROCESSOR USE
959 <p>Cinelerra tries to use all processors on the system by default but
960 sometimes you'll only want to use one processor, like in a renderfarm
961 client. This forces only one processer to be used. The operating
962 system, however, usually uses the second processor anyway for disk
963 access so this option is really a 1.25 processor mode. The value of
964 this parameter is used in renderfarm clients.
966 </ul>
971 </ul>
974 <p><hr>
978 <br>
979 </div>
983 <p>Background rendering was originally concieved to allow HDTV effects to
984 be displayed in realtime. Background rendering causes temporary output
985 to constantly be rendered while the timeline is being modified. The
986 temporary output is played during playack whenever possible. It's very
987 useful for transitions and previewing effects which are too slow to
988 display in a reasonable amount of time. If renderfarm is enabled, the
989 renderfarm is used for background rendering, giving you the potential
990 for realtime effects if enough network bandwidth and CPU nodes exist.
992 <ul>
994 <li>FRAMES PER BACKGROUND RENDERING JOB
996 <p>This only works if renderfarm is being used, otherwise background
997 rendering creates a single job for the entire timeline. The number of
998 frames specified here is scaled to the relative CPU speed of rendering
999 nodes and used in a single renderfarm job. The optimum number is 10 -
1000 30 since network bandwidth is used to initialize each job.
1002 </p><li>FRAMES TO PREROLL BACKGROUND
1004 <p>This is the number of frames to render ahead of each background
1005 rendering job. Background rendering is degraded when preroll is used
1006 since the jobs are small. When using background rendering, this number
1009 </p><li>OUTPUT FOR BACKGROUND RENDERING
1011 <p>Background rendering generates a sequence of image files in a certain
1012 directory. This parameter determines the filename prefix of the image
1013 files. It should be on a fast disk, accessible to every node in the
1014 renderfarm by the same path. Since hundreds of thousands of image
1016 background rendering directory. The <img src="magnify.png" alt="magnify.png"> browse button for
1018 configuration button for this option works.
1020 </p><li>FILE FORMAT
1022 <p>The file format for background rendering has to be a sequence of
1023 images. The format of the image sequence determines the quality and
1024 speed of playback. JPEG is good most of the time.
1026 </ul>
1029 <p><hr>
1031 Previous:<a rel="previous" accesskey="p" href="#BACKGROUND%20RENDERING">BACKGROUND RENDERING</a>,
1033 <br>
1034 </div>
1038 <p>To use the renderfarm set these options. Ignore them for a standalone
1039 system
1041 <ul>
1043 <li>
1044 USE RENDER FARM FOR RENDERING
1046 <p>When selected, all the
1049 </p><li>
1050 NODES
1052 <p>Displays all the nodes on the renderfarm and which ones are active.
1054 <p>Nodes are added by entering the host name of the node, verifying the
1057 <p>Computer freaks may be better off editing the
1059 nodes. Remember that .Cinelerra_rc is overwritten whenever a copy of
1060 Cinelerra exits.
1063 are created.
1067 </p><li>
1068 HOSTNAME
1070 <p>Edit the hostname of an existing node or enter the hostname of a new
1071 node here.
1073 </p><li>
1074 PORT
1076 <p>Edit the port of an existing node or enter the port of a new node here.
1078 </p><li>
1079 REPLACE NODE
1081 <p>When editing an existing node, hit this to commit the changes to
1083 don't hit this button.
1085 </p><li>
1086 ADD NODE
1090 </p><li>
1091 DELETE NODE
1095 </p><li>
1096 SORT NODES
1100 </p><li>
1101 RESET RATES
1104 to scale job sizes based on CPU speed of the node. Frame rates are
1105 only calculated when renderfarm is enabled.
1107 </p><li>
1108 USE VIRTUAL FILESYSTEM
1110 <p>Normally the directory on the master node containing the source and
1111 destination assets is mounted on the clients. The assets on the
1112 clients should be visible in the same locations as they are on the
1113 master node. This can be hard to set up and requires root access.
1115 <p>A user level version of NFS was built into Cinelerra and called the
1116 Virtual File System. This transparently redirects all file I/O over
1117 the network without requiring a replication of the master node's
1118 directory structure or root access on the client. The client sees the
1119 exact directory structure on the master node but in reality is sending
1120 network packets to access it.
1122 <p>There is a penalty for doing this though, since Virtual Filesystem
1123 isn't as refined as NFS. Operations that access one byte at a time are
1124 really slow.
1126 <p>Certain file format parsers are extemely slow over the Virtual
1127 Filesystem because they access very small amounts of data at a time.
1128 The PCM audio formats do this. These are best rendered using NFS.
1130 <p>Unless you need to run rendering clients without root access or have a
1131 lot of assets in different directories, use NFS instead.
1133 </p><li>
1134 TOTAL JOBS TO CREATE
1136 <p>Determines the number of jobs to dispatch to the renderfarm. The more
1137 jobs you create, the more finely balanced the renderfarm becomes.
1139 <p>Determine the total jobs to create by multiplying the number of nodes
1140 including the master node by some number. Multiply them by 1 to have
1142 dispatched for every node. If you have 10 slave nodes and one master
1143 node, specify 33 to have a well balanced renderfarm.
1145 </ul>
1148 <p><hr>
1153 <br>
1154 </div>
1158 <p>These parameters affect purely how the user interface works.
1160 <ul>
1162 <li>
1163 INDEX FILES GO HERE
1166 index files were introduced to speed up drawing the audio tracks. This
1167 option determines where index files are placed on the hard drive.
1169 </p><li>
1170 SIZE OF INDEX FILE
1172 <p>Determines the size of an index file. Larger index sizes allow smaller
1173 files to be drawn faster while slowing down the drawing of large files.
1174 Smaller index sizes allow large files to be drawn faster while slowing
1175 down small files.
1177 </p><li>
1178 NUMBER OF INDEX FILES TO KEEP
1180 <p>To keep the index directory from becoming unruly, old index files are
1181 deleted. This determines the maximum number of index files to keep in
1182 the directory.
1184 </p><li>
1185 DELETE ALL INDEXES
1187 <p>When you change the index size or you want to clean out excessive index
1188 files, this deletes all the index files.
1190 </p><li>USE HOURS:MINUTES:SECONDS.XXX
1192 <p>Various representations of time are given. Select the most convenient
1194 clicking on the time ruler.
1196 </p><li>USE THUMBNAILS
1198 <p>The Resource Window displays thumbnails of assets by default. This can
1199 take a long time to set up. This option disables the thumbnails.
1201 </p><li>CLICKING IN/OUT POINTS DOES WHAT
1203 <p>Cinelerra not only allows you to perform editing by dragging in/out
1204 points but also defines three seperate operations which occur when you
1205 drag an in/out point. For each mouse button you select the behavior in
1206 this window. The usage of each editing mode is described in editing.
1208 </p><li>MIN DB FOR METER
1210 <p>Some sound sources have a lower noise threshold than others.
1211 Everything below the noise threshold is meaningless. This option sets
1212 the meters to clip below a certain level. Consumer soundcards usually
1215 </p><li>FORMAT FOR METER
1217 <p>This option allows you to select the format for all the VU meters. If
1218 you're a CS major select percentage and if you're a EE major select DB.
1219 With that, be aware all levels in Cinelerra are input as DB.
1221 </p><li>THEME
1223 <p>Cinelerra supports variable themes. Select one here and restart
1224 Cinelerra to see it.
1226 </ul>
1229 <p><hr>
1233 <br>
1234 </div>
1238 <p>This section gives you information about the copyright, the time of the
1239 current build, the lack of a warranty, and the versions of some of the
1240 libraries. Be sure to agree to the terms of the lack of the warranty.
1243 <p><hr>
1245 Next:<a rel="next" accesskey="n" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
1248 <br>
1249 </div>
1253 <p>When Cinelerra first starts, you'll get four main windows. Hitting
1256 <ul>
1258 <li>Viewer
1260 <p>In here you'll scrub around source media and clips, selecting regions
1261 to paste into the project. Operations done in the viewer affect a
1262 temporary EDL or a clip but not the timeline.
1264 </p><li>Compositor
1266 <p>This window displays the output of the timeline. It's the interface
1267 for most compositing operations or operations that affect the
1268 appearance of the timeline output. Operations done in the Compositor
1269 affect the timeline but don't affect clips.
1271 </p><li>Program
1273 <p>This contains the timeline and the entry point for all menu driven
1274 operations. The timeline consists of a vertical stack of tracks with
1275 horizontal representation of time. This defines the output of
1276 rendering operations and what is saved when you save files.
1278 </p><li>Resources
1280 <p>Effects, transitions, clips, and assets are accessed here. Most of the
1281 resources are inserted into the project by dragging them out of the
1282 resource window. Management of resource allocation is also performed
1283 here.
1285 </ul>
1289 screen editing configuration. On dual headed displays, the
1294 audio levels after all mixing is done.
1297 <p><hr>
1299 Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
1302 <br>
1303 </div>
1309 <li><a accesskey="2" href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>: Recovering the session from before a crash
1312 </ul>
1315 <p><hr>
1318 Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
1319 <br>
1320 </div>
1324 <p>All data that you work with in Cinelerra is acquired either by
1326 section describes loading.
1328 <p>The loading and playing of files is just as you would expect. Just go
1330 the forward play button and it should start playing, regardless of
1331 whether a progress bar has popped up.
1333 <p>Another way to load files is to pass the filenames as arguments on the
1334 command line. This creates new tracks for every file and starts the
1335 program with all the arguments loaded.
1337 <p>If the file is a still image, the project's attributes are not changed
1338 and the first frame of the track becomes the image. If the file has
1339 audio, Cinelerra may build an index file for it to speed up drawing.
1340 You can edit and play the file while the index file is being built.
1346 </ul>
1349 <p><hr>
1353 <br>
1354 </div>
1358 <p>The format of the file affects what Cinelerra does with it. Some
1359 formats replace all the project settings. Some just insert data with
1360 existing project settings. If your project sample rate is 48khz and
1361 you load a sound file with 96khz, you'll still be playing it at
1362 48khz. XML files, however, replace the project settings. If you load
1364 you'll change it to 96khz. Supported file formats are currently:
1366 <ul>
1367 <li>WAV
1368 <li>PCM
1369 <li>AIFF
1370 <li>Uncompresed Quicktime
1372 <p>Quicktime is not the standard for UNIX but we use it because it's well
1373 documented. All of the Quicktime movies on the internet are
1374 compressed. Cinelerra doesn't support compressed Quicktime movies.
1375 Most of the Quicktime footage dealt with in Cinelerra is generated by
1376 Cinelerra either recording from a device or rendering. The best
1377 Quicktime settings to use are JPEG video and twos audio.
1379 </p><li>JPEG, PNG, TIFF, TGA sequences
1381 <p>Cinelerra generates a special table of contents file when you render an
1382 image sequence. You can either select every image file to load or
1383 select the table of contents when the rendering is done. Selecting the
1384 table of contents is faster and doesn't fill up the resource window
1385 with thousands of images.
1387 </p><li>JPEG, PNG, TIFF, TGA still images
1389 <p>When loaded, the image takes up one frame in length and doesn't change
1390 the project attributes.
1397 these, then load the table of contents. Mpeg3toc needs the absolute
1398 path of the MPEG file. If you want to edit a DVD, find the
1402 </pre>
1405 accurate editing where none would be possible otherwise.
1407 </p><li>MPEG program streams and transport streams
1410 Program and transport streams are structured into multiple tracks.
1412 channels. Cinelerra converts each channel of audio into a track, so
1413 for MPEG streams with multiple tracks, the tracks will be flattened.
1415 </p><li>MPEG audio layer II, III
1417 <p>These can be loaded directly with no table of contents. Variable
1418 bitrate streams may need a table of contents but are playable without
1419 it.
1421 </p><li>AC3 audio
1423 <li>XML
1425 <p>These are generated by Cinelerra for storing edit lists. They change
1426 project attributes when loaded.
1428 </ul>
1431 <p><hr>
1433 Next:<a rel="next" accesskey="n" href="#LOADING%20MULTIPLE%20FILES">LOADING MULTIPLE FILES</a>,
1434 Previous:<a rel="previous" accesskey="p" href="#SUPPORTED%20FILE%20FORMATS">SUPPORTED FILE FORMATS</a>,
1436 <br>
1437 </div>
1441 <p>Usually three things happen when you load a file. First the existing
1442 project is cleared from the screen, second the project's attributes are
1443 changed to match the file's, and finally the new file's tracks are
1444 created in the timeline.
1446 <p>But Cinelerra lets you change what happens when you load a file.
1449 select it. Each of these options loads the file a different way.
1451 <ul>
1453 <li>Replace current project
1455 <p>All tracks in the current project are deleted and new tracks are
1456 created to match the source. Project attributes are only changed when
1457 loading XML. If multiple files are selected it adds new tracks for
1458 every file.
1460 </p><li>Replace current project and concatenate tracks
1462 <p>Same as replace current project except if multiple files are selected
1463 it concatenates the tracks of every file after the first.
1465 </p><li>Append in new tracks
1467 <p>The current project is not deleted and new tracks are created for the
1468 source.
1470 </p><li>Concatenate to existing tracks
1472 <p>The current project is not deleted and new files are concatenated to
1473 the existing tracks.
1475 </p><li>Paste at insertion point
1477 <p>The file is pasted in like a normal paste operation.
1479 </p><li>Create new resources only
1481 <p>The timeline is unchanged and new resources are created in the Resource
1482 Window.
1484 </ul>
1486 <p>The insertion strategy is a recurring option in many of Cinelerra's
1487 functions. In each place the options do the same thing. With these
1488 options you can almost do all your editing by loading files.
1490 <p>If you load files by passing command line arguments to Cinelerra, the
1494 <p><hr>
1498 <br>
1499 </div>
1503 <p>In the file selection box go to the list of files. Select a file. Go
1505 selects one additional file. Go to another file and select it while
1507 behavior is available in most every list box.
1510 concatenate tracks</em> in the insertion strategy to create a song
1511 playlist.
1514 <p><hr>
1518 Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
1519 <br>
1520 </div>
1524 <p>There is one special XML file on disk at all times. After every
1525 editing operation Cinelerra saves the current project to a backup in
1528 crash to reboot Cinelerra without performing any editing operations.
1529 Loading the backup should be the first operation or you'll overwrite
1530 the backup.
1533 <p><hr>
1536 Previous:<a rel="previous" accesskey="p" href="#LOADING%20THE%20BACKUP">LOADING THE BACKUP</a>,
1537 Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
1538 <br>
1539 </div>
1543 <p>When Cinelerra saves a file it saves an edit decision list of the
1545 as...</em>. Select a file to overwrite or enter a new file. Cinelerra
1549 <p>The saved file contains all the project settings and locations of every
1550 edit but instead of media it contains pointers to the original media
1551 files on disk.
1553 <p>For each media file the XML file stores either an absolute path or just
1554 the relative path. If the media is in the same directory as the XML
1555 file a relative path is saved. If it's in a different directory an
1556 absolute path is saved.
1558 <p>In order to move XML files around without breaking the media linkages
1559 you either need to keep the media in the same directory as XML file
1560 forever or save the XML file in a different directory than the media
1561 and not move the media ever again.
1563 <p>If you want to create an audio playlist and burn it on CD-ROM, save the
1564 XML file in the same directory as the audio files and burn the entire
1565 directory. This keeps the media paths relative.
1567 <p>XML files are useful for saving the current state before going to sleep
1568 and saving audio playlists but they're limited in that they're specific
1569 to Cinelerra. You can't play XML files in a dedicated movie player.
1570 Realtime effects in an XML file have to be resynthesized every time you
1571 play it back. The XML file also requires you to maintain copies of all
1572 the source assets on hard drives, which can take up space and cost a
1573 lot of electricity to spin. For a more persistent storage of the
1574 output there's rendering.
1577 <p><hr>
1580 Up:<a rel="up" accesskey="u" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>
1581 <br>
1582 </div>
1586 <p>Rendering takes a section of the timeline, performs all the editing,
1587 effects and compositing, and stores it in a pure movie file. You can
1588 then delete all the source assets, play the rendered file in a movie
1589 player, or bring it back into Cinelerra for more editing. It's very
1590 difficult to retouch any editing decisions in the pure movie file,
1591 however, so keep the original assets and XML file around several days
1592 after you render it.
1594 <p>All rendering operations are based on a region of the timeling to be
1595 rendered. You need to define this region of the timeline. The
1596 navigation section describes methods of defining regions.
1597 See <a href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>. The rendering functions define the
1598 region based on a set of rules. When a region is highlighted or in/out
1599 points are set, the affected region is rendered. When no region is
1600 highlighted, everything after the insertion point is rendered. Merely
1601 by positioning the insertion point at the beginning of a track and
1602 unsetting all in/out points, the entire track is rendered.
1605 <li><a accesskey="1" href="#SINGLE%20FILE%20RENDERING">SINGLE FILE RENDERING</a>: Rendering a single file
1606 <li><a accesskey="2" href="#BATCH%20RENDERING">BATCH RENDERING</a>: Rendering several files unattended
1607 <li><a accesskey="3" href="#THE%20RENDER%20FARM">THE RENDER FARM</a>: Rendering using many computers
1608 </ul>
1611 <p><hr>
1615 <br>
1616 </div>
1620 <p>The fastest way to get media to disk is to use the single file
1621 rendering function.
1624 magnifying glass <img src="magnify.png" alt="magnify.png"> to bring up a file selection dialog. This determines
1625 the filename to write the rendered file to and the encoding parameters.
1628 The format of the file determines whether you can render audio or video
1632 <p>Select the wrench <img src="wrench.png" alt="wrench.png"> next to each toggle to set compression
1633 parameters. If the file format can't store audio or video the
1636 support it, trying to render will pop up an error.
1639 created when every label in the timeline is encountered. This is
1640 useful for dividing long audio recordings into individual tracks. When
1642 renderfarm job to be created at every label instead of using the
1643 internal load balancing algorithm to space jobs.
1646 is created for every output file. If the filename given in the render
1648 with a different incremental number for every output file. If no 2
1649 digit number is given, Cinelerra automatically concatenates a number to
1650 the end of the given filename for every output file.
1653 overwritten for every output file. The filename
1655 and so on and so forth. Filename regeneration is only used when either
1656 renderfarm mode is active or creating new files for every label is
1657 active.
1659 <p>Finally the render dialog lets you select an insertion mode. The
1660 insertion modes are the same as with loading files. In this case if
1662 without changing the current project. For other insertion strategies
1663 be sure to prepare the timeline to have the output inserted at the
1664 right position before the rendering operation is finished.
1666 at the right position.
1668 <p>It should be noted that even if you only have audio or only have video
1670 paste operation, erasing any selected region of the timeline and
1671 pasting just the data that was rendered. If you render only audio and
1672 have some video tracks armed, the video tracks will get truncated while
1673 the audio output is pasted into the audio tracks.
1676 <p><hr>
1679 Previous:<a rel="previous" accesskey="p" href="#SINGLE%20FILE%20RENDERING">SINGLE FILE RENDERING</a>,
1681 <br>
1682 </div>
1686 <p>If you want to render many projects to media files without having to
1688 function to use. In this function, you specify many EDL files to
1689 render and the unique output files for each. Then Cinelerra loads each
1690 EDL file and renders it automatically, without any user intervention.
1692 This allows a huge amount of media to be processed and greatly
1693 increases the value of an expensive computer.
1695 <p>The first thing to do when preparing to do batch rendering is define
1696 projects to be rendered. The batch renderer requires a separate EDL
1697 file for every batch to be rendered. Set up a project and define the
1698 region to be rendered either by highlighting it, setting in/out points
1699 around it, or positioning the insertion point before it. Then save the
1700 project as an EDL. Define as many projects as needed this way. The
1701 batch renderer takes the active region from the EDL file for rendering.
1703 <p>With all the EDL files prepared with active regions, go to
1705 The interface for batch rendering is a bit more complex than for single
1706 file rendering.
1708 <p>A list of batches must be defined before starting a batch rendering
1709 operation. The table of batches appears on the bottom of the batch
1711 the configuration parameters for a single batch.
1715 file. These parameters apply to only one batch. In addition to the
1716 standard rendering parameters, you must select the source EDL to use in
1721 the parameters you just set.
1724 same parameters. Highlight any batch and edit the configuration on the
1725 top of the batch render window. The highlighted batch is always
1726 synchronized to the information displayed.
1728 <p>Click and drag batches to change the order in which they're rendered.
1731 <p>In the list box is a column which enables or disables the batch. This
1732 way batches can be skipped without being deleted. Click on the
1734 is checked, the batch is rendered. If it is blank, the batch is
1735 skipped.
1737 <p>The other columns in the batch list are informative.
1739 <ul>
1745 </ul>
1749 <p>Once rendering, the main window shows the progress of the batch. Once
1750 the batch finishes, the elapsed column in the batch list is updated and
1751 the next batch is rendered until all the enabled batches are finished.
1752 The currently rendering batch is always highlighted red.
1754 <p>To stop rendering before the batches are finished without closing the
1757 <p>To stop rendering before the batches are finished and close the batch
1760 <p>To exit the batch render dialog whether or not anything is being
1764 <p><hr>
1768 <br>
1769 </div>
1773 <p>When bicubic interpolation and HDTV was first done on Cinelerra, the
1774 time needed to produce the simplest output became unbearable even on
1775 the fastest dual 1.7Ghz Xeon of the time. Renderfarm support even in
1776 the simplest form brings HDTV times back in line with SD while making
1777 SD faster than realtime.
1779 <p>While the renderfarm interface isn't spectacular, it's simple enough to
1780 use inside an editing suite with less than a dozen nodes without going
1781 through the same amount of hassle you would with a several hundred node
1782 farm. Renderfarm is invoked transparently for all file->render
1783 operations when it is enabled in the preferences.
1786 new renderfarm job to be created at each label instead of the default
1787 load balancing. If this option is selected when no labels exist, only
1788 one job will be created.
1790 <p>A Cinelerra renderfarm is organized into a master node and any number
1791 of slave nodes. The master node is the computer which is running the
1792 GUI. The slave nodes are anywhere else on the network and are run from
1793 the command line.
1795 <p>Cinelerra divides the selected region of the timeline into a certain
1796 number of jobs which are then dispatched to the different nodes
1797 depending on the load balance. The nodes process the jobs and write
1798 their output to individual files on the filesystem. The output files
1799 are not concatenated. It's important for all the nodes and the master
1800 node to use the same filesystem for assets, mounted over the network.
1802 <p>Since most of the time you'll want to bring in the rendered output and
1803 fine tune it on the timeline, the jobs are left in individual files.
1805 with renderfarm disabled. If the track and output dimensions equal the
1806 asset dimensions, Cinelerra will do a direct copy of all the jobs into
1807 a single file. Note that direct copying doesn't work for MPEG Video.
1808 MPEG has the distinction that you can concatenate the subfiles with the
1809 UNIX cat utility.
1811 <p>Configuration of the renderfarm is described in the configuration
1813 write data to a common filesystem over a network, thus they don't need
1814 hard drives.
1816 <p>Ideally all the nodes on the renderfarm have similar CPU performance.
1817 Cinelerra load balances on a first come first serve basis. If the last
1818 segment is dispatched to the slowest node, all the fastest nodes may
1819 end up waiting for the slowest node to finish while they themselves
1820 could have rendered it faster.
1823 <p><hr>
1826 Previous:<a rel="previous" accesskey="p" href="#LOADING%20AND%20SAVING%20FILES">LOADING AND SAVING FILES</a>,
1828 <br>
1829 </div>
1833 <p>The thing you want to do most of the time is get to a certain time and
1834 place in the media. Internally the media is organized into tracks.
1835 Each track extends across time. Navigation involves both getting to a
1836 track and getting to a certain time in the track.
1839 <li><a accesskey="1" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>:
1840 <li><a accesskey="2" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>:
1842 <li><a accesskey="4" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>:
1844 </ul>
1847 <p><hr>
1849 Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
1851 <br>
1852 </div>
1856 <p>The program window contains many features for navigation and displays
1857 the timeline as it is structured in memory: tracks stacked vertically
1858 and extending across time. The horizontal scroll bar allows you to
1859 scan across time. The vertical scroll bar allows you to scan across
1860 tracks.
1862 <p>Below the timeline you'll find the zoom panel. The zoom panel contains
1864 zoom</em>. These values in addition to the scrollbars are all that's
1865 needed to position the timeline, but at the heart of the batch
1866 rendering dialog are the same parameters you found in single file
1867 rendering.
1869 <br><p>
1873 change. <em>If your mouse has a wheel and it works in X11 go over
1874 the tumblers and use the wheel to zoom in and out.</em>
1877 waveform is if the waveform is drawn.
1880 each track. If you change the track zoom the amplitude zoom
1881 compensates so audio waveforms look proportional.
1883 <p>In addition to the graphical tools, you'll probably more often use the
1885 scroll up and down the tracks.
1888 small increments. You'll often need to scroll beyond the end of the
1889 timeline but scrollbars won't let you do it. Instead use the
1895 the timeline between the insertion point and the key pressed.
1898 power of 2.
1907 <li><a accesskey="3" href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>:
1908 </ul>
1911 <p><hr>
1914 Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
1915 <br>
1916 </div>
1920 <p>By default you'll see a flashing insertion point in the program window
1921 the first time you boot it up. This is where new media is pasted onto
1922 the timeline. It's also the starting point of all playback
1923 operations. When rendering it defines the region of the timeline to be
1924 rendered.
1926 <p>The insertion point is normally moved by clicking inside the timebar.
1927 Any region of the timebar not obscured by labels and in/out points is a
1928 hotspot for repositioning the insertion point.
1930 <br><p>
1934 <p>The insertion point also can be moved by clicking in the timeline
1935 itself, but not always. The insertion point has two modes of
1936 operation:
1938 <ul>
1939 <li>drag and drop mode
1941 <li>cut and paste mode
1943 </ul>
1945 <p>The mode of operation is determined by selecting the arrow or the
1946 i-beam in the buttonbar.
1948 <br><p>
1953 drag and drop mode, clicking in the timeline doesn't reposition the
1954 insertion point. Instead it selects an entire edit. Dragging in the
1955 timeline repositions the edit, snapping it to other edit boundaries.
1956 This is normally useful for reordering audio playlists and moving
1957 effects around.
1960 cut and paste mode clicking in the timeline repositions the insertion
1961 point. Dragging in the timeline highlights a region. The highlighted
1962 region becomes the playback range during the next playback operation,
1963 the rendered range during the next render operation, and the region
1964 affected by cut and paste operations.
1969 cursor is over.
1971 <p>It should be noted that when moving the insertion point and selecting
1972 regions, the positions are either aligned to frames or aligned to
1973 samples. When editing video you'll want to align to frames. When
1974 editing audio you'll want to align to samples. This is set in
1977 <p>If the highlighted region is the region affected by cut and paste
1982 <p><hr>
1984 Next:<a rel="next" accesskey="n" href="#USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>,
1985 Previous:<a rel="previous" accesskey="p" href="#THE%20INSERTION%20POINT">THE INSERTION POINT</a>,
1986 Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
1987 <br>
1988 </div>
1992 <p>In both editing modes you can set in/out points. The in/out points
1993 define the affected region. In drag and drop mode they are the only
1994 way to define an affected region. In both cut and paste mode and drag
1995 and drop mode they override the highlighted area. If a highlighted
1996 area and in/out points are set, the highlighted area affects playback
1997 while the in/out points affect editing operations. To avoid confusion
1998 it's best to use either highlighting or in/out points but not both
1999 simultaneously.
2001 <p>To set in/out points go to the timebar and position the insertion point
2002 somewhere. Hit the <img src="in_point_button.png" alt="in_point_button.png"> <em>in point button</em>. Go
2003 to a position after the in point and hit the <img src="out_point_button.png" alt="out_point_button.png">
2006 <br><p>
2009 <p>Select either the in point or the out point and the insertion point
2010 jumps to that location. After selecting an in point, if you hit the
2013 be deleted.
2015 <p>If you select a region somewhere else while in/out points already
2016 exist, the existing points will be repositioned when you hit the in/out
2017 buttons.
2020 to that point.
2023 keys to toggle in/out points.
2025 <p>The insertion point and the in/out points allow you to define an
2026 affected region but they don't let you jump to exact points on the
2027 timeline very easily. For this purpose there are labels.
2030 <p><hr>
2031 Node:<a name="USING%20LABELS%20IN%20THE%20PROGRAM%20WINDOW">USING LABELS IN THE PROGRAM WINDOW</a>,
2032 Previous:<a rel="previous" accesskey="p" href="#THE%20IN%2fOUT%20POINTS">THE IN/OUT POINTS</a>,
2033 Up:<a rel="up" accesskey="u" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>
2034 <br>
2035 </div>
2039 <p>Labels are an easy way to set exact locations on the timeline you want
2040 to jump to. When you position the insertion point somewhere and hit
2041 the <img src="label_button.png" alt="label_button.png"> <em>label button</em> a new label appears on the
2042 timeline.
2044 <br><p>
2047 <p>No matter what the zoom settings are, clicking on the label positions
2048 the insertion point exactly where you set it. Hitting the label button
2049 again when a label is selected deletes it.
2054 the labels.
2058 <p>If you hit the label button when a region is highlighted, two labels
2059 are toggled at each end of the highlighted region. If one end already
2060 has a label, then the existing label is deleted and a label is created
2061 at the opposite end.
2063 <p>Labels can reposition the insertion point when they are selected but
2064 they can also be traversed with the <img src="label_traversal.png" alt="label_traversal.png"> <em>label
2065 traversal</em> buttons. When a label is out of view, the label traversal
2066 buttons reposition the timeline so the label is visible. There are
2067 keyboard shortcuts for label traversal, too.
2073 <p>With label traversal you can quickly seek back and forth on the
2074 timeline but you can also select regions.
2077 label.
2082 to delete a series of labels can get tedious. For deleting a set of
2084 labels</em> function. If in/out points exist, the labels between the
2085 in/out points are cleared and the highlighted region ignored.
2088 <p><hr>
2089 Node:<a name="NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
2090 Next:<a rel="next" accesskey="n" href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
2091 Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20PROGRAM%20WINDOW">NAVIGATING THE PROGRAM WINDOW</a>,
2093 <br>
2094 </div>
2098 <p>The navigation features of the Viewer and Compositor behave very
2099 similarly. Each has a timebar and slider below the video output. The
2100 timebar and slider are critical for navigation.
2102 <br><p>
2105 <p>The timebar represents the entire time covered by the program. When
2106 you define labels and in/out points it defines those, too. Finally the
2110 slider effects. The slider only covers the time covered by the preview
2111 region. By using a preview region inside the entire program and using
2112 the slider inside the preview region you can quickly and precisely seek
2113 in the compositor and viewer.
2115 <p>When you replace the current project with a file the preview region
2116 automatically resizes to cover the entire file. When you append data
2117 or change the size of the current project, the preview region stays the
2118 same size and shrinks. Therefore, you need to resize the preview
2119 region.
2121 <p>Load a file and then slide around it using the compositor slider. The
2122 insertion point in the main window follows the compositor. Move the
2123 pointer over the compositor's timebar until it turns into a left resize
2124 pointer. The click and drag right. The preview region should have
2125 changed and the slider resized proportionally.
2127 <p>Go to the right of the timebar until a right resize pointer appears.
2128 Drag left so the preview region shrinks.
2130 <p>Go to the center of the preview region in the timebar and drag it
2131 around to convince yourself if can be moved.
2133 <br><p>
2138 <p>If you go to the slider and slide it around with the preview region
2139 shrunk, you'll see the slider only affects the preview region. The
2140 timebar and slider in the viewer window work exactly the same.
2142 <p>Labels and in/out points are fully supported in the viewer and
2143 compositor. The only difference between the viewer and compositor is
2144 the compositor reflects the state of the program while the viewer
2145 reflects the state of a clip but not the program.
2148 appears both in the compositor timebar and the program timebar.
2150 <p>When you select a label or in/out point in the compositor, the program
2151 window jumps to that position.
2153 <br><p>
2154 <img src="viewer_labels.png" alt="viewer_labels.png"> <em>Labels and in/out points in the viewer</em>.
2156 <p>In the viewer and compositor, labels and in/out points are displayed in
2157 the timebar. Instead of displaying just a region of the program, the
2158 timebar displays the entire program here.
2160 <p>Like the Program window, the Compositor has a zoom capability. First,
2161 the pulldown menu on the bottom of the compositor window has a number
2163 the compositor window size as closely as possible. When set to any
2164 other percentage, the video is zoomed a power of 2 and scrollbars can
2165 be used to scroll around the output. When the video is zoomed bigger
2166 than the window size, not only do scrollbars scan around it but
2168 it. This is exactly when The Gimp does.
2170 <p>Furthermore, the zoom <img src="magnify.png" alt="magnify.png"> toggle causes the Compositor
2171 window to enter zoom mode. In zoom mode, clicking in the video output
2173 you have a wheel mouse, rotating the wheel zooms in or out too.
2175 <p>Zooming in or out with the zoom tool does not change the rendered
2176 output, mind you. It's merely for scrutinizing video or fitting it in
2177 the desktop.
2180 <p><hr>
2182 Next:<a rel="next" accesskey="n" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
2183 Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20VIEWER%20AND%20COMPOSITOR">NAVIGATING THE VIEWER AND COMPOSITOR</a>,
2185 <br>
2186 </div>
2190 <p>The resource window is divided into two areas. One area lists folders
2191 and another area lists folder contents. Going into the folder list and
2192 clicking on a folder updates the contents area with the contents of
2193 that folder.
2195 <p>The folder and contents can be displayed as icons or text.
2200 folder alphabetically.
2203 <p><hr>
2205 Next:<a rel="next" accesskey="n" href="#USING%20BACKGROUND%20RENDERING">USING BACKGROUND RENDERING</a>,
2206 Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20RESOURCES">NAVIGATING THE RESOURCES</a>,
2208 <br>
2209 </div>
2213 <p>Transport controls are just as useful in navigation as they are in
2214 playing back footage, hence they are described here. Each of the
2215 Viewer, Compositor, and Program windows has a transport panel.
2217 <br><p>
2220 <p>The transport panel is controlled by the keyboard as well as the
2221 graphical interface. For each of the operations it performs, the
2222 starting position is the position of the insertion point or slider.
2223 The ending position is either the end or start of the timeline or the
2224 end or start of the selected region if there is one.
2226 <p>The orientation of the end or start depends on the direction of
2227 playback. If it's forward the end position is the end of the selected
2228 region. If it's backward the end position is the start of the selected
2229 region.
2231 <p>The insertion point moves to track playback. When playback stops it
2232 leaves the insertion point where it stopped. Thus, by playing back you
2233 change the position of the insertion point.
2235 <p>The keyboard interface is usually the fastest and has more speeds. The
2238 <ul>
2250 </ul>
2252 <p>Hitting any key on the keyboard twice pauses it.
2254 <p>When using frame advance functions the behavior may seem odd. If you
2255 frame advance forward and then frame advance backward, the displayed
2256 frame doesn't change. This is because the playback position isn't the
2257 frame but the time between two frames. The rendered frame is the area
2258 that the playback position crosses. When you increment the time
2259 between two frames by one and decrement it by one, you cross the same
2260 frame both times and so the same frame is displayed.
2263 <p><hr>
2265 Previous:<a rel="previous" accesskey="p" href="#USING%20THE%20TRANSPORT%20CONTROLS">USING THE TRANSPORT CONTROLS</a>,
2267 <br>
2268 </div>
2272 <p>Background rendering allows impossibly slow effects to play back in
2273 realtime shortly after the effect is pasted in the timeline. It
2274 continuously renders temporary output. When renderfarm is enabled,
2275 background rendering uses the renderfarm continuously. This way, any
2276 size video can be seen in realtime merely by creating a fast enough
2277 network with enough nodes.
2281 sets the point where background rendering begins to where the in point
2282 is. If any video exists, a red bar appears in the time bar showing
2283 what has been background rendered.
2285 <p>It's often useful to insert an effect or a transition and then select
2286 settings->set background render right before the effect to preview it
2287 in full framerates.
2290 <p><hr>
2293 Previous:<a rel="previous" accesskey="p" href="#NAVIGATING%20THE%20PROJECT">NAVIGATING THE PROJECT</a>,
2295 <br>
2296 </div>
2300 <p>Editing comprises both the time domain and the track domain. Since the
2301 timeline consists of a stack of tracks, you need to worry about how to
2302 sort and create tracks in addition to what time certain media appears
2303 on a track.
2305 <p>In the time domain, Cinelerra offers many ways to approach the editing
2306 process. The three main methods are two screen editing, drag and drop
2307 editing, and cut and paste editing.
2309 <p>There are several concepts Cinelerra uses when editing which apply to
2311 represented. This is a stack of tracks in the center of the main
2312 window. It can be scrolled up, down, left and right with the
2313 scrollbars on the right and bottom of it. It can also be scrolled up
2314 and down with a mouse wheel.
2317 commands on the timeline. The active region is determined first by the
2318 presence of in/out points in the timeline. If those don't exist the
2319 highlighted region is used. If no highlighted region exists the
2320 insertion point is used as the start of the active region. Some
2321 commands treat all the space to the right of the insertion point as
2323 end point for the active region is defined.
2325 <p>Finally, editing decisions never affect source material. This is
2327 was much faster than if you had to copy all the media affected by an
2328 edit. Editing only affects pointers to source material, so if you want
2329 to have a media file at the end of your editing session which
2333 <p>Every track on the timeline has a set of attributes on
2335 attribute.
2338 <li><a accesskey="1" href="#THE%20PATCHBAY">THE PATCHBAY</a>: Enabling different features on different tracks
2339 <li><a accesskey="2" href="#NUDGING%20TRACKS">NUDGING TRACKS</a>: Moving entire tracks horizontally
2340 <li><a accesskey="3" href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>: Moving whole tracks around
2341 <li><a accesskey="4" href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>: Using two video windows to edit
2342 <li><a accesskey="5" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>: Dragging objects to edit
2343 <li><a accesskey="6" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>: Editing media like text
2345 </ul>
2348 <p><hr>
2352 <br>
2353 </div>
2357 <p>On the left of the timeline is a region affectionately known as the
2358 patchbay. The patchbay enables features specific to each track. All
2359 tracks have a text area for naming the track.
2361 <p>All tracks have an <b>expander</b> <img src="expandpatch_checked.png" alt="expandpatch_checked.png"> for viewing
2362 more options and for viewing the effects on the track. Click on the
2363 expander to expand or collapse the track. If it's pointing sideways,
2364 the track is collapsed. If it's pointing down, the track is expanded.
2365 The effects appear below the media for the track if they exist.
2367 <p>All tracks have the following row of toggles for several features.
2369 <br><p>
2373 <p>If the toggle is colored, it is enabled. If the toggle is the
2374 background color of most of the windows, it is disabled. Click on the
2375 toggle to enable or disable the feature. Several mouse operations
2376 speed up the configuration of several tracks at a time.
2378 <p>Click on an attribute and drag across adjacent tracks to toggle the
2379 same attribute in those tracks.
2382 attribute in all the tracks.
2385 tracks except the selected one are disabled. Then drag the cursor over
2386 the adjacent track to enable the attribute in the adjacent track.
2388 <p>The other attributes affect the output of the track.
2390 <ul>
2392 <li>
2394 it's off, the track is not rendered. However, if the track is chained
2395 to any other tracks, the other tracks perform all the effects in the
2396 chained track, regardless of play status.
2397 <br><p>
2398 <li>
2401 have enough armed destination tracks when you paste or splice material
2402 or some tracks in the material will get left out.
2404 <p>In addition to restricting editing operations, the armed tracks in
2405 combination with the active region determine where material is inserted
2406 when loading files. If the files are loaded with one of the insertion
2407 strategies which doesn't delete the existing project, the armed tracks
2408 will be used as destination tracks.
2410 </p><li>
2413 also on. This is normally used to adjust audio levels on all the
2414 tracks simultaneously.
2415 <br><p>
2416 <li>
2418 track. By default, some file formats load with this off while other
2419 file formats load with it on. This depends on whether the file format
2420 takes a long time to draw on the timeline. Merely set it to on if you
2421 want to see picons for any file format.
2422 <br><p>
2423 <li>
2426 on. If the track is part of an effect chain, the output of the effect
2427 chain track is overlayed on the final output even though it's routed
2428 back to another track. Mute track is used to keep the effect chain
2429 track from overlapping the output of the source track.
2430 <br><p>
2431 <li>
2433 on whether it's audio or video. Click and drag the fader to fade the
2434 track in and out. If it is ganged to other tracks of the same media
2439 </ul>
2442 <p><hr>
2447 <br>
2448 </div>
2452 <p>Each track has a nudge textbox in the patchbay under the fader and on
2453 the right. You may have to expand the track to see it. The nudge is
2454 the amount the track is shifted left or right during playback. The
2455 track is not displayed shifted on the timeline, but it is shifted when
2456 it's played back. This is useful for synchronizing audio with video,
2457 creating fake stereo, or compensating for an effect which shifts time,
2458 all without tampering with any edits.
2460 <p>Merely enter in the amount of time to shift by to instantly shift the
2461 track. Negative numbers make the track play later. Positive numbers
2464 on the nudge textbox and using the context sensitive menu.
2467 <p><hr>
2472 <br>
2473 </div>
2477 <p>Tracks in Cinelerra either contain audio or video. There is no special
2478 designation for tracks other than the type of media they contain. When
2479 you create a new project, it contains a certain mumber of default
2480 tracks. You can still add or delete tracks from a number of menus.
2482 multiple tracks simultaneously. Each track itself has a popup menu
2483 which affects one track.
2485 <p>Bring up the popup menu by moving over a track and right clicking. The
2486 popup menu affects the track whether it's armed or not.
2492 armed.
2495 tracks up or down the stack.
2505 playable tracks, the concatenate operation puts the two playable tracks
2506 after the two armed tracks. If there are three playable tracks
2507 instead, two tracks are put after the armed tracks and a third track is
2508 put on the end of the first armed track. The destination track wraps
2509 around until all the playable tracks are concatenated.
2513 specific type. In the case of audio, the new track is put on the
2514 bottom of the timeline and the output channel of the audio track is
2515 incremented by one. In the case of video, the new track is put on the
2516 top of the timeline. This way, video has a natural compositing order.
2517 New video tracks are overlayed on top of old tracks.
2520 <p><hr>
2522 Next:<a rel="next" accesskey="n" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
2523 Previous:<a rel="previous" accesskey="p" href="#MANIPULATING%20TRACKS">MANIPULATING TRACKS</a>,
2525 <br>
2526 </div>
2530 <p>This is the fastest way to construct a program out of movie files. The
2531 idea consists of viewing a movie file in one window and viewing the
2532 program in another window. Sections of the movie file are defined in
2533 one window and transferred to the end of the program in the other
2534 window.
2536 <p>The way to begin a two screen editing session is to load some
2539 unchanged while new resources are brought in. Go to the Resource
2541 should appear. Drag a resource from the media side of the window over
2542 the Viewer window.
2544 <p>There should be enough armed tracks on the timeline to put the sections
2545 of source material that you want. If there aren't, create new tracks
2546 or arm more tracks.
2548 <p>In the viewer window seek to the starting point of a clip you want to
2551 starting point with the <img src="in_point_button.png" alt="in_point_button.png"> <em>in point button</em>.
2553 <p>Seek to the ending point of the clip you want to use. Set the ending
2554 point with the <img src="out_point_button.png" alt="out_point_button.png"> <em>out point button</em>. The
2555 two points should now appear on the timebar and define a clip.
2557 <p>There are several things you can do with the clip now.
2559 <ul>
2561 <li>
2562 Splice <img src="splice_button.png" alt="splice_button.png"> inserts the clip in the timeline, pushing
2564 the timeline it's inserted there, otherwise it's inserted after the
2565 insertion point. After that, the insertion point moves to the end of
2566 the clip. If there is no in/out point, the insertion point will be
2567 used as the next splice location. This way you can continuously build
2568 up the program by splicing.
2570 <li>
2571 Overwrite <img src="overwrite_button.png" alt="overwrite_button.png"> overwrites the region of the
2573 exists on the timeline it's overwritten there, otherwise it's
2574 overwritten after the insertion point. If a region is highlighted or
2575 both in and out points exist the difference between the active region
2576 and the clip length is deleted.
2578 <li>
2579 Create a clip <img src="toclip_button.png" alt="toclip_button.png"> generates a new clip for the
2580 resource window containing the affected region but doesn't change the
2581 timeline. Every clip has a title and a description. These are
2582 optional.
2584 <li>
2585 Copy behaves the same as in cut and paste editing.
2587 </ul>
2589 <p>Two screen editing can be done purely by keybard shortcuts. When you
2590 move the pointer over any button a tooltip should appear, showing what
2591 key is bound to that button. In the Viewer window, the number pad keys
2593 and splicing.
2596 <p><hr>
2598 Next:<a rel="next" accesskey="n" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
2599 Previous:<a rel="previous" accesskey="p" href="#TWO%20SCREEN%20EDITING">TWO SCREEN EDITING</a>,
2601 <br>
2602 </div>
2606 <p>The answer is yes, you can you create a bunch of clips and drag them on
2607 the timeline. You can also drag edits around the timeline.
2611 Window. Create some audio and video tracks on the timeline using the
2612 video and audio menus.
2615 from the resource window to the timeline. If the media has video, drag
2616 it onto a video track. If the media is pure audio, drag it onto an
2617 audio track.
2619 <p>Cinelerra fills out the audio and video tracks below the dragging
2620 cursor with data from the file. This affects what tracks you should
2621 create initially and which track to drag the media onto. If the media
2622 has one video track and two audio tracks, you'll need one video track
2623 and two audio tracks on the timeline and the media should be dragged
2624 over the first video track. If the media has audio only you'll need
2625 one audio track on the timeline for every audio track in the media and
2626 the media should be dragged over the first audio track.
2628 <p>When dragging, the media snaps to the start of track if the track is
2629 empty. If there are edits on the track, the media snaps to the nearest
2630 edit boundary.
2632 <p>You can also drag multiple files from the resource window. Either draw
2633 a box around the files, use SHIFT, or use CTRL when selecting files.
2634 When you drop the files in the timeline, they are concatenated. The
2635 behavior of SHIFT and CTRL changes depending on if the resources are in
2636 text or icons.
2638 <p>To display the resources as text or icons, right click inside the media
2640 change the list format.
2643 media files extends the number of highlighted selections.
2645 files one at a time.
2650 <p>In addition to dragging media files, if you create clips and open the
2653 <p>In the timeline there is further dragging functionality. To enable the
2654 dragging functionality of the timeline, select the arrow toggle
2656 track is armed, Cinelerra will drag any edits which start on the same
2657 position as the edit the cursur is currently over. During a dragging
2658 operation the edit snaps to the nearest boundary.
2660 <p>Dragging edits around the timeline allows you to sort music playlists,
2661 sort movie scenes, and give better NAB demos but not much else.
2664 <p><hr>
2667 Previous:<a rel="previous" accesskey="p" href="#DRAG%20AND%20DROP%20EDITING">DRAG AND DROP EDITING</a>,
2669 <br>
2670 </div>
2674 <p>This is the traditional method of editing in audio editors. In the
2675 case of Cinelerra, you either need to start a second copy of Cinelerra
2676 and copy from one copy to the other, copy from different tracks in the
2677 same copy, or load a media file into the Viewer and copy from there.
2679 <p>Load some files onto the timeline. To perform cut and paste editing
2682 insertion point to another point in the timeline and select the
2684 the timeline this performs a cut and paste operation.
2686 <p>If in/out points are defined, the insertion point and highlighted
2687 region are overridden by the in/out points for clipboard operations.
2688 Thus, with in/out points you can perform cut and paste in drag and drop
2689 mode as well as cut and paste mode.
2691 <p>When editing audio, it is customary to cut from one part of a waveform
2692 into the same part of another waveform. The start and stop points of
2693 the cut are identical in each waveform and might be offset slightly,
2694 while the wave data is different. It would be very hard to highlight
2695 one waveform to cut it and highlight the second waveform to paste it
2696 without changing the relative start and stop positions.
2698 <p>One option for simplifying this is to open a second copy of Cinelerra,
2699 cutting and pasting to transport media between the two copies. This
2700 way two highlighed regions can exist simultanously.
2702 <p>Another option is to set in/out points for the source region of the
2703 source waveform and set labels for the destination region of the
2704 destination waveform. Perform a cut, clear the in/out points, select
2705 the region between the labels, and perform a paste.
2708 operation. If a region is highlighted or in/out points exist, the
2710 point is over an edit boundary and the edits on each side of the edit
2711 boundary are the same resource, the edits are combined into one edit
2712 comprised by the resource. The start of this one edit is the start of
2713 the first edit and the end of this one edit is the end of the second
2714 edit. This either results in the edit expanding or shrinking.
2717 <p><hr>
2719 Previous:<a rel="previous" accesskey="p" href="#CUT%20AND%20PASTE%20EDITING">CUT AND PASTE EDITING</a>,
2721 <br>
2722 </div>
2726 <p>With some edits on the timeline it's possible to do trimming. By
2727 trimming you shrink or grow the edit boundaries by dragging them. In
2728 either drag and drop mode or cut and paste mode, move the cursor over
2729 an edit boundary until it changes shape. The cursor will either be an
2730 expand left or an expand right. If the cursor is an expand left, the
2731 dragging operation affects the beginning of the edit. If the cursor is
2732 an expand right, the dragging operation affects the end of the edit.
2734 <p>When you click on an edit boundary to start dragging, the mouse button
2735 number determines which dragging behavior is going to be followed. 3
2736 possible behaviors are bound to mouse buttons in the interface
2739 <p>The effect of each drag operation not only depends on the behavior
2740 button but whether the beginning or end of the edit is being dragged.
2741 When you release the mouse button, the trimming operation is performed.
2744 edit either cuts data from the edit if you move it forward or pastes
2745 new data from before the edit if you move it backward. The end of the
2746 edit pastes data into the edit if you move it forward or cuts data from
2747 the end of the edit if you move it backward. All the edits thereafter
2748 shift. Finally, if you drag the end of the edit past the start of the
2749 edit, the edit is deleted.
2752 you drag the beginning or end of an edit. The only difference is none
2753 of the other edits in the track shift. Instead, anything adjacent to
2754 the current edit expands or shrinks to fill gaps left by the drag
2755 operation.
2758 you move the beginning or end of the edit forward, the source reference
2759 in the edit shifts forward. If you move the beginning or end of the
2760 edit backward, the source reference shifts backward. Where the edit
2761 appears in the timeline remains the same but the source shifts.
2763 <p>For all file formats besides still images, the extent of the trimming
2764 operation is clamped to the source file length. Attempting to drag the
2765 start of the edit beyond the start of the source clamps it to the
2766 source start.
2768 <p>In all trimming operations, all edits which start on the same position
2769 as the cursor when the drag operation begins are affected. Unarm
2770 tracks to prevent edits from getting affected.
2773 <p><hr>
2775 Next:<a rel="next" accesskey="n" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
2778 <br>
2779 </div>
2783 <p>It would be sufficient to perform all changes to the timeline using
2784 editing operations, but this isn't very extensible. Certain timeline
2785 changes should produce a different effect in the output without
2786 involving a unique procedure to apply each change. This is why we have
2787 effects.
2789 <p>Effects fall into three categories, and each effect in a category is
2790 applied using the same procedure.
2797 </ul>
2800 <p><hr>
2804 <br>
2805 </div>
2809 <p>These are layered under the track they apply to. They process the
2810 track when the track is played back, with no permanent storage of the
2811 output except when the project is rendered.
2813 <p>All the realtime effects are listed in the resource window, divided
2814 into two groups: audio effects and video effects. Audio effects should
2815 be dragged from the resource window onto audio tracks. Video effects
2816 should be dragged onto video tracks.
2818 <p>If there is data on the destination track, the effect is applied to the
2819 entire track. If there is no data on the track the effect is deleted.
2820 Finally, if a region of the track is selected the effect is pasted into
2821 the region, regardless of whether there is data.
2823 <p>Some of the effects don't process data but synthesize data. In the
2824 case of a synthesis effect, you'll want to select a region of the
2825 track so the dragging operation pastes it without deleting it.
2827 <p>When dragging more than one effect onto a track, you'll see the effects
2828 layering from top to bottom, on the bottom of the track. When the
2829 track is played back, effects are processed from top to bottom. The
2830 output of the top effect becomes the input of the bottom effect and so
2831 on and so forth.
2833 <p>In addition to dragging from the resource window, effects may be
2834 applied to a track by a popup menu. Right click on a track and select
2836 you more control than pure dragging and dropping. For one thing, the
2837 attach effect dialog lets you attach two more types of effects: shared
2840 The effect is the same as if the effect was dragged from the resource
2841 window.
2843 <p>When an effect exists under a track, it most often needs to be
2844 configured. Go to the effect and right click on it to bring up the
2846 option causes the GUI for the effect to appear under the cursor. Most
2847 effects have GUI's but some don't. If the effect doesn't have a GUI,
2849 tweek parameters in the effect GUI, the parameters normally effect the
2850 entire duration of the effect.
2855 </ul>
2858 <p><hr>
2860 Next:<a rel="next" accesskey="n" href="#EDITING%20REALTIME%20EFFECTS">EDITING REALTIME EFFECTS</a>,
2862 <br>
2863 </div>
2867 <p>The two other effect types supported by the Attach Effect dialog are
2868 recycled effects. In order to use a recycled effect, three requiremenets
2869 must be met:
2871 <ul>
2873 <li>There must be other effects in the timeline.
2875 <li>
2876 The other effects must be of the same type as the track you're
2877 attaching an effect to. If the track is an audio track, the effects
2878 must be audio effects. If the track is a video track, the effects must
2879 be video effects.
2881 <li>
2882 The insertion point or selected region must start inside the other effects.
2884 </ul>
2886 <p>In the case of a shared effect, these conditions must be true. In the
2887 case of a shared track, there merely must be another track on the
2888 timeline of the same type as the track you're applying an effect to.
2889 If you right clicked on a video track to attach an effect, there won't
2891 exists. If you right clicked on an audio track there won't be anything
2892 in the shared track column if no other audio track exists.
2894 <p>If shared effects or shared tracks are available, they appear in the
2897 the column to be attached under the current track.
2899 <p>Shared effects and shared tracks allow very unique things to be done.
2900 In the case of a shared effect, the shared effect is treated like a
2901 copy of the original effect except in the shared effect the GUI can't
2902 be brought up. All configuration of the shared effect is determined by
2903 the GUI of the original effect and only the GUI of the original effect
2904 can be brought up.
2906 <p>When a shared effect is played back, it's processed just like a normal
2907 effect except the configuration is copied from the original effect.
2908 Some effects detect when they are being shared, like the reverb effects
2909 and the compressor. These effects determine what tracks are sharing
2910 them and either mix the two tracks together or use one track to stage
2911 some value. The reverb mixes tracks together to simulate ambience.
2912 The compressor uses one of the sharing tracks as the trigger.
2915 the shared track itself is used as a realtime effect. This is more
2917 same operation by attaching shared tracks. The fade and any effects in
2918 the shared track are applied to the original track. Once the shared
2919 track has processed the data, the original track performs any effects
2920 which come below the shared track and then composites it on the output.
2922 <p>In addition, once the shared track has processed the output of the
2923 original track like a realtime effect, the shared track mixes itself
2924 into the output with it's settings for pan, mode, and projector. Thus,
2925 two tracks are mixing the same data on the output. Most of the time
2926 you don't want the shared track to mix the same data as the original
2927 track on the output. You want it to stop right before the mixing stage
2928 and give the data back to the original track. Do this by enabling the
2929 <img src="mutepatch_up.png" alt="mutepatch_up.png"> mute toggle next to each track for whom you don't
2930 want to mix on the output.
2932 <p>Suppose you were making video and you did want the shared track to
2933 composite the original track's data on the output a second time. In
2934 the case of video, the video from the shared track would always appear
2935 under the video from the original track, regardless of whether it was
2936 on top of the original track. This is because shared tracks are
2937 composited in order of their attachment. Since it's part of the original
2938 track it has to be composited before the original track is composited.
2941 <p><hr>
2943 Previous:<a rel="previous" accesskey="p" href="#REALTIME%20EFFECT%20TYPES">REALTIME EFFECT TYPES</a>,
2945 <br>
2946 </div>
2950 <p>Many operations exist for manipulating effects once they are in the
2951 timeline. Because mixing effects and media is such complex business,
2952 the methods used in editing effects aren't as concise as cutting and
2953 pasting. Some of the editing happens by dragging in/out points, some
2954 of the editing happens through popup menus, and some of it happens by
2955 dragging effects.
2957 <p>Normally when you edit tracks, the effects follow the editing
2958 decisions. If you cut from a track, the effect shrinks. If you drag
2959 edit in/out points, the effect changes length. This behavior can be
2961 window. This decouples effects from editing operations, but what if
2962 you just want to edit the effects?
2964 <p>Move the timeline cursor over the effect borders until it changes to a
2965 resize left or resize right icon. In this state, if you drag the end
2966 of the effect, it performs an edit just like dragging the end of a
2967 track does.
2969 <p>The three editing behaviors of track trimming apply to effect trimming
2970 and they are bound to the mouse buttons that you set in <em>interface
2972 effect, the effect boundary is moved by dragging on it. Unlike track
2973 editing, the effect has no source length. You can extend the end of an
2974 effect as much as desired without being limited.
2976 <p>Also unlike track editing, the starting position of the drag operation
2977 doesn't bind the edit decision to media. The media the effect is bound
2978 to doesn't follow effect edits. Other effects; however, do follow
2979 editing decisions made on an effect. If you drag the end of an effect
2980 which is lined up to effects on other tracks, the effects on the other
2981 tracks will be edited while the media stays the same.
2983 <p>What happens if you trim the end of an effect in, leaving a lot of
2984 unaffected time near the end of the track? When you drag an effect in
2985 from the Resource Window you can insert the effect in the portion of
2986 the row unoccupied by the trimming operation. Realtime effects are
2987 organized into rows under the track. Each row can have multiple
2988 effects.
2990 <p>In addition to trimming, you can move effects up or down. Every track
2991 can have a stack of effects under it. By moving an effect up or down
2992 you change the order in which effects are processed in the stack. Go
2993 to an effect and right click to bring up the effect menu. The
2996 <p>When you're moving effects up or down, be aware that if they're shared
2998 different effect after the move operation.
3000 <p>Finally, there's dragging of effects. Dragging effects works just like
3001 dragging edits. You must select the <img src="arrow.png" alt="arrow.png"> arrow to enter drag and
3002 drop mode before dragging effects. The effects snap to media
3003 boundaries, effect boundaries, and tracks. Be aware if you drag a
3004 reference to a shared effect, the reference will usually point to the
3005 wrong effect afterwards.
3007 <p>Right click on an effect to bring up a menu for the effect. Select
3009 a shared effect.
3012 <p><hr>
3017 <br>
3018 </div>
3022 <p>Another type of effect is performed on a section of the track and the
3023 result stored somewhere before it is played back. The result is
3024 usually pasted into the track to replace the original data.
3026 <p>The rendered effects are not listed in the resource window but instead
3029 brings up a dialog for the rendered effect. Rendered effects apply to
3030 only one type of track, either audio or video. If no tracks of the
3031 type exist, an error pops up.
3033 <p>A region of the timeline to apply the effect to must be defined before
3035 highlighted region exists, the entire region after the insertion point
3036 is treated as the affected region. Otherwise, the region between the
3037 in/out points or the highlighted region is the affected region.
3039 <p>In the render effect dialog is a list of all the realtime and all the
3040 rendered effects. The difference here is that the realtime effects are
3041 rendered to disk and not applied under the track. Highlight an effect
3042 in the list to designate it as the one being performed.
3046 selection from a list.
3048 <p>Select a file format which can handle the track type. The
3049 <img src="wrench.png" alt="wrench.png"> wrench allows configuration specific to the file format.
3051 <p>There is also an option for creating a new file at each label. If you
3052 have a CD rip on the timeline which you want to divide into different
3053 files, the labels would become dividing points between the files if
3054 this option were selected. When the timeline is divided by labels, the
3055 effect is re-initialized at every label. Normalize operations take the
3056 peak in the current file and not in the entire timeline.
3058 <p>Finally there is an insertion strategy just like in the render dialog.
3059 It should be noted that even though the effect applies only to audio or
3060 video, the insertion strategy applies to all tracks just like a
3061 clipboard operation.
3064 effect. If the effect is also a realtime effect, a second GUI appears
3065 to prompt for acceptance or rejection of the current settings. After
3066 accepting the settings, the effect is processed.
3069 <p><hr>
3074 <br>
3075 </div>
3079 <p>When one edit ends and another edit begins, the default behaviour is to
3080 have the first edit's output immediately become the output of the
3081 second edit when played back. Transitions are a way for the first
3082 edit's output to become the second edit's output with different
3083 variations.
3085 <p>Cinelerra supports audio and video transitions, all of which are listed
3086 in the resource window. Transitions may only apply to the matching
3089 apply to video tracks.
3091 <p>Load a video file and cut a section from the center so the edit point
3092 is visible on the timeline. Go the resource window and click on the
3094 list onto the second video edit on the timeline. A box highlights over
3095 where the transition will appear. Releasing it over the second edit
3096 applies the transition between the first and second edit.
3098 <p>You can now scrub over the transition with the transport controls and
3100 insertion point doesn't normally show transitions because the
3101 transition durations are usually too short. The exact point in time
3102 when the transition takes effect isn't straightforward. It starts when
3103 the second edit begins and lasts a certain amount of time into the
3104 second edit. Therefore, the first asset needs to have enough data
3105 after the edit point to fill the transition into the second edit.
3107 <p>Once the transition is in place, it can be edited similarly to an
3108 effect. Move the pointer over the transition and right click to bring
3110 parameters for the transition in question if there are any. The
3112 Once these two parameters are set, they are applied to future
3114 option removes the transition from the timeline.
3116 <p>Dragging and dropping transitions from the Resource window to the
3117 Program window can be really slow and tiring. Fortunately, once you
3121 on all the recordable tracks. If the insertion point or in point is
3122 over an edit, the beginning of the edit is covered by the transition.
3124 <p>It should be noted that when playing transitions from the timeline to a
3125 hardware accelerated video device, the hardware acceleration will
3126 usually be turned off momentarily during the transition and on after
3127 the transition in order to render the transition. Using an
3128 unaccelerated video device for the entire timeline normally removes the
3129 disturbance.
3132 <p><hr>
3136 <br>
3137 </div>
3141 <p>LADSPA effects are supported in realtime and rendered mode for audio.
3142 The LADSPA plugins you get from the internet vary in quality. Most
3143 can't be tweeked in realtime very easily and work better when
3144 rendered. Some crash and some can only be applied to one track due to
3145 a lack of reentrancy. Although Cinelerra implements the LADSPA
3146 interface as accurately as possible, multiple tracks of realtime,
3147 simultaneous processing go beyond the majority of LADSPA users. LADSPA
3148 effects appear in the audio folder as the hammer and screwdriver, to
3149 signify that they are Plugins for Linux Audio Developers.
3152 environment variable to the location of your LADSPA plugins or putting
3156 <p><hr>
3161 <br>
3162 </div>
3166 <p>When you play media files in Cinelerra, the media files have a certain
3167 number of tracks, a certain frame size, a certain sample size, and so
3168 on and so forth. No matter what the media file has; however, it is
3169 still played back according to the project attributes. If an audio
3170 file's samplerate is different than the project attributes, it is
3171 resampled. If a video file's frame size is different than the project
3172 attributes, it is composited on a black frame, either cropped or
3173 bordered with black.
3178 Every timeline created from this point uses the same settings. When
3180 recreated with no data but every timeline created from this point uses
3181 the same settings.
3183 <p>In addition to the traditional settings for sample rate, frame rate,
3184 frame size, Cinelerra uses some unusual settings like <em>channel
3185 positions, color model, and aspect ratio.</em>
3187 <ul>
3189 <li>
3190 Channel positions is the only setting which doesn't affect the output
3191 necessarily. Click on a speaker icon and drag to change the position
3192 of a channel. It is merely a convenience so when more than 2 channels
3193 are used, the pan controls on the timeline are effective. Channels 3,
3196 configuration would look like this:
3198 <br><p>
3199 <br><p>
3201 <br><p>
3202 <br><p>
3203 <p>But different channels can be positioned very close together to make
3204 them have the same output.
3206 </p><li>
3207 Color model is very important for video playback. The video is stored
3208 on disk in one colormodel, normally compressed using a YUV derivative.
3209 When played back, Cinelerra decompresses it from the file format
3210 directly into the format of the output device. If effects are
3211 processed, the decompression is into an internal colormodel first and
3212 the internal colormodel is then converted to the format of the output
3213 device. The selection of internal colormodel determines how accurate
3214 and fast the effects are.
3216 <p>Cinelerra colormodels are described using a certain packing order of
3217 components and a certain number of bits for each component. The
3218 packing order is printed on the left and the bit allocation is printed
3219 on the right.
3222 channel.
3224 <p>In order to do effects which involve alpha channels, a colormodel with
3225 an alpha channel must be selected. These are RGBA8888, YUVA8888,
3226 RGBA16161616, YUVA16161616. The 4 channel colormodels are notoriously
3227 slower than 3 channel colormodels, with the slowest being
3228 RGBA16161616. Some effects, like fade, work around the need for alpha
3229 channels while other effects, like chromakey, require an alpha channel
3230 to do anything, so it's a good idea to try the effect without alpha
3231 channels.
3233 <p>The YUV colormodels are usually faster than RGB colormodels when using
3234 compressed footage. They also destroy fewer colors than RGB
3235 colormodels. If footage stored as JPEG or MPEG is processed many times
3236 in RGB, the colors will fade while they won't if processed in YUV.
3238 </p><li>
3239 Aspect ratio determines the shape of the video output when using the
3240 X11 video output. The numbers in each direction can be any floating
3241 point number. When drawn on the screen, video pixels are stretched to
3242 match the aspect ratio.
3244 </ul>
3247 <p><hr>
3250 Previous:<a rel="previous" accesskey="p" href="#SETTING%20PROJECT%20ATTRIBUTES">SETTING PROJECT ATTRIBUTES</a>,
3252 <br>
3253 </div>
3257 <p>A large amount of Cinelerra's binary size is directed towards
3258 compositing. When you remove the letterboxing from a widescreen show,
3259 you're compositing. Changing the resolution of a show, making a split
3260 screen, and fading in and out among other things are all compositing
3261 operations in Cinelerra. Cinelerra detects when it's in a compositing
3262 operation and plays back through the compositing engine only then.
3263 Otherwise, it uses the fastest decoder available in the hardware.
3265 <p>Compositing operations are done on the timeline and in the Compositor
3266 window. Shortcuts exist in the Resource window for changing project
3267 attributes. Once some video files are on the timeline, the compositor
3268 window is a good place to try compositing.
3277 </ul>
3280 <p><hr>
3284 <br>
3285 </div>
3289 <p>In the compositor window, the most important functions are the
3290 <img src="camera.png" alt="camera.png"> camera button and the <img src="projector.png" alt="projector.png"> projector
3291 button. These control operation of the camera and projector. Inside
3292 Cinelerra's compositing pipeline, the camera determines where in the
3293 source video the temporary is copied from. The projector determines
3294 where in the output the temporary is copied to. The temporary is a
3295 frame of video in Cinelerra's memory where all graphics processing is
3296 done. Each track has a different temporary which is defined by the
3297 track size. By resizing the tracks you can create splitscreens, pans,
3298 and zooms.
3300 <br><p>
3301 <br><p>
3303 <br><p>
3304 <br><p>
3307 <p>When editing the camera and projector in the compositing window, the
3309 the track is completely transparent, it's still the affected track. If
3310 multiple video tracks exist, the easiest way to select one track for
3312 solos the track.
3315 you're in projector editing mode. A guide box appears in the video
3316 window. Dragging anywhere in the video window causes the guide box to
3318 in the video window causes the guide box to shrink and grow along with
3319 the video. Once you've positioned the video with the projector, you're
3320 ready to master the camera.
3322 <p>Select the <img src="camera.png" alt="camera.png"> camera button to enable camera editing mode.
3323 In this mode, the guide box shows where the camera position is in
3324 relation to past and future camera positions but not where it is in
3325 relation to the source video. Dragging the camera box in the
3326 compositor window doesn't move the box but instead moves the location
3327 of the video inside the box.
3329 <p>For example, when you drag the camera left, the video moves right.
3330 When you drag the camera up, the video moves down. When you shift-drag
3331 the camera, the effect is the same as if you zoomed in or out of the
3332 source. The intention of the camera is to produce still photo panning,
3333 while the intention of the projector is to composite several sources in
3334 the same scene.
3336 <p>In the compositing window, there is a popup menu of options for the
3337 camera and projector. Right click over the video portion of the
3338 compositing window to bring up the menu.
3340 <ul>
3342 <li>Reset Camera causes the camera to return to the center position.
3344 <li>Reset Projector causes the projector to return to the center.
3346 </ul>
3348 <p>The camera and projector have shortcut operations neither in the popup
3349 menu or represented in video overlays. These are accessed in the
3352 question mark.
3354 <p>In the case of the camera and projector, the tool window shows x, y,
3355 and z coordinates. By either tumbling or entering text directly, the
3356 camera and projector can be precisely positioned. 9 justification
3357 types are also defined for easy access. A popular justification
3358 operation is upper left projection after image reduction. This is used
3359 when reducing the size of video with aspect ratio adjustment.
3361 <p>The translation effect allows simultaneous aspect ratio conversion and
3362 reduction but is easier to use if the reduced video is put in the upper
3363 left of the temporary instead of in the center. The track size is set
3364 to the original size of the video and the camera is centered. The
3365 output size is set to the reduced size of the video. Without any
3366 effects, this produces just the cropped center portion of the video in
3367 the output.
3369 <p>The translation effect is dropped onto the video track. The input
3370 dimensions of the translation effect are set to the original size and
3371 the output dimensions are set to the reduced size. To put the reduced
3372 video in the center section that the projector shows would require
3375 tool window.
3378 <img src="top_justify.png" alt="top_justify.png"> top justify, the projector displays the reduced
3379 image from the top left corner of the temporary in the center of the
3380 output.
3383 <p><hr>
3386 Previous:<a rel="previous" accesskey="p" href="#THE%20CAMERA%20AND%20PROJECTOR">THE CAMERA AND PROJECTOR</a>,
3388 <br>
3389 </div>
3393 <p>Masks select a region of the video for either displaying or hiding.
3394 Masks are also used in conjunction with another effect to isolate the
3395 effect to a certain region of the frame. A copy of one video track may
3396 be delayed slightly and unmasked in locations where the one copy has
3397 interference but the other copy doesn't. Color correction may be
3398 needed in one section of a frame but not another. A mask can be
3399 applied to just a section of the color corrected track while the
3400 vanilla track shows through. Removal of boom microphones, airplanes,
3401 and housewives are other mask uses.
3403 <p>The order of the compositing pipeline affects what can be done with
3404 masks. Mainly, masks are performed on the temporary after effects and
3405 before the projector. This means multiple tracks can be bounced to a
3406 masked track and projected with the same mask.
3409 possible masks per track. Each mask is defined separately, although
3410 they each perform the same operation, whether it's addition or
3411 subtraction.
3413 <br><p>
3414 <br><p>
3416 <br><p>
3417 <br><p>
3420 <p>To define a mask, go into the Compositor window and enable the
3422 click-drag. Click-drag again in another part of the image to create
3423 each new point of the mask. While it isn't the conventional bezier
3424 curve behavior, this masking interface performs in realtime what the
3425 effect of the mask is going to be. Creating each point of the mask
3426 expands a rubber band curve.
3429 the vicinity of the corner. This; however, doesn't smooth out the
3430 curve. The in-out points of the bezier curve are accessed by
3433 move.
3435 <p>Finally, once you have a mask, the mask can be translated in one piece
3437 identical to how The Gimp edits masks except in this case the effect of
3438 the mask is always on.
3440 <p>The masks have many more parameters which couldn't be represented with
3441 video overlays. These are represented in the tool window for masks.
3442 Selecting the <img src="toolwindow.png" alt="toolwindow.png"> question mark when the <img src="mask.png" alt="mask.png">
3443 mask toggle is highlighted brings up the mask options.
3446 makes data visible. If the mode is subtractive, the mask causes video
3447 to disappear. If the mode is additive, the mask causes video to appear
3448 and everything outside the mask to disappear.
3451 subtraction is. In the subtractive mode, higher values subtract more
3452 alpha. In the additive mode, higher values make the region in the mask
3453 brighter while the region outside the mask is always hidden.
3456 editing. Each track has 8 possible masks. When you click-drag in the
3457 compositor window, you're only editing one of the masks. Change the
3459 previous mask is still active but only the curve overlay for the
3460 currently selected mask is visible.
3462 <p>When multiple masks are used, their effects are ORed together. Every
3463 mask in a single track uses the same value and mode.
3465 <p>The edges of a mask are hard by default but this rarely is desired.
3467 mask. This creates softer edges but takes longer to render.
3469 <p>Finally, there are parameters which affect one point on the current
3471 active point is defined as the last point dragged in the compositor
3473 it without moving the pointer. Once a point is activated,
3475 entry.
3478 <p><hr>
3483 <br>
3484 </div>
3488 <p>Cropping changes the value of the output dimensions and the projector
3490 toggle and the <img src="toolwindow.png" alt="toolwindow.png"> tool window to perform cropping in
3491 the compositing window. This draws a rectangle over the video.
3492 Click-drag anywhere in the video to create a new rectangle. Click-drag
3493 over any corner of the rectangle to reposition the corner. The tool
3494 window allows text entry of the coordinates. When the rectangle is
3498 <p><hr>
3503 <br>
3504 </div>
3508 <p>On consumer displays the borders of the image are cut off and within
3509 the cutoff point is a region which isn't always square like it is in
3510 the compositor window. The borders are intended for scratch room and
3511 vertical blanking data. You can show where these borders are by
3512 enabling the <img src="titlesafe.png" alt="titlesafe.png"> safe regions toggle. Keep titles inside
3513 the inner rectangle and keep action inside the outer rectangle.
3516 <p><hr>
3518 Next:<a rel="next" accesskey="n" href="#TRACK%20AND%20OUTPUT%20SIZES">TRACK AND OUTPUT SIZES</a>,
3521 <br>
3522 </div>
3526 <p>Every video track has an overlay mode, accessible by expanding the
3527 track. The overlay mode is a pulldown menu on the left under the
3528 fader. When collapsed, it displays an icon representing the current
3529 overlay mode.
3531 <p>Select the <img src="expandpatch_checked.png" alt="expandpatch_checked.png"> expand track toggle to view all
3532 the options for a video track if you can't see the overlay mode. The
3534 modes by clicking the overlay button and selecting an item from the
3535 popup menu.
3537 <p>Overlay modes are processed inside the projector stage of compositing.
3538 The different modes are summarized below.
3540 <ul>
3542 <li>
3544 alpha. When no alpha exists in the project color model, the new track
3545 always replaces the output.
3547 <li>
3549 current track. The result is blended based on the current track's
3550 alpha onto the output.
3552 <li>
3554 output and the result is alpha blended onto the output.
3556 <li>
3558 by the output and the result blended onto the output. Usually a black
3559 and white image with no alpha channel or a white title on a black image
3560 is used as the current track. With the multiply operation, only the
3561 output portions under the white area show.
3563 <li>
3565 blended into the output. It usually results in overloaded levels.
3567 <li>
3569 track.
3571 </ul>
3574 <p><hr>
3578 <br>
3579 </div>
3583 <p>The size of the temporary and the size of the output in our compositing
3584 pipeline are independant and variable. This fits into everything
3585 covered so far. The camera's viewport is the temporary size. Effects
3586 are processed in the temporary and are affected by the temporary size.
3587 Projectors are rendered to the output and are affected by the output
3588 size. If the temporary is smaller than the output, the temporary is
3589 bordered by blank regions in the output. If the temporary is bigger
3590 than the output, the temporary is cropped.
3592 <p>The temporary size is defined as the track size. Each track has a
3593 different size. Right click on a track to bring up the track's menu.
3596 the same size as the output.
3600 way to change the output size. Right click on a video asset and select
3602 tracks are created, the track size always conforms to the output size
3603 specified by these methods.
3606 <p><hr>
3611 <br>
3612 </div>
3616 <p>Setting static compositing parameters isn't very useful most of the
3617 time. Normally you need to move the camera around over time or change
3618 mask positions. Masks need to follow objects. We create dymanic
3619 changes by defining keyframes. A keyframe is a certain point in time
3620 when the settings for one operation change. In Cinelerra, there are
3621 keyframes for almost every compositing parameter and effect parameter.
3623 <p>Whenever you adjust any parameter, the value is stored in a keyframe.
3624 If the value is stored in a keyframe, why doesn't it always change?
3626 The default keyframe applies to the entire duration if no other
3627 keyframes are present. The default keyframe is not drawn anywhere
3628 because it always exists. The only way change occurs over time is if
3629 non-default keyframes are created.
3632 When keyframes are selected, they are drawn on the timeline over the
3633 tracks they apply to.
3641 </ul>
3644 <p><hr>
3648 <br>
3649 </div>
3653 <p>Fade and zoom settings are stored in bezier curves. Go to
3656 and then use the keyboard shortcuts listed in the menu to enable or
3657 disable keyframes while the menu is visible. In either arrow editing
3658 mode or i-beam editing mode, move the cursor over the curves in the
3659 timeline until it changes shape. Then merely by clicking and dragging
3660 on the curve you can create a keyframe at the position.
3662 <p>After the keyframe is created, click drag on it again to reposition
3663 it. When you click-drag a second keyframe on the curve, it creates a
3665 either the input control or the output control. This affects the
3666 sharpness of the curve. While the input control and the output control
3667 can be moved horizontally as well as vertically, the horizontal
3668 movement is purely for legibility and isn't used in the curve value.
3670 <p>You may remember that The Gimp and the Compositing masks all use
3673 keyframe jumps to the value of either the next or previous keyframe,
3674 depending on which exists. This lets you set a constant curve value
3675 without having to copy the next or previous keyframe.
3678 <p><hr>
3683 <br>
3684 </div>
3688 <p>Mute is the only toggle keyframe. Mute keyframes determine where the
3689 track is processed but not rendered to the output. Click-drag on these
3690 curves to create a keyframe. Unlike curves, the toggle keyframe has
3691 only two values: on or off. Ctrl and shift do nothing on toggle
3692 keyframes.
3695 <p><hr>
3700 <br>
3701 </div>
3705 <p>You may have noticed when a few fade curves are set up, moving the
3706 insertion point around the curves causes the faders to reflect the
3707 curve value under the insertion point. This isn't just to look cool.
3708 The faders themselves can set keyframes in automatic keyframe mode.
3709 Automatic keyframe mode is usually more useful than dragging curves.
3711 <p>Enable automatic keyframe mode by enabling the automatic keyframe
3712 toggle <img src="autokeyframe.png" alt="autokeyframe.png">. In automatic keyframe mode, every time
3713 you tweek a keyframeable parameter it creates a keyframe on the
3714 timeline. Since automatic keyframes affect many parameters, it's best
3715 enabled just before you need a keyframe and disabled immediately
3716 thereafter.
3719 parameter visible before performing a change. The location where the
3720 automatic keyframe is generated is under the insertion point. If the
3721 timeline is playing back during a tweek, several automatic keyframes
3722 will be generated as you change the parameter.
3724 <p>When automatic keyframe mode is disabled, a similarly strange thing
3725 happens. Adjusting a parameter adjusts the keyframe immediately
3726 preceeding the insertion point. If two fade keyframes exist and the
3727 insertion point is between them, changing the fader changes the first
3728 keyframe.
3730 <p>There are many parameters which can only be keyframed in automatic
3731 keyframe mode. These are parameters for which curves would take up too
3732 much space on the track or which can't be represented easily by a
3733 curve.
3735 <p>Effects are only keyframable in automatic mode because of the number of
3736 parameters in each individual effect.
3738 <p>Camera and projector translation can only be keyframed in automatic
3739 keyframe mode while camera and projector zoom can be keyframed with
3740 curves. It is here that we conclude the discussion of compositing,
3741 since compositing is highly dependant on the ability to change over
3742 time.
3745 <p><hr>
3748 Previous:<a rel="previous" accesskey="p" href="#AUTOMATIC%20KEYFRAMES">AUTOMATIC KEYFRAMES</a>,
3750 <br>
3751 </div>
3755 <p>Camera and projector translation is represented by two parameters: x
3756 and y. Therefore it is cumbersome to adjust with curves. Cinelerra
3757 solves this problem by relying on automatic keyframes. With a video
3758 track loaded, move the insertion point to the beginning of the track
3759 and enable automatic keyframe mode.
3761 <p>Move the projector slightly in the compositor window to create a
3762 keyframe. Then go forward several seconds. Move the projector a long
3763 distance to create another keyframe and emphasize motion. This creates
3764 a second projector box in the compositor, with a line joining the two
3765 boxes. The joining line is the motion path. If you create more
3766 keyframes, more boxes are created. Once all the desired keyframes are
3767 created, disable automatic keyframe mode.
3769 <p>Now when scrubbing around with the compositor window's slider, the
3770 video projection moves over time. At any point between two keyframes,
3771 the motion path is read for all time before the insertion point and
3772 green for all time after the insertion point. It's debatable if this
3773 is a very useful feature but it makes you feel good to know what
3774 keyframe is going to be affected by the next projector tweek.
3776 <p>Click-drag when automatic keyframes are off to adjust the preceeding
3777 keyframe. If you're halfway between two keyframes, the first projector
3778 box is adjusted while the second one stays the same. Furthermore, the
3779 video doesn't appear to move in step with the first keyframe. This is
3780 because, halfway between two keyframes the projector translation is
3781 interpolated. In order to set the second keyframe you'll need to scrub
3782 after the second keyframe.
3784 <p>By default the motion path is a straight line, but it can be curved
3786 control point of the preceeding keyframe. Once again, we depart from
3788 or out control points are extrapolated from the keyframe,
3790 point. A control point can be out of view entirely yet still
3791 controllable.
3793 <p>When editing the camera translation, the behavior of the camera boxes
3794 is slightly different. Camera automation is normally used for still
3795 photo panning. The current camera box doesn't move during a drag, but
3796 if multiple keyframes are set, every camera box except the current
3797 keyframe appears to move. This is because the camera display shows
3798 every other camera position relative to the current one.
3800 <p>The situation becomes more intuitive if you bend the motion path
3801 between two keyframes and scrub between the two keyframes. The
3802 division between red and green, the current position between the
3803 keyframes, is always centered while the camera boxes move.
3806 <p><hr>
3808 Previous:<a rel="previous" accesskey="p" href="#COMPOSITOR%20KEYFRAMES">COMPOSITOR KEYFRAMES</a>,
3810 <br>
3811 </div>
3815 <p>Keyframes can be shifted around and moved between tracks on the
3816 timeline using similar cut and paste operations to editing media. Only
3818 editing operations, however.
3820 <p>The most popular keyframe editing operation is replication of some
3821 curve from one track to the other, to make a stereo pair. The first
3822 step is to solo the source track's record <img src="recordpatch_up.png" alt="recordpatch_up.png"> patch
3825 keyframes</em> to copy them to the clipboard. Solo the destination track's
3826 record <img src="recordpatch_up.png" alt="recordpatch_up.png"> patch by <em>shift-clicking</em> on it and
3829 <p>The media editing commands are mapped to the keyframe editing commands
3832 <p>This leads to the most complicated part of keyframe editing, the
3833 default keyframe. Remember that when no keyframes are set at all,
3834 there is still a default keyframe which stores a global parameter for
3835 the entire duration. The default keyframe isn't drawn because it
3836 always exists. What if the default keyframe is a good value which you
3837 want to transpose between other non-default keyframes? The
3839 default keyframe</em> allow conversion of the default keyframe to a
3840 non-default keyframe.
3843 the clipboard, no matter what region of the timeline is selected. The
3845 the clipboard as a non-default keyframe.
3847 <p>If you've copied a non-default keyframe, it can be stored as the
3849 After using paste default keyframe to convert a non-default keyframe
3850 into a default keyframe, you won't see the value of the default
3851 keyframe reflected until all the non-default keyframes are removed.
3853 <p>Finally, there is a convenient way to delete keyframes besides
3855 Merely click-drag a keyframe before its preceeding keyframe or after
3856 its following keyframe on the track.
3859 <p><hr>
3864 <br>
3865 </div>
3869 <p>Ideally, all media would be stored on hard drives, CD-ROM, flash, or
3870 DVD and loading it into Cinelerra would be a matter of loading a file.
3871 In reality, very few sources of media can be accessed like a filesystem
3872 but instead rely on tape transport mechanisms and dumb I/O mechanisms
3873 to transfer the data to computers. These media types are imported into
3874 Cinelerra through the Record dialog.
3876 <p>The first step in recording is to configure the input device. In
3879 recording no matter what the project settings are, because the
3880 recording parameters are usually the maximum capability of the
3881 recording hardware while project settings come and go.
3884 for an output format much like rendering does. Once that's done, the
3885 record window and the record monitor pop up.
3887 <p>The record window has discrete sections. While many parameters change
3888 depending on if the file has audio or video, the discrete sections are
3889 always the same.
3891 <ul>
3893 <li>
3894 The output format area describes the format of the output file and the
3895 current position within it.
3897 <li>
3898 The edit batch area lets you change parameters in the current batch.
3900 <li>
3901 The transport controls start and stop recording different ways.
3903 <li>
3904 The batch list displays all the defined batches.
3906 <li>
3907 The confirmation area lets you determine how the output files are
3908 imported into the timeline and quit.
3910 </ul>
3913 <br><p>
3914 <br><p>
3917 <p>Recording in Cinelerra is organized around batches. A batch
3918 essentially defines a distinct output file for the recording. For now
3919 you can ignore the batch concept entirely and record merely by hitting
3922 <p>The record button opens the current output file if it isn't opened and
3923 writes captured data to it. Use the stop button to stop the
3924 recording. Recording can be resumed with the record button without
3925 erasing the file at this point. In the case of a video file, there is
3926 a single frame record button <img src="singleframe.png" alt="singleframe.png"> which records a single
3927 frame.
3929 <p>When enough media is recorded, choose an insertion method from the
3935 </ul>
3938 <p><hr>
3940 Next:<a rel="next" accesskey="n" href="#EDITING%20TUNER%20INFORMATION">EDITING TUNER INFORMATION</a>,
3942 <br>
3943 </div>
3947 <p>Now we come to the concept of batches. Batches try to make the dumb
3948 I/O look more like a filesystem. Batches are traditionally used to
3949 divide tape into different programs and save the different programs as
3950 different files instead of recording straight through an entire tape.
3951 Because of the high cost of developing frame-accurate deck control
3952 mechanisms, the only use of batches now is recording different programs
3953 during different times of day. This is still useful for recording TV
3954 shows or time lapse movies as anyone who can't afford proper appliances
3955 knows.
3957 <p>The record window supports a list of batches and two recording modes:
3958 interactive and batch recording. Interactive recording happens when
3959 the record button is pressed. Interactive recording starts immediately
3960 and uses the current batch to determine everything except start time.
3961 By default, the current batch is configured to behave like tape.
3965 recording.
3967 <p>First, you'll want to create some batches. Each batch has certain
3968 parameters and methods of adjustment.
3970 <ul>
3972 <li>
3975 batches.
3977 <li>
3979 filename specified in the record dialog is the name of the first batch,
3980 to simplify interactive recording, but the filename may be changed in
3983 <li>
3985 important attribute since there is no confirmation dialog if the file
3986 exists. The first time you hit record, the file is opened. If the
3990 is already opened and won't be erased in the next record button press.
3992 <p>If you change out of the current batch after recording, the file is
3993 closed. Next time you change into the batch, the file will be erased.
3995 </p><li>
3997 recording if in batch mode. The start time may become a time of tape
3998 and reel number if deck control is implemented but for now it's a time
3999 of day.
4001 <li>
4005 batch mode.
4007 <li>
4009 sources. Usually the source is a tuner channel or input. When the
4010 current batch finishes and the next batch begins recording, the source
4011 is changed to what the next batch is set to. This way multiple TV
4012 stations can be recorded at different times.
4014 </ul>
4017 current batch is not the same as the batch which is highlighted in the
4018 batch list. The current batch text is colored red in the batch list.
4019 The highlighted batch is merely displayed in the edit batch section for
4020 editing.
4022 <p>By coloring the current batch red, any batch can be edited by
4023 highlighting it, without changing the batch to be recorded.
4025 <p>All recording operations take place in the current batch. If there
4026 are multiple batches, highlight the desired batch and hit
4028 button is pressed, the current batch flashes to indicate it's waiting
4030 pressed, the current batch is recorded immediately in interactive mode.
4032 <p>In batch and interactive recording modes, when the current batch
4033 finishes recording the next batch is activated and performed. All
4034 future recording is done in batch mode. When the first batch finishes,
4035 the next batch flashes until its start time is reached.
4037 <p>Interrupt either the batch or the interactive operation by hitting the
4038 stop button.
4041 interactive or batch recording, the rewind button causes the current
4042 batch to close its file. The next recording operation in the current
4043 batch deletes the file.
4046 <p><hr>
4050 <br>
4051 </div>
4055 <p>Sometimes in the recording process and the configuration process,
4056 you'll need to define and select tuner channels to either record or
4057 play back to. In the case of the Video4Linux and Buz recording
4058 drivers, tuner channels define the source. When the Buz driver is also
4059 used for playback, tuner channels define the destination.
4061 <p>Defining tuner channels is accomplished by pushing the <img src="channel.png" alt="channel.png">
4062 channel button. This brings up the channel editing window. In this
4063 window you add, edit, and sort channels. Also, for certain video
4064 drivers, you can adjust the picture quality.
4067 the channel appears in the channel list. The source of the channel is
4068 the entry in the physical tuner's frequency table corresponding to the
4069 title.
4071 <p>Fine tuning in the channel edit dialog adjusts the physical frequency
4072 slightly if the driver supports it. The norm and frequency table
4073 together define which frequency table is selected for defining
4074 sources. If the device supports multiple inputs, the input menu
4075 selects these.
4081 can be used to select channels for recording. The same channel
4082 selecting ability also exists in the record monitor window. Be aware
4083 channel selections in the record monitor window and the record window
4084 are stored in the current batch.
4087 drivers don't get the field order right every time without human
4088 intervention. Toggle this to get the odd and even lines to record in
4089 the right order.
4092 <p><hr>
4097 <br>
4098 </div>
4102 <p>Let's get one thing perfectly clear. Linux is not a very good
4103 desktop. It's a server. Most of what you'll find on modern Linux
4104 distributions are faceless, network-only programs strategicly designed
4105 to counteract one Microsoft server feature or another and not to
4106 perform very well at user interaction. There are a number of
4107 parameters on Linux, which ordinary people can adjust to make it behave
4108 more like a thoroughbred in desktop usage.
4114 <li><a accesskey="4" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>:
4116 <li><a accesskey="6" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>:
4118 <li><a accesskey="8" href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>:
4120 </ul>
4123 <p><hr>
4125 Next:<a rel="next" accesskey="n" href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
4127 <br>
4128 </div>
4132 <p>On systems with lots of memory, Cinelerra sometimes runs better without
4133 a swap space. If you have 4 GB of RAM, you're probably better off
4134 without a swap space. If you have 512MB of RAM, you should keep the
4135 swap. If you want to do recording, you should probably disable swap
4136 space in any case. There's a reason for this. Linux only allows half
4137 the available memory to be used. Beyond that, it starts searching for
4138 free pages to swap, in order to cache more disk access. In a 4 GB
4139 system, you start waiting for page swaps after using only 2 GB.
4141 <p>The question then is how to make Linux run without a swap space.
4142 Theoretically it should be a matter of running
4145 </pre>
4152 * Kswapd main loop.
4153 */
4154 </pre>
4156 <p>Then recompile the kernel.
4159 <p><hr>
4161 Next:<a rel="next" accesskey="n" href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
4162 Previous:<a rel="previous" accesskey="p" href="#DISABLING%20SWAP%20SPACE">DISABLING SWAP SPACE</a>,
4164 <br>
4165 </div>
4169 <p>In order to improve realtime performance, the audio buffers for all the
4171 and video simultaneously and for most audio recording this causes
4172 dropouts. Application of low latency and preemtible kernel patches
4173 make it possible to record more audio recordings but it doesn't improve
4174 recording video with audio. This is where you need to hack the kernel.
4176 <p>To see if your sound buffers are suitable, run the included
4178 allocates the largest possible buffers and displays them. If the
4180 getting the buffers enlarged in the driver. While many drivers differ,
4181 we have a hack for at least one driver.
4183 <p>This only applies to the OSS version of the Soundblaster Live driver.
4184 Since every sound card and every sound driver derivative has a
4185 different implementation you'll need to do some searching for other
4188 <p>Where is says
4191 </pre>
4193 <p>change it to say
4196 </pre>
4198 <p>Where is says
4202 </pre>
4204 <p>change it to say
4208 </pre>
4212 <p>Change
4216 <p>to
4224 <p>to
4228 <p>Then recompile the kernel modules.
4231 <p><hr>
4233 Next:<a rel="next" accesskey="n" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
4234 Previous:<a rel="previous" accesskey="p" href="#ENLARGING%20SOUND%20BUFFERS">ENLARGING SOUND BUFFERS</a>,
4236 <br>
4237 </div>
4242 default. This needs to be increased to do anything useful. Run the
4243 following command:
4248 <p><hr>
4251 Previous:<a rel="previous" accesskey="p" href="#FREEING%20MORE%20SHARED%20MEMORY">FREEING MORE SHARED MEMORY</a>,
4253 <br>
4254 </div>
4258 <p>This is a very popular command sequence among Linux gurus, which is not
4259 done by default on Linux distributions.
4264 doesn't work due to inept kernel support for most IDE controllers. If
4269 data transfers.
4272 transactions. This frees up even more CPU time.
4275 glitch.
4278 <p><hr>
4280 Next:<a rel="next" accesskey="n" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
4281 Previous:<a rel="previous" accesskey="p" href="#SPEEDING%20UP%20THE%20HARD%20DRIVE">SPEEDING UP THE HARD DRIVE</a>,
4283 <br>
4284 </div>
4288 <p>Linux runs some daily operations like compressing man pages. These may
4289 be acceptable background tasks while compiling or word processing but
4290 not while playing video. Disable these operations by editing
4299 anyways?
4302 <p><hr>
4307 <br>
4308 </div>
4312 <p>Gamers like high resolution mice, but this can be painful for precisely
4313 positioning the mouse on a timeline or video screen. XFree86 once
4314 allowed you to reduce PS/2 mouse sensitivity using commands like
4317 <p>We have a way to reduce USB mouse sensitivity. Edit
4320 <p>After the line saying
4323 </pre>
4325 <p>put
4328 #define DOWNSAMPLE_D 350
4329 int x_accum, y_accum;
4330 </pre>
4332 <p>Next, the section which says something like:
4335 switch (code) {
4336 case REL_X: list->dx += value; break;
4337 case REL_Y: list->dy -= value; break;
4339 }
4340 break;
4341 </pre>
4343 <p>must be replaced by
4346 case EV_REL:
4347 switch (code) {
4348 case REL_X:
4349 list->x_accum += value * DOWNSAMPLE_N;
4352 break;
4353 case REL_Y:
4354 list->y_accum += value * DOWNSAMPLE_N;
4357 break;
4359 }
4360 break;
4364 </pre>
4369 <p><hr>
4371 Next:<a rel="next" accesskey="n" href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>,
4372 Previous:<a rel="previous" accesskey="p" href="#REDUCING%20USB%20MOUSE%20SENSITIVITY">REDUCING USB MOUSE SENSITIVITY</a>,
4374 <br>
4375 </div>
4379 <p>XFree86 by default can't display Cinelerra's advanced pixmap rendering
4380 very fast. The X server stalls during list box drawing. Fix this by
4381 adding a line to your XF86Config* files.
4387 <p>and restart the X server.
4389 <p>Screen blanking is really annoying, unless you're fabulously rich and
4390 can afford to leave your monitor on 24 hours a day without power saving
4394 xset s noblank
4395 </pre>
4399 <p>How about those windows keys which no Linux distribution even thinks to
4400 use. You can make the window keys provide ALT functionality by editing
4404 keycode 116 = Hyper_R
4405 add mod4 = Hyper_L
4406 add mod5 = Hyper_R
4407 </pre>
4409 <p>The actual changes to a window manager to make it recognize window keys
4414 #Mouse 0 W M move
4417 Mouse 0 F A resize-or-raiselower
4418 Mouse 0 S A resize-or-raiselower
4419 </pre>
4421 <p>in place of the default section for moving and resizing. Your best
4422 performance is going to be on FVWM. Other window managers seem to slow
4423 down video with extra event trapping and aren't as efficient in layout.
4426 <p><hr>
4431 <br>
4432 </div>
4436 <p>You'll often store video on an expensive, gigantic disk array separate
4437 from your boot disk. You'll thus have to manually install an EXT
4439 the fastest file system is
4443 tune2fs -r0 -c10000 my_device
4445 </pre>
4447 <p>This has no journaling, reserves as few blocks as possible for
4448 filenames, and accesses the largest amount of data per block possible.
4449 A slightly slower file system, which is easier to recover after power
4450 failures is
4454 tune2fs -r0 -c10000 my_device
4456 </pre>
4458 <p>This adds a journal which slows down the writes but makes us immune to
4459 power failures.
4462 <p><hr>
4464 Previous:<a rel="previous" accesskey="p" href="#SPEEDING%20UP%20THE%20FILE%20SYSTEM">SPEEDING UP THE FILE SYSTEM</a>,
4466 <br>
4467 </div>
4471 <p>Video recorded from the ZORAN inputs is normally unaligned or not
4472 completely encoded on the right. This can be slightly compensated by
4473 adjusting parameters in the driver sourcecode.
4477 version of the driver could be improved by changing
4480 </pre>
4482 <p>to
4485 </pre>
4488 line 76 affect alignment and encoding.
4490 <p>For NTSC
4493 </pre>
4495 <p>could be changed to
4497 </pre>
4499 <p>Adjusting these parameters may or may not improve your picture. More
4500 of the time, they'll cause the driver to lock up before capturing
4501 the first frame.
4504 <p><hr>
4507 Previous:<a rel="previous" accesskey="p" href="#IMPROVING%20PERFORMANCE">IMPROVING PERFORMANCE</a>,
4509 <br>
4510 </div>
4516 <li><a accesskey="2" href="#DRAGGING%20IN%20AND%20OUT%20POINTS%20DOESN'T%20WORK">DRAGGING IN AND OUT POINTS DOESN'T WORK</a>:
4517 <li><a accesskey="3" href="#SYNCHRONIZATION%20LOST%20WHILE%20RECORDING">SYNCHRONIZATION LOST WHILE RECORDING</a>:
4518 </ul>
4521 <p><hr>
4523 Next:<a rel="next" accesskey="n" href="#DRAGGING%20IN%20AND%20OUT%20POINTS%20DOESN'T%20WORK">DRAGGING IN AND OUT POINTS DOESN'T WORK</a>,
4525 <br>
4526 </div>
4532 Some performance tweeks are available in another section.
4535 <p>Once tweeked, the Buz driver seems to crash if the number of recording
4540 <p><hr>
4541 Node:<a name="DRAGGING%20IN%20AND%20OUT%20POINTS%20DOESN'T%20WORK">DRAGGING IN AND OUT POINTS DOESN'T WORK</a>,
4542 Next:<a rel="next" accesskey="n" href="#SYNCHRONIZATION%20LOST%20WHILE%20RECORDING">SYNCHRONIZATION LOST WHILE RECORDING</a>,
4543 Previous:<a rel="previous" accesskey="p" href="#BUZ%20DRIVER%20CRASHES">BUZ DRIVER CRASHES</a>,
4545 <br>
4546 </div>
4550 <p>Sometimes there will be two edits really close together. The point
4551 selected for dragging may be next to the indended edit on an edit too
4552 small to see at the current zoom level. Zoom in horizontally.
4555 <p><hr>
4556 Node:<a name="SYNCHRONIZATION%20LOST%20WHILE%20RECORDING">SYNCHRONIZATION LOST WHILE RECORDING</a>,
4557 Previous:<a rel="previous" accesskey="p" href="#DRAGGING%20IN%20AND%20OUT%20POINTS%20DOESN'T%20WORK">DRAGGING IN AND OUT POINTS DOESN'T WORK</a>,
4559 <br>
4560 </div>
4564 <p>If the framerate of the recording is much lower than the framerate of
4565 the source, the video will accumulate in the recording buffers over
4566 time while the audio and video are well out of sync. Decrease the
4569 buffered.
4572 <p><hr>
4577 <br>
4578 </div>
4586 <li><a accesskey="4" href="#MAKING%20VIDEO%20LOOK%20LIKE%20FILM">MAKING VIDEO LOOK LIKE FILM</a>:
4588 </ul>
4591 <p><hr>
4595 <br>
4596 </div>
4601 channel soundcard with degraded but useful results. Rudimentary Dolby
4602 pro logic encoding can be achieved with clever usage of the effects.
4605 one track. The signal comes out of the back speakers.
4607 <p>Create a single audio track with monaural audio of a different source.
4609 speaker.
4611 <p>Create other tracks with different signals and pan them left or right
4612 to put signals in the front left or right speaker.
4614 <p>Finally, if a copy of the signal in the back speakers is desired in any
4615 single front speaker, the signal in the back speakers must be delayed
4616 by at least 0.05 seconds and a single new track should be created. Pan
4617 the new track to orient the signal in the front speakers.
4619 <p>If the same signal is desired in all the speakers except the center
4620 speaker, delay the back speakers by 0.5 seconds and delay either the
4621 front left or front right by 0.2 seconds.
4623 <p>If you want to hear something from the subwoofer, create a new track,
4624 select a range, drop a synthesizer effect, and set the frequency below
4627 <p>Other tricks you can perform to separate the speakers are parametric
4628 equalization to play only selected ranges of frequencies through
4629 different speakers and lowpass filtering to play signals through the
4630 subwoofer.
4633 <p><hr>
4636 Previous:<a rel="previous" accesskey="p" href="#DOLBY%20PRO%20LOGIC%20ENCODING">DOLBY PRO LOGIC ENCODING</a>,
4638 <br>
4639 </div>
4643 <p>Unless you live in a rich nation like China or are a terrorist, you
4644 probably record analog TV more than you record digital TV. The picture
4645 quality on analog TV is horrible but you can do things in Cinelerra to
4646 make it look more like it did in the studio.
4648 <p>First, when capturing the video, capture it in the highest resolution
4650 Don't bother adjusting the brightness or contrast in the recording
4651 monitor, although maxing out the color is useful. Capture it using
4652 MJPEG or uncompressed Component Video if possible. If those are too
4653 demanding, then capture it using JPEG. RGB should be a last resort.
4659 Horizontal offset: 0
4660 Vertical: 2
4661 Vertical offset: 0
4663 red
4664 x green
4665 x blue
4666 alpha
4667 </pre>
4669 <p>Use the camera tool to shift the picture up or down a line to remove
4670 the most color interference from the image. This is the difference
4671 we're looking for:
4673 <br><p>
4676 <p>If you have vertical blanking information or crawls which constantly
4678 improves compression ratios.
4680 <p>This is about all you can do without destroying more data than you
4681 would naturally lose in compression. The more invasive cleaning
4682 techniques involve deinterlacing.
4685 <p><hr>
4687 Next:<a rel="next" accesskey="n" href="#MAKING%20VIDEO%20LOOK%20LIKE%20FILM">MAKING VIDEO LOOK LIKE FILM</a>,
4688 Previous:<a rel="previous" accesskey="p" href="#ANALOG%20TV%20CLEANING">ANALOG TV CLEANING</a>,
4690 <br>
4691 </div>
4695 <p>Interlacing is done on most video sources because it costs too much to
4696 build progressive scanning cameras and progressive scanning CRT's.
4697 Many a consumer has been dissapointed to spend 5 paychecks on a
4698 camcorder and discover what horrible jagged images it produces on a
4699 computer monitor.
4701 <p>As for progressive scanning camcorders, forget it. Cost factors are
4702 probably going to keep progressive scanning cameras from ever equalling
4703 the spatial resolution of interlaced cameras. Interlacing is here to
4704 stay. That's why they made deinterlacing effects in Cinelerra.
4706 <p>We don't believe there has ever been a perfect deinterlacing effect.
4707 They're either irreversible or don't work. Cinelerra cuts down the
4708 middle by providing deinterlacing tools that are irreversible sometimes
4709 and don't work sometimes but are neither one or the other.
4716 stairstepping. This is only useful when followed by a scale effect
4717 which reduces the image to half its size.
4723 instead of making straight copies of the lines it makes averages of the
4724 lines. This is actually useful for all scaling.
4726 <p>There's an option for adaptive line averaging which selects which lines
4727 to line average and which lines to leave interlaced based on the
4728 difference between the lines. It doesn't work.
4732 <p>This is the most effective deinterlacing tool when the footage is an
4737 <p>The first three tools either destroy footage irreversibly or don't work
4739 deinterlacing tool. It leaves the footage intact. It doesn't reduce
4740 resolution, perceptually at least. It doesn't cause jittery timing.
4743 it must be used on a timeline whose project frame rate is twice the
4744 footage's frame rate. In the first frame it puts a line averaged copy
4745 of the even lines. In the second frame it puts a line averaged copy of
4746 the odd lines. When played back at full framerates it gives the
4747 illusion of progressive video with no loss of detail.
4750 nonrealtime effect. That one combines two frames of footage back into
4751 the one original interlaced frame of half the framerate.
4754 as efficiently as the original because it introduces vertical twitter
4755 and a super high framerate.
4760 and the occasional odd field gives the illusion of more detail than
4761 there would be if you just line averaged the original.
4764 <p><hr>
4767 Previous:<a rel="previous" accesskey="p" href="#DEFEATING%20INTERLACING">DEFEATING INTERLACING</a>,
4769 <br>
4770 </div>
4774 <p>Video sweetening is constantly getting better. Lately the best thing
4775 you can do for dirt cheap consumer camcorder video is to turn it into
4776 progressive 24fps output. While you can't really do that, you can get
4777 pretty close for the money. Mind you, this procedure can degrade high
4778 quality video just as easily as it improves low quality video. It
4779 should only be used for low quality video.
4781 <ul>
4783 <li>
4784 Step 1 - Set project framerate to twice the video framerate.
4786 <li>
4788 interlacing, and horizontal only.
4790 <li>
4792 Average Empty Rows on and play through the video a few times to figure
4793 out which field is first. If the wrong field is first, the motion is
4794 shaky. Secondly, any editing in the doubled frame rate may now screw
4795 up the field order. We're still figuring out the easiest way to
4796 support warnings for field glitches but for now you need to go back to
4797 the normal framerate to do editing or play test to make sure the fields
4798 are right.
4800 <li>
4801 Step 4 - Render just the video to the highest quality file possible.
4803 <li>
4804 Step 5 - Import the video back to a new track. Set the project
4805 framerate to 24. The new track should now display more filmish and
4806 sharper images than the original footage.
4808 </ul>
4810 <p>This entire procedure could be implemented in one nonrealtime effect,
4811 but the biggest problem with that is you'll most often want to keep the
4812 field based output and the 24fps output for posterity. A nonrealtime
4813 effect would require all that processing just for the 24fps copy.
4814 Still debating that one.
4817 <p><hr>
4819 Previous:<a rel="previous" accesskey="p" href="#MAKING%20VIDEO%20LOOK%20LIKE%20FILM">MAKING VIDEO LOOK LIKE FILM</a>,
4821 <br>
4822 </div>
4826 <p>Let's face it, if you're employed you live in Silicon Valley. As such
4827 you probably photograph a lot of haze and never see blue sky ever.
4828 Even if you can afford to briefly go somewhere where there is blue sky,
4829 horizon shots usually can stand for more depth. This is what the
4832 <p>Drop the gradient effect on hazy tracks. Set the following parameters:
4835 Inner radius: 0
4836 Outer radius: 40
4837 Inner color: blue 100% alpha
4838 Outer color: blue 0% alpha
4839 </pre>
4842 alpha. This is a generally applicable setting for the gradient. Some
4843 scenes may work better with orange or brown for an evening feel.
4846 <p><hr>
4849 Previous:<a rel="previous" accesskey="p" href="#SECRETS%20OF%20CINELERRA">SECRETS OF CINELERRA</a>,
4851 <br>
4852 </div>
4856 <p>Most effects in Cinelerra can be figured out just by using them and
4857 tweeking. Here are brief descriptions of effects which you might not
4858 utilize fully by mere experimentation.
4861 <li><a accesskey="1" href="#CHROMA%20KEY">CHROMA KEY</a>: How to make areas transparent based on color.
4862 <li><a accesskey="2" href="#DEINTERLACE">DEINTERLACE</a>: How to convert interlaced video to progressive video.
4863 <li><a accesskey="3" href="#HISTOGRAM">HISTOGRAM</a>: How to change the mapping of different brightness values.
4864 <li><a accesskey="4" href="#INVERSE%20TELECINE">INVERSE TELECINE</a>: How to convert pulled down frames to progressive frames.
4865 <li><a accesskey="5" href="#TIME%20AVERAGE">TIME AVERAGE</a>: How to add trail patterns or increase still image quality.
4866 <li><a accesskey="6" href="#TITLER">TITLER</a>: How to add text to a track from inside Cinelerra.
4867 <li><a accesskey="7" href="#VIDEO%20SCOPE">VIDEO SCOPE</a>: How to view the dynamic range of intensity and hue.
4868 </ul>
4871 <p><hr>
4875 <br>
4876 </div>
4880 <p>This effect replaces the selected color or intensity with black if
4881 there is no alpha channel and replaces it with transparency if there is
4882 an alpha channel. The selection of color model is important.
4884 <p>Chroma key uses either the value or the hue to determine what is
4885 erased. If this parameter is within a certain threshold it's erased.
4886 It's not a simple on/off switch, however. As the selected parameter
4887 approaches the edge of the threshold, it gradually gets erased if the
4888 slope is low or is completely erased if the slope is high.
4890 <p>The slope tries to soften the edges of the chroma key but it doesn't
4891 work well for compressed sources. A popular softening technique is to
4892 use a maximum slope and chain a blur effect below the chroma key effect
4893 to blur just the alpha.
4896 <p><hr>
4901 <br>
4902 </div>
4906 <p>The deinterlace effect has evolved over the years to deinterlacing and
4907 a whole lot more. In fact two of the deinterlacing methods, <b>Inverse
4909 deinterlace effect offers several variations of line replication to
4910 eliminate comb artifacts in interlaced video. It also has some line
4911 swapping tools to fix improperly captured video or make the result of a
4912 reverse effect display fields in the right order.
4915 <p><hr>
4920 <br>
4921 </div>
4925 <p>This shows the number of occurances of each value of a certain color
4926 channel. It is always performed in 16 bit RGB regardless of the
4927 project colorspace. Use the upper gradient to determine the range of
4928 input intensities to be expanded to the output. Use the lower gradient
4929 to determine the range of output intensities to target the expansion
4931 automatic input values for every frame. The threshold is only used in
4932 automatic mode and determines how sensitive to the upper and lower
4933 boundaries of the histogram the automatic gain should be.
4936 <p><hr>
4941 <br>
4942 </div>
4946 <p>This is the most effective deinterlacing tool when the footage is a
4947 video transfer of a film. Here the film was converted from 24fps to
4949 even lines and interlacing the lines. The IVTC effect is primarily a
4950 way to convert interlaced video to progressive video. It undoes three
4951 patterns of interlacing.
4954 AB CD CD DE EF
4955 Automatic
4956 </pre>
4960 several combinations of lines for each frame and picks the most
4961 progressive combination. It's a brute force algorithm.
4963 <p>This technique doesn't rely on a pattern like other techniques and is
4964 less destructive but the timing is going to be jittery because of the
4965 lack of a frame rate reduction.
4968 <p><hr>
4973 <br>
4974 </div>
4978 <p>Time average is one effect which has many uses besides creating nifty
4979 trail patterns of moving objects. It's main use is reducing noise in
4980 still images. Merely point a video camera at a stationary subject for
4981 30 frames, capture the frames, and average them using TIME AVERAGE and
4982 you'll have a super high quality print. In 16 bit colormodels, time
4983 average can increase the dynamic range of lousy cameras.
4986 <p><hr>
4991 <br>
4992 </div>
4996 <p>While it is possible to add text to movies by importing still images
4997 from The Gimp and compositing them, the Titler allows you to add text
4998 from within Cinelerra.
5001 best font is a generic, normal font like Arial in a large size.
5003 <p>The titler also has options you'll only find in moving pictures. The
5006 be justified while at the same time letting you push it within the
5007 title safe region.
5010 When using this, the text may dissappear. Move the insertion point
5011 along the timeline until the text is far enough along the animation to
5012 reappear. The text scrolls on and scrolls off.
5018 speed up the animation.
5021 the original text. Useful when drawing text over changing video to
5022 keep the border always visible.
5025 animation. If the fade seconds are 0, no fading is done.
5028 only practical color.
5031 timeline in seconds and frames.
5034 <li><a accesskey="1" href="#ADDING%20FONTS%20TO%20THE%20TITLER">ADDING FONTS TO THE TITLER</a>: How to add fonts to the titler
5035 <li><a accesskey="2" href="#THE%20TITLE-SAFE%20REGION">THE TITLE-SAFE REGION</a>: How to keep text visible on output
5036 </ul>
5039 <p><hr>
5043 <br>
5044 </div>
5048 <p>The X Window system originally didn't have a suitable font renderer for
5049 video. It also is restricted to the current bit depth. It doesn't
5050 have a convenient way to know which fonts work with the suitable font
5051 renderer in the desired bit depth. The easiest way we've found to
5052 support fonts in the titler is to have a directory for them at
5056 others but TTF are the most reliable. To add true type fonts, copy the
5059 fonts should appear.
5062 <p><hr>
5064 Previous:<a rel="previous" accesskey="p" href="#ADDING%20FONTS%20TO%20THE%20TITLER">ADDING FONTS TO THE TITLER</a>,
5066 <br>
5067 </div>
5071 <p>If the video is displayed on a consumer TV, the outer border is going
5072 to be cropped by 5% on each side. Moreover, text which is too close to
5073 the edge looks sloppy. Make sure when added titles to have the
5074 <b>title-safe</b> <img src="titlesafe.png" alt="titlesafe.png"> tool active in the <b>compositor</b> window.
5075 The text shouldn't cross the inner rectangle.
5078 <p><hr>
5082 <br>
5083 </div>
5087 <p>The video scope plots two views of the image. One view plots the
5088 intensity of each pixel against horizontal position. They call this
5089 the WAVEFORM. Another view translates hue to angle and saturation to
5090 radius for each pixel. They call this the VECTORSCOPE.
5092 <p>The vectorscope is actually very useful for determining if an image is
5093 saturated. When adjusting saturation, it's important to watch the
5094 vectorscope to make sure pixels don't extend past the 100 radius.
5096 <p>The waveform allows you to make sure image data extends from complete
5097 black to complete white while adjusting the brightness/contrast.
5099 <p>Some thought is being given to having a video scope for recording.
5100 Unfortunately, this would require a lot of variations of the video
5101 scope for all the different video drivers.
5104 <p><hr>
5107 Previous:<a rel="previous" accesskey="p" href="#EFFECT%20DESCRIPTIONS">EFFECT DESCRIPTIONS</a>,
5109 <br>
5110 </div>
5115 before VST became popular. It's fundamentally the same as it was in
5116 1997, with minor modifications to handle keyframes and GUI feedback.
5117 Unfortunately, the GUI is not abstracted from the programmer. This
5118 allows the programmer to use whatever toolkit they want and allows more
5119 flexibility in appearance but it costs more.
5121 <p>There are several types of plugins, each with a common procedure of
5122 implementation and specific changes for that particular type. The
5123 easiest way to implement a plugin is to take the simplest existing one
5124 out of the group and rename the symbols.
5133 <li><a accesskey="7" href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>:
5135 </ul>
5138 <p><hr>
5142 <br>
5143 </div>
5147 <p>All plugins inherit from a derivative of PluginClient. This derivative
5148 implements most of the required methods in PluginClient, but users must
5149 still define methods for PluginClient. The most commonly used methods
5150 are already implemented in macros.
5152 <p>The files they include depend on the plugin type. Audio plugins
5157 <p>Another thing all plugins do is define at least three objects:
5159 <ul>
5161 <li>
5162 Processing object - Contains pointers to all the other objects and
5163 performs the signal processing. This object contains a number of
5164 queries to identify itself and is the object you register to register
5165 the plugin.
5167 <li>
5168 User interface object - This is defined according to the programmer's
5169 discretion. It can either use Cinelerra's toolkit or another toolkit.
5170 It shows data on the screen and collects parameters from the user.
5172 <p>Using Cinelerra's toolkit, the only user interface object a developer
5173 needs to worry about is the Window. The window has pointers to a
5174 number of widgets, a few initialization methods, and a back pointer to
5175 the plugin's processing object. The documentation refers to usage of
5176 Cinelerra's toolkit.
5178 <p>Depending on the user interface toolkit, a user interface thread may be
5179 created to run the user interface asynchronous of everything else.
5180 Synchronizing the user interface to changes in keyframes is the most
5181 complicated aspect of the plugin, so the user interface thread and
5182 object are heavily supported by macros if you use Cinelerra's toolkit.
5184 </p><li>
5185 Configuration object - This stores the user parameters and always needs
5186 interpolation, copying, and comparison functions. The plugin client
5187 automatically calls configuration methods to interpolate keyframes.
5189 </ul>
5195 </ul>
5198 <p><hr>
5200 Next:<a rel="next" accesskey="n" href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
5202 <br>
5203 </div>
5207 <p>The processing object should inherit from the intended PluginClient
5208 derivative. Its constructor should take a PluginServer argument.
5211 </pre>
5213 <p>In the implementation, the plugin must contain a registration line with
5214 the name of the processing object like
5217 </pre>
5219 <p>The constructor should contain
5222 </pre>
5224 <p>to initialize the most common variables.
5226 <p>The processing object should have a destructor containing
5229 </pre>
5231 <p>to delete the most common variables.
5233 <p>Another function which is useful but not mandatory is
5236 </pre>
5239 channels simultaneously or 0 if one instance of the plugin only handles
5240 one channel. The default is 0 if it is omitted. Multichannel plugins
5242 determine the number of channels.
5244 <p>To simplify the implementation of realtime plugins, a macro for
5245 commonly used members should be put in the class header, taking the
5246 configuration object and user interface thread object as arguments.
5247 This is only useful for realtime plugins. Fortunately, nonrealtime
5248 plugins are simpler.
5251 </pre>
5253 <p>Many other members may be defined in the processing object, depending
5254 on the plugin type. The commonly used members in PLUGIN_CLASS_MEMBERS
5255 are described below. Not all these members are used in nonrealtime
5256 plugins.
5258 <ul>
5260 <li>int load_configuration();
5262 <p>Loads the configuration based on surrounding keyframes and current
5263 position. The class definition should contain
5266 </pre>
5268 <p>to implement load_configuration. This stores whatever the current
5269 configuration is inside the plugin's configuration object. The
5271 PLUGIN_CLASS_MEMBERS.
5273 </p><li>VFrame* new_picon();
5275 <p>Creates a picon for display in the resource window. Use
5278 NEW_PICON_MACRO(plugin_class)
5279 </pre>
5281 <p>to implement new_picon. In addition, the user should create a
5285 <p>The source PNG image should be called picon.png and can be any format
5286 supported by PNG.
5288 </p><li>char* plugin_title();
5290 <p>Returns a text string identifying the plugin in the resource window.
5291 The string has to be unique.
5293 </p><li>void update_gui();
5295 <p>Should first load the configuration and then redraw the GUI with the
5296 new parameters. All the plugins using GuiCast have a format like
5299 {
5300 if(thread)
5301 {
5302 load_configuration();
5304 // update widgets here
5306 }
5307 }
5308 </pre>
5310 <p>to handle concurrency and conditions of no GUI.
5312 </p><li>int show_gui();
5314 <p>Instantiate the GUI and switch the plugin to GUI mode. This is implemented with
5317 </pre>
5319 </p><li>int set_string();
5321 <p>Changes the title of the GUI window to a certain string. This is implemented with
5324 </pre>
5326 </p><li>void raise_window();
5328 <p>Raises the GUI window to the top of the stack. This is implemented with
5331 </pre>
5333 </ul>
5336 <p><hr>
5338 Next:<a rel="next" accesskey="n" href="#THE%20USER%20INTERFACE%20OBJECT">THE USER INTERFACE OBJECT</a>,
5339 Previous:<a rel="previous" accesskey="p" href="#THE%20PROCESSING%20OBJECT">THE PROCESSING OBJECT</a>,
5341 <br>
5342 </div>
5346 <p>The configuration object is critical for GUI updates, signal
5347 processing, and default settings in realtime plugins. Be aware it is
5348 not used in nonrealtime plugins. The configuration object inherits
5349 from nothing and has no dependancies. It's merely a class containing
5350 three functions and variables specific to the plugin's parameters.
5352 <p>Usually the configuration object starts with the name of the plugin
5353 followed by Config.
5356 {
5357 public:
5358 MyPluginConfig();
5359 </pre>
5361 <p>Following the name of the configuration class, we put the three
5362 required functions and the configuration variables.
5365 void copy_from(MyPluginConfig &that);
5366 void interpolate(MyPluginConfig &prev,
5367 MyPluginConfig &next,
5368 int64_t prev_position,
5369 int64_t next_position,
5370 int64_t current_position);
5374 float parameter1;
5375 float parameter2;
5376 int parameter3;
5377 };
5379 </pre>
5382 LOAD_CONFIGURATION_MACRO to get the return value. That is all it's
5383 used for and if you don't care about load_configuration's return value,
5384 you can leave this function empty. It normally returns 1 if the
5385 argument's variables have the same values as the local variables.
5388 from the argument to the local variables. This is once again used in
5389 LOAD_CONFIGURATION_MACRO to store configurations in temporaries. Once
5390 LOAD_CONFIGURATION_MACRO has replicated the configuration, it loads a
5391 second configuration. Then it interpolates the two configurations to
5392 get the current configuration. The interpolation function performs the
5393 interpolation and stores the result in the local variables.
5395 <p>Normally the interpolate function calculates a previous and next
5396 fraction, using the arguments.
5399 MyPluginConfig &next,
5400 int64_t prev_position,
5401 int64_t next_position,
5402 int64_t current_position)
5403 {
5404 double next_scale = (double)(current_position - prev_position) / (next_position - prev_position);
5405 double prev_scale = (double)(next_position - current_position) / (next_position - prev_position);
5406 </pre>
5408 <p>Then the scales are applied to the previous and next configuration
5409 object to yield the current values.
5412 this->parameter1 = (float)(prev.parameter1 * prev_scale + next.parameter1 * next_scale);
5413 this->parameter2 = (float)(prev.parameter2 * prev_scale + next.parameter2 * next_scale);
5414 this->parameter3 = (int)(prev.parameter3 * prev_scale + next.parameter3 * next_scale);
5415 }
5417 </pre>
5419 <p>Alternatively you can copy the values from the previous configuration
5420 argument for no interpolation.
5422 <p>This usage is the same in audio and video plugins. In video playback,
5423 the interpolation function is called for every frame, yielding smooth
5424 interpolation. In audio playback, the interpolation function is called
5425 only once for every console fragment and once every time the insertion
5426 point moves. This is good enough for updating the GUI while selecting
5427 regions on the timeline but it may not be accurate enough for really
5428 smooth rendering of the effect.
5430 <p>For really smooth rendering of audio, you can still use
5431 load_configuration when updating the GUI. For process_realtime;
5432 however, ignore load_configuration and write your own interpolation
5433 routine which loads all the keyframes in a console fragment and
5434 interpolates every sample. This would be really slow and hard to
5435 debug, yielding improvement which may not be audible. Then of course,
5436 every century has its set of wierdos.
5438 <p>An easier way to get smoother interpolation is to reduce the console
5439 fragment to 1 sample. This would have to be rendered and played back
5440 in a separate program of course. The Linux sound driver can't play
5441 fragments of 1 sample.
5444 <p><hr>
5446 Previous:<a rel="previous" accesskey="p" href="#THE%20CONFIGURATION%20OBJECT">THE CONFIGURATION OBJECT</a>,
5448 <br>
5449 </div>
5453 <p>The user interface object at the very least consists of a pointer to a
5454 window and pointers to a set of widgets. Using Cinelerra's toolkit, it
5456 Thread derivative is declared in the plugin header using
5459 </pre>
5461 <p>Then it is defined using
5464 </pre>
5466 <p>This in combination with the SHOW_GUI macro does all the work in
5467 instantiating the Window class. This is used in realtime plugins but
5468 not in nonrealtime plugins. Nonrealtime plugins create and destroy
5471 <p>Now the window class must be declared in the plugin header. It's
5472 easiest to implement the window by copying an existing plugin and
5473 renaming the symbols. The following is an outline of what happens.
5474 The plugin header must declare the window's constructor using the
5475 appropriate arguments.
5478 #include "guicast.h"
5480 class MyPluginWindow : public BC_Window
5481 {
5482 public:
5483 MyPluginWindow(MyPluginMain *plugin, int x, int y);
5485 </pre>
5487 <p>This becomes a window on the screen, positioned at x and y.
5489 <p>It needs two methods
5492 int close_event();
5493 </pre>
5495 <p>and a back pointer to the plugin
5498 </pre>
5500 <p>The constructor's definition should contain extents and flags causing
5501 the window to be hidden when first created. The create_objects member
5502 puts widgets in the window according to GuiCast's syntax. A pointer to
5503 each widget which is to be synchronized to a keyframe is stored in the
5505 earlier defined for the plugin. The widgets are usually derivatives of
5506 a GuiCast widget and they override functions in GuiCast to handle
5507 events. Finally create_objects calls
5510 flush();
5511 </pre>
5513 <p>to make the window appear all at once.
5515 <p>The close_event member should be implemented using
5518 </pre>
5520 <p>Every widget in the GUI needs to detect when its value changes. In
5526 <p><hr>
5531 <br>
5532 </div>
5536 <p>Realtime plugins should use PLUGIN_CLASS_MEMBERS to define the basic
5537 set of members in their headers. All realtime plugins must define an
5540 </pre>
5543 called during playback and the plugin to be droppable on the timeline.
5545 <p>Realtime plugins must define a member called
5548 </pre>
5550 <p>to be called during every audio fragment and video frame. It has an
5551 input and an output argument and for audio, a size argument. The
5552 process_realtime function should start by calling
5554 configuration changed. Then process_realtime should move the data from
5555 the input to the output with processing.
5557 <p>Additional members are implemented to maintain configuration in
5558 realtime plugins. Some of these are also needed in nonrealtime
5559 plugins.
5561 <ul>
5562 <li>void read_data(KeyFrame *keyframe);
5564 <p>Loads data from a keyframe into the plugin's configuration. Inside the
5565 keyframe is an XML string. It's most easily parsed by creating a
5567 function is implemented.
5569 <p>Read data loads data out of the XML object and stores values in the
5570 plugin's configuration object.
5572 </p><li>void save_data(KeyFrame *keyframe);
5574 <p>Saves data from the plugin's configuration to a keyframe. Inside the
5575 keyframe you'll put an XML string which is normally created by a
5576 FileXML object. See an existing plugin to see how the save_data
5577 function is implemented.
5579 <p>Save data saves data from the plugin's configuration object into the
5580 XML object.
5582 </p><li>int load_defaults();
5584 <p>Another way the plugin gets parameters is from a defaults file. The
5585 load and save defaults routines use a Defaults object to parse the
5587 destroyed in the plugin's destructor. See an existing plugin to see
5588 how the Defaults object is used.
5590 </p><li>int save_defaults();
5592 <p>Saves the configuration in the defaults object.
5594 </ul>
5597 <p><hr>
5602 <br>
5603 </div>
5608 implemented. In nonrealtime plugins, these are not just used for
5609 default parameters but to transfer values from the user interface to
5610 the signal processor. There doesn't need to be a configuration class
5611 in nonrealtime plugins.
5613 <p>Unlike realtime plugins, the LOAD_CONFIGURATION_MACRO can't be used in
5614 the plugin header. Instead, the following methods must be defined.
5616 <p>The nonrealtime plugin should contain a pointer to a defaults object.
5619 Defaults *defaults;
5621 </pre>
5623 <p>It should also have a pointer to a MainProgressBar.
5626 MainProgressBar *progress;
5627 </pre>
5629 <p>The progress pointer allows nonrealtime plugins to display their
5630 progress in Cinelerra's main window.
5632 <p>The constructor for a nonrealtime plugin can't use
5636 defaults</b> directly instead of PLUGIN_DESTRUCTOR_MACRO.
5638 <ul>
5640 <li>VFrame* new_picon();
5642 <p>char* plugin_title();
5644 <p>The usage of these is the same as realtime plugins.
5646 </p><li>int is_realtime();
5650 </p><li>
5651 int get_parameters();
5653 <p>Here, the user should create a GUI, wait for the user to hit an OK
5654 button or a cancel button, and store the parameters in plugin
5656 This way the user can cancel the effect from the GUI.
5658 <p>Unlike the realtime plugin, this GUI need not run asynchronously of the
5659 plugin. It should block the get_parameters function until the user
5660 selects OK or Cancel.
5662 </p><li>int load_defaults();
5664 <p>This should create a defaults object and load parameters from the
5665 defaults object into plugin variables.
5667 </p><li>int save_defaults();
5669 <p>This should save plugin variables to the defaults object.
5671 </p><li>int start_loop();
5674 give the plugin a chance to initialize processing. The plugin should
5675 instantiate the progress object with a line like
5678 progress = start_progress("MyPlugin progress...",
5679 PluginClient::end - PluginClient::start);
5681 </pre>
5684 multichannel or single channel. If it's multichannel you always call
5685 start_progress. If it's single channel, you first need to know whether
5686 the progress bar has already started in another instance of the plugin.
5689 bar. If it's 0, the progress bar has already been started.
5692 to be processed. The units are either samples or frames.
5694 </p><li>int process_loop
5696 <p>This is called repeatedly until the timeline range is processed. It
5697 takes either a samples or frames buffer and a reference to
5698 write_length. The arguments are a location and length for the output
5699 if it's audio.
5702 input. These functions take a buffer and a position relative to the
5703 start of the timeline. Then it must process it and put the output in
5704 the arguments to process_loop. write_length should contain the number
5705 of samples generated if it's audio.
5708 update the progress bar if it's 1.
5711 </pre>
5714 process_loop should return 1 to indicate a cancellation. In addition
5716 entire timeline range is processed.
5718 </p><li>int stop_loop();
5720 <p>This is called after process_loop processes its last buffer.
5724 Then it should delete any objects it created for processing in
5727 </ul>
5730 <p><hr>
5733 Previous:<a rel="previous" accesskey="p" href="#NONREALTIME%20PLUGINS">NONREALTIME PLUGINS</a>,
5735 <br>
5736 </div>
5740 <p>The simplest audio plugin is Gain. The processing object should
5741 include <b>pluginaclient.h</b> and inherit from <b>PluginAClient</b>. Realtime audio plugins need to
5742 define
5745 double **input_ptr,
5746 double **output_ptr);
5747 </pre>
5749 <p>if it's multichannel or
5752 double *input_ptr,
5753 double *output_ptr);
5754 </pre>
5756 <p>if it's single channel. These should return the number of samples
5757 generated. In the future, the number of samples return value will
5758 synchronize plugins which delay audio.
5760 <p>Nonrealtime audio plugins need to define
5763 </pre>
5765 <p>for single channel or
5768 </pre>
5770 <p>for multi channel.
5773 <p><hr>
5778 <br>
5779 </div>
5783 <p>The simplest video plugin is Flip. The processing object should
5785 Realtime video plugins need to define
5788 VFrame **output);
5789 </pre>
5791 <p>if it's multichannel or
5794 VFrame *output);
5795 </pre>
5797 <p>if it's single channel. They only get one frame per call but should
5798 return the number of frames generated anyway. In the future, the
5799 number of frames return value will synchronize plugins which delay
5800 video.
5802 <p>The nonrealtime video plugins need to define
5805 </pre>
5807 <p>for single channel or
5810 </pre>
5813 when they return 0.
5816 <p><hr>
5818 Next:<a rel="next" accesskey="n" href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
5821 <br>
5822 </div>
5828 channel, realtime audio and video plugins. The only difference is the
5832 <p>Routines exist for determining where you are relative to the
5833 transition's start and end.
5835 <ul>
5838 position since the start of the transition
5841 the transition. The units are either samples or frames.
5843 </ul>
5845 <p>Users should divide source position by total length to get the fraction
5847 at.
5849 <p>Secondly, the meaning of the input and output arguments to
5851 plugins.
5853 <p>The first argument to process_realtime is the data for the next edit.
5854 The second argument to process_realtime is the data for the previous
5855 edit. Eventually the second argument becomes the output.
5858 <p><hr>
5859 Node:<a name="PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
5863 <br>
5864 </div>
5869 during playback to display information about the signal. This is
5871 Normally in process_realtime, when the processing object wants to
5873 called in process_realtime. Send_render_gui goes through a search and
5876 <p>Render_gui should have a sequence like
5879 {
5880 if(thread)
5881 {
5884 // update GUI here
5887 }
5888 }
5890 </pre>
5892 <p>The sequence uses one argument, a void pointer to transfer information
5893 from the renderer to the GUI. The user should typecast this pointer
5894 into something useful.
5897 <p><hr>
5899 Previous:<a rel="previous" accesskey="p" href="#PLUGIN%20GUI'S%20WHICH%20UPDATE%20DURING%20PLAYBACK">PLUGIN GUI'S WHICH UPDATE DURING PLAYBACK</a>,
5901 <br>
5902 </div>
5906 <p>There are several useful queries in PluginClient which can be accessed
5907 from the processing object. Some of them have different meaning in
5908 realtime and non-realtime mode. They all give information about the
5909 operating system or the project.
5911 <ul>
5913 <li>
5916 processor, it's 1. This number should be used to gain any parallelism.
5918 <li>
5920 second of the video.
5922 <li>
5924 second of the audio.
5926 </ul>
5929 <p><hr>
5933 <br>
5934 </div>
5938 <ul>
5943 First release since Broadcast 2000 migration.
5945 </pre>
5950 Titler fonts installed by rpm.
5951 XMovie decodes ac3 according to redesigned liba52 channel mappings.
5952 Quicktime MPEG4 parameters debugged.
5953 Background rendering over a renderfarm.
5954 Renderfarm clients automatically reduced to idle priority.
5955 Better MJPA decoding on single processors.
5956 Better title functionality in 16 bit colormodels.
5957 Undo for effect keyframes.
5958 Effect GUI's cleared during undo for effect attachment.
5959 Fewer lockups on startup.
5960 Proper keyframe interpolation in scale effect.
5961 Stamp timecode in titler.
5962 Memory leaks in rendering stages removed.
5963 Removed legacy plugin server code.
5964 Option to generate sequence header in every GOP for MPEG2.
5965 LADSPA support.
5966 Listbox doesn't enter drag_icon state when dragging column division.
5967 Effect rendering bug fixed.
5969 More accurate mask drawing when projector is zoomed.
5970 Clear labels updates CWindow
5971 More accurate YUV/RGB conversions.
5972 Import partial tgas
5973 Copy keyframes doesn't copy default keyframe.
5974 Track highlighting offset by vertical scroll.
5975 Multiple video scope, spectrogram, and histogram displays may be opened.
5976 HutSaturation in YUV colorspaces.
5977 Undo for masks.
5978 Shared synthesis effects cause the sharing tracks to
5979 play back instead of just the owning track.
5980 Quicktime recovery utility improved.
5981 Single frame recording with multiple batches doesn't crash.
5982 DV encoding.
5983 New video effects:
5984 gradient, downsample video, radial blur, linear blur, zoom blur,
5985 histogram, perspective.
5987 New audio effect:
5988 Sound level
5992 </pre>
5997 More options for the ffmpeg/MPEG-4 codecs.
5998 Histogram works on SMP.
5999 Better 16 bit alpha blending.
6000 BRender path updates from preferences.
6001 Separate preroll for background rendering and rendering.
6003 Adaptive deinterlace.
6004 Frame per second statistics in renderfarm are more reliable.
6005 Select and slide in the patchbay.
6006 Video scope can be resized.
6007 Effect keyframes pasted in right positions more often.
6008 Selective denoising of video based on color channel.
6009 More mouse wheel bindings in MainWindow and ListBox.
6010 Ctrl-w closes effect windows.
6011 Perspective doesn't crash when switching from stretch to sheer.
6012 Better text list searching and keyboard navigation.
6013 Better Vorbis decoding after a pause.
6014 Close recording without recording anything doesn't crash.
6015 Save backup now option.
6016 OpenGL not required anymore.
6017 Time format changes update the selection textboxes more often.
6018 MPEG-4 deblocking option in XMovie and Cinelerra.
6019 Resize in Record GUI doesn't screw it up.
6023 </pre>
6028 Create fade keyframe inadverdently drags bezier handle less often.
6029 Float autos don't draw on right edge of timeline when keyframes are beyond right edge.
6030 Better float auto creation.
6031 Add track anywhere in timeline through track popup.
6032 Shared track references are automatically reconfigured after deleting or adding tracks.
6033 Libmpeg3: Better decoding of field-based MPEG video.
6034 Channels can be moved up or down in the Channel picker properly.
6035 Better handling of the long delay in deleting files without overflowing the recording buffers.
6036 Deinterlace really swaps fields instead of just saying it.
6037 Two line swapping combinations in deinterlace.
6038 Better listbox row sizing.
6039 Downsample offset.
6040 Faster window creation.
6041 Splash screen while you wait for it to start up.
6042 File deletion occurs before opening the driver instead of
6043 after opening the driver for recording.
6044 Changing sample rate of WAV file in Asset window works.
6045 JPEG stills get saved with proper dimensions.
6046 Migrated to RedHat 8.0.
6047 - e2fsprogs-devel is needed to compile the background render object.
6048 Fewer crashes due to OpenDivx global variables getting overwritten.
6049 Paste silence and clipboards also shifts effect keyframes properly.
6050 More checks for circular references in shared effects and shared tracks.
6051 Tracking during audio playback without video doesn't run past edge of loop boundaries.
6052 Better keyframing in Titler.
6053 Multiple language encodings in Titler.
6054 Undo of replace project after an effect works.
6055 Frame -> field conversion does line averaging and pixel shifting.
6056 Field -> frame conversion uses pixel shifting.
6057 Negative cursor selection is frame aligned.
6058 Documentation on video cleaning and deinterlacing tools.
6059 Buttons repositioned properly when filebox is resized vertically.
6060 Fade automation is more accurate.
6061 CWindow and VWindow slider position is less erratic after the window is resized.
6062 Timebars with regions track the playback position.
6063 More workarounds for buz driver lockups.
6064 Dragging the cursor on the timebar off the edges scrolls the timeline.
6065 IVTC uses luminance only in YUV colorspaces to improve accuracy.
6066 Quicktime: Tighter audio synchronization when encoding Quicktime with Vorbis audio.
6067 Start of audio effects is more accurate.
6068 Better IEEE1394 playback of video only.
6069 More IEEE1394 playback options.
6071 </pre>
6073 </ul>
6075 </body></html>